Noam Ben-jacov
My work is mostly biographical with existential tones, emphasizing the creative process. Perhaps an attempt to perpetuate important moments I go through along the way. It is sourced from small anecdotes, situations, experiences I collect translated into reliefs, forms – work. It is very much about my own journey, where in a way I am both viewer and participant, as if I am far above but also walking along the path kicking some stones…experiences, thoughts, imaginations and scenery. Perhaps it is first and foremost about the atmosphere I am experiencing during this ‘ being there’ in the walk. As for me it is after all more about the search than anything else. And yes, at the end of the day when I am looking at my work as a whole, then I like them to talk, scream… preferably just to sing.
All rights reserve, Noam Ben Jacov, Pictoright Amsterdam,the Nederland ©2024
Videos
Atlas
Egg
Cloud
Sunset
Iris
Lamento
Soloin3
Head
Palais du Justice
storm
Triangulos
Fields of Vision
Venice Project
Bennie Bartels
Atlantis
Aquarium/Dreams
Wendingen ensemble
Wood maquette
Figuring-out
Triangulos – Insect
Videos
Atlas
Egg
Cloud
Sunset
Iris
Lamento
Soloin3
Head
Palais du Justice
storm
Triangulos
Fields of Vision
Venice Project
Bennie Bartels
Atlantis
Wendingen ensemble
Wood maquette
Figuring-out
Triangulos – Insect
Body-sculptures / Performances
Due to the complex and frustrating process that is by nature part of the whole creation of this ‘body– sculpture’ I often need to put much time into the learning and understanding of the technical mechanisms and restrictions which appear throughout creating body sculptures which later on becoming part of the body-sculptural work.
I need much time; time so it all can function as one sculptural unit when the dancer/mover can explore and move her/himself without too much restrictions /difficulty.
Finally, I just used the process, demonstrating it as a study for another ‘body-sculpture.
The complex process of ‘body– sculpture’ often need much time into the learning / understanding of the technical mechanisms and restrictions appear throughout creating and later on becoming part of the work.
I need much time so it all can function as one sculptural unit when the dancer/mover can explore and move without too much restrictions .
Finally, I just used the process, demonstrating it as a study for another ‘body-sculpture.
This work created 1986-87, just after I landed in the Netherlands accepted into the Gerrit Rietveld Academy-Amsterdam. My landing in the Netherlands and what came with it, was not that bright nor easy. I had to learn to adapt to a very different culture, rather grey and rigid culture . When you are in it, breathing it, when days are short, evenings long, cold and dark – and you are searching for a place to live, then such a sculpture was created. I began doing the actual work, questions like form, material went just naturally as with other relevant points almost all resolved by intuition. The Room, came to life. Looking In retrospect, trying to understand my time then this work represented my situation rather well, far better that I even knew of myself at the time.
This work created 1986-87, just after I landed in the Netherlands accepted into the Gerrit Rietveld AcademyAmsterdam. My landing in the Netherlands and what came with it, was not that bright nor easy. Had to learn to adapt to a very different culture, rather grey / rigid. When you are in it, breathing it, when days are short, evenings long, cold and dark – you are searching for a place to live, then such a sculpture was created. I began doing the actual work, questions like form, material went just naturally as with other relevant points almost all resolved by intuition. The Room, came to life. Looking In retrospect, trying to understand my time then this work represented my situation rather well, far better that I even knew of myself at the time.
The Head is the first one in this body-sculpture series. By accident, I was introduced to the work of the photographer Eadweard Muybridge which influenced me significantly.
As part of my studies, I was confronted with a challenging competition project where the head was the central issue. After quite some time brainstorming, I wondered what happened when our head moved when gesturing yes? gesturing no? Trying to imitate the movements, imagining freezing the head, then adding these imaginary movements to it, and so, here is how this work came to be realized.
The Head is the first one in this body-sculpture series. By accident, I was introduced to the work of the photographer Eadweard Muybridge which influenced me significantly.
As part of my studies, I was confronted with a challenging competition project where the head was the central issue. After quite some time brainstorming, I wondered what happened when our head moved when gesturing yes? gesturing no? Trying to imitate the movements, imagining freezing the head, then adding these imaginary movements to it, and so, here is how this work came to be realized.
