Roee Rosen

Roee Rosen (b. 1963) is an artist, writer, and filmmaker as well as a critical voice in his native Israel. He is a professor at HaMidrasha College of Art, Kfar-Saba, and the Bezalel Art Academy of Arts and Design, Jerusalem.

  • Roee Rosen

    Roee Rosen

    Desire and Dust

    Anne Mikél Jensen and Roee Rosen

    The artistic universe of Israeli artist and filmmaker Roee Rosen.

    “We're all like carpets, craving suction action—or dirty, dirty is the cleaning market!”—Maxim Komar-Myshkin

    Can fiction be more real than reality? Can hybrids teach us about politics? How do we remember the past, and is satire a tool for both subalterns and power players? In this book, the animation of commodity objects magically connects erotic frolics and political horrors, from a DC07 vacuum cleaner to a detention center for refugees; from little irons, socks, and sweaters to the particulars of post-Soviet power and Vladimir Putin. Roee Rosen: Desire and Dust collects poems, eighteenth-century jokes, a sci-fi text based on files from Mars, a retro-garde manifesto and, in Roee Rosen's Vengeful Animism, biographies of both objects and subjects.

    Rosen has created an artistic universe that undermines normative hegemonies, using fiction and satire as he merges Israeli and global politics with myths and historical references. This book, with images of artworks, stills, and sketches, examines works from The Mosquito-Mouse and Other Hybrids and the process behind them. It includes the newly commissioned text “The Dust Files,” written by Paul B. Preciado, and the classic “The Biography of the Object” by Sergei Tretíakov as well as texts by Roee Rosen and his fictive identities, Maxim Komar-Myshkin and the Buried Alive Group.


    The Buried Alive Group, Maxim Komar-Myshkin, Paul B. Preciado, Roee Rosen, Sergei Tretíakov

    • Paperback $23.95
  • The Blind Merchant

    The Blind Merchant

    Roee Rosen

    An artist book juxtaposing text and image, history and its revision, The Blind Merchant was produced from 1989 to 1991. The work is composed of three elements: the complete text of Shakespeare's The Merchant of Venice; a “parasitical” text written by Roee Rosen that runs alongside the play, adopting the perspective of the principal antagonist Shylock, the Jewish moneylender; and 145 drawings that present an alternative approach to the drama's staging and casting of characters—Shylock is depicted as the blind merchant with drawings made by the artist while blindfolded.

    The book is also telling of its time, produced at the moment when the idea of originality was up for question, the subaltern was asked to speak, and just before Silicon Valley took over our imaginations. A compelling superimposition of Shakespeare, The Blind Merchant shows that classic stories are still open for new angles of approach that reflect the times of its reading.

    • Paperback $34.00
  • Maxim Komar-Myshkin

    Maxim Komar-Myshkin

    Vladimir's Night

    Roee Rosen

    So clean is Vladimir! We all want to get near!What kind of frolics are in progress?Is it a pajama party or, perhaps, a special congress?And will there be room for all in the little leader's bed?

    Vladimir's Night is the chimerical final work by Maxim Komar-Myshkin, one of the most elusive and tragic figures in Israeli-Russian art. Part children's book, part gory political assault and part erotic farce involving elaborately detailed paintings that draw from the most disparate sources, the work is not only Komar-Myshkin's magnum opus, but an instrument of psycho-aesthetic retaliation against Vladimir Putin, whom the artist believed had a personal vendetta against him. Komar-Myshkin committed suicide in 2011, soon after completing the album. In her annotations, Rosa Chabanova explores the book's many layers, covering such wide-ranging topics as the financial schemes of Russian oligarchs, medieval literature, political assassinations and the massive immigration wave of Russians to Israel. In so doing, Chabanova unravels the haunting story of Komar-Myshkin and arrives at startling conclusions as to what actually transpired during Komar-Myshkin's final years. Maxim Komar-Myshkin was born in Moscow in 1978. He immigrated to Israel in 2004. There, he founded the Buried Alive group, a circle of artists, writers and filmmakers who vowed in their manifesto to operate as cultural zombies.

    Rosa Chabanova is a PhD candidate in comparative literature at the Jaffa University.

