Roee Rosen

2019-2020, "Roee Rosen, The Mosquito-Mouse and Other Hybrids," Kunsthal Charlottenborg, Copenhagen (curator: Anne Mikél Jensen).

2019, Roee Rosen, "Exorcisms, Project Arts Centre," Dublin (curator: Livia Paldi).

2018, "Roee Rosen – Histoires dans le pénombre" (Stories in the Dark), an expansive exhibition at Centre Pompidou, Paris, was curated by Catherine David and Hila Peleg. The exhibition featured Rosen's early artist book, "The Blind Merchant" (1989-1991), a complex retelling of "The Merchant of Venice," another artist book, "Vladimir's Night" (2011-2014) by his fictive artist Maxim Komar-Myshkin (as well as videos by the fictive collective "The Buried Alive Group), and Rosen's film "The Dust Channel" (2016). The exhibition also included "Roee Rosen: Douce Sueur," a retrospective screening program of Rosen's film in collaboration with Jeu de paume. Roee Rosen – A Group Exhibition" in the Tel Aviv Museum of Art in 2016 featured Rosen's different personae as well as his films and books. Also in 2016 Rosen held a survey exhibition entitled "Live and Die as Eva Braun and Other Intimate Stories", at the Edith Russ Haus in Oldenburg, Germany. Rosen's installation "Live and Die as Eva Braun" was first exhibited at the Israel Museum in Jerusalem (1997), where it caused controversy, concerning the representation of the holocaust. In 2012 he had a one-person exhibition entitled "Vile, Evil Veil" in INIVA Institute of International Visual Arts in London. Rosen's first retrospective was held at Ujazdowski Castle Center for Contemporary Art in Warsaw, under the title "The Dynamic Dead Roee Rosen" (2011).

Several retrospective screenings programs were dedicated to Roee Rosen's cinematic production, amongst them at the FICUNAM International Film Festival, Mexico City (2018), MUMOK, Vienna (2014), La Roche Sur Yon International Film Festival (2013), and the Oberhausen International Short Film Festival (2012).

Documenta 14, 2017 in Athens and Kassel. Vos désirs sont les nôtres, Le Friche, Marseille (2018). AV Festival in Newcastle upon Tyne, 2016 "Gender in art" in Museum of Contemporary Art in Kraków, Monday Begins on Saturday, The First Edition of the Bergen Assembly, Bergen, Norway. Taipei Biennial, Taiwan, 2012, "Animism" at Haus der Kulturen der Welt in Berlin, "Host & Guest," the Tel Aviv Museum of Art, "Cargo-Cult" in Bat Yam Museum of Art. Manifesta 7, 2007, Trento, Italy,

The Dust Channel, 2016, 23 minutes. Structured as an operetta, the film juxtaposes a libretto in Russian that tells the story of a DC07 vacuum cleaner and its maker, James Dyson, with a portrayal of an affluent household where all seem to be erotically obsessed with home appliances and dirt. This narrative gradually leads into a more documentary layer dealing with "Holot," a detention facility where refuge-seekers were held in Israel. The film was co-produced and exhibited by Documenta 14.

The Buried Alive Videos, 2013, 36 minutes. The film is, supposedly, a compilation of six shorts produced over a span of a decade by The Buried Alive Collective. The film premiered at the Rome International Film Festival. Among other awards it won the best film award at the Bucharest International Experimental Film Festival.

Tse (Out), 2010, 34 minutes. The central scene is a BDSM session wherein the submissive responds to the pain by emitting sentence, which are all quotes from the right-wing politician Avigdor Lieberman, then Israel's minister of foreign affairs. An erotic exchange is thus set as a political exorcism. The film premiered at the Venice Film Festival, where it won the Orizzonti award for best medium-length film. It went on to receive numerous other awards.

The Confessions of Roee Rosen, 2008, 57 minutes. Rosen's "confessions" are delivered by three surrogates: illegal female labor migrants. They speak in Hebrew without understanding the language by reading a transliteration of the text. The film is also a musical, with the music performed by an ensemble made excludively of women musician. The film premiered at FID Marseille, where it won a special mention.

Two Women and a Man, 2005, 17 minutes. Rosen himself appears as a female scholar to discuss the work of Justine Frank, and to critically assault himself. The film premiered at Oberhausen International Short Film Festival, where it won a special mention.

Rosen's second major fictional artist is Maxim Komar-Myshkin (1978-2011), a pseudonym for Russian emigrant poet and painter Efim Poplavsky, born in 1978 and immigrated to Israel in 2003. Komar-Myshkin established the "Buried Alive" collective, a group of Ex-Soviet artists who disavowed the culture surrounding them, describing themselves as "Russian cultural zombies." The project thus entailed fabricating the work of the collective as well as that of Poplavsky. Komar-Myshkin, according to the story, suffered acute paranoia and believed he is persecuted by Vladimir Putin. In his major work, the album "Vladimir's Night." he takes his revenge on the Russian president. Produced in secrecy and supposedly discovered after the artist's death, it describes still objects assuming life so as to murder Vladimir. The second part of the book offers annotation by yet another fictive character, Rosa Chabanova, a hybrid of fiction, political writings and theory.

Roee Rosen (born 1963) is an Israeli multidisciplinary artist, writer and filmmaker.

Roee Rosen (born 1963 in Rehovot) studied philosophy and comparative literature studies in Tel Aviv University until 1984 and graduated with BFA from School of Visual Arts, New York in 1989. Rosen received MFA from Hunter College in New York in 1991. He is a professor at HaMidrasha – Faculty of the Arts, Beit Berl College in Kfar-Saba and at the Bezalel Academy of Arts and Design in Jerusalem. His work has been described by Hila Peleg for Documenta 14 as creating " ... an artistic universe that treacherously undermines the normative implications of identities and identifications through fictionalization, irony, and revision. In untold variations, he typically links current Israeli and world politics with mythical and political references to European and Jewish history. Using a vast array of fictional characters and iconographic motifs and codes, Rosen frequently refers to, and transforms, not only the canon of the historical avant-garde and transgressive traditions from the Marquis de Sade to Georges Bataille, but also popular media, political propaganda, and classic children's fairy tales."

As part of his art, Rosen invented non existing artists. His first virtual artist was Justine Frank (1900-1943), a Jewish-Belgian surrealist painter who also authored the pornographic novel "Sweet Sweat." In both art and writings Frank combined explicit erotic imagery with Jewish tropes and magical elements, thus assuming a highly polemic and disturbing position. She later worked in Palestine despite appearing to be antagonistic to Zionism and refusing to speak Hebrew. The fabrication of the project entailed a book combining Frank's own novel with her biography and a theoretical essay, a retrospective of Frank's works, and a film, "Two Women and a Man" (2005).