Ariane Littman This site presents visuals, videos and texts of an artistic interdisciplinary praxis within the broader context of solo and group shows, with scanned catalogs, academic reviews and critics. 2024-07-14T19:11:06Z https://ariane-littman.com/feed/atom/ WordPress ContentManager <![CDATA[Flag Series: Missing 2024]]> https://ariane-littman.com/?p=6561 2024-07-14T19:09:16Z 2024-07-14T19:06:37Z ContentManager <![CDATA[Flag Serie: Rupture/קרע]]> https://ariane-littman.com/?p=6547 2024-07-14T19:11:06Z 2024-07-14T18:25:42Z The flag and its missing wounded part, covered with red gauze, are linked by a seam stitched in yellow, the color of solidarity with our hostages and missing persons still ...

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The flag and its missing wounded part, covered with red gauze, are linked by a seam stitched in yellow, the color of solidarity with our hostages and missing persons still held in Gaza.

Like my previous works, the gauze bandages, a constant reminder of healing, weave through my art, connecting individual experiences to the broader tapestry of national pain.

 

הדגל והחלק החסר והפצוע, המכוסה בחבישות גאזה אדומה, מחוברים על ידי תפר צהוב, צבע של הזדהות עם החטופים והנעדרים שלנו שעדיין מוחזקים בעזה

חבישות גאזה – תזכורת מתמדת לפצע ולריפוי – חוזרות ומופיעות ביצירותיי ומחברות חוויות אישיות למארג הרחב של כאב לאומי

דגל, חבישות גאזה, בד, גבס, דיו אדום סנגיוון, חוט רקמה צהוב

The post Flag Serie: Rupture/קרע first appeared on Ariane Littman.]]> ContentManager <![CDATA[Flag Series: Red Flag 2023-2024]]> https://ariane-littman.com/?p=6393 2024-07-14T18:36:35Z 2024-01-06T18:23:12Z

In mid-July I soaked a flag in the Sennelier sanguine ink #270, a color I had been using since 2020. A few days later I wrapped it around my shoulders ...

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In mid-July I soaked a flag in the Sennelier sanguine ink #270, a color I had been using since 2020. A few days later I wrapped it around my shoulders as I joined  the “March of the Thousands” to Jerusalem of the anti-judicial protesters on July 22 2023. This red sanguine flag symbolized the divide and the potential dangers ahead of us. Only in December 2023 I first dressed the red flag with sterile gauzes in the studio and a few later with sanguine gauzes before starting the long process of sewing the scars on the flag.

Dressing the red flag in the studio, photo: Ruslan Paul

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ContentManager <![CDATA[Incantation Bowl קערות השבע 2023]]> https://ariane-littman.com/?p=6381 2024-03-26T09:17:25Z 2023-12-06T17:45:04Z A month and a half after October 7th I went back to my studio in Jerusalem, yet the only thing I managed do beside listening to the breaking news on ...

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A month and a half after October 7th I went back to my studio in Jerusalem, yet the only thing I managed do beside listening to the breaking news on the radio was to write in sanguine red ink the date of 7.10. 23 on an enamel bowl I had acquired for a previous work in February 2023. This number written in spiral on the outside and the inside of the bowls became a kind of personal incantation bowl, a counter curse of that horrific day. I left gauze soaked in sanguine color to drip a whole night inside one of bowl.

I inscribed the same date on the inside and outside of a second smaller bowl that I placed on the bandages inside the refugee-suitcase I had brought back from Berlin after the show at the Lützowplatz Haus. This smaller incantation bowl in the refugee suitcase related to the plight of the displaced population from the South and the North as a result of the war following the attack by Hamas against Israel on the 7th of October 2023. It was only later on that I saw ancient Babylonian devil-trap bowls at the Bible Lands Museum in Jerusalem and better grasped my intuitive work following October 7th.

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ContentManager <![CDATA[Flag Series: Scarred Flag 2023/דגל מצולק]]> https://ariane-littman.com/?p=6315 2024-07-14T18:36:59Z 2023-12-04T11:24:19Z Scarred Flag Fabric, gauze bandages, plaster, ink and threads | 2023 I started working on “Scarred Flag” during the judicial reform protests in 2023, when hundreds of thousands took to ...

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Scarred Flag

Fabric, gauze bandages, plaster, ink and threads | 2023

I started working on “Scarred Flag” during the judicial reform protests in 2023, when hundreds of thousands took to the streets, reclaiming national symbols like the flag for the anti-government movement. The bandaged and stitched flag embodies the division of Israeli society, and the red thread echoes the attire of the “Handmaids” protests of Bonot Alternativa, which further emphasizes the fight for social justice and women rights. Completed after October 7th, “Scarred Flag” bears the wounds of 2023 and as such is part of my project Wounded Land. A project that began following the Gaza war of 2009 and following my daughter’s accident. Gauze bandages, a constant reminder of healing, weave through my art, connecting individual experiences to the broader tapestry of national pain.

דגל מצולק

בד, חבישות גאזה, גבס, דיו וחוטים | 2023

התחלתי לעבוד על היצירה דגל מצולק בעת המחאה נגד הרפורמה המשפטית בשנת 2023, כאשר מאות אלפי ישראלים יצאו לרחובות וניכסו את דגל המדינה לתנועה המתנגדת למדיניות הממשלה. הדגל החבוש והתפור מסמל את הקרע בחברה הישראלית, וחוט התפירה האדום מהדהד את לבושן של המשתתפות בצעדת המחאה של “השפחות” של ארגון “בונות אלטרנטיבה”, ומדגיש את המאבק לצדק חברתי ולזכויות נשים. היצירה הושלמה אחרי ה-7 באוקטובר. היא נושאת את צלקות השנה הזאת, ומצטרפת בכך לפרויקט רחב יותר הקרוי “ארץ פצועה”. הפרויקט התחיל בשנת 2009 בעקבות המלחמה בעזה ואחרי תאונה שעברה בִּתי. תחבושות מבד גאזה – תזכורת מתמדת לפצע ולריפוי – חוזרות ומופיעות ביצירותיי ומחברות חוויות אישיות למארג הרחב של כאב לאומי.

 

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ContentManager <![CDATA[The House on Lützowplatz 2023]]> https://ariane-littman.com/?p=6337 2024-02-24T10:12:03Z 2023-08-22T17:32:33Z Dressing the wound in Berlin: The House on Lützowplatz, a site-specific installation (2023) was shown in 2 shows, one curated by Liav Mizrahi “Who by Fire, on Israel” and “Architecture ...

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Dressing the wound in Berlin: The House on Lützowplatz, a site-specific installation (2023) was shown in 2 shows, one curated by Liav Mizrahi “Who by Fire, on Israel” and “Architecture & Morality, HaL under construction,” curated by Asja Wolf.

I left for Berlin with a suitcase full of bandages.
I knew that the exhibition ‘Who By Fire’ was taking place in the very house that had once belonged to a Jewish family, The Fürstenberg, forced to flee Nazi Germany and sell their house for very little in 1938 to the Association of Berlin Artists. Eventually following a court case its ownership was transferred back to the heirs in 1959 and sold in 1961 to the Berlin Fördererkreis cultural center.
Although I was exhibiting two videos from my Wounded Land series: The Olive Tree (2011) and After the Watchman (2018), it was important for me to create a work in memory of the Fürstenberg, especially since the gallery is on the same floor where lived the family before the war.
In the installation there is a bandaged map of Berlin with one red dot marking the location of the Fürstenberg’s family house, a black and white image of the house dated 1908 that I found in the archives of the site and on the floor, an old east-Berlin suitcase full of gauze and a vintage enamel bowl with sanguine red ink.
At the end of the show I donated the Dressed map of Berlin to the association of the House on Lützowplatz. Six month later curator Asja Wolf recreated my installation “The House on Lützowplatz” for her show “Architecture & Morality, HaL under construction,” a show on the occasion of the 60th anniversary of the Haus am Lützowplatz association that showcase a historical research and plans of the new building that will serve as housing for artists and provide new exhibition spaces.
Asja Wolf writes: “The title of the exhibition recalls this discourse on the manifestations of architecture and the moral dimension inscribed in it. Based on a work by the Israeli artist Ariane Littman exploring the incomprehensible past of Haus am Lützowplatz, “Architecture & Morality” traces the history of the building at Lützowplatz 9, which was constructed in 1873 in the style of a neoclassical city villa and only became an exhibition venue in 1940 through the injustices perpetrated by the Nazis.”
Press on “Who by Fire – On Israel”

Stefan Trinks

Frankfurter Allgemeine Zeitung (14.6.2023)

Boris Pofalla
Welt am Sonntag (8.6.2023)

Birgit Rieger
Der Tagesspiegel (22.7.2023)

Claudia von Duehren
B.Z. (24.7.2023)

Mirna Funk
monopol-magazin.de (12.6.2023)

Larissa Kunert:
Neues Deutschland (13.6.2023)

Utta Raifer
Berliner Morgenpost (8.6.2023)

Harry Nutt
Berliner Zeitung (14.6.2023)

Sophie Jung
taz (16.6.2023)

Lilly Wolter
Jüdische Allgemeine (19.6.2023)

Felix Müller
Berliner Morgenpost (16.7.2023) pdf

Barbara Wiegand
RBB24 Inforadio (8.6.2023)
RBB Kultur (8.6.2023)

Carsten Probst
Deutschlandfunk Kultur (8.6.2023)

RBB Kultur Das Magazin (10.6.2023)

https://www.calcalist.co.il/style/article/hyhd6s28h

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ContentManager <![CDATA[Mother Land]]> https://ariane-littman.com/?p=6275 2023-02-27T12:41:52Z 2023-02-27T12:38:24Z ContentManager <![CDATA[Hemostats 2023]]> https://ariane-littman.com/?p=6271 2023-02-27T12:31:48Z 2023-02-27T12:31:48Z ContentManager <![CDATA[Red Landscapes]]> https://ariane-littman.com/?p=6265 2023-02-27T13:10:55Z 2023-02-27T12:29:01Z ContentManager <![CDATA[Muse dressed in Gauze]]> https://ariane-littman.com/?p=6262 2023-05-01T19:30:06Z 2023-02-27T12:24:40Z