Channa Boon

'H' (Breath of Life), 2022 450 x 500 x 15 cms, sand, ceramic tiles, concrete, water Channa Boon 2021 @ Helicopter Artist's collective, The Hague. This 'H' in the yard of artist's collective Helicopter in The Hague embodies the principle of the letter as a carrier of meaning and the idea that language originally springs from a direct connection with the body. The sound of the letter "H" is in fact that of the "breath" and the breath of life which is in all and everything in and around us and a reciprocal principle as well; the breath of life with which everything is animated. In Hebrew, the letter H refers to "being" and everything that God has created. The workings of this H is like a kind of double magnet; it exercises at one hand a hypnotic quality on the audience that wants to keep staring into and dreaming away in the blue color and the water that makes endless shapes and reflections, and at the other hand the work is also a very 'open device' as a carrier and stage for performances, music, sounds or other performances, in which the water and work move along in the roles that it seems to be assigned to. It is a very much inter-active, and intra-active entity in this sense, which refers sharply to the work of Karen Barad*.

'20 Khachapuri' - a performance in the Scheltema Theatre in Leiden, playing on the 'Khachapuri - Modular Acoustics' an instrument made in the EKWC during a 3-month residency in 2019/2020. The form is derived form the pointy bread with the same name, that has an egg in the middle. Through transforming this Neolithic bread form into an acoustic chamber, the bodily connection of 'eating' is carried towards another level; an immediate resonance with the body. The event was a global happening, using this rare date as a planetary connection.

percussive ceramic sound instrument: performance with the ceramic acoustic 'Khachapuri', inspired on the Georgian dish with the same name.

Sasha is an ode to the imagination as well as a story about a fictional Russian painter who suffers from a serious identity crisis. It's a film about painting and all the clichées connected to the medium; illustrated by Sasha's doctor, who states a diagnosis of his patient by using only a painting by the hand of the latter. It's also a film of a condition of being disconnected from your environment; although the story is fictional, the film is based on several ‘true’ stories and on Raskolnikov, a personage from the work of Dostoevski. The name Raskolnikov: ‘the splitted one’ - refers to the state Sasha is in, suffering from a multiple personality distortion and delusions. But the most important inspiration comes from the Polish painter, who lived in my house before me, and who, according to the neighbours, produced an all piercing hauling sound when drunk. He took his life a bit later. This for me was the image of the classical painter as well as the emotional being, who dies from its own excess of emotion. Shot in Vilnius, Lithuania. With thanks to the Contemporary Art Centre in Vilnius, Virginija Januškevičiūtė, Catherine Hemelryk and Mirjam Wirz. The film premiered in the EYE Film Museum in 2013, was shown in the CAC in Vilnius Lithuania, the Karvasla Museum in Tbilisi Georgia, and a few other places.

A cleaninglady is ritually cleaning the white walls of the Museum with the slug she finds on the volcanic mountain slopes around La Paz. Filmed in La Paz and the Salar de Uyuni, Bolivia. Commissioned by 'El Quinto Pasajero' a project conceived by Valeria Paz and Harm Lux for the Museo Tambo Quircinho, La Paz, Bolivia in 2007. Filmed by: Andreas Liebmann and Narda Alvarado. Edited by Channa Boon.

The Reincarnations: a 3 women group produces sound attacks in the public realm, dressed as the archetypes of the origins of (Wo)mankind.

B/W pin hole camera mounted on model train filming the endless rounds it makes on a modeltrain track. First shown in O'sim T'silum, Tel Aviv, Israel, later in Ottawa, St. Catharine's, Canada, Total Museum of Contemporary Art, Seoul, South - Korea.