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Index of Works
 

2017

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Grafted Land 2016

In Process: In the series ‘Grafted Land’, based on a Palestinian Tourist Map produced by the Palestine Mapping Center, the coloured disputed areas of the West Bank, Gaza and the Golan Heights ...
 

2015

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Healing or the Symbolic Space of Wounded Land

The Wounded Land series of works succeeding to the Border Land series is a symbolic healing space in the midst of the existential “huis clos“ (No Exit) of the Israeli-Palestinian conflict. In the installation at the ...
 
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Wounded Land: A Trilogy (2010-2015)

Over the past two decades I performed and created videos relating to the Israeli-Palestinian conflict. While being a freelance news photographer during the years 2004-2008 I worked on the Border Land series. Saturated ...
 
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The Spring 2013-2015

The Spring (2015) is part of performances and videos related to the Wounded Land series of works which attempt to symbolically dismantle the existential “huis clos“ (No Exit) of the Israeli-Palestinian ...
 
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Grafted Land 2015

Over the past two decades I have created objects, photo-installations, performances and videos inspired by a variety of maps such as: road maps, aerial maps, historical maps and closure maps[1]. ...
 

2014

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Heara art events:’Here it is not Switzerland’

Or some thoughts about the Heara’s art events in Jerusalem The Heara (comments) multidisciplinary art events orchestrated by Lea Mauas and Diego Rotman of the Sala-Manca art group  that took ...
 
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DADA-Jerusalem

DADA-Jerusalem (6’11) Background: The de-construction and re-construction of  ‘Closure Maps’ of Jerusalem in the ‘Wounded Maps‘ were first created in 2009. In 2011, I sewed one in the Old City of Jerusalem and ...
 
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The Mount of Olives

Bandaged feet, Mount of Olives’ Jewish Cemetery, Jerusalem   In May, Max Jacot asked photographers from the Collective UPJ to take part in a project stretching over several continents. Two ...
 
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Compassion/Chemla

Compassion/Chemla is yet another work from the Wounded Land Project series using dressing as a symbol of healing the wound inscribed in the geography of the landscape, the city and ...
 
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Blazing Shield (2005)

  Ways of seeing being definitely a subjective matter, pictures usually represent a more or less ‘concealed’ reality. Sometime reality isn’t what we actually see, as it depends on what ...
 

2013

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Sewing Jerusalem Maps

Sewing the Wounded Land Maps (2009-2013)  made of fragments of  ‘West Bank Closures – Jerusalem’ Maps started in 2009  The maps show the Green Line, Israeli settlements and Palestinian villages, checkpoints ...
 

2012

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Dressed Land

In this installation at The Women Artists Series Galleries, Douglass Library, Rutgers University – New Brunswick (NJ), a white dress covered with gauzes and fragments from closure maps hangs  surrounded by 7 Wounded Maps. Below the disembodied dress, ...
 
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The Green Thread

  The video ‘Green Thread’ (2012) is related to a performance I did in November 2011  in the Old City of Jerusalem. Dressed in white, with a skirt made from ...
 
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Border Land, alternative way of mapping Jerusalem 2011-12

A 30 min documentary by Michal Sachnai Cartographic maps are to Ariane Littman the raw material, the content, and the inspiration of her artwork. The field, which she encounters as a freelance ...
 

2011

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The Olive Story 1998

Olive trees are deep-rooted in the surrounding landscape and olives are a genuine element in the culinary habits of this area. The olive branch is an abstract symbol of peace ...
 
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The Olive Tree

On July 14th 2011, I bandaged a dead olive tree at the Hizma checkpoint located at the North-Eastern entrance of Jerusalem. This performance being part of a body of works ...
 
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Letters to God (2005)

The series of photography entitled ‘Letters to God’ was first photographed in 2005 when I went with several other photographers and journalists to a dead letter postal office in one ...
 

2010

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Sea of Death

Sea of Death (Yām ha-Māvet) was performed at the Dead Sea in collaboration with Irit Amar in 2010. It is inspired like previous works from the past decade by the pathology ...
 
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Shredded Land

This series is made from ‘Closure Maps of Jerusalem and the West Bank’, maps used since 2004 and which came to symbolize the complex reality of Jerusalem’s disputed boundaries. Facing the ...
 

2009

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Wounded Land Maps (2009-2013)

The ‘Wounded Land Maps’ are made of fragments of  ‘West Bank Closures – Jerusalem’ Maps, dated July 2004. The maps show the Green Line, Israeli settlements and Palestinian villages, checkpoints ...
 