The Atlas came after I was challenged to create work that referred to a female as I saw or understood. It was not created for a particular person; however, I concentrated on the way I understood what was important for me. When this work was completed, I had very many doubts, but, only later when working with the dancer/mover to fully realize the work was I less dissatisfied.
The Egg (for Tamar) 1997
The Egg (for Tamar) was created during the pregnancy of my wife with our first daughter (later to be Tamar). Many things… plenty unknown, but what I knew was that most of the hard and painful work had to done by Ingrid. One day we went for a walk in the forest in Bergen (n-h), talking, trying to realize, visualize our new life to come. The very many what, how, and why’s, appeared as we walked and by the end of the day I knew and said: ‘Ok, as God arranged it this way, with most of the work being done by you, dear Ingrid – then the only way I can contribute is a new egg dance…’
The Egg (for Tamar) created during the pregnancy of my wife with our first daughter (later to be Tamar). Many things… plenty unknown, what I knew was that most of the hard / painful work had to done by Ingrid. One day we went for a walk , talking, trying to realize, visualize our new life to come. The how,why’s, appeared as we walked ,by the end of the day I knew and said: ‘Ok, as God arranged it this way, with most of the work being done by you – then the only way I can contribute is a new egg dance…’
This was my final exam work at the Rietveld Academy. It was the longest and most complex to create. I was asked by my teacher and guide, the late Onno Boekhoudt, to prepare a new performance to come with it. As it was a time when the unknown was much greater and piled higher than the known, I was very much struggling in life. Running from clear to black and often standing there, were many extremes from obvious to unobvious. As one eye saw it, very cold and the other very warm. I was looking for some balance to lead me into the creation of this iris. Due to the choice of different material, and several technical difficulties and restrictions, the performance and choreography had to adapt and change accordingly. Consequently, the Iris became much more organic than originally planned.
My final exam work at the Rietveld Academy. Was the longest ,and the most complex to create. I Was asked by the late Onno Boekhoudt (dept.Head), to prepare a new performance to come with it. As it was a time when the unknown was much greater …higher than the known, I was very much struggling . Running from clear to black, many extremes from obvious to unobvious. As one eye saw it, very cold and the other very warm.I Was looking for some balance leading me into this creation of iris. The choice of different material, several technical restrictions, the performance had to adapt and change accordingly. Consequently, the Iris became much more organic than originally planned.
Soloin3 is about the why, the how and the if. It is about having to make choices.
This work, is a result of a small experiment influenced by da Vinci’s ‘Vitruvian man’ which was taken in two different directions. Two works developed at the same time, Triangulos, a body sculpture and The Insect, 7 pieces of plaster, drawing and paper. Influenced by the same artist, using different approaches, adding my own interpretations and imagination, and wanting to see if they do melt into one another.
A different approach to the Triangulos body sculpture which has not yet been realized.
During my studies at Rietveld Academy in a joint project with the Fashion Department.
Many ladies around, got the feeling they like to fly somewhere but couldn’t do it for some reasons, so here comes my wings…
Installations
Between Intimacy and Alienation
‘Between intimacy and alienation’, represents in 4 words the balance I’m looking for in all my works.
The initial idea behind this work was to create sort of a performance, not a live one, but a static performance. A combination of sculpture and theatre, a performance within the form of an installation.
My work exists and is influenced by the human body, its movements, it physic & mental state, presenting in the form of dance/movements performances. When creating the performance I’m relating, enhancing the contact between work, object & the human body as well as to the sound the work makes which brings totality to the search for intimacy and alienation.
Between Intimacy and Alienation
‘Between intimacy and alienation’, represents in 4 words the balance I’m looking for in all my works.
The initial idea behind this work was to create sort of a performance, not a live one, but a static performance. In a way it is a combination of sculpture and theatre, a performance within the form of an installation.
By its nature, ‘between intimacy and alienation’ is both sculptural and theatrical, but nevertheless it remains static. On starting the process, I was in need of looking, finding & re-defining to myself…, looking at the development of ideas through time, mirroring to myself and to the works the developing, the connections. There are quite a few good years in between, however as I am very much sticking to my ‘red-line’ (yes, later, translated into a transparent nylon wire), of how it all connects to one another.
