Talia Keinan

Winner of Kiefer Scholarship 2005

The Ingeborg Bachmann Scholarship, founded by Anselm Kiefer, for the year 2005 is awarded to the artist Talia Keinan.

Talia Keinan, born in 1978, is an artist working in drawing, collage, and installation. Her works often incorporate diverse materials, including video and music. Keinan graduated with high honors from the Department of Art and Design at Bezalel Academy in 2003 and participated in a student exchange program at the School of Visual Arts in New York, USA. She is currently enrolled in the continuing education program in art and photography in Tel Aviv.

Keinan focuses primarily on video works presented as sculptural objects, where sound plays a central role, alongside painting and drawing. Her refined works depict everyday reality as “an event where intimate, poetic, and quiet dramas unfold.” Time in her pieces seems to stand still, creating a sense of suspended moments. The video compositions she crafts aspire to a painterly and static quality, with sound serving as an integral part of their enchanting effect. In her video works, Keinan uses light as a tangible material, creating a mirage-like tension between what is perceived and what truly exists. Through light and sound, she transforms her creations into immersive spaces that engulf the viewer in a strange sensation, as if the elements within her works are operating autonomously.

Keinan has presented solo exhibitions at the Herzliya Museum of Art in 2003 and the Noga Gallery in Tel Aviv in 2004 with the show Walking Distance. She received the Shmuel Givon Award from the Tel Aviv Museum of Art in 2004 and is currently preparing for an installation at the Helena Rubinstein Pavilion, to be presented next year.

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.