קרדיט - נועה יפה

Naama Arad

Winner of Kiefer Scholarship 2015

Naama Arad, born in 1985, holds a bachelor’s degree in art from Bezalel Academy of Arts and Design (2010) and a master’s degree in sculpture from the School of the Art Institute of Chicago (2014).
Her exhibitions include Africa-Israel at the Sommer Contemporary Art Gallery and El-Al at the Midrash Gallery in Tel Aviv. Her works have been showcased in various exhibitions in Israel and abroad, including at the Petah Tikva Museum, the Artists’ House in Jerusalem, Passage in Tel Aviv, as well as in Chicago, Detroit, and London.

Arad impresses with her ability to combine original material exploration with intellectual depth. Her works are crafted from accessible and inexpensive materials, cleverly and playfully continuing the Israeli heritage of resourcefulness and the tradition of international minimalism. Her research interests include architecture and sculpture, masculine systems of power, and canonical modernist art. Her works propose new expressions of modernity within the Israeli context, challenging established norms and authoritarian structures.

The unique syntax of her work—both material and conceptual—imbues her creations with a fresh and distinctive character, intelligently blending local and universal themes.

The Kiefer Prize winners

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Shai-Lee Horodi

Winner of Kiefer Scholarship in – 2024

The 2017 Ingeborg Bachmann Fellowship, established by Anselm Kiefer, is awarded to the artist Yael Frank for her incisive critique and her ability to challenge the social infrastructure that often politicizes death, validating the mechanisms of power and policing historical narratives through the socialization of data.

Yael Frank (born 1982), is a multidisciplinary creator working in video, installation, sound, sculpture, and the creation of immersive environments. Her works engage visitors in situations characterized by disruptions, interruptions, and unresolved distortions. Through these techniques of subversion, Frank’s work reveals the politics embedded in power structures, systems of knowledge, and historical narratives, often leading to uncertainty and exposing the contradictions inherent in existence. This casting of doubt undermines the strong convictions and beliefs that underpin systems of knowledge dissemination and the establishment of cultural, social, gender, and economic canons.

Frank’s work oscillates between cynical realism and a sarcastic post-irony that deconstructs taboo subjects and fearlessly delivers sharp critiques of human existence and the socialization of the culture of death. This culture often serves to reinforce the significant, yet implied, values of societies. For instance, in The Monuments of Monuments (2014), Frank uses the sanctity of death, as depicted in Théodore Géricault’s Raft of the Medusa, as a compositional framework. Here, eleven colossal pink fingers emerge from a wooden surface, replacing the drowning heroes of the colonialist raft en route to Mauritania on July 2, 1816. In another work, the karaoke machine SING ALONG (2013), Frank blends unsettling humor and historical critique: the machine produces “bad luck” as ghostly figures appear behind a screen, accompanied by Chopin’s Funeral March. This march, originally played at the composer’s burial on October 30, 1849, was later adapted as a military march for John F. Kennedy’s funeral on November 25, 1963. A superstitious belief arose that performing the march could lead to the death of loved ones. Frank uses these “problems,” as she calls them, to illuminate the ways beliefs and knowledge shape human experiences of life and death.

In her work Problem (2016–2017), Frank intensifies this critique by presenting medical machines that narrate empty emotional politics and banal catastrophes, displayed in an orderly and sterile glass case.

Karam Natour

Winner of Kiefer Scholarship in – 2020

The 2017 Ingeborg Bachmann Fellowship, established by Anselm Kiefer, is awarded to the artist Yael Frank for her incisive critique and her ability to challenge the social infrastructure that often politicizes death, validating the mechanisms of power and policing historical narratives through the socialization of data.

Yael Frank (born 1982), is a multidisciplinary creator working in video, installation, sound, sculpture, and the creation of immersive environments. Her works engage visitors in situations characterized by disruptions, interruptions, and unresolved distortions. Through these techniques of subversion, Frank’s work reveals the politics embedded in power structures, systems of knowledge, and historical narratives, often leading to uncertainty and exposing the contradictions inherent in existence. This casting of doubt undermines the strong convictions and beliefs that underpin systems of knowledge dissemination and the establishment of cultural, social, gender, and economic canons.

Frank’s work oscillates between cynical realism and a sarcastic post-irony that deconstructs taboo subjects and fearlessly delivers sharp critiques of human existence and the socialization of the culture of death. This culture often serves to reinforce the significant, yet implied, values of societies. For instance, in The Monuments of Monuments (2014), Frank uses the sanctity of death, as depicted in Théodore Géricault’s Raft of the Medusa, as a compositional framework. Here, eleven colossal pink fingers emerge from a wooden surface, replacing the drowning heroes of the colonialist raft en route to Mauritania on July 2, 1816. In another work, the karaoke machine SING ALONG (2013), Frank blends unsettling humor and historical critique: the machine produces “bad luck” as ghostly figures appear behind a screen, accompanied by Chopin’s Funeral March. This march, originally played at the composer’s burial on October 30, 1849, was later adapted as a military march for John F. Kennedy’s funeral on November 25, 1963. A superstitious belief arose that performing the march could lead to the death of loved ones. Frank uses these “problems,” as she calls them, to illuminate the ways beliefs and knowledge shape human experiences of life and death.

In her work Problem (2016–2017), Frank intensifies this critique by presenting medical machines that narrate empty emotional politics and banal catastrophes, displayed in an orderly and sterile glass case.

Yael Frank

Winner of Kiefer Scholarship in – 2017

The 2017 Ingeborg Bachmann Fellowship, established by Anselm Kiefer, is awarded to the artist Yael Frank for her incisive critique and her ability to challenge the social infrastructure that often politicizes death, validating the mechanisms of power and policing historical narratives through the socialization of data.

Yael Frank (born 1982), is a multidisciplinary creator working in video, installation, sound, sculpture, and the creation of immersive environments. Her works engage visitors in situations characterized by disruptions, interruptions, and unresolved distortions. Through these techniques of subversion, Frank’s work reveals the politics embedded in power structures, systems of knowledge, and historical narratives, often leading to uncertainty and exposing the contradictions inherent in existence. This casting of doubt undermines the strong convictions and beliefs that underpin systems of knowledge dissemination and the establishment of cultural, social, gender, and economic canons.