Along the way of the process I felt the need to re-arrange things, to contextualize, clarify for myself, the work and the process too, the ways from A to Z, the way in which the idea develops, what It means to discover where ‘things are laying‘.
In fact, this work is a collection, a collage of thoughts, sketches, text, maquettes and video clips from various performances, derived from my body of works I call ‘body-sculptures, which I began to develop in the mid eighty’s. The work started upon beginning to develop my body-related works, constantly adding new materials which I brought into this process.
My work exists and is influenced by the human body, its movements, it physic & mental state, presenting in the form of dance/movements performances. When creating the performance I’m relating, enhancing the contact between work, object & the human body as well as to the sound the work makes which brings totality to the search for intimacy and alienation.
In cloudy times, grayish, blueish, pinkish cloudy times where we are almost all in the cloud. Shadows, as we are safe in the cloud …as the last person… melted into the cloud.
A series of 5 different works developed from the late 90’s and onward. It is very often that I am going to the sea, the north sea, especially to refresh myself, my thoughts and see how different things happen, letting my imagination fly free. Wondering about the way it looks, about the feelings above and below the horizon. Always feels, smells and looks different.
This work, shown only once, was created during a time of contemplation…wandering, searching, looking around, and yes, when time was not easy.
To the way I am creating? Mostly walking, walking with lots of observing and imagining. This was pretty much how it went and basically what the Figuring-Out is about. Often while wandering I do imagine myself, viewing from different positions.
Was created during a time of contemplation…wandering,
to the way I am creating, mostly walking, with lots of observing and imagining. Basically what the Figuring-Out is about. Often while wandering I do imagine myself, viewing from different positions.
Another work that took a long time to create. Circumstance had led me into reflecting on the way things are being decided on another level. Executed right after or during my creation of my half masks series, I realized the masks needed a home to belong to. Yes, it had to do with some personal conflict. I chose a rather chic, semi-industrial environment, a place where even decision makers may sit… and reflect?
This work I created in the middle of the Corona time, couldn’t really go somewhere or do what I used to do, so had to do something. Thoughts of having some wine, instead made my own grapes. Why not…
based on old work from the 90th I named ‘Europe’ in the size of 20x20cm’ (aluminum and silver) probably one of my last jewelry I ever made. for a long time, I had the need to enlarge, give another dimension and see the effect it may have on the overall idea. (this work is made out of painted wood and size 300×300 cm’). In a way and strangely enough it come just at ‘right moment’ almost exact when England pursued the Brexit idea…
This series of 3 works was created between the years 2012-2015. It is about the way I experience my life, my stay, here in the Netherlands (north-west Holland) after 30 years and a little more.
It is real, yet sort of like a series of dreams, at times a bit surrealistic, at times real, very real.
Actually, it is about family, generations after generations, and… the matriarch, always there and has been there ever since. Representative of the other generation, the other time, the other layer, yet holding the ropes in hand, navigating it all so that changes will not be.
The beautiful aquarium with the fountain in the middle, standing at one of the corners: it is there, a bit off center, yet very central. It is all beautiful, peaceful, everything is in its place. The fish, swimming on one exact line, do not dare cause any social dis-order to this perfect harmony, yes, they all are swimming in a very calm, orderly and obedient way. They do like all other fish do (at least in this part of the world), talking very silently, ‘Oh, since I’m here…ok, yes, now I understand…’ Looking as if they are all very much connected to one another, the lights are soft and beautiful. But the silence – it is sort of stormy/silent-like.
It is about those things which happen when most household or family members are lying in bed, in the wee-light hours, when you are on your own listening to the fish and to this water fountain, just wondering about the silence. Then finishing, wrapping up the day that is just about to end and evaporate, looking at the glass, the glass half-full or half-empty, (well, it is quite some time that it isn’t about the wine…), just wondering about the days to come.
This series of 3 works was created between the years 2012-2015. It is about the way I experience my life, my stay, here in the Netherlands (north-west Holland) after 30 years and a little more. It is real, yet sort of like a series of dreams, at times a bit surrealistic, at times real, very real.
Actually, it is about generations after generations, and… the matriarch, always there and has been there ever since. Representative of the other generation, the other time, the other layer, yet holding the ropes in hand, navigating it all so that changes will not be.
