1963 Born in Rehovot, Israel.
1984 Philosophy and Comparative Literature studies, Tel Aviv University.
1989 BFA, School of Visual Arts, New York.
1991 MFA, Hunter College, New York.
Currently heads the post graduate visual arts program at HaMidrasha College of Art, and teaches at the Bezalel Art Academy, Jerusalem.
ONE PERSON EXHIBITIONS
Maxim Komar Myshkin: Vladimir’s Night, Rosenfeld Gallery, Tel Aviv
Roee Rosen, Vile Evil Veil, Iniva Institute of International Visual Arts, London
Roee Rosen Profile, The 58th International Short Film Festival Oberhausen, Germany (catalogue)
I Never Lie, Galeria Labirynt, Lublin, Poland (catalogue)
The Dynamic Dead Roee Rosen, Ujazdowski Castle, Warsaw (catalogue)
Riccardo Crespi Gallery, Milan
The Confessions of Roee Rosen, Center of Contemporary Art, Tel Aviv (catalogue)
Roee Rosen/ Justine Frank, Extra-City, Antwerp
Confessions Coming Soon, Rosenfeld Gallery, Tel Aviv
Ziona and the Twins, Rosenfeld Gallery, Tel Aviv
Justine Frank: A selection, John Hope Franklin Center, Duke University, North Carolina
Justine Frank: A Retrospective, Herzliya Museum of Contemporary Art, Israel (catalogue)
Lavie Suite and Other Paintings, Rosenfeld Gallery, Tel Aviv
Two Books: Lucy and A Different Face, Rosenfeld Gallery, Tel Aviv
Lucy: The Origins, Kibbutz Be’eri Gallery, Israel
Live and Die as Eva Braun, The Israel Museum, Jerusalem (catalogue).
Professionals, The Artists’ Studios, Tel Aviv (catalogue).
Martyr Paintings, The Museum of Israeli Art, Ramat-Gan, Israel (catalogue).
The Blind Merchant, Bugrashov Gallery, Tel Aviv, Israel.
Happy Paintings, Hunter Gallery, New York.
School of Visual Arts Gallery, New York.
Sharet Gallery, Givataim, Israel
Hilarious, 22 minutes
Out, 34 minutes
The Confessions of Roee Rosen, 57 minutes
Gagging During Confession: Names and Arms, 4’38 minutes
Confessions Coming Soon, 8’40 minutes
I Was Called Kuney-Lemel, 4’15 minutes
Two Women and A Man, Joanna Führer-Ha’sfari on Justine Frank 17 minutes.
The Zionist Ventriloquist, A Compilation of Video Hits, 58 minutes.
Dr. Cross, A Dialogue, 15 Minutes.
SELECTED GROUP EXHIBITIONS/ FILM FESTIVALS
“Make an effort to remember. Or, failing that, invent.”*, Bétonsalon Centre d’art et de recherche, Paris
The Book Lovers, The Elizabeth Foundation Project Space, New York City
Creative assemblages – when aesthetics meet the economy or what do they have in Common?, Group exhibition, Siemens Sanat, Istanbul
Possessions, Unge Kunstneres Samfund, Oslo
Le Pont, group exhibition, Le Musée d’Art Contemporain, Marseille
Monday Begins on Saturday, The First Edition of the Bergen Assembly, Bergen, Norway
Host & Guest, The Tel Aviv Museum
Revelation, National Centre for Contemporary Arts, Moscow
This and That: Complexities of Israeli Identity, a video art program, Kunsthaus Aussersihl, Zurich
With a Name Like Yours, You Might Be Any Shape, Tiroler Künstlerschaft - Kunstpavillon, Innsbruck
Yes, Minister, The Spaceship Gallery, Tel Aviv
Taipei Biennial, Taiwan (catalogue)
Rosa Arbeit auf Goldener Straße, group exhibition, Xhibit, Academy of Fine Arts, Vienna
Animism, Haus der Kulturen der Welt, Berlin (catalogue)
Transmediale, Haus der Kulturen der Welt, Berlin (catalogue)
Cargo-Cult, Bat Yam Museum of Art, Israel (catalogue)