Frank’s work oscillates between cynical realism and a sarcastic post-irony that deconstructs taboo subjects and fearlessly delivers sharp critiques of human existence and the socialization of the culture of death. This culture often serves to reinforce the significant, yet implied, values of societies. For instance, in The Monuments of Monuments (2014), Frank uses the sanctity of death, as depicted in Théodore Géricault’s Raft of the Medusa, as a compositional framework. Here, eleven colossal pink fingers emerge from a wooden surface, replacing the drowning heroes of the colonialist raft en route to Mauritania on July 2, 1816. In another work, the karaoke machine SING ALONG (2013), Frank blends unsettling humor and historical critique: the machine produces “bad luck” as ghostly figures appear behind a screen, accompanied by Chopin’s Funeral March. This march, originally played at the composer’s burial on October 30, 1849, was later adapted as a military march for John F. Kennedy’s funeral on November 25, 1963. A superstitious belief arose that performing the march could lead to the death of loved ones. Frank uses these “problems,” as she calls them, to illuminate the ways beliefs and knowledge shape human experiences of life and death.

In her work Problem (2016–2017), Frank intensifies this critique by presenting medical machines that narrate empty emotional politics and banal catastrophes, displayed in an orderly and sterile glass case.

Naama Arad

Winner of Kiefer Scholarship 2015

The 2017 Ingeborg Bachmann Fellowship, established by Anselm Kiefer, is awarded to the artist Yael Frank for her incisive critique and her ability to challenge the social infrastructure that often politicizes death, validating the mechanisms of power and policing historical narratives through the socialization of data.

Yael Frank (born 1982), is a multidisciplinary creator working in video, installation, sound, sculpture, and the creation of immersive environments. Her works engage visitors in situations characterized by disruptions, interruptions, and unresolved distortions. Through these techniques of subversion, Frank’s work reveals the politics embedded in power structures, systems of knowledge, and historical narratives, often leading to uncertainty and exposing the contradictions inherent in existence. This casting of doubt undermines the strong convictions and beliefs that underpin systems of knowledge dissemination and the establishment of cultural, social, gender, and economic canons.

Frank’s work oscillates between cynical realism and a sarcastic post-irony that deconstructs taboo subjects and fearlessly delivers sharp critiques of human existence and the socialization of the culture of death. This culture often serves to reinforce the significant, yet implied, values of societies. For instance, in The Monuments of Monuments (2014), Frank uses the sanctity of death, as depicted in Théodore Géricault’s Raft of the Medusa, as a compositional framework. Here, eleven colossal pink fingers emerge from a wooden surface, replacing the drowning heroes of the colonialist raft en route to Mauritania on July 2, 1816. In another work, the karaoke machine SING ALONG (2013), Frank blends unsettling humor and historical critique: the machine produces “bad luck” as ghostly figures appear behind a screen, accompanied by Chopin’s Funeral March. This march, originally played at the composer’s burial on October 30, 1849, was later adapted as a military march for John F. Kennedy’s funeral on November 25, 1963. A superstitious belief arose that performing the march could lead to the death of loved ones. Frank uses these “problems,” as she calls them, to illuminate the ways beliefs and knowledge shape human experiences of life and death.

In her work Problem (2016–2017), Frank intensifies this critique by presenting medical machines that narrate empty emotional politics and banal catastrophes, displayed in an orderly and sterile glass case.

Tamar Harpaz

Winner of Kiefer Scholarship 2013

The 2017 Ingeborg Bachmann Fellowship, established by Anselm Kiefer, is awarded to the artist Yael Frank for her incisive critique and her ability to challenge the social infrastructure that often politicizes death, validating the mechanisms of power and policing historical narratives through the socialization of data.

Yael Frank (born 1982), is a multidisciplinary creator working in video, installation, sound, sculpture, and the creation of immersive environments. Her works engage visitors in situations characterized by disruptions, interruptions, and unresolved distortions. Through these techniques of subversion, Frank’s work reveals the politics embedded in power structures, systems of knowledge, and historical narratives, often leading to uncertainty and exposing the contradictions inherent in existence. This casting of doubt undermines the strong convictions and beliefs that underpin systems of knowledge dissemination and the establishment of cultural, social, gender, and economic canons.

Frank’s work oscillates between cynical realism and a sarcastic post-irony that deconstructs taboo subjects and fearlessly delivers sharp critiques of human existence and the socialization of the culture of death. This culture often serves to reinforce the significant, yet implied, values of societies. For instance, in The Monuments of Monuments (2014), Frank uses the sanctity of death, as depicted in Théodore Géricault’s Raft of the Medusa, as a compositional framework. Here, eleven colossal pink fingers emerge from a wooden surface, replacing the drowning heroes of the colonialist raft en route to Mauritania on July 2, 1816. In another work, the karaoke machine SING ALONG (2013), Frank blends unsettling humor and historical critique: the machine produces “bad luck” as ghostly figures appear behind a screen, accompanied by Chopin’s Funeral March. This march, originally played at the composer’s burial on October 30, 1849, was later adapted as a military march for John F. Kennedy’s funeral on November 25, 1963. A superstitious belief arose that performing the march could lead to the death of loved ones. Frank uses these “problems,” as she calls them, to illuminate the ways beliefs and knowledge shape human experiences of life and death.

In her work Problem (2016–2017), Frank intensifies this critique by presenting medical machines that narrate empty emotional politics and banal catastrophes, displayed in an orderly and sterile glass case.

Gilad Ratman

Winner of Kiefer Scholarship 2011

The 2017 Ingeborg Bachmann Fellowship, established by Anselm Kiefer, is awarded to the artist Yael Frank for her incisive critique and her ability to challenge the social infrastructure that often politicizes death, validating the mechanisms of power and policing historical narratives through the socialization of data.

Yael Frank (born 1982), is a multidisciplinary creator working in video, installation, sound, sculpture, and the creation of immersive environments. Her works engage visitors in situations characterized by disruptions, interruptions, and unresolved distortions. Through these techniques of subversion, Frank’s work reveals the politics embedded in power structures, systems of knowledge, and historical narratives, often leading to uncertainty and exposing the contradictions inherent in existence. This casting of doubt undermines the strong convictions and beliefs that underpin systems of knowledge dissemination and the establishment of cultural, social, gender, and economic canons.