Fifty x Fifty
This project (KCB, Bergen early 2000), was born by receiving a piece of canvas 50×50 cm, and the instruction, do something. It took me bit of time and I came up with this… as often the homeless suffer the misfortune of not having even this small canvas.
Decore / Sets
Ester Opera by Jeff, Hamburg (never realized)
Choreography by I.Galili
Work in Series
Ten different starting points ,corner stones. Was done at a time when was looking to clarify ,crystalizing the way, my path , finding it as a good way (for me…) helping shaping my path.
This ‘insect’ (plaster, cotton wire ,Epoxy) done directly after seeing exhibition of Da Vinci The Vitruvian Man. I was only wandering…wandering to my self what he (Da Vinci) would say if seeing experiencing our present world now days.
A Series of Works – a state of mind, …walking through…visiting somewhere. Somewhat hallucinatory work.
Carpets and more
Variations on red, white, black
State of mind, referring to a state of mind in various times and seasons, states and along the way… state of mind which isn’t bad to sink into so you can/may come out of it somewhat sharper…bit more cynical but hopefully wiser…happier.
This work has been created in response to a project in Hamburg Germany by a book/art lover.
The request was to make a work that would reflect my response to our changing times.
Dont know why but the first book fallen to my hands was one of kafkas books…
Especially with regard to books and what comes with it in our now adays society according to
my mind/vision. I took it immediately to my basic book-time traditions that we/ I just loved to
read and close the day with to my two children. So the rest I hope is speaking for itself..
This series of work took me a bit more the one year to create. As often in my work I am paying more attention to this…. this walking…the flaneurs in our modern society.
But in this work, I refer to this flaneur figure as a falling leaf somewhat. Falling, failing…how can I neglect this huge problem many of us are trying to ignore or neglect. The disastrous climate change. We haven’t tested even the smaller fingers of it (I’m afraid so). So here is what it is.
The Flaneur series is based on my own collection of experiences during my walks. Some thoughts, some wandering …trying to explore the walk. Less about the decisions to be made, just the walk.
Landscapes
This work was created when I was wondering about time, plenty of questions. Wondering about the streaming of time, how was it before, much, much earlier? Did humans have to deal with the same questions? Refuse to learn from the previous generations? So, in a way I took to the streaming of time and in my head connected it to Atlantis as reference. I like reflections and what it does with the mind, sending me to all thoughts of illusions and other flights.
This recent work, it is one of those works which must have been born, as it sat on me for a long time. It is only my response to my own feelings towards the state of our now adays world, for example, climate change, which to my mind focuses on lots of words, press conferences, making noise but very little changes. Wars…respect…personal responsibility…
What about real leadership???
Various Works
Different works the Appier just like this, simply along the way, often as a key for a new series that will emerge.
Half – An important work for me, Key work.
Created in the beginning of the 90 just after school in a small place in Amsterdam at a time when I felt is the right time taking some decisions regarding-where to be living my life as a center. Yes…decided physically where but…until these days somewhat cut in to Half…
Conbine -Work from the 90th originally done during my Rietveld academy times… don’t know why???
It just had to be created.
Learning the hands movement. (wax) – Model for a work never being materialized to a final finished work.
CV/References
My biography,
I was born in kibbutz Ha’zorea (1952) to my father…a Berliner Jewish artist who had to flee / escape in 1932 from nazi Germany, and to my mother, a young lady from Tunisian origin who (just as well) had to flee/escape from Tunisia under occupation by the Italians Mussolini regime few years after. Kibbutz?… an agriculturally oriented, based on socialistic ideology, a communal way of living in the north of Israel.
I was Studying, completing my obligations to my family, and the surroundings. In 1976 my life took a changed, I begun traveling for few years and more, which later turned me adapting to sort of A flaneurs like way of living…. I lived this way and did not really change it entirely until this present day. After studying in NSCAD University from 1983-85, in Nova Scotia, Canada, then continued my study at the Gerrit Rietveld Academy, Amsterdam(N-L), and from 1985-89.
