https://www.omridanino.com/home daily 1.0 2025-10-05 https://www.omridanino.com/contact daily 0.75 2025-09-25 https://www.omridanino.com/about-1 daily 0.75 2025-10-05 https://www.omridanino.com/works daily 0.75 2025-10-05 https://www.omridanino.com/works/room-313 monthly 0.5 2025-09-26 https://images.squarespace-cdn.com/content/v1/68cfa123c40d1431a6664a91/a856a700-0377-444f-8714-f7bafbc997e4/%D7%97%D7%93%D7%A8+313+.jpg https://www.omridanino.com/works/project-six-6f87e-epk9j monthly 0.5 2025-09-28 https://images.squarespace-cdn.com/content/v1/68cfa123c40d1431a6664a91/1758544910839-7RYDEBWYI8UG7NWZ207S/OmriDanino_July2025_WEB-DanielHanochPhotographer-5%2Bcopy.jpg Works - TEXTILE PAINTINGS Untitled #1, 2023 Hand-woven rubber stripes attached to wood 100 × 120 cm https://images.squarespace-cdn.com/content/v1/68cfa123c40d1431a6664a91/1758544899402-TKFUC7N4NHE8SNPNFF28/OmriDanino_July2025_WEB-DanielHanochPhotographer-6.jpg Works - TEXTILE PAINTINGS Untitled #5, 2023 Oil on hand-woven rubber stripes attached to wood 86 × 106 cm https://images.squarespace-cdn.com/content/v1/68cfa123c40d1431a6664a91/1759048951827-LUF6E5NWG0WT36J2YBUV/OmriDanino_July2025_WEB-DanielHanochPhotographer-2.jpg Works - TEXTILE PAINTINGS Untitled #3, 2025 Hand-woven rubber stripes attached to metal 143 × 143 cm https://images.squarespace-cdn.com/content/v1/68cfa123c40d1431a6664a91/1759049015529-NACWI25YOUU6M7X5CPUG/OmriDanino_July2025_WEB-DanielHanochPhotographer-3.jpg Works - TEXTILE PAINTINGS Untitled #4, 2025 Hand-woven rubber stripes attached to metal 143 × 143 cm https://images.squarespace-cdn.com/content/v1/68cfa123c40d1431a6664a91/885fec73-abe3-40f1-a3fb-72a7bc7993fe/OmriDanino_July2025_WEB-DanielHanochPhotographer-4+copy.jpg Works - TEXTILE PAINTINGS Untitled #6, 2023 Pencil on hand-woven rubber stripes attached to wood 100 × 120 cm https://images.squarespace-cdn.com/content/v1/68cfa123c40d1431a6664a91/1759049729754-93AVT7J1YOVNT6LJPFHI/OmriDanino_July2025_WEB-DanielHanochPhotographer-1%2Bcopy.jpg Works - TEXTILE PAINTINGS Untitled #2, 2025 Hand-woven rubber stripes attached to metal 183 × 233 cm https://www.omridanino.com/works/project-five-748cx-m2est monthly 0.5 2025-09-28 https://images.squarespace-cdn.com/content/v1/68cfa123c40d1431a6664a91/d94d552b-735e-445f-b4af-15e72b4b868a/OD_1_DanielHanochPhotographer-1.jpg https://images.squarespace-cdn.com/content/v1/68cfa123c40d1431a6664a91/f1a0546c-955f-4ae9-8415-b3d3b0b326ca/OD_1_DanielHanochPhotographer-4.jpg Works - KADDISH: THE WHITE CHAPTER https://images.squarespace-cdn.com/content/v1/68cfa123c40d1431a6664a91/1758455184353-EEA7AT3TH6RPTWIB6PHZ/OD_1_DanielHanochPhotographer-1.jpg Works - KADDISH: THE WHITE CHAPTER Kaddish: The White Chapter is the first part of the trilogy Kaddish in Three Chapters, a body of work that examines the emergence of language from trauma. At the center of the installation are four handwoven objects made of rubber straps. The woven surfaces evoke associations with elastic bandages applied to wounded areas. The manual and repetitive act of weaving recalls the rhythm of prayer, echoing the cadence of those reciting the Kaddish. The work is based on my poem Kaddish-Orphan-Language, itself rooted in the Jewish Kaddish prayer recited for the dead. The poem describes the development of language after trauma in four stages: gibberish, broken speech, imitation, and free language. Each of the four woven objects is placed in the space in correspondence with one of these stages. Kaddish: White Chapter presents the initial moment, absent of language, absent of image, in which all potential for becoming still exists. https://images.squarespace-cdn.com/content/v1/68cfa123c40d1431a6664a91/1758455896375-11GT2RE1JXCAXGG7AW8I/OD_1_DanielHanochPhotographer-15%2Bcopy.jpg