Frank’s work oscillates between cynical realism and a sarcastic post-irony that deconstructs taboo subjects and fearlessly delivers sharp critiques of human existence and the socialization of the culture of death. This culture often serves to reinforce the significant, yet implied, values of societies. For instance, in The Monuments of Monuments (2014), Frank uses the sanctity of death, as depicted in Théodore Géricault’s Raft of the Medusa, as a compositional framework. Here, eleven colossal pink fingers emerge from a wooden surface, replacing the drowning heroes of the colonialist raft en route to Mauritania on July 2, 1816. In another work, the karaoke machine SING ALONG (2013), Frank blends unsettling humor and historical critique: the machine produces “bad luck” as ghostly figures appear behind a screen, accompanied by Chopin’s Funeral March. This march, originally played at the composer’s burial on October 30, 1849, was later adapted as a military march for John F. Kennedy’s funeral on November 25, 1963. A superstitious belief arose that performing the march could lead to the death of loved ones. Frank uses these “problems,” as she calls them, to illuminate the ways beliefs and knowledge shape human experiences of life and death.

In her work Problem (2016–2017), Frank intensifies this critique by presenting medical machines that narrate empty emotional politics and banal catastrophes, displayed in an orderly and sterile glass case.

Ruti Sela

Winner of Kiefer Scholarship 2009

The 2017 Ingeborg Bachmann Fellowship, established by Anselm Kiefer, is awarded to the artist Yael Frank for her incisive critique and her ability to challenge the social infrastructure that often politicizes death, validating the mechanisms of power and policing historical narratives through the socialization of data.

Yael Frank (born 1982), is a multidisciplinary creator working in video, installation, sound, sculpture, and the creation of immersive environments. Her works engage visitors in situations characterized by disruptions, interruptions, and unresolved distortions. Through these techniques of subversion, Frank’s work reveals the politics embedded in power structures, systems of knowledge, and historical narratives, often leading to uncertainty and exposing the contradictions inherent in existence. This casting of doubt undermines the strong convictions and beliefs that underpin systems of knowledge dissemination and the establishment of cultural, social, gender, and economic canons.

Frank’s work oscillates between cynical realism and a sarcastic post-irony that deconstructs taboo subjects and fearlessly delivers sharp critiques of human existence and the socialization of the culture of death. This culture often serves to reinforce the significant, yet implied, values of societies. For instance, in The Monuments of Monuments (2014), Frank uses the sanctity of death, as depicted in Théodore Géricault’s Raft of the Medusa, as a compositional framework. Here, eleven colossal pink fingers emerge from a wooden surface, replacing the drowning heroes of the colonialist raft en route to Mauritania on July 2, 1816. In another work, the karaoke machine SING ALONG (2013), Frank blends unsettling humor and historical critique: the machine produces “bad luck” as ghostly figures appear behind a screen, accompanied by Chopin’s Funeral March. This march, originally played at the composer’s burial on October 30, 1849, was later adapted as a military march for John F. Kennedy’s funeral on November 25, 1963. A superstitious belief arose that performing the march could lead to the death of loved ones. Frank uses these “problems,” as she calls them, to illuminate the ways beliefs and knowledge shape human experiences of life and death.

In her work Problem (2016–2017), Frank intensifies this critique by presenting medical machines that narrate empty emotional politics and banal catastrophes, displayed in an orderly and sterile glass case.

Barak Ravitz

Winner of Kiefer Scholarship 2007

The 2017 Ingeborg Bachmann Fellowship, established by Anselm Kiefer, is awarded to the artist Yael Frank for her incisive critique and her ability to challenge the social infrastructure that often politicizes death, validating the mechanisms of power and policing historical narratives through the socialization of data.

Yael Frank (born 1982), is a multidisciplinary creator working in video, installation, sound, sculpture, and the creation of immersive environments. Her works engage visitors in situations characterized by disruptions, interruptions, and unresolved distortions. Through these techniques of subversion, Frank’s work reveals the politics embedded in power structures, systems of knowledge, and historical narratives, often leading to uncertainty and exposing the contradictions inherent in existence. This casting of doubt undermines the strong convictions and beliefs that underpin systems of knowledge dissemination and the establishment of cultural, social, gender, and economic canons.

Frank’s work oscillates between cynical realism and a sarcastic post-irony that deconstructs taboo subjects and fearlessly delivers sharp critiques of human existence and the socialization of the culture of death. This culture often serves to reinforce the significant, yet implied, values of societies. For instance, in The Monuments of Monuments (2014), Frank uses the sanctity of death, as depicted in Théodore Géricault’s Raft of the Medusa, as a compositional framework. Here, eleven colossal pink fingers emerge from a wooden surface, replacing the drowning heroes of the colonialist raft en route to Mauritania on July 2, 1816. In another work, the karaoke machine SING ALONG (2013), Frank blends unsettling humor and historical critique: the machine produces “bad luck” as ghostly figures appear behind a screen, accompanied by Chopin’s Funeral March. This march, originally played at the composer’s burial on October 30, 1849, was later adapted as a military march for John F. Kennedy’s funeral on November 25, 1963. A superstitious belief arose that performing the march could lead to the death of loved ones. Frank uses these “problems,” as she calls them, to illuminate the ways beliefs and knowledge shape human experiences of life and death.

In her work Problem (2016–2017), Frank intensifies this critique by presenting medical machines that narrate empty emotional politics and banal catastrophes, displayed in an orderly and sterile glass case.

Talia Keinan

Winner of Kiefer Scholarship 2005

The 2017 Ingeborg Bachmann Fellowship, established by Anselm Kiefer, is awarded to the artist Yael Frank for her incisive critique and her ability to challenge the social infrastructure that often politicizes death, validating the mechanisms of power and policing historical narratives through the socialization of data.

Yael Frank (born 1982), is a multidisciplinary creator working in video, installation, sound, sculpture, and the creation of immersive environments. Her works engage visitors in situations characterized by disruptions, interruptions, and unresolved distortions. Through these techniques of subversion, Frank’s work reveals the politics embedded in power structures, systems of knowledge, and historical narratives, often leading to uncertainty and exposing the contradictions inherent in existence. This casting of doubt undermines the strong convictions and beliefs that underpin systems of knowledge dissemination and the establishment of cultural, social, gender, and economic canons.

