Filmed in the ruins of Eden, Tel Aviv’s first cinema and premiered in November 2019 at the Tony Cragg Foundation as a site-specific, three-channel video-installation and performance. Featuring Ruth Amarante, Editing Mariana Bouhsira & Ifat Tadmor, Music NORSCQ.

Vanishings & Farewells 5 HD video installation April 13 th , to May 16 th , 2019 Danysz gallery 78 rue Amelot Paris With the participation of Maria Salomaa; Editing Mariana Bouhsira , Ifat Tadmor; Original music Phil Von ……” Multiple projections:  of Lee Yanor, (Israel, participated in the previous exhibition "Fucking Beautiful") a series of five films in loop, the title of the series is Vanishings & farewells (2018-2019) but each film is contemplated for himself. More than ever, we feel how demanding and generous is the art of video: it certainly requires the spectator`s time, but in return offers thousands of images and a new perception of the world. As in poetry, here the emotion is. It is plural and memorial, melancholic, sensual, absurd, dreamlike: Moving women, all along.” ART CRITIQUE 404

And Now - Solo exhibition at Zemack Contemporary Art 10 May - 15 June 2018 Curator: Netta Eshel A Letter to Lee “It is a joy to be hidden, and disaster not to be found.” – Donald W. Winnicott Through this encounter, you generously allow me to take part in the formulation of your own story, sprawling out into the gallery space. Here, the two video works are projected in an intimate space and fuse into one piece. Thoughts about connections and disconnections in your work stem from your actual working process: you extract images from your video works and you freeze their movement, allowing the viewer to linger just a little more, to control time. “…as spectator: I decompose, I enlarge, and, so to speak, I retard, in order to have time to know at last.” - Roland Barthes The suspension of the moment is carried out without the ability to predict any final outcome; like the student from the Zen story who tries to paint a sea wave and only reaches perfect accuracy at the point of release – when in a moment of frustration, he throws the brush at the wall. The freed movement summoned the outcome that felt right to him. This is how I understand the creation process of the large emulsion works, developed in a dark room where you disconnect from time and reality. You grasp the moment just like the hand that sometimes succeed in catching a flower but fails to retain the particles of memory. The image’s creation process in full darkness unveils and reveals a photograph that is unique in its essence, existing independently of any sequence. “The photographic image is full, crammed: no room, nothing can be added to it.” “Motionless, the Photograph flows back from presentation to retention.” - Roland Barthes When I connect your works from different periods into a journey through the gallery space, I discover that your language hasn’t changed. It is continuous, like the reading of Roland Barthes’ book that you have lent me, marked like a road map full of arrows pointing to your path. I draw a line between Pina Bausch’s Hands Solo – a new video piece created out of an early work, Coffee With Pina – to the hands in your latest piece And Now, failing to hold on to grains of sand. The image of the hands brings to mind the works of Gabriel Orozco and Richard Serra: a hand can hold time and produce new material forms, it can get wounded in its attempt to grasp metal objects, and it can let go of the sand gleaming in the light of an artificial moon. Perhaps through this movement we will feel the sand entering our eyes and let go of our yearning for perfect vision. In that precise moment of yielding and stepping out of the limits of reason, we start seeing all that we have been hiding; a ghost bursts out from within, the familiar becomes foreign, the line between imagination and reality gets blurred, clearing the way for the return of the repressed. I go back to the opening text: Winnicott's statement about the artist torn between the need to communicate and the need to be hidden instigated my desire to create a lexicon of my own fragments, from my own worlds; fragments that are both luminous and hidden, and connect to your unique and inspiring world. A world in which the body expresses the secret language of the soul. Netta Eshel, Curator, May 2018

And Now - One Time Event - Suzanne Dellal Hall, Tel Aviv 2018 One time event at Varda Studio Suzanne Dellal Center Video-installation and performance :With the participation of Zina Zinchensko and Lior Tamim And now, in the silence that follows the fall, when there is no more heartbeat to be heard, we linger in the dark and our gaze turns inwards. The emptiness we feel in the aftermath of the two works, ONLY ONE STORY / AND NOW, is gorged with a sense of past and impending doom. We find ourselves floating both within and outside time. The two video works sweep us into a heightened viewing experience, as two women run and fall repeatedly in the circle of their own lives, attempting to simultaneously catch and release past memories and recurring moments of loneliness within their present. Will our experience be the same in some other time, at some other place?