Works - KADDISH: THE WHITE CHAPTER https://images.squarespace-cdn.com/content/v1/68cfa123c40d1431a6664a91/a4271df2-b19a-4f68-b487-522b2648e80e/OD_1_DanielHanochPhotographer-16.jpg Works - KADDISH: THE WHITE CHAPTER https://images.squarespace-cdn.com/content/v1/68cfa123c40d1431a6664a91/7118fcb6-2346-4e79-b53c-852b4a13efc8/OD_1_DanielHanochPhotographer-18.jpg Works - KADDISH: THE WHITE CHAPTER https://www.omridanino.com/works/project-three-sng7y-ax667 monthly 0.5 2025-09-25 https://images.squarespace-cdn.com/content/v1/68cfa123c40d1431a6664a91/e568b261-f6f2-403d-8751-db29d862c596/2.jpg https://images.squarespace-cdn.com/content/v1/68cfa123c40d1431a6664a91/fb8b0803-a2df-4c05-8d58-4ed80665e1ab/1.jpg Works - DEAD IN THE LAND The performance is based on the poem Dead in the Land by the late Israeli poet Yona Wallach. At its core are two performers: one transgender (FTM) and one heteronormative. The transgender performer wears a mask made of digital tablets, each screening a video of a hand digging into the earth until a source of light appears. The heteronormative performer lies face down, his head supported by a suspended black cube. A third projection shows the ceiling of a cave, its camera movements following the rhythm and intonation of Wallach's recorded voice reading the poem. The sound is a duet between Wallach's recorded voice and Danino's. Absent from the physical space, Danino listened to the performance in real time. When the duet between Wallach and himself ended, he called a phone connected to a microphone in the gallery, and one of the performers answered. Through this gesture, his voice entered the space for the first time and was broadcast into the gallery, creating a direct conversation with the audience. The work explores transformation across body, language, voice, and identity, questioning how the absent can be made present: how to make present absent sex and gender, an absent body, an absent language. https://images.squarespace-cdn.com/content/v1/68cfa123c40d1431a6664a91/04d6cab2-a301-4dce-8705-b395b430f142/2.jpg Works - DEAD IN THE LAND https://images.squarespace-cdn.com/content/v1/68cfa123c40d1431a6664a91/1f6acab8-327c-418d-8698-5137b1dace4b/3.jpg Works - DEAD IN THE LAND https://images.squarespace-cdn.com/content/v1/68cfa123c40d1431a6664a91/dba40949-1e68-42d0-b1db-fabec7da2565/4.jpg Works - DEAD IN THE LAND https://images.squarespace-cdn.com/content/v1/68cfa123c40d1431a6664a91/f2211993-3fcf-423b-a8be-a2dc486e5e8e/5.jpg Works - DEAD IN THE LAND https://images.squarespace-cdn.com/content/v1/68cfa123c40d1431a6664a91/760837ae-75d3-411e-9886-79317ccf9d67/6.jpg Works - DEAD IN THE LAND https://www.omridanino.com/works/project-two-ky966-kedy5 monthly 0.5 2025-10-05 https://images.squarespace-cdn.com/content/v1/68cfa123c40d1431a6664a91/f2f93fee-8dbe-4130-8433-7fe20e092b82/NDY04565-min.jpg https://images.squarespace-cdn.com/content/v1/68cfa123c40d1431a6664a91/0ab6dd29-b2bc-4012-b1eb-5aa963134bd5/NDY04543.jpg Works - NITRADAL https://images.squarespace-cdn.com/content/v1/68cfa123c40d1431a6664a91/f0566144-540b-4445-8cf6-eb8fce006e35/NDY04565-min.jpg Works - NITRADAL At the center of the work are two stainless steel carts and two marble slabs. On each slab is an engraving of a distorted word, each created by merging two different words. One slab combines Yitgadal ("may His name be exalted") + Nitradal, and the other Veyitkadash ("may He be sanctified") + Dridenaba. The words Yitgadal and Veyitkadash open the Jewish Kaddish prayer for the dead. For hundreds of years, this prayer has been recited by mourners, most of whom do not know the meaning of much of the text, as it is written in Aramaic. The words Nitradal and Dridenaba open Danino's poem Kaddish-Orphan-Language, which, based on the original