Guy Ben-Ner (; born 1969) is an Israeli video artist. He lives and works in Tel Aviv, Berlin and New York City. Biography Guy Ben-Ner received a Bachelor of Arts in Education in 1997 from Hamidrasha School of Art and a Master of Fine Arts from Columbia University in New York City in 2003. At Columbia, he studied under the critic Jerry Saltz. He is Dean of Hamidrasha School of Art at Beit Berl College. Art career Since the early 1990s, Ben-Ner has filmed a series of short videos starring himself and his family, often using the intimate spaces of their home as ad hoc set, studio, and fantastical playroom. His works are often exhibited with the simple sets and props created for the videos. A recurring theme in Ben-Ner’s early videos is the tedium and isolation experienced by a stay-at-home parent. Ben-Ner’s first narrative video, Berkeley’s Island (1999), based on Daniel Defoe’s Robinson Crusoe (1719), depicts the solitary life of a castaway. Set in the family kitchen, it opens with a scene of the artist lying on his back in a bathing suit on a meter-wide pile of sand from which a lone palm tree grows, with a steering wheel across his bare, sunburned chest. The 15-minute video features several vignettes about life on the island, which Ben-Ner narrates in a voice-over. The plot does not follow Defoe’s exactly, though notable moments in the book are re-created, such as the castaway discovering a footprint and training a parrot (played by the family cat) to say his name. The castaway has delusions; he sees himself levitating and losing a limb—simplistic magic tricks that Ben-Ner stages using mirrors. To depict a raging gale, Ben-Ner rigs the palm tree with ropes that are pulled by someone offscreen. Wild Boy (2004), an adaptation of François Truffaut's 1970 film L'enfant sauvage (The Wild Child), can be shown in two forms: alone, or incorporated into an installation that re-creates a woodland set that the artist built in his kitchen, complete with a tree and a carpeted hill on which visitors may sit to watch the video. In Stealing Beauty (2007), the artist's family staged guerrilla theater in IKEA showrooms: Moving among the displays, they conduct a reasonable facsimile of family life; dishes are done, discipline imposed, discussions held (private property is a topic), and everyone tucks in for the night — in numerous beds —