Frank’s work oscillates between cynical realism and a sarcastic post-irony that deconstructs taboo subjects and fearlessly delivers sharp critiques of human existence and the socialization of the culture of death. This culture often serves to reinforce the significant, yet implied, values of societies. For instance, in The Monuments of Monuments (2014), Frank uses the sanctity of death, as depicted in Théodore Géricault’s Raft of the Medusa, as a compositional framework. Here, eleven colossal pink fingers emerge from a wooden surface, replacing the drowning heroes of the colonialist raft en route to Mauritania on July 2, 1816. In another work, the karaoke machine SING ALONG (2013), Frank blends unsettling humor and historical critique: the machine produces “bad luck” as ghostly figures appear behind a screen, accompanied by Chopin’s Funeral March. This march, originally played at the composer’s burial on October 30, 1849, was later adapted as a military march for John F. Kennedy’s funeral on November 25, 1963. A superstitious belief arose that performing the march could lead to the death of loved ones. Frank uses these “problems,” as she calls them, to illuminate the ways beliefs and knowledge shape human experiences of life and death.

In her work Problem (2016–2017), Frank intensifies this critique by presenting medical machines that narrate empty emotional politics and banal catastrophes, displayed in an orderly and sterile glass case.

Yael Bartana

Winner of Kiefer Scholarship 2003

The 2017 Ingeborg Bachmann Fellowship, established by Anselm Kiefer, is awarded to the artist Yael Frank for her incisive critique and her ability to challenge the social infrastructure that often politicizes death, validating the mechanisms of power and policing historical narratives through the socialization of data.

Yael Frank (born 1982), is a multidisciplinary creator working in video, installation, sound, sculpture, and the creation of immersive environments. Her works engage visitors in situations characterized by disruptions, interruptions, and unresolved distortions. Through these techniques of subversion, Frank’s work reveals the politics embedded in power structures, systems of knowledge, and historical narratives, often leading to uncertainty and exposing the contradictions inherent in existence. This casting of doubt undermines the strong convictions and beliefs that underpin systems of knowledge dissemination and the establishment of cultural, social, gender, and economic canons.

Frank’s work oscillates between cynical realism and a sarcastic post-irony that deconstructs taboo subjects and fearlessly delivers sharp critiques of human existence and the socialization of the culture of death. This culture often serves to reinforce the significant, yet implied, values of societies. For instance, in The Monuments of Monuments (2014), Frank uses the sanctity of death, as depicted in Théodore Géricault’s Raft of the Medusa, as a compositional framework. Here, eleven colossal pink fingers emerge from a wooden surface, replacing the drowning heroes of the colonialist raft en route to Mauritania on July 2, 1816. In another work, the karaoke machine SING ALONG (2013), Frank blends unsettling humor and historical critique: the machine produces “bad luck” as ghostly figures appear behind a screen, accompanied by Chopin’s Funeral March. This march, originally played at the composer’s burial on October 30, 1849, was later adapted as a military march for John F. Kennedy’s funeral on November 25, 1963. A superstitious belief arose that performing the march could lead to the death of loved ones. Frank uses these “problems,” as she calls them, to illuminate the ways beliefs and knowledge shape human experiences of life and death.

In her work Problem (2016–2017), Frank intensifies this critique by presenting medical machines that narrate empty emotional politics and banal catastrophes, displayed in an orderly and sterile glass case.

Uri Nir

Winner of Kiefer Scholarship 2002

The 2017 Ingeborg Bachmann Fellowship, established by Anselm Kiefer, is awarded to the artist Yael Frank for her incisive critique and her ability to challenge the social infrastructure that often politicizes death, validating the mechanisms of power and policing historical narratives through the socialization of data.

Yael Frank (born 1982), is a multidisciplinary creator working in video, installation, sound, sculpture, and the creation of immersive environments. Her works engage visitors in situations characterized by disruptions, interruptions, and unresolved distortions. Through these techniques of subversion, Frank’s work reveals the politics embedded in power structures, systems of knowledge, and historical narratives, often leading to uncertainty and exposing the contradictions inherent in existence. This casting of doubt undermines the strong convictions and beliefs that underpin systems of knowledge dissemination and the establishment of cultural, social, gender, and economic canons.

Frank’s work oscillates between cynical realism and a sarcastic post-irony that deconstructs taboo subjects and fearlessly delivers sharp critiques of human existence and the socialization of the culture of death. This culture often serves to reinforce the significant, yet implied, values of societies. For instance, in The Monuments of Monuments (2014), Frank uses the sanctity of death, as depicted in Théodore Géricault’s Raft of the Medusa, as a compositional framework. Here, eleven colossal pink fingers emerge from a wooden surface, replacing the drowning heroes of the colonialist raft en route to Mauritania on July 2, 1816. In another work, the karaoke machine SING ALONG (2013), Frank blends unsettling humor and historical critique: the machine produces “bad luck” as ghostly figures appear behind a screen, accompanied by Chopin’s Funeral March. This march, originally played at the composer’s burial on October 30, 1849, was later adapted as a military march for John F. Kennedy’s funeral on November 25, 1963. A superstitious belief arose that performing the march could lead to the death of loved ones. Frank uses these “problems,” as she calls them, to illuminate the ways beliefs and knowledge shape human experiences of life and death.

In her work Problem (2016–2017), Frank intensifies this critique by presenting medical machines that narrate empty emotional politics and banal catastrophes, displayed in an orderly and sterile glass case.

Rona Yefman

Winner of Kiefer Scholarship 2001

The 2017 Ingeborg Bachmann Fellowship, established by Anselm Kiefer, is awarded to the artist Yael Frank for her incisive critique and her ability to challenge the social infrastructure that often politicizes death, validating the mechanisms of power and policing historical narratives through the socialization of data.

Yael Frank (born 1982), is a multidisciplinary creator working in video, installation, sound, sculpture, and the creation of immersive environments. Her works engage visitors in situations characterized by disruptions, interruptions, and unresolved distortions. Through these techniques of subversion, Frank’s work reveals the politics embedded in power structures, systems of knowledge, and historical narratives, often leading to uncertainty and exposing the contradictions inherent in existence. This casting of doubt undermines the strong convictions and beliefs that underpin systems of knowledge dissemination and the establishment of cultural, social, gender, and economic canons.

Frank’s work oscillates between cynical realism and a sarcastic post-irony that deconstructs taboo subjects and fearlessly delivers sharp critiques of human existence and the socialization of the culture of death. This culture often serves to reinforce the significant, yet implied, values of societies. For instance, in The Monuments of Monuments (2014), Frank uses the sanctity of death, as depicted in Théodore Géricault’s Raft of the Medusa, as a compositional framework. Here, eleven colossal pink fingers emerge from a wooden surface, replacing the drowning heroes of the colonialist raft en route to Mauritania on July 2, 1816. In another work, the karaoke machine SING ALONG (2013), Frank blends unsettling humor and historical critique: the machine produces “bad luck” as ghostly figures appear behind a screen, accompanied by Chopin’s Funeral March. This march, originally played at the composer’s burial on October 30, 1849, was later adapted as a military march for John F. Kennedy’s funeral on November 25, 1963. A superstitious belief arose that performing the march could lead to the death of loved ones. Frank uses these “problems,” as she calls them, to illuminate the ways beliefs and knowledge shape human experiences of life and death.

In her work Problem (2016–2017), Frank intensifies this critique by presenting medical machines that narrate empty emotional politics and banal catastrophes, displayed in an orderly and sterile glass case.

Ruti Nemet

Winner of Kiefer Scholarship 2000

The 2017 Ingeborg Bachmann Fellowship, established by Anselm Kiefer, is awarded to the artist Yael Frank for her incisive critique and her ability to challenge the social infrastructure that often politicizes death, validating the mechanisms of power and policing historical narratives through the socialization of data.

Yael Frank (born 1982), is a multidisciplinary creator working in video, installation, sound, sculpture, and the creation of immersive environments. Her works engage visitors in situations characterized by disruptions, interruptions, and unresolved distortions. Through these techniques of subversion, Frank’s work reveals the politics embedded in power structures, systems of knowledge, and historical narratives, often leading to uncertainty and exposing the contradictions inherent in existence. This casting of doubt undermines the strong convictions and beliefs that underpin systems of knowledge dissemination and the establishment of cultural, social, gender, and economic canons.

Frank’s work oscillates between cynical realism and a sarcastic post-irony that deconstructs taboo subjects and fearlessly delivers sharp critiques of human existence and the socialization of the culture of death. This culture often serves to reinforce the significant, yet implied, values of societies. For instance, in The Monuments of Monuments (2014), Frank uses the sanctity of death, as depicted in Théodore Géricault’s Raft of the Medusa, as a compositional framework. Here, eleven colossal pink fingers emerge from a wooden surface, replacing the drowning heroes of the colonialist raft en route to Mauritania on July 2, 1816. In another work, the karaoke machine SING ALONG (2013), Frank blends unsettling humor and historical critique: the machine produces “bad luck” as ghostly figures appear behind a screen, accompanied by Chopin’s Funeral March. This march, originally played at the composer’s burial on October 30, 1849, was later adapted as a military march for John F. Kennedy’s funeral on November 25, 1963. A superstitious belief arose that performing the march could lead to the death of loved ones. Frank uses these “problems,” as she calls them, to illuminate the ways beliefs and knowledge shape human experiences of life and death.

In her work Problem (2016–2017), Frank intensifies this critique by presenting medical machines that narrate empty emotional politics and banal catastrophes, displayed in an orderly and sterile glass case.

Zoya Cherkasski

Winner of Kiefer Scholarship 2000

The 2017 Ingeborg Bachmann Fellowship, established by Anselm Kiefer, is awarded to the artist Yael Frank for her incisive critique and her ability to challenge the social infrastructure that often politicizes death, validating the mechanisms of power and policing historical narratives through the socialization of data.

Yael Frank (born 1982), is a multidisciplinary creator working in video, installation, sound, sculpture, and the creation of immersive environments. Her works engage visitors in situations characterized by disruptions, interruptions, and unresolved distortions. Through these techniques of subversion, Frank’s work reveals the politics embedded in power structures, systems of knowledge, and historical narratives, often leading to uncertainty and exposing the contradictions inherent in existence. This casting of doubt undermines the strong convictions and beliefs that underpin systems of knowledge dissemination and the establishment of cultural, social, gender, and economic canons.

Frank’s work oscillates between cynical realism and a sarcastic post-irony that deconstructs taboo subjects and fearlessly delivers sharp critiques of human existence and the socialization of the culture of death. This culture often serves to reinforce the significant, yet implied, values of societies. For instance, in The Monuments of Monuments (2014), Frank uses the sanctity of death, as depicted in Théodore Géricault’s Raft of the Medusa, as a compositional framework. Here, eleven colossal pink fingers emerge from a wooden surface, replacing the drowning heroes of the colonialist raft en route to Mauritania on July 2, 1816. In another work, the karaoke machine SING ALONG (2013), Frank blends unsettling humor and historical critique: the machine produces “bad luck” as ghostly figures appear behind a screen, accompanied by Chopin’s Funeral March. This march, originally played at the composer’s burial on October 30, 1849, was later adapted as a military march for John F. Kennedy’s funeral on November 25, 1963. A superstitious belief arose that performing the march could lead to the death of loved ones. Frank uses these “problems,” as she calls them, to illuminate the ways beliefs and knowledge shape human experiences of life and death.

In her work Problem (2016–2017), Frank intensifies this critique by presenting medical machines that narrate empty emotional politics and banal catastrophes, displayed in an orderly and sterile glass case.

Yigal Nizri

Winner of Kiefer Scholarship 1999

The 2017 Ingeborg Bachmann Fellowship, established by Anselm Kiefer, is awarded to the artist Yael Frank for her incisive critique and her ability to challenge the social infrastructure that often politicizes death, validating the mechanisms of power and policing historical narratives through the socialization of data.

Yael Frank (born 1982), is a multidisciplinary creator working in video, installation, sound, sculpture, and the creation of immersive environments. Her works engage visitors in situations characterized by disruptions, interruptions, and unresolved distortions. Through these techniques of subversion, Frank’s work reveals the politics embedded in power structures, systems of knowledge, and historical narratives, often leading to uncertainty and exposing the contradictions inherent in existence. This casting of doubt undermines the strong convictions and beliefs that underpin systems of knowledge dissemination and the establishment of cultural, social, gender, and economic canons.

Frank’s work oscillates between cynical realism and a sarcastic post-irony that deconstructs taboo subjects and fearlessly delivers sharp critiques of human existence and the socialization of the culture of death. This culture often serves to reinforce the significant, yet implied, values of societies. For instance, in The Monuments of Monuments (2014), Frank uses the sanctity of death, as depicted in Théodore Géricault’s Raft of the Medusa, as a compositional framework. Here, eleven colossal pink fingers emerge from a wooden surface, replacing the drowning heroes of the colonialist raft en route to Mauritania on July 2, 1816. In another work, the karaoke machine SING ALONG (2013), Frank blends unsettling humor and historical critique: the machine produces “bad luck” as ghostly figures appear behind a screen, accompanied by Chopin’s Funeral March. This march, originally played at the composer’s burial on October 30, 1849, was later adapted as a military march for John F. Kennedy’s funeral on November 25, 1963. A superstitious belief arose that performing the march could lead to the death of loved ones. Frank uses these “problems,” as she calls them, to illuminate the ways beliefs and knowledge shape human experiences of life and death.

In her work Problem (2016–2017), Frank intensifies this critique by presenting medical machines that narrate empty emotional politics and banal catastrophes, displayed in an orderly and sterile glass case.

Michal Helfman

Winner of Kiefer Scholarship 1998

The 2017 Ingeborg Bachmann Fellowship, established by Anselm Kiefer, is awarded to the artist Yael Frank for her incisive critique and her ability to challenge the social infrastructure that often politicizes death, validating the mechanisms of power and policing historical narratives through the socialization of data.

Yael Frank (born 1982), is a multidisciplinary creator working in video, installation, sound, sculpture, and the creation of immersive environments. Her works engage visitors in situations characterized by disruptions, interruptions, and unresolved distortions. Through these techniques of subversion, Frank’s work reveals the politics embedded in power structures, systems of knowledge, and historical narratives, often leading to uncertainty and exposing the contradictions inherent in existence. This casting of doubt undermines the strong convictions and beliefs that underpin systems of knowledge dissemination and the establishment of cultural, social, gender, and economic canons.

Frank’s work oscillates between cynical realism and a sarcastic post-irony that deconstructs taboo subjects and fearlessly delivers sharp critiques of human existence and the socialization of the culture of death. This culture often serves to reinforce the significant, yet implied, values of societies. For instance, in The Monuments of Monuments (2014), Frank uses the sanctity of death, as depicted in Théodore Géricault’s Raft of the Medusa, as a compositional framework. Here, eleven colossal pink fingers emerge from a wooden surface, replacing the drowning heroes of the colonialist raft en route to Mauritania on July 2, 1816. In another work, the karaoke machine SING ALONG (2013), Frank blends unsettling humor and historical critique: the machine produces “bad luck” as ghostly figures appear behind a screen, accompanied by Chopin’s Funeral March. This march, originally played at the composer’s burial on October 30, 1849, was later adapted as a military march for John F. Kennedy’s funeral on November 25, 1963. A superstitious belief arose that performing the march could lead to the death of loved ones. Frank uses these “problems,” as she calls them, to illuminate the ways beliefs and knowledge shape human experiences of life and death.

In her work Problem (2016–2017), Frank intensifies this critique by presenting medical machines that narrate empty emotional politics and banal catastrophes, displayed in an orderly and sterile glass case.

Doron Ravina

Winner of Kiefer 1997

The 2017 Ingeborg Bachmann Fellowship, established by Anselm Kiefer, is awarded to the artist Yael Frank for her incisive critique and her ability to challenge the social infrastructure that often politicizes death, validating the mechanisms of power and policing historical narratives through the socialization of data.

Yael Frank (born 1982), is a multidisciplinary creator working in video, installation, sound, sculpture, and the creation of immersive environments. Her works engage visitors in situations characterized by disruptions, interruptions, and unresolved distortions. Through these techniques of subversion, Frank’s work reveals the politics embedded in power structures, systems of knowledge, and historical narratives, often leading to uncertainty and exposing the contradictions inherent in existence. This casting of doubt undermines the strong convictions and beliefs that underpin systems of knowledge dissemination and the establishment of cultural, social, gender, and economic canons.

Frank’s work oscillates between cynical realism and a sarcastic post-irony that deconstructs taboo subjects and fearlessly delivers sharp critiques of human existence and the socialization of the culture of death. This culture often serves to reinforce the significant, yet implied, values of societies. For instance, in The Monuments of Monuments (2014), Frank uses the sanctity of death, as depicted in Théodore Géricault’s Raft of the Medusa, as a compositional framework. Here, eleven colossal pink fingers emerge from a wooden surface, replacing the drowning heroes of the colonialist raft en route to Mauritania on July 2, 1816. In another work, the karaoke machine SING ALONG (2013), Frank blends unsettling humor and historical critique: the machine produces “bad luck” as ghostly figures appear behind a screen, accompanied by Chopin’s Funeral March. This march, originally played at the composer’s burial on October 30, 1849, was later adapted as a military march for John F. Kennedy’s funeral on November 25, 1963. A superstitious belief arose that performing the march could lead to the death of loved ones. Frank uses these “problems,” as she calls them, to illuminate the ways beliefs and knowledge shape human experiences of life and death.

In her work Problem (2016–2017), Frank intensifies this critique by presenting medical machines that narrate empty emotional politics and banal catastrophes, displayed in an orderly and sterile glass case.

Yehudith Sasportas

Winner of Kiefer Scholarship 1996

The 2017 Ingeborg Bachmann Fellowship, established by Anselm Kiefer, is awarded to the artist Yael Frank for her incisive critique and her ability to challenge the social infrastructure that often politicizes death, validating the mechanisms of power and policing historical narratives through the socialization of data.

Yael Frank (born 1982), is a multidisciplinary creator working in video, installation, sound, sculpture, and the creation of immersive environments. Her works engage visitors in situations characterized by disruptions, interruptions, and unresolved distortions. Through these techniques of subversion, Frank’s work reveals the politics embedded in power structures, systems of knowledge, and historical narratives, often leading to uncertainty and exposing the contradictions inherent in existence. This casting of doubt undermines the strong convictions and beliefs that underpin systems of knowledge dissemination and the establishment of cultural, social, gender, and economic canons.

Frank’s work oscillates between cynical realism and a sarcastic post-irony that deconstructs taboo subjects and fearlessly delivers sharp critiques of human existence and the socialization of the culture of death. This culture often serves to reinforce the significant, yet implied, values of societies. For instance, in The Monuments of Monuments (2014), Frank uses the sanctity of death, as depicted in Théodore Géricault’s Raft of the Medusa, as a compositional framework. Here, eleven colossal pink fingers emerge from a wooden surface, replacing the drowning heroes of the colonialist raft en route to Mauritania on July 2, 1816. In another work, the karaoke machine SING ALONG (2013), Frank blends unsettling humor and historical critique: the machine produces “bad luck” as ghostly figures appear behind a screen, accompanied by Chopin’s Funeral March. This march, originally played at the composer’s burial on October 30, 1849, was later adapted as a military march for John F. Kennedy’s funeral on November 25, 1963. A superstitious belief arose that performing the march could lead to the death of loved ones. Frank uses these “problems,” as she calls them, to illuminate the ways beliefs and knowledge shape human experiences of life and death.

In her work Problem (2016–2017), Frank intensifies this critique by presenting medical machines that narrate empty emotional politics and banal catastrophes, displayed in an orderly and sterile glass case.

Sigalit Landau

Winner of Kiefer Scholarship 1995

The 2017 Ingeborg Bachmann Fellowship, established by Anselm Kiefer, is awarded to the artist Yael Frank for her incisive critique and her ability to challenge the social infrastructure that often politicizes death, validating the mechanisms of power and policing historical narratives through the socialization of data.

Yael Frank (born 1982), is a multidisciplinary creator working in video, installation, sound, sculpture, and the creation of immersive environments. Her works engage visitors in situations characterized by disruptions, interruptions, and unresolved distortions. Through these techniques of subversion, Frank’s work reveals the politics embedded in power structures, systems of knowledge, and historical narratives, often leading to uncertainty and exposing the contradictions inherent in existence. This casting of doubt undermines the strong convictions and beliefs that underpin systems of knowledge dissemination and the establishment of cultural, social, gender, and economic canons.

Frank’s work oscillates between cynical realism and a sarcastic post-irony that deconstructs taboo subjects and fearlessly delivers sharp critiques of human existence and the socialization of the culture of death. This culture often serves to reinforce the significant, yet implied, values of societies. For instance, in The Monuments of Monuments (2014), Frank uses the sanctity of death, as depicted in Théodore Géricault’s Raft of the Medusa, as a compositional framework. Here, eleven colossal pink fingers emerge from a wooden surface, replacing the drowning heroes of the colonialist raft en route to Mauritania on July 2, 1816. In another work, the karaoke machine SING ALONG (2013), Frank blends unsettling humor and historical critique: the machine produces “bad luck” as ghostly figures appear behind a screen, accompanied by Chopin’s Funeral March. This march, originally played at the composer’s burial on October 30, 1849, was later adapted as a military march for John F. Kennedy’s funeral on November 25, 1963. A superstitious belief arose that performing the march could lead to the death of loved ones. Frank uses these “problems,” as she calls them, to illuminate the ways beliefs and knowledge shape human experiences of life and death.

In her work Problem (2016–2017), Frank intensifies this critique by presenting medical machines that narrate empty emotional politics and banal catastrophes, displayed in an orderly and sterile glass case.

Gil Shachar

Winner of Kiefer Scholarship 1994

The 2017 Ingeborg Bachmann Fellowship, established by Anselm Kiefer, is awarded to the artist Yael Frank for her incisive critique and her ability to challenge the social infrastructure that often politicizes death, validating the mechanisms of power and policing historical narratives through the socialization of data.

Yael Frank (born 1982), is a multidisciplinary creator working in video, installation, sound, sculpture, and the creation of immersive environments. Her works engage visitors in situations characterized by disruptions, interruptions, and unresolved distortions. Through these techniques of subversion, Frank’s work reveals the politics embedded in power structures, systems of knowledge, and historical narratives, often leading to uncertainty and exposing the contradictions inherent in existence. This casting of doubt undermines the strong convictions and beliefs that underpin systems of knowledge dissemination and the establishment of cultural, social, gender, and economic canons.

Frank’s work oscillates between cynical realism and a sarcastic post-irony that deconstructs taboo subjects and fearlessly delivers sharp critiques of human existence and the socialization of the culture of death. This culture often serves to reinforce the significant, yet implied, values of societies. For instance, in The Monuments of Monuments (2014), Frank uses the sanctity of death, as depicted in Théodore Géricault’s Raft of the Medusa, as a compositional framework. Here, eleven colossal pink fingers emerge from a wooden surface, replacing the drowning heroes of the colonialist raft en route to Mauritania on July 2, 1816. In another work, the karaoke machine SING ALONG (2013), Frank blends unsettling humor and historical critique: the machine produces “bad luck” as ghostly figures appear behind a screen, accompanied by Chopin’s Funeral March. This march, originally played at the composer’s burial on October 30, 1849, was later adapted as a military march for John F. Kennedy’s funeral on November 25, 1963. A superstitious belief arose that performing the march could lead to the death of loved ones. Frank uses these “problems,” as she calls them, to illuminate the ways beliefs and knowledge shape human experiences of life and death.

In her work Problem (2016–2017), Frank intensifies this critique by presenting medical machines that narrate empty emotional politics and banal catastrophes, displayed in an orderly and sterile glass case.

Guy Ben-Ner

Winner of Kiefer Scholarship 1993

The 2017 Ingeborg Bachmann Fellowship, established by Anselm Kiefer, is awarded to the artist Yael Frank for her incisive critique and her ability to challenge the social infrastructure that often politicizes death, validating the mechanisms of power and policing historical narratives through the socialization of data.

Yael Frank (born 1982), is a multidisciplinary creator working in video, installation, sound, sculpture, and the creation of immersive environments. Her works engage visitors in situations characterized by disruptions, interruptions, and unresolved distortions. Through these techniques of subversion, Frank’s work reveals the politics embedded in power structures, systems of knowledge, and historical narratives, often leading to uncertainty and exposing the contradictions inherent in existence. This casting of doubt undermines the strong convictions and beliefs that underpin systems of knowledge dissemination and the establishment of cultural, social, gender, and economic canons.

Frank’s work oscillates between cynical realism and a sarcastic post-irony that deconstructs taboo subjects and fearlessly delivers sharp critiques of human existence and the socialization of the culture of death. This culture often serves to reinforce the significant, yet implied, values of societies. For instance, in The Monuments of Monuments (2014), Frank uses the sanctity of death, as depicted in Théodore Géricault’s Raft of the Medusa, as a compositional framework. Here, eleven colossal pink fingers emerge from a wooden surface, replacing the drowning heroes of the colonialist raft en route to Mauritania on July 2, 1816. In another work, the karaoke machine SING ALONG (2013), Frank blends unsettling humor and historical critique: the machine produces “bad luck” as ghostly figures appear behind a screen, accompanied by Chopin’s Funeral March. This march, originally played at the composer’s burial on October 30, 1849, was later adapted as a military march for John F. Kennedy’s funeral on November 25, 1963. A superstitious belief arose that performing the march could lead to the death of loved ones. Frank uses these “problems,” as she calls them, to illuminate the ways beliefs and knowledge shape human experiences of life and death.

In her work Problem (2016–2017), Frank intensifies this critique by presenting medical machines that narrate empty emotional politics and banal catastrophes, displayed in an orderly and sterile glass case.

Max Friedman

Winner of Kiefer Scholarship 1992

The 2017 Ingeborg Bachmann Fellowship, established by Anselm Kiefer, is awarded to the artist Yael Frank for her incisive critique and her ability to challenge the social infrastructure that often politicizes death, validating the mechanisms of power and policing historical narratives through the socialization of data.

Yael Frank (born 1982), is a multidisciplinary creator working in video, installation, sound, sculpture, and the creation of immersive environments. Her works engage visitors in situations characterized by disruptions, interruptions, and unresolved distortions. Through these techniques of subversion, Frank’s work reveals the politics embedded in power structures, systems of knowledge, and historical narratives, often leading to uncertainty and exposing the contradictions inherent in existence. This casting of doubt undermines the strong convictions and beliefs that underpin systems of knowledge dissemination and the establishment of cultural, social, gender, and economic canons.

Frank’s work oscillates between cynical realism and a sarcastic post-irony that deconstructs taboo subjects and fearlessly delivers sharp critiques of human existence and the socialization of the culture of death. This culture often serves to reinforce the significant, yet implied, values of societies. For instance, in The Monuments of Monuments (2014), Frank uses the sanctity of death, as depicted in Théodore Géricault’s Raft of the Medusa, as a compositional framework. Here, eleven colossal pink fingers emerge from a wooden surface, replacing the drowning heroes of the colonialist raft en route to Mauritania on July 2, 1816. In another work, the karaoke machine SING ALONG (2013), Frank blends unsettling humor and historical critique: the machine produces “bad luck” as ghostly figures appear behind a screen, accompanied by Chopin’s Funeral March. This march, originally played at the composer’s burial on October 30, 1849, was later adapted as a military march for John F. Kennedy’s funeral on November 25, 1963. A superstitious belief arose that performing the march could lead to the death of loved ones. Frank uses these “problems,” as she calls them, to illuminate the ways beliefs and knowledge shape human experiences of life and death.

In her work Problem (2016–2017), Frank intensifies this critique by presenting medical machines that narrate empty emotional politics and banal catastrophes, displayed in an orderly and sterile glass case.

Daniel Sack

Winner of the Kiefer Scholarship 1991

The 2017 Ingeborg Bachmann Fellowship, established by Anselm Kiefer, is awarded to the artist Yael Frank for her incisive critique and her ability to challenge the social infrastructure that often politicizes death, validating the mechanisms of power and policing historical narratives through the socialization of data.

Yael Frank (born 1982), is a multidisciplinary creator working in video, installation, sound, sculpture, and the creation of immersive environments. Her works engage visitors in situations characterized by disruptions, interruptions, and unresolved distortions. Through these techniques of subversion, Frank’s work reveals the politics embedded in power structures, systems of knowledge, and historical narratives, often leading to uncertainty and exposing the contradictions inherent in existence. This casting of doubt undermines the strong convictions and beliefs that underpin systems of knowledge dissemination and the establishment of cultural, social, gender, and economic canons.

Frank’s work oscillates between cynical realism and a sarcastic post-irony that deconstructs taboo subjects and fearlessly delivers sharp critiques of human existence and the socialization of the culture of death. This culture often serves to reinforce the significant, yet implied, values of societies. For instance, in The Monuments of Monuments (2014), Frank uses the sanctity of death, as depicted in Théodore Géricault’s Raft of the Medusa, as a compositional framework. Here, eleven colossal pink fingers emerge from a wooden surface, replacing the drowning heroes of the colonialist raft en route to Mauritania on July 2, 1816. In another work, the karaoke machine SING ALONG (2013), Frank blends unsettling humor and historical critique: the machine produces “bad luck” as ghostly figures appear behind a screen, accompanied by Chopin’s Funeral March. This march, originally played at the composer’s burial on October 30, 1849, was later adapted as a military march for John F. Kennedy’s funeral on November 25, 1963. A superstitious belief arose that performing the march could lead to the death of loved ones. Frank uses these “problems,” as she calls them, to illuminate the ways beliefs and knowledge shape human experiences of life and death.

In her work Problem (2016–2017), Frank intensifies this critique by presenting medical machines that narrate empty emotional politics and banal catastrophes, displayed in an orderly and sterile glass case.

Karam Natour

Winner of Kiefer Scholarship in – 2020

The 2017 Ingeborg Bachmann Fellowship, established by Anselm Kiefer, is awarded to the artist Yael Frank for her incisive critique and her ability to challenge the social infrastructure that often politicizes death, validating the mechanisms of power and policing historical narratives through the socialization of data.

Yael Frank (born 1982), is a multidisciplinary creator working in video, installation, sound, sculpture, and the creation of immersive environments. Her works engage visitors in situations characterized by disruptions, interruptions, and unresolved distortions. Through these techniques of subversion, Frank’s work reveals the politics embedded in power structures, systems of knowledge, and historical narratives, often leading to uncertainty and exposing the contradictions inherent in existence. This casting of doubt undermines the strong convictions and beliefs that underpin systems of knowledge dissemination and the establishment of cultural, social, gender, and economic canons.

Frank’s work oscillates between cynical realism and a sarcastic post-irony that deconstructs taboo subjects and fearlessly delivers sharp critiques of human existence and the socialization of the culture of death. This culture often serves to reinforce the significant, yet implied, values of societies. For instance, in The Monuments of Monuments (2014), Frank uses the sanctity of death, as depicted in Théodore Géricault’s Raft of the Medusa, as a compositional framework. Here, eleven colossal pink fingers emerge from a wooden surface, replacing the drowning heroes of the colonialist raft en route to Mauritania on July 2, 1816. In another work, the karaoke machine SING ALONG (2013), Frank blends unsettling humor and historical critique: the machine produces “bad luck” as ghostly figures appear behind a screen, accompanied by Chopin’s Funeral March. This march, originally played at the composer’s burial on October 30, 1849, was later adapted as a military march for John F. Kennedy’s funeral on November 25, 1963. A superstitious belief arose that performing the march could lead to the death of loved ones. Frank uses these “problems,” as she calls them, to illuminate the ways beliefs and knowledge shape human experiences of life and death.

In her work Problem (2016–2017), Frank intensifies this critique by presenting medical machines that narrate empty emotional politics and banal catastrophes, displayed in an orderly and sterile glass case.