Contemporary Cabinets of Wonder - From Amazement to Disenchantment, Herzlyia Museum of Contemporary Art
With a Name Like Yours, You Might Be Any Shape, CAC Gallery, University of California Irvine
ReCoCo, Holon Center for Digital Art, Israel
Iran, The Spaceship Gallery, Tel Aviv
Toward the Surface, Rosenfeld Gallery, Tel Aviv
Map, EX3 Centro per l’Arte Contemporanea, Florence
Milan Film Festival
Israel Film Festival, Berlin
The Grand Plywood, Sommer Contemporary Art, Tel Aviv
Toward the Surface, Rosenfeld Gallery for Contemporary Art, Tel Aviv
Window to Reality, The Open University, Raanana, Israel (catalogue)
Animism, Modernity Through the Looking Glass, Generali Foundation, Vienna (catalogue)
Four Films From Oberhausen, Kai Middendorf Gallery, Frankfurt
ReCoCo, Whitespace, Zurich; Kunsthalle Exnergasse/WUK, Vienna
Map, MAGA Museo Arte Gallarate, Italy (catalogue)
Alias,The Bunkier Sztuki Museum of Contemporary Art, Krakow
Aesthetikos, Haifa Museum of Art.
Professionals, Rosenfeld Gallery, Tel Aviv
Transmediale festival for art and digital culture, Berlin (catalogue)
Tracing Jewish Signs, Kultur Banhof Eller, Dusseldorf (catalogue)
Sweatshop, Contemporary by Golconda, Tel Aviv
Rotterdam Film Festival (catalogue)
Image Forum Festival, Japan
The 57th International Short Film Festival Oberhausen, Germany (catalogue)
Ambulante Film Festival, Mexico (catalogue)
Era New Horizons International Film Festival, Wroclaw, Poland (catalogue)
Indie-Lisboa Film Festival (catalogue)
Académie de France à Rome - Villa Medici
Sarajevo Film Festival
Bucharest International Experimental Film Festival
Janela Internacional de Cinema do Recife, Brazil (catalogue)
Medfilm Festival, Rome
Off and Free Film Festival, Seoul
Festival de Cine de Alcalá de Henares, Madrid
Leeds International Film Festival
International Short Film Festival Winterthur, Switzerland
Stop Making Sense,Oslo Kunstforening, Norway (catalogue)
Trembling Times: Recent Videos form Israel, Tate Modern, London
The Calm Before the Storm, Winzavod Art Center, Moscow
The Narcissism of Minor Difference, Maryland Institute College of Art
A Thousand Endless Tales – Dancing the Line of Flight (Story Telling), Whitespace, Zurich
Case of Recurrence of Child Illnesses, Karlin Studios, The Czech Republic
What Is the Political? Museum of Bat Yam, Israel (catalogue)
Neo-Barbarism, Rothschild 12, Tel Aviv (catalogue)
Overview, Israeli Video, 2000-2010, Haifa Museum of Art
Mobile Archive, Stacion Center for Contemporary Art in Pristhina, Kosovo
Orizzonti competition, The Venice Film Festival (catalogue)
Viennale Film Festival, Vienna (catalogue)
CPH:DOX festival, Copenhagen (catalogue)
Rotterdam Film Festival (catalogue)
The 56th International Short Film Festival Oberhausen, Germany (catalogue)
FIDMarseille Festival, Marseille (catalogue)
Sarajevo Film Festival, Bosnia and Herzegovina (catalogue)
They Told You So, Bitforms gallery, New York City
Tina B., The Prague Contemporary Art Festival, Prague (catalogue)
Fireflies, The Center for Contemporary Art, Tel Aviv
The Invisible Hand, Sommer Contemporary Art, Tel Aviv
The Malady of Writing, MACBA, Barcelona
Israel, Golden Gate Gallery, Tel Aviv
Degenerate Art, Dan Gallery, Tel Aviv
Artists at Work, The Left Bank, Tel Aviv
