Anat Ben-David © Hydar Dewachi
Somerset House Studios resident

Anat Ben-David

Interdisciplinary artist, interested in the ‘Human-Machine’ as the complex data of the moving body and mind.

Somerset House Studios
New Wing

Through avant-garde methods, Anat researches the idea of Alienation whereby the artist is creating though ‘distancing’– letting the material and systems involved lead an artistic process generating unforeseen narratives. The work usually evolves around the lyrically performed text, voice, body movement, musical and sound compositions, taking the form of live performance with installation elements. OpeRaart is a word invented by Anat to describe her practice, as developing out of system-interaction: a combination of sound, voice, language and image.

Anat Ben-David, Image © Hydar Dewachi
Anat Ben-David, Image © Ezzidin_Alwan

Anat’s latest work Kairos OpeRaArt was last staged at the Victoria and Albert Museum for Reveal Festival (July 2017) with Boudicca designers. The libretto was inspired by Sadie Plant’s cyber-feminist book Zeros and Ones, originally commissioned by Stanley Picker (2015-17) after her PhD Oscillation and Disturbance In the OpeRaArt, Kingston University, 2015. Anat has also worked on several albums as a member of Chicks On Speed art-collective (since 2003). She has presented her work at the Victoria and Albert Museum, Tate Britain, ICA and Stanley Picker Gallery in London; MoMA, New York, Migros Museum, Zurich, Borealis Festival, Bergen, Beursschouwburg, Brussels, MoMAK, Kyoto, Montermeso Vitoria and Mosak, Spain, ZKM, Karlsruhe Germany, HAU, Haus der Kulturen der Welt, volksbuehne- Berlin, Hazira, Jerusalem.

Anat Ben-David, Kairos OpeRaart at the V&A 2017

Whilst in residence, Anat will continue to develop new solo and collaborative pieces, working towards a large OpeRaArt composition, while presenting segments of the work in different formats - as happening performances as well as writing and ‘recorded’ work.

Anat Ben-David... is well known for her solo multimedia performances. She combines an explosive hail of manifestations and ferocious proclamations, powerful danceable beats and clever electric cut-ups and animations in her cybernetic cabaret. It’s no mean feat to extend such intensity to an ensemble but she pulls it off with panache. 

Emily Bick, The Wire (April 2017)