Rooms Solo Exhibition, Zemack Galery, Tel Aviv 2015 The exhibition Rooms presents a set of theatrical pictures that delineate a fragile and vulnerable mental space, where we find figures trapped in timeless time, between what already took place and what is yet to come. Women in different stages of life, emerge from the works like illusive memories, private phantoms that formulate a fragmented non sequential narrative. They divulge a reflective, pensive mood, at times obsessive and hysterical, and conduct themselves with directness and simplicity channeled to the execution of a mundane, seemingly trivial action… Yanor’s works are formulated for the most part as a personal riddle that defies easy deciphering. They strive for the ambivalent and hold a conceptual duality in the desire to establish mental transformation. Under the shell of refined aesthetics and powerful beauty, deep emotional charges teem beneath the surface, a mixture of lonely and bottomless pain blended with cautious optimism, resignation and acceptance. Potential danger and violence reverberate through the works, and summon for the visitor an intensive viewing experience. Curator: Sally Haftel Naveh

Lee Yanor, Choreographer of Essences 1. See/Perceive To see, close your eyes. The eye listens. far as the eye can see. Stretching the horizon of your gaze over your skin. Breathing, tactile images enter even if on the verge of their disappearance. This vanishing of the image is at the core of what Lee Yanor captures, in the dance of bodies and landscapes, the fragile apparition of essences, the flux and its return of what ceaselessly appears and disappears and leaves, in the abstraction of the gaze, the imprint of a breath. Gracefulness of this gesture of seeing which does not reveal itself for itself, (this would be nothing but the art of showing off)but effaces itself at the very core of what it lets happen... (what is, then, an art that invites us to let go of we’ve seen it all before). Jean-Marc Adolphe Editor-in-Chief Mouvement Translated by Unity Woodman

Video Exposee – Small Songs Solo Exhibition Judiska Teatern, Stockholm June 2010 The photographer Lee Yanor and I met for the first time when I visited her in her studio in Jaffa. She showed me the just completed video Small Songs as well as emulsions and holograms – photos made with experimental techniques. Instantly I knew that I wanted to create a Room Within A Room for her art. I wanted to rebuild The Jewish Theatre in Stockholm into a choreographed set design for the audience to walk through and inhabit. I wanted to enhance and highlight what had touched me the strongest: movement, time, rhythm, pulse, the human body – all which can be found in dance. Lee is a former dancer and we both work creatively in the borderland where art, dance, photography, music, sound, set design and technology all interweave. The dancer in Cloud 9 is filmed backstage. There are flowers in a vase that another dancer burns in the famous film Coffee with Pina ... A secret greeting between the artworks, everybody is entitled to their interpretation. As with everything. “All actual life is encounter”, as the Austrian-born Jewish philosopher Martin Buber used to say ... Pia Forsgren Ccurator, Theatre director

Memory Fields - Taipei fines Arts Museum, Taiwan 2007 Lee Yanor leads the viewers through the labyrinth of her own rich and associative world and presents them with an abundance of scenes taken from the world of dance or related to the cycle of nature. There is seemingly no connection between the different realms that succeed one another upon the long alleyway of screens, Nevertheless, the carefully thought-out manner in which Yanor interweave them defines and examines the transformation of movement into light and shade and the moment in which this amalgam of different associations is detached from its context and transformed into an intense emotional and visual experience… The video work envelops the viewer on all sides, acting simultaneously upon all the senses; it becomes a kind of centrifuge into which images and memories – both those of the viewer and those of the artist – are cast. At the same time, the artist punctuates this intense and total viewing experience with delays, which provide the viewer with a space for processing – and shedding – his individual identity and experience. Although this work is concerned with the transformation of personal experience into a universal experience, It is embedded with milestones related to Yanor`s autobiography and to the society in which she creates. Even though the film has no specific geographical or temporal context, it is infused with a profoundly Israeli quality and sense of belonging One senses the Mediterranean influences imbued within it, as well as the unusual longing with which Yanor captures the image of movement interwoven throughout. Milana Gitzin-Adiram Co - Curator