Following on, I established myself, living and working in the Netherlands, very near to the North Sea, raising my family, and making a few groups of friends with it. As by nature being sort of flaneur, I take the human being as the center…a center on this planet however as I am fascinated by the human – his basic elementary behavior and all what comes with it. It has led me to find and create my own form of art that I call body-sculpture. I uses/takes the human in the most elementary, existential position and form, putting the human at the center of my creation, emphasizing physicality, mental, emotional movement and space with the sounds which is being created throughout.
I like seeing, emphasizing the essential. The very basic… seeing where it all leads me into, yes, I do love this un-known, at time cherish this aspect of creation. When this creation…new unit of human &sculptural construction is completed, I love working on the synthesis – the relation between the work, the human, and the space. Since 1986 to the present, I have created about 10 different body-sculptural objects (each taking me about a year+++of making), that are mostly directly related because of a very important, significant event in my life, as having my own newborn children, or getting stuck with no place to live. So yes, often my work just happens, not really in full awareness of this, but more as a spontaneous response to things called life.
But, yes, they all are direct, connected to me. And yes, at the end of the day when I am looking over my work as a whole, in total… then I like them to talk, scream? preferably just sing…
| 01/22/1952 – Born kibbutz Ha’zorea, Israel | |
| EDUCATION | |
| 1985-89 – Rietveld Académie, Amsterdam, The Netherlands | |
| Member of the artist Groups: De Vishal, Haarlem Arti& Amicitiae, Amsterdam European Sculpture Network. (EU). Work by art institute/foundations.: Law firm Amsterdam the Netherlands. Sbk Amsterdam The open museum (Israel) Ludwig museum colon (photos of work) Germany. Lehmbruck museum Duisburg (photos of work) Germany. Spazio Thetis (2023) Art foundation S.P.A Venice, Italy. |
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| AWARDS AND GRANTS | |
| 2016 | wisconsin UNIVERSITY USA, (visiting artist TRAVELING grant). |
| 2015 | Winner of BlauLAUT-Preis für Interdisciplinary Kunst, Hamburg, Germany |
| 2008 | Stichting ‘de oude kerk’, Amsterdam Stichting Kattendijke/Drucker, Amsterdam |
| 2006 | Stichting A. Roland Holst funds, Bergen, N-H City of Alkmaar (for project ‘body-sculptures’ in ‘de vest’) |
| 2005 | Mondrian Foundation |
| 2004 | Prince Bernhard Foundation |
| 2002 | Project production, City of Amsterdam |
| 2001 | Project production, performing arts foundation, Den Haag Prince Bernhard Foundation Basic grant, Dutch Foundation for Fine Arts |
| 1999 | Project production, Performing Arts Foundation, Den Haag |
| 1999 | Gaudeamus en Fonds van de Scheppende Toonkunst |
| 1997 | Prince Bernhard FoundationNetherland’s Ambassadors, Bonn Solo Exhibitions |
| SOLO EXHIBITIONS | |
| 2024 | ‘Between intemacy and alienation’ -live PERFORMANCE, Uri Eugenio performer. MPK – Kaizerlauteren MUSEUM, GERMANY. |
| 2024 | soloin3 live performance , Arti& Amicitiae,amsterdam. |
| 2023 | Between intemacy and alienation’ -live PERFORMANCE & Uri Eugenio performer. SPAZIO THETIS SPA arsenalle VENICE, ITALY. |
| 2022 | Between intemacy and alienation’ -live PERF., Uri Eugenio perf, Maya fridman Cello. vishal haarlem. |