    Copublished with Galeria Labirynt

    • Hardcover $32.00
  • Sweet Sweat

    Sweet Sweat

    Justine Frank and Roee Rosen

    Sweet Sweat, the only novel by Belgian artist Justine Frank, is unusual, to say the least—a blend of feminism, pornography, Judaism, and art, written in French in 1931. Its heroine is a Jewish girl named Rachel, born in the South of France, who has an outstanding talent for debauchery and crime. She takes up with the sybaritic Count Urdukas and sets out with him on an odyssey of pleasure and corruption marked by bizarre events in which horror and humor mingle. This comprehensive new edition of Frank's novel includes an essay and an extensive biography by Israeli American writer and artist Roee Rosen and a timeline tracing key moments in Frank's life, providing a definitive analysis of this once-scandalous novel and its historical and cultural contexts.

    [As he hovered] over the skinny body, his nostrils were filled with the aroma of horror-sweat that poured from Rachel. He was swept by the scent. His breathing became a guttural purr and his eyes glazed over. Oh, shrewd liqueur of tropical fruits!Ah, venomous crème de cassis!Hurrah, distilled, tyrannical sweetness, tainted neither by a salty tint nor sour hint!Never had the Count been caught by such a fire as was ignited by this sweetness... a carnivorous perfume, as seismic as epilepsy... A smut potion worthy of the sacred nostrils of the Pope!—Justine Frank, Sweet Sweat, 1931

    Roee Rosen's paintings, films, and writings have become known for their historical and theological consciousness, novelistic imagination, and psychological ambition. His work addresses the representation of history, the political economy of memory, and the politics of identity, often exploring the tension between trauma, horror, humor, and truth. Rosen was born in Rehovot, Israel, in 1963, and received degrees in visual art from the School of Visual Arts and Hunter College, both in New York. He now lives in Israel, where he teaches art and art history at Bezalel Academy of Art and at Beit Berl College. In 1997 Rosen's controversial exhibition “Live and Die as Eva Braun” at The Israel Museum, Jerusalem, was aggressively attacked by Israeli politicians. It won critical praise, however, for its new approach to the representation of the memory of the Holocaust. Rosen's projects include the exhibition “Justine Frank (1900–1943): A Retrospective” (2009) and the films Two Women and a Man (2005) and The Confessions of Roee Rosen (2008). He has authored the books A Different Face (Shva, 2000), Lucy (Shadurian, 2000), Sweet Sweat (Babel, 2001), and Ziona™ (Keter, 2007).

    Copublished with Extra City

    • Paperback $26.00


  • Roee Rosen

    Roee Rosen

    Live and Die as Eva Braun and Other Intimate Stories

    Edit Molnár and Marcel Schwierin

    Live and Die as Eva Braun and Other Intimate Stories is a bilingual edition of short writings by Roee Rosen. At the heart of this collection are three provocative texts extracted from important artworks by Rosen, offered here as genre-defying literature at the intersection between reality and fiction, speculative narrative and historical-political critique, humor and eroticism.

    Live and Die as Eva Braun (1995–97) leads the viewer through a virtual-reality scenario in the role of Hitler's lover. The project stirred a public and political controversy when first shown in Israel. It was later recognized by many as a watershed work concerning the representation of trauma, Nazism, and the Holocaust. When the work was presented in New York, Linda Nochlin wrote, “The experience of Live and Die, both textual and visual, is unforgettable, like nothing else.” The film The Confessions of Roee Rosen (2008) offers yet another uncomfortable doubling of identity, in which three illegal female migrant workers serve as surrogates for the character “Roee Rosen.” As a text, these highly condensed monologues reveal themselves to be disorienting subversions of the tradition of literary confession. Finally, the script of Hilarious (2010) offers a torturously bad attempt at dysfunctional comedy, set in the Twin Towers as they collapse.

    These three texts are complemented by three of Rosen's short political-aesthetic essays, chosen to reflect the theoretical underpinnings of his approach. The volume concludes with a conversation between the artist and the historian Moshe Zuckermann, an insightful critic of the political instrumentalization of the Holocaust. Live and Die as Eva Braun and Other Intimate Stories is published on the occasion of Rosen's first survey exhibition in Germany, at the Edith-Russ-Haus for Media Art, Oldenburg, and was edited by its curators, Edit Molnár and Marcel Schwierin.

    Copublished with Edith-Russ-Haus für Medienkunst

    • Paperback $29.95