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Pope Benedict XVI in the Holy Land (2009)

In May 12th 2009, I photographed the Mass of Pope Benedict XVI in the Kidron Valley. As I was walking towards the Valley, I decided to remain on the hill ...
 
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Lost Spaces (2009)

“The city, however, does not tell its past, but contains it like the lines of a hand, written in the corners of the streets, the gratings of the windows, the ...
 

2008

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Smoking Utopia #2

  Smoking Utopia #2 is a collaborative project undertaken together with my colleague Reuven Zahavi. It is part of an ongoing project started in 2006 called Night and Smoke,  a project triggered ...
 
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Wounded Landscape

In this installation at the Jerusalem workshop, I  hang  three ‘Closure Maps’ (2004) on a green woollen thread. Originally these maps were ‘operated’ during eleven hours in a joint performance ...
 
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Dead End

Collaborative project by Ariane Littman & Reuven Zahavi Photographs by Ariane Littman, video editing by Reuven Zahavi The video Dead End (2006-2008) is a collaborative work with artist Reuven Zahavi. Zahavi ...
 
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Washing

Collaborative project by Ariane Littman and Reuven Zahavi video animation: 1’46 min 3D  animation, sound and interactive design by Reuven Zahavi Similarly to some of the works in Donald Duck’s Dream (2005), ...
 
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Summer Rain

Collaborative project by Ariane Littman and Reuven Zahavi Photographs by Ariane Littman, video editing by Reuven Zahavi The video Summer Rain (2008) is part of a multi-media project around the theme of ...
 

2007

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Smoking Utopia

  The photographic journeys which I undertook on the Gaza border during ‘Operation Summer Rain’ in Summer 2006, led to the creation with my colleague Reuven Zahavi to a series ...
 
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The Olive Pickers

In 2002 I created five small red lightened ‘Camera Obscura’ with the lids from the olive barrels of the kibbutz Beit Hashita. The viewer peeping through a hole in the ...
 
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The Photographers (2004-2007)

In March 2002, following a terrorist attack on the popular Café Moment which took the lives of 11 civilians and injured many more, I left my studio armed with a ...
 
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Just Smoke

A collaborative project with Reuven Zahavi Video:  3’54 min (sound, animation and video by Reuven Zahavi) This animation work was first exhibited as part of the site specific video installation ...
 
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Kissufim Labyrinth

  Ariane Littman and Reuven Zahavi. 3D animation, sound and video editing: Reuven  Zahavi The “Kissufim Maze” shows circular motion, repeating itself, and creates a feeling of stress. Reuven  Zahavi’s ...
 
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The House on the Borderline

  On Mai 16th a huge march through the Old City was to end the week long festivities around ‘Jerusalem 40 years of Reunification’ but an unusual thunderstorm hit the golden ...
 
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Burial (2007)

  Burial (2007) is a series of pictures showing ruins being ‘reburied’ under cement poured by trucks working on the infrastructure of the Jerusalem Light Rail which started in 2002. The ruins, uncovered ...
 

2006

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Missing

For the show “Captured Moments” curated by Lee Rimon, in support of the 3 Israeli abducted soldiers, I presented a work showing three white shirts flying in the wind, like white flags, ...
 
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Still Life

In 2004 and in 2006, I used blackened olive pits for more visceral installation works. Both Behind the Wall (2004) and Still Life (2006) were probably the outcome to my ...
 
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Wounded Forests (2006)

Between 2003-2007, closely monitoring the Israeli-Palestinian conflict as a photojournalist, I would often wonder, as wars break out and as walls are erected, if it was still possible for us, ...
 
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Moonlight in Gaza (2006)

  The nocturnal scenes entitled “Moonlight in Gaza” were shot during the military operations, labeled ‘Operation Summer Rain,’ activities that took place for several weeks on the Gaza border after the ...
 
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Convergence

  Convergence is a collaboration with my colleague Hannan Abu Hussein. Invited by the Bereaved Families Forum  for Peace, we were given each a ceramic bowl. Having worked together on several ...
 
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Donald Duck’s Dream

Donald Duck’s Dream (2005-2006) is the outcome of a joint dialog with my colleague Reuven Zahavi on the manipulative regime of images and an attempt to infuse artistic autonomy unto ...
 
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Erasure / Mehika

Performance: Ariane Littman, Hannan Abu Hussein, Maya Yogel Photo: Oded Antman   Performed at the Science Museum in Jerusalem this work relates to the erasure of territory and memory. A ...
 

2005

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In-Between (2005)

A photographic series from the Disengagement from the Gaza Strip, August-September 2005 My first visit to the Gaza Strip took place in October 2004 together with Rina Castelnuevo, photographer for ...
 

2004

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Surgical Operation

Surgical Operation on Jerusalem’s Closure Maps Ariane Littman & Irit Amar   Background to the Performance: Surgical Operation was exhibited at Heara 8, Comments on Hospitals & Schools, a contemporary ...
 
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Behind the Wall

Probably the outcome to my photographic incursions into the Border Land, Behind the Wall is a personal metaphor for a landscape which has forever lost its innocence and leaves no ...
 

2003

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The Mobile Wall

Installation by Ariane Littman and Hannan Abu Hussein   In September 2003 I went with Hannan Abu Hussein, a friend and colleague to Abu Dis an Eastern suburb of Jerusalem ...
 
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Camera Obscura

In 2003 I created five ‘camera obscura’ using  lids of black plastic olive barrels. At the time I was photographing the beginning of the construction around Jerusalem of the security ...
 
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The Jerusalem Scrolls

In my  Jerusalem Scrolls  (2003-2007) I try to witness and capture the short stories behind the checkpoints and the “Separation Wall resulting from the physical, geographical and political changes that took ...
 
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Red Lines

While working on the show at the Teddy Stadium, I created an in situ-installation in between three pillars, using thin red threads which generated a visual and conceptual link between ...
 

2002

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The Holy Land Project (1994-2002)

The Holy Land Project (1994-2002) In this project, I have been questioning the conflicting use of the words ‘Holy Land’ as a marketing strategy and its transformation into commodity products. ...
 
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Hidden Correspondence, The Gaze

Having previously created artworks with beehives, honey, milk powder, earth, water and air, I decided in 1998 to use large amount of olives. It was a buried memory, a memory linked ...
 
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The Blue Box (1997-2002)

Introduced by Yona Kremenetzky, the Jewish National Fund’s first chairman in the first decade (1901-1910), the ‘Blue Box’ was used to rally Jewish masses throughout the world around the goal ...
 
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Café Moment

On December 9, 2001, I wrote in my diary: “As daily life becomes an effort, art becomes both a luxury and a vital bubble.”  And on March 17 I wrote:” My ...
 
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Drawers

A film by Alaa Francis for the show Scar   Border Land: A Diary (excerpts) 6.11.02 In the cafeteria of the university, surrounded by students speaking hebrew and arabic, I ...
 

2001

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White Land

‘White Land’ 2001, is a diptychs work each composed of 35 censored aerial photographs which forms a quilt-like map of the Holy Land linked through its white missing pieces. In ...
 
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Hidden Maps

Hidden Maps (2000-2001) were created in the midst of  the political instability of the second Intifada in spring 2000 which repeatedly confronted me with the meaning of doing art. Looking for ...
 
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Road Maps

Borderline Mapping – Road Maps (2001-2006)    Triggered by the Second Intifada in 2000, these diptych Maps are the outcome of a growing sense of alienation. As I worked on the ...
 

2000

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Core

Core  is an offspring of Correspondence using photography as a medium. The strong physicality of the barrels, exhibited in Correspondence now gives way to a metaphysic of interiority. Previously, the ...
 

1999

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Pro Vision #5

This work created in 1999 at the same period of Café Bots (Black Coffee) a work directly related to Jerusalem relates to the ‘Holy’ Land and to the ‘Mother’ Land ...
 
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Black Coffee (Café Bots)

Café ‘Bots’ also called ‘Turkish coffee’ means in popular language ‘black coffee’, while the word ‘bots’ in Hebrew means ‘mud’. Usually served in small glasses café ‘Bots’ has a strong and bitter ...
 

1998

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Correspondence, Olive barrels

Having previously created artworks with natural elements such as honey, earth, water, air, beehives and milk powder, I decided to use large amount of olives in 1998 for a project ...
 
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Gowns

In the show Correspondence , I divided the space in two different areas separated by a high and narrow opening. In the larger space, I displayed 50 black industrial plastic ...
 
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Necklace

In the show Correspondence , I divided the space in two different areas separated by a high and narrow opening. In the larger space, I displayed 50 black industrial plastic barrels filled ...
 
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Homage to Joseph Beuys

In the project entitled “Holy Land” (1994-2002) I questioned the conflicting use of the words ‘Holy Land’ as a marketing strategy, the myth of the Promised Land, having since long been ...
 
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Jerusalem Puzzle

Invited to exhibit at Tel Aviv Museum’s youth Department in 1998, I thought of creating a game I much enjoyed as a child. I had made two previous works related ...
 
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Holy Water

Water from Eden The idea of shipping water from the Holy Land to Germany was primarily associated in my mind to the relations between holy and profane in modern Israeli ...
 
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Pro-visions # 1

Holy Land for Sale (1996), Holy Water (1998), Holy Air (1996), at The Jewish Museum, New York (1998) dimensions: 236.5 x 103.5 x 20 cm
 

1997

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The Nurturing Vessel, Israel Milk

In order to realise this work, I contacted the kibbutz  ‘Ma’abarot’ the producer of baby powder milk. I was interested in linking the notion of Motherland to that of motherhood. I had ...
 
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Fragments of Time

Fragments of Time  (1997) is a personal memento Mori. It was created in 1997 while working on The Nurturing Vessel. I was in contact then with the kibbutz  ‘Ma’abarot’ which were to ...
 
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The Mobile Forests (1992-2015)

The “Forbidden Forest” 1967-2003 I first went searching for the mysterious “Grandfather Forest” back in 1991, as I worked on my solo show, Nature Morte, which dealt with the dialectic ...
 

1996

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Bubbles

I created this installation in the busy central bus station of Tel Aviv. I painted in black the whole inside walls of the room and I then installed on the ...
 
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The Bridge

When invited by Susan Landau, curator of the Contemporary Art Department at the Israel Museum, to choose a site in Jerusalem for a work “in situ”, I felt from the ...
 
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Holy Air

The notion of the sublime grew out of general reflections on man’s domestication of his environment. Following my reflections on the nature-culture dialectic, I contracted Air Monitor, a private research and development company, ...
 
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Holy Land for Sale

  Having contacted since 1994 big public companies using their logo to create a tension between religious/political and economic interests, I then started to export overseas, within an artistic context, ...
 

1995

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Jaffa Sunshine

Walking around the Jerusalem Theatre, I was struck by its monumental appearance. Suddenly the sheer weight contrasted with heard melodies, and I felt that this huge mass had been erected ...
 

1994

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Welcome to our Liberators

Ariella Azoulai’s project Bograshov the Street – Export Surplus within the framework of Art Focus, the first Israeli Bienniale, provided me with my first opportunity to work within a public ...
 
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None of Your Sting, None of Your Honey

In 1994, for the first time I asked a company, Yarden Honey , from the Upper Galilee to allow me to introduce a new text in their label. Comprising four kibbutzim represented by ...
 
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Transparent Landscapes

Transparent Landscapes (1994) is an installation with small bottles filled with a transparent lemon lime tasting liquid specially created for Meta Sex. The snowy mountain landscapes printed on the transparent label attracted me as I ...
 
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Untitled

  This work had originated as a response to a sexist stocking advertisement which denigrated women as mere object’s of male desire. In my installation the viewer was invited to penetrate in ...
 
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The U-V Sterilizers

I had first seen this small object with a blue light at my hairdresser. We were told that because of AIDS it was necessary now to disinfect scissors and blades. A new reality ...
 
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Virgin of Israel and Her Daughters

  In ancient time the bee represented the more positive side of the feminine archetype, the very embodiment of the feminine potency of nature, symbolizing the motherliness of earth with ...
 
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Mother and Daughter

The desire to create a puzzle out of a tiny picture came intuitively as I found an old photograph in a forgotten drawer. This picture made something move deep down ...
 

1993

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Invitation to a Voyage

  Exhibited first at the Bograshov Gallery (Third Person) and later at the Tel Aviv museum (The Range of Realism), Invitation to a Voyage became a key work in my Holy Land ...
 
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The Holy Land Bottles (1993-1996)

I took notice of the Holy Land Bottles, tiny bottles with a red top, sold in the vicinity of holy places in 1992. That same year I used them in Invitation ...
 
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Jeu de Dames

In 1993, I used the holy land bottles for an art piece entitled ‘Jeu de Dames’, a work created in homage to Marcel Duchamp’s Box in a Valise. The name ‘Jeu ...
 

1992

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Mickey’s Keffiyeh (1992)

In the group show, ‘Who is Signed on the Duck,’ exhibited at the Bograshov Gallery in 1992 which related to quotations and copyright issues, I showed in a single work two very different popular icons, ...
 
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Nature Morte

I first went searching for the mysterious “Grandfather Forest” back in 1991, as I worked on my solo show, Nature Morte, which dealt with the dialectic of nature versus culture. ...
 

1991

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Niches

For this installation I chose the corridor of the art department at the Bezalel Academy. This space had 5 niches, all of them full with junk left by students. The ...