| 2019 | The forest’- the small room, de Vishal, Haarlem. |
| 2015 | BlauLAUT-Preis für Interdisciplinary Kunst – 2015 (video presentation), performance |
| 2011 | Exhibition & performance -‘magnetic string’, Kunstenaars Centrum Bergen N-H2010 Exhibition & performance, Kunstenaars Centrum Bergen N-H |
| 2008 | Project ‘kaders’ – 7 hours performance, the Oude Kerk, Museums Night, Amsterdam |
| 2006 | Full evening live performance, Netherlands week of the dance, Theater de vest, Alkmaar (NL) |
| 2005 | Galerie 59, Amsterdam (SBK) ‘De world van Noam Ben-Jacov’, Oosterhout, SBK |
| 2004 | ‘De world van Noam Ben-Jacov’, De Boterhal, Hoorn |
| 2002 | Exhibition and installation for Wendingen Ensemble, Amstelkerk, Amsterdam |
| 2000 | Exhibition and opening performance, Gallery Laeven de Key, Haarlem |
| 1999 | ‘Body and another Body’, exhibition and opening performance, The Open Museum, Tefen, Israel Exhibitions and opening performance, Cultural Centrum De Tambour, Hogeveen, The Netherlands |
| 1997 | ‘Desert’, Gemeentehuis Bloomindale |
| 1996 | ‘Desert’- series, Galerie BMB, Amsterdam |
| 1995 | ‘Man in Space’, BRS Premsela Vonk, Amsterdam |
| GROUP EXHIBITIONS | |
| 2024 | ARTBIENALLE Viterbo. ITALY |
| 2024 | Arti & amicitaie AMSTERDAN GROUP exhibition and live performance. |
| 2023 | Its liquid VENICE Bienalle for architecture, -video presentations. (mai) |
| 2022 | Cello Biennale Amsterdam 2022, in collaboration with Maya Freidman &Cello Octet Amsterdam. |
| 2022 | -Sound of Music Festival-Groningen, the Netherland – Koinzi Dance 25 years jubilee Hamburg, Germany 2021 Sculpture Gallery 3D 21 Osnabrück -Germany |
| 2021 | sculpture gallery Osnabrück. (Art [project- 3D’21 Germany). |
| 2021 | members exhibition Vishal Haarlem -. N-l |
| 2021 | Big Art project, Homburg Zaandam, N-L |
| 2021 | primitive art festival, ‘The Fleeting Moment of Water’. Nagano (online), Japan. |
| 2021 | curating projects -‘between intimacy and alienation ‘& Opening performance, de Vishal. Haarlem n-l. |
| 2021 | “Empathic action – art for the planet” (online project www.artfortheplanet.space ) |
| 2021 | Austria Biennale in Venice, Italy (project: THE BEGINNING -Another day in Paradis) |
| 2021 | Artbox gallery, Zurich, Swiss |
| 2020 | Shinano hall, primitive art festival, Nagano, Japan. |
| 2020 | Langley art center, Vancouver, B.C, Canada. |
| 2019 | Artbox- Swiss art expo, Zurich, Swiss |
| 2019 | Vishal – Haarlem, the Netherlands. |
| 2018 | Vishal – Haarlem, the Netherlands. |
| 2017 | Movement- Action- Second chines international kinetic art exhibition. China sculpture institute, Cheng Chung. |
| 2017 | exhibition: ‘een veelkoppige draak’, 70 years k.c.b. kranenburgh museum, Bergen, north Holland, |
| 2016 | Sculptures Manifestations in Duin & Kruijdberg, North Holland KCB, ‘Constant en KCB Nu’, Bergen, NL Gallery H10A, Apeldoorn, Beyond Jewelry symposium panel and presentation, Parkside Gallery, Birmingham City University, UK North Holland Biennale Kunst Hal 45, den helder, Nord Holland. ‘Water’, Gallery Kapberg, North Holland |
| 2015 | ‘Object’, C-Lab, Kunst West, Amsterdam International Kinetic Art Competition (video), West Palm Beach, Florida, U.S.A. Artist Centrum Bergen & Museum, Kranenburg – 3D, Bergen N-H |
| 2014 | ‘Schock’ 2014, Art Manifestation Schorel, North Holland ‘Premio Combat’ Finalist exhibition, Livorno, Toscana, Italy ‘Chaos and Beauty’ Museum Kranenburgh, Bergen, North Holland |
