born in Argentina, 1965
lives and works in Tel Aviv

In Daniel Davidovsky's work, the bicycle is detached from its traditional role, hung from the ceiling and becomes part of a complex mechanical mechanism, disconnected from use. Beneath the bicycle, there are two tape recorders with magnetic reels. Each magnetic reel creates a loop that comes out of the tape recorder, goes around the bicycle wheel and returns to the tape recorder. The tape recorders play the magnetic reels, which in turn drive the bicycle wheels.

On the loop of one reel, one can hear voices that Davidovsky recorded while riding on a bicycle from Rothschild Boulevard in Tel Aviv to the Neve Shaanan neighborhood, and back; the other reel contains voices that were recorded while walking on the same route. The recording was made in the midst of the hostile activity against the foreign workers living in the neighborhood, and the documentation made while walking produced a richer result in sounds and details. From this experiment, an equation is created of speed versus focus, an equation that illustrates the gap between social involvement and the tendency to pass through the area as quickly as possible.

Davidovsky works with useful and old objects; this combination creates a critical look at concepts such as "progress," "efficiency," and "immediacy." The bicycle and the tape recorder represent a mechanical and transparent mechanism, categorized as low-tech. But absurdly, in the current work, the bicycle also represents a mode of transportation that enables one to hurry, ignore the surroundings, and continue on.