Curator: Jill Snyder
In the show Correspondence at the Cleveland Center for Contemporary Art, I divided the space in two different areas separated by a high and narrow opening. In the larger space, I displayed 50 black plastic barrels filled with olive pits lightened in red and visible through a round opening cut into the lids of the barrels. In the second smaller and more domestic space, I hang green nets usually sold in camping supply stores where one can buy equipment for the army, probably because of their green colour. They hang as large gowns of an archetype Mother (the mother land) and inside the gown in place of the breasts and pubic area, clumps of olives pits, a symbol of fertility. On the opposite wall, a long necklace of 100 plastic spoons with olive pits and olive oil. In a small alcove, I stored in a somehow obsessive way, jars of ‘Middle Eastern’ red salsa also a product from the kibbutz. One question bothered me: could women escape their destiny in this part of the world or would the Mother Land be feeding Her children forever with bloody salsa?
On their way out, visitors were invited to taste olives from the Holy Land.
“Between Beauty and Destiny: Three Generations of Israeli Art, Cleveland Center for Contemporary Art”
by Jill Snyder
Since graduating from the Bezalel Academy of Art and Design in Jerusalem in 1991, Ariane Littman-Cohen has explored collective cultural memory through installations that examine cultural myths. Her works addresses common post-modern concerns of representation and history and joins a current generation of Israeli artists who are exploring issues of identity, cultural authority and the ritual of a land trying to maintain its holiness against the ever present forces of modernism and globalization.
More in the attached publications….