• Index of Works •
2022
Ein Raziel/ Performance in the Landscape July 2022
Performance: Vered Sivan and Ariane Littman “Ein Raziel” is a joint healing work and purification rite in a wounded landscape taking place at sunrise in the forest of Ramat Raziel ...
Mapping the Wound: Performances in the Landscape 2010-2022
Mapping the Wound: Performances in the Landscape 2010–2022 During the Second Intifada, as violence became a daily reality, I created maps of Jerusalem in my studio in an effort to ...
Jerusalem – Lines of Contentions 2022
Jerusalem – Lines of Contentions Map of Jerusalem, gauze bandages, fabric, plaster, ink and thread, 154 x 110 cm, photo Michael Amar In this specific map of Jerusalem, I was ...
Masada-The Map 2022
2021
In what apparel may a woman go out 2021/במה אשה יוצאה
“In what (ornamental) apparel may a woman go out” (Mishnah Shabbat 6a) A collaboration of five women artists from different art disciplines propose, within the framework The Jerusalem Biennale, a ...
Eretz Havusha/ The Performance 2021
‘Havusha’ (Bandaged) is the fruit of a collaborative dialog over several months together with two of the women that participated in the performance at Masada (2018). ‘Havusha’ amongst other things ...
Wounded Land /Art Cube
Curator: Galia Bar Or Ariane Littman’s solo exhibition at the gallery presents new works that are remarkably relevant to the series of crises we are currently experiencing, one after another. ...
The Muse 2021 (film extract)
The Muse from the Wounded Land Series 7:27′ For over a decade I have used sterile gauzes in The Wounded Land’s performances, healing national, historical and personal wounds. Wounds inscribed ...
Wounded Land 2020-2021
This large map of the country is composed of 3 maps. The first map is based on The Freytag and Berndt’s Holy Land «Road Map of Israel-Palestine 1:150 000» published ...2020
The Muse, portrait of the Artist and Her Muse 2020
The Artist and Her Muse, a portrait After a decade of having used sterile gauzes in performances to heal national, historical as well as personal wounds inscribed in the memory ...
The Muse, performance 2020
For over a decade I have used sterile gauzes in my performances to heal national, historical as well as personal wounds. Wounds inscribed in the memory of the landscape, the ...
Dear Little Arianette 2020
Plagued by news of the pandemic, the artist, rolling up bandages whilst in lockdown, escapes into the colorful world of postcards. This lost world revived through beautiful exotic travels, painfully ...
Confined Memories 2020
Exhibited during an online group show, Heara13, curated by Salamanca on April 4th 2020, Confined Memories performed at home is a virtual Proustian travel in times of confinement. The tent ...
The Lonka Project 2019
The Lonka Project created by Rina Castelnuevo and Jim Hollander is a photographic tribute to the last Holocaust survivors with us today. Throughout 2019 some 250 of the world’s leading ...2019
Embryo 2019
Embryo (2019) is part of the Wounded Land Series of works originating during the Second Intifada when Closure maps of Jerusalem were cut and then dressed in gauze. Usually a ...2018
Masada – HerStory 2018
Masada – HerStory, was filmed in Masada, a UNESCO World Heritage Site in the Judean Desert of Israel. It was inspired by the story recounted by the historian Josephus Flavius, ...
After The Watchman 2018
After The Watchman From The Wounded Land Series This work relates to Alexander Zaïd as the symbol of The Valley (Ha’Emek) and its Zionist Ethos. After the Watchman is part ...2017
Twins Embryos 2017-2018
Twin Embryos (2017-18) is part of the Wounded Land Series of works originating during the Second Intifada when Closure maps of Jerusalem were cut and then dressed in gauze. Usually ...
Grafted Land 2016-2017
Grafted Map (2016-17) is part of the Wounded Land Series of works that originated during the Second Intifada when Closure maps of Jerusalem, produced by OCHA, were cut, shredded and ...
The MapLand Project (since 2001)
Working with a variety of maps, such as road, aerial, historical and closure maps, has shaped my artistic creativity for almost 2 decades. I’ve used British mandate maps, Israeli maps, UN maps and more recently Palestinian ...2015
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 ...
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 ...
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 ...
Grafted Land/ Installation 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
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 ...
DADA-Jerusalem 2014
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 ...
The Mount of Olives 2014
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 ...
Compassion 2014
Compassion (חמלה) 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 ...
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
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
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, ...
The Green Thread 2012
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 ...
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
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 ...
The Olive Tree 2011
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 ...
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
Sea of Death 2010
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 ...
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
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 ...
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 ...
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
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 ...
Wounded Landscape
In this installation at the Jerusalem Artists’ Studios, I hang three ‘Closure Maps’ (2004) on a green woolen thread. Originally these maps were ‘operated’ during eleven hours in a joint ...
Dead End 2008
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 ...
Washing 2008
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), ...
Summer Rain 2008
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
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 ...
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 ...
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 ...
Just Smoke 2007
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 ...
Kissufim Labyrinth 2007
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 ...
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 ...
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
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, ...
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 ...
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, ...
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 ...
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 ...
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 ...
Erasure / Mehika 2006
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
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
Surgical Operation/ Performance 2004
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 ...
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
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 ...
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 ...
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 ...
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
The Holy Land Project (1994-2002)
The Holy Land Project sought to enhance the ambiguity of the term “Holy Land” in relation to ordinary commodity products. Following negotiations with branded public and private firms while using ...
Hidden Correspondence, The Gaze 2002
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 ...
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 ...
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 ...
Drawers 2002
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
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 ...
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 ...
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
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
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 ...
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
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 ...
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 ...
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 ...
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 ...
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 ...
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 ...
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 cm1997
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 ...
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 ...
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
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 ...
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 ...
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, ...
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
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 ...
Marks 1995
These ready-made of beehives were first showed at the Artists’ House in Jerusalem in the show: Virgin of Israel and Her Daughters curated by Nella Cassouto in 1995. A number ...1994
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 ...
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 ...
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 ...
Untitled 1994
This work, Untitled 1994, originated as a response to a sexist Israeli advertisement selling stockings from the Italian company ‘Golden Lady’ in which the woman advertising them was a mere ...
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 ...
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 ...
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
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 ...
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 ...
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
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, ...
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