| 2013 | Onder de Linden, Museum Kranenburg Bergen, N-H2011 Museum Night, Film Museum, AmsterdamPucheri Studio, Den-Haag2008 Lucca Presiozacca, Villa Bottini, Lucca, Italy |
| 2006 | Kunst and Koningsduin, PWN, KCB N-H (art manifestation) ‘Pijn en Andere Dingen‘, RC de Ruimte Ijmuiden, North Holland |
| 2005 | ‘50×50’ – Kunstenaars Centrum Bergen N-H ‘Stroming’art project in the nature, Oostknollendam, N-H‘Salon’ – Arti &Amicitiae, Arti, Amsterdam |
| 2004 | SBK Amsterdam + SBK Groningen – AA Kerk, Groningen Links! KCB in Museum Kranenburgh, Bergen N-H |
| 2003 | Wendingen Ensemble 10 Jaar – Amstelkerk, Amsterdam |
| 2001 | Nieuwe leden-Arti et Amicitiae, Amsterdam |
| 1989 | Rietveld in the RAI, final exam exhibition and performance, RAI, Amsterdam ORNAMENTs I, exhibition of contemporary jewelry, opening performance/Exhibition Scmuck Museum, Pforzheim, Germany |
| 1988 | Five Israeli Artists, exhibition & performance, Jewish Historical Museum, Amsterdam |
| 1987 | The Other Side of Design, Rietveld Academy, Amsterdam Schmuck ’87, Haus der Kunst, Munich, Germany. Copy Right or Wrong, travelling exhibition, Museum Den Haag. |
| 1986 | ‘Schmuck for head and hair’ international competition, Schmuck Museum, The Pforzheim, Germany, 2nd Prize. |
| BODY-SCULPTURE PERFORMANCES | |
| 2011 | Performance -‘Magnetic String’, Kunstenaars Centrum Bergen |
| 2008 | Project ‘Kaders’, the oude kerk, Museums Night, Amsterdam |
| 2006 | Body-sculptures in movement, full evening performance, during Week of the Dance, Theatre ‘de vest’, Alkmaar Opening performance, Pijn, en Andere Dingen, Gallery RC de Ruimte, IJmuiden, The Netherlands, Body-sculptures Performances |
| 2005 | Opening performance and video presentation – X Symposium Arts Ornate, Europeans – Lisbon, Portugal |
| 2002 | Opening-performance of exhibition ‘Transparantie 3’, De Boterhal, Hoorn |
| 2001 | Privet domain –Kunst op Kamer’s, Luther’s Kerk, De Rijp1999 Project ‘Images’, tour in The Netherlands: Lantaren/Venster, Rotterdam; Provadja, Alkmaar; 042, Nijmegen. De IJsbreker, Amsterdam; Kumulus West, Maastricht; Huis a/d Werf, Utrecht. Kunsthuis 13, Velp; Stedelijk Museum, Amsterdam |
| 1997 | Project ‘Images’, Neues Museum Weserburg, Bremen, Germany |
| 1992 | Gallery in Motion, The Israel Museum, Jerusalem, Israel |
| 1991 | ‘AURA’, full dance evening collaboration with James Saunders, Dansprojekte Koln |
| 1990 | Opening performance ‘Natural’, Vondelkerk Amsterdam |
| 1989 | International Ballet Gala, Stichting Dansersfonds 1979, Het Muziektheater, Amsterdam Opening performance ‘Ornamenta’ international exhibitions schmuck museum Pforzheim, Germany End exam performance, Rietveld in the RAI, Amsterdam |
| 1997 | The Other Side of Design, Paradiso, Amsterdam Stage Design |
| 1995 | Gulbenkian Ballet, Lisbon, Portugal, choreography: I. Galili ‘Ma’s Bandage’, chorography: I. Galili |
| 1994 | Scapino Ballet Rotterdam, The Netherlands, ‘Perureim’, choreography: I. Galili, Scapino Ballet Rotterdam, N-L ‘Edges’ choreography: Ed Wubbe |
| 1993 | ‘Cinderello’ choreography: I. Galili, Ballet de Grand Theatre de Genève, Swiss Workshops and Lectures |
| 2017 | lecturing: Tsinghua university, sculpture dept. Beijing. |
| 2017 | 10 years anniversary -‘kinetic, lecturing & video, London .UK International Kinetic Art exhibition &symposium, West Palm Beach, Florida, U.S.A. |
| 2016 | lecture &presentation, university of Wisconsin Madison, USA. New-York institute of technology, new-York city, U.S.A. International sculpture symposium, Pittsburg, u.s.a. |
