Excerpts from:
Tami Katz-Freiman, "Bad Girls: The Israeli Version, Contemporary Women Artists in Israel", to be published in: Melanie Rich and Kalpana Misra (editors)
, Jewish Feminism in Israel: Some Contemporary Perspectives, University Press of New Engalnd, 2003

 

Hilla Lulu Lin: between body politics and Middle Eastern politics
Another artist whose works incorporate both the personal and the political is Hilla Lulu Lin. In Meta-Sex she presented a video installation entitled No More Tears in a room with yellow walls and a ceiling fan. A wrapped, coated heavy stone was suspended from a hook in the most irritating location in the room, threatening the viewer. The video documented an endless journey of a yolk, that crawled slowly up the artist's arms, climbed to her shoulder, entered her mouth, emitted fully, reverted to rolling on the palm of her hand, and so on and so forth. It was a never-ending loop of an auto-erotic act, "anorectic acrobatics" – reception and emission, between pleasure and strangulation which demanded a kind of acrobatic skill so the yolk would not burst in her mouth.
Through the act of nearly swallowing the yolk, Lin tried to unravel the common affinities between woman-food-body, and to take control over anything likely to penetrate. The choice of a yolk/egg , an archetypal feminine-organic element, brings to mind erotic cinematic scenes, exhibiting a similar use of organic materials. The linkage between body and food also corresponds with Janine Antoni’s chocolate and soap castings and Jana Sterbak’s meat-dress works.
A different kind of association between food and existence was manifest in Cold Blood (A Poem in Three Parts), a chilling work produced by Lin in 1996, in the wake of Prime Minister Yitzhak Rabin’s assassination and prior to the ascent of the right-wing Likud party. It consisted of three parts: The Tel Aviv Seashore, based on a postcard image of Tel Aviv; a manipulated image of the Dome of the Rock in Jerusalem; and the artist’s eyes. The hedonistic character of Tel Aviv’s seashore was juxtaposed with the sacredness of the Dome of the Rock, the most sacred Muslim site in Jerusalem. Both iconic landscapes were depicted under raw, bloody skies. In-between these two scary images the artist planted a postcard-size photograph: her own two eyes, blinding in their emptiness.