Kaddish, describes the evolution of language in four stages following a traumatic event. The slabs confront the viewer with unreadable language, transforming words into images. The work presents the moment of rupture and fracture in language caused by both personal and ongoing collective trauma. The engraving of these unreadable words into marble acts as a monument to language itself, an attempt to memorialize its brokenness. At the same time, the work explores the boundaries and limitations of language, exploring how broken language becomes image. https://images.squarespace-cdn.com/content/v1/68cfa123c40d1431a6664a91/61424172-f775-47ce-9776-1783d0975210/NDY04549-min.jpg Works - NITRADAL https://images.squarespace-cdn.com/content/v1/68cfa123c40d1431a6664a91/8858cdd5-6108-42d2-a991-0835dc7b83f7/NDY04538+copy-min.jpg Works - NITRADAL https://www.omridanino.com/works/project-one-f5w4d-ph6zr monthly 0.5 2025-10-05 https://images.squarespace-cdn.com/content/v1/68cfa123c40d1431a6664a91/0bc9b497-678a-4224-9358-06939015a38a/%D7%94%D7%A4%D7%A8%D7%A7++%D7%94%D7%A9%D7%97%D7%95%D7%A8.png https://images.squarespace-cdn.com/content/v1/68cfa123c40d1431a6664a91/ce958d93-653b-41da-9762-6dbac04e9547/%D7%94%D7%A4%D7%A8%D7%A7+++%D7%94%D7%A9%D7%97%D7%95%D7%A8.png Works - KADDISH: THE BLACK CHAPTER https://images.squarespace-cdn.com/content/v1/68cfa123c40d1431a6664a91/4c4c1240-8e5a-4f8f-96c0-9b6f8d0541af/%D7%94%D7%A4%D7%A8%D7%A7++%D7%94%D7%A9%D7%97%D7%95%D7%A8.png Works - KADDISH: THE BLACK CHAPTER Kaddish: The Black Chapter, the second part of the trilogy Kaddish in Three Chapters, examines the emergence of language from a moment of rupture and trauma. On an empty theater stage, the poet Erez Biton, recipient of the Israel Prize for Hebrew Literature and Poetry (2015), sits alongside the artist Omri Danino. The two are seated on plastic "Keter" chairs, a familiar Israeli object associated with mourning ceremonies and mass events. Throughout the video, Danino whispers into Biton's ear his poem Kaddish-Orphan-Language, a text written by Danino specifically for the piece, based on the Jewish Kaddish prayer. Biton repeats each word aloud, giving voice to the poem as it gradually comes to life. The poem describes the evolution of language from trauma in four stages: gibberish, broken language, imitation, and free language. This process is embodied in the act of whispering and repetition: Danino whispers each word and Biton repeats it aloud, enacting both the fracture and the repair of language. The empty hall signals the absence of the gaze, the blindness of the theatrical space. Biton's blindness, directed straight at the camera, echoes this emptiness and emphasizes the traumatic moment as a point of origin, but also as the beginning of healing and repair. https://images.squarespace-cdn.com/content/v1/68cfa123c40d1431a6664a91/25c0c86c-859a-4573-826a-6bcea2d22675/%D7%94%D7%A4%D7%A8%D7%A7+%D7%94%D7%A9%D7%97%D7%95%D7%A8.png Works - KADDISH: THE BLACK CHAPTER https://www.omridanino.com/poetry daily 0.75 2025-09-29 https://www.omridanino.com/poetry/project-one-f5w4d-adsme monthly 0.5 2025-09-29 https://images.squarespace-cdn.com/content/v1/68cfa123c40d1431a6664a91/058a211d-aae3-4abb-a7e8-4a31d50a549c/danino-min.png https://images.squarespace-cdn.com/content/v1/68cfa123c40d1431a6664a91/1759216282341-ZGE8RYRFPEMTCQPIE7NF/IMG_8191.jpg Poetry - POETRY https://images.squarespace-cdn.com/content/v1/68cfa123c40d1431a6664a91/1759216211075-NKU76FPW51LRHKDT7UKV/IMG_8192.jpg Poetry - POETRY https://images.squarespace-cdn.com/content/v1/68cfa123c40d1431a6664a91/1759211593638-GVDP7N6T4JBQ2XXCFLPX/IMG_8193.jpg Poetry - POETRY https://images.squarespace-cdn.com/content/v1/68cfa123c40d1431a6664a91/1759211606513-DEFQRJGF3K5UF2U047EJ/IMG_8194.jpg Poetry - POETRY