| 2013 | -Work presentation, Gerrit Rietveld Academy, Amsterdam-Arco, Lisbon, Portugal |
| 2012 | Work presentation, North Carolina College of Art, the Prague division Master class, Tallinn Art Academy, Estonia |
| 2011 | Work presentation, Tallinn Art Academy, Estonia |
| 2010 | Presentation-ESAD, Art and Design Academy, Porto, Portugal |
| 2009 | Interdisciplinary summer course, Nova Scotia College of Art and Design University, Halifax, NS, Canada |
| 2008 | Work presentation, Nova Scotia College of Art and Design University, Halifax, NS, Canada |
| 2005 | Lecture and workshop, Estonia Art Academy, Tallinn, Estonia Work presentation, Luca Preziosa, Villa Bottini, Luca, Italy |
| 1992 | Artist in residence, The Open Museum, Tefen, Israel1991 Lecture, Bezalel, Academy of Art, Jerusalem, Israel |
| 1990 | Workshop tour in Canada: Nova Scotia College of Art and Design, Halifax, Alberta College of Art, Calgary, AB, Sturghton School, Winnipeg, MB |
| PUBLICATIONS | |
| 2022 | haarlem Dagblaad |
| 2016 | Design Exchange, London, UK |
| 2015 | International Art Book 2015, Munich, Germany |
| 2014 | The language of Mixed- media Sculpture by Jac Scott, UK |
| 2007 | Second Skin, Cork Jewelry, by Ana Campos, (p.17) Porto, Portugal2006 New Directions in Jewelry, Ivan Astfalck, Caroline Brodhead and Paul Derezz |
| 2005 | Exhibition catalog, Luca Preziosa, Luca, Italy Exhibition catalog, X Symposium arts ornate, European- Lisboan, Portugal |
| 2001 | Exhibition catalog, Privé-domein, Kunst op Kamer’s, De Rijp,55-591999 Werk und Visionen des Tanzer, K. Nelles, James, Leben, James Saunders Exhibition catalog, Body and another Body, N Ben-Jacov – Sculptures, The Open Museum, Tefen, Israel |
| 1996 | Goldsmith’s Art, 5000 Years of Jewelry and Hollowware, ed. Arnoldsche, H. Schadt, pp. 216, 2191996 Exhibition catalog, ORNAMENTA I, International Schmuckkunst, ed. Prestel, p. 58. |
| 1987 | Exhibition catalog, Schmuck ’87, Haus der Kunst, Munich,42Reviews |
| 2015 | dance.de |
| 2012 | Eesti, Estonian art magazine, full interview |
| 2006 | Eesti Ekspress, (Estonia) Kadri Maleak |
| 2005 | De Oosterhout, ‘De world van Noam Ben-Jacov’ |
| 2004 | Noord-hollands Dagblad, ‘De world van Noam Ben-Jacov’ Boterhal-Hoorn |
| 2002 | NRC Handelsblad (CD-ROM Images) |
| 2001 | Noord hollands Dagblad (Kunst op Kamer’s) |
| 1999 | The Jerusalem Post – exhibition Tefen, IsraelVPRO-Gids – Images in ‘Reiziger in Muziek’Het Lied – ImagesNoordhollands Dagblad – ImagesVolkskrant – Images Uitkrant – Images Telegraaf – Images Rotterdam Dagblad – ImagesNRC Handelsblatt – Images Gelderland – Images |
| 1997 | Kolner Stadt – exhibition photo’s Museum Ludwig Bloemendaal, NieuwsbladTanzherbst, Bremen, Germany |
| 1996 | Kunstbeeld – exhibition BMB, Amsterdam Cover CD ‘Modern Times’, Channel Classics in cooperation with Joodes Historic Museum, VSB Fonds |
| 1994 | Trouw – Performance Scapino Ballet |
| 1993 | NRC Handelsblatt – Performance Scapino BalletLa Tribune, Swiss – Cinderello |
| 1989 | Wassenaar Nieuwsblad Noord Hollands Dagblad – Ballet GalaNieuws van de Dag – Ballet Gala Telegraaf – Ballet GalaPforzheimer ZeitungSud-West Zeitung – Ornamenta IJoods historic Museum, Nieuwsbrief |
| 1987 | Metalsmith, Society of North American Goldsmiths, p. 33Abendzeitung Munchen – Schmuck ’87 |
| 1986 | Pforzheim – Schmuck fur Kopf und Haar |
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