Sex/Logy, Rosenfeld Gallery, Tel Aviv
Drama of Identities, Beth HaTefutsoth, Tel Aviv
Beneath the Surface, the Morel Derfler Gallery, Musrara, Jerusalem
Ambulante International Film Festival, Mexico (catalogue)
Valdivia International Film Festival, Chile
Pesaro International Film Festival, Italy
Festival of Confusion, Beursschouwburg Art Center, Brussels
Manifesta 7, Trento, Italy (catalogue)
Demons, Bat-Yam Museum of Art, Israel (catalogue)
Eventually We’ll Die, Young Art in Israel of the Nineties, Herzliya Museum of Contemporary Art, Israel (catalogue)
Chosen, The Israeli Centre for Digital Art, Holon; Wyspa Institute of Art, Gdansk, Poland (catalogue)
Internazionale!, The Left Bank, Tel Aviv-Jaffa
The Tyranny of the Transparent, Minshar Gallery, Tel Aviv (catalogue)
Dead End, Rosenfeld Gallery, Tel Aviv
A Gift, Artopia Poria 8, Jaffa
Self Portrait, Cabri Gallery of Israeli Art, Israel
Strata of Memory, The Artists’ House, Tel Aviv (catalogue)
Good Kids, Rosenfeld Gallery, Tel Aviv
FIDMarseille Festival, Marseille (catalogue)
Viennale 2008 main program, Vienna (catalogue)
Doc Buenos Aires (catalogue)
Access II, The Jewish Museum, Frankfurt (catalogue)
The 54th International Short Film Festival Oberhausen, Germany (catalogue)
Copenhagen International Documentary Film Festival(catalogue)
Zinebi International Festival, Bilbao Museum of Fine Arts, Spain
23rd Mar Del Plata International Film Festival, Buenos Aires, Argentina
Mostra Invideo Festival, Milan (catalogue)
BoysCraft, Haifa Museum of Art (catalogue)
Handiwork, Beit Ha’Gefen, Haifa (catalogue)
This Is Not Israeli Art, Tmuna Theater, Tel Aviv
Desert Generation, Forty Years of Occupation, The Artists’ House, Jerusalem
The Rear, The First Biennial of Contemporary Art, Herzliya Museum of Contemporary Art, Israel (catalogue)
Visual Israeliness, The Dorothea de Rothschild Open University Campus, Raanana, Israel (catalogue)
The Last Painting, Tova Osman Gallery, Tel Aviv
Geld & Guilt, Artneuland, Berlin
From Raffi Lavie’s House, Givon Gallery, Tel Aviv
Pornography My Love, The Artists’ House, Tel Aviv
Teachers, Ofakim and Ramalla municipal highschools, Israel
Coerced Choice, Barbur, Jerusalem
The 29th International Women Directors Film Festival, créteil, France (catalogue)
Jerusalem Film Festival
Women Make Waves Film Festival, Taipei, Taiwan
Raft of the Medusa, Israeli Art and the Monster of Self Identity, Krolikarnia, National Museum of Poland, Warsaw; National Museum, Krakow (catalogue)
Apropos Les Demoiselles, Petach-Tikva Museum of Art, Israel
Far and Away, The Fantasy of Japan in Contemporary Israeli Art, The Israel Museum (catalogue)
Tracing Shadows, The Israel Museum
Men, The Museum of Israeli Art, Ramat-Gan, Israel (catalogue)
The Rafi Lavie Collection, The Museum of Art, Ein Harod, Israel
The 52nd International Short Film Festival Oberhausen, Germany (catalogue)
Impakt Festival, Utrecht, Netherlands
DOK LEIPZIG, 49 Internationales Leipziger Festival für Dokumentar und Animations film (catalogue)
Cinematexas 2006 International Short Film Festival, Dallas
Die Neuen Hebräer, Martin Gropius Bau, Berlin (catalogue)
Beauty and the Book, The Israel Museum, Jerusalem
Auto/Biography, Herzliya Museum of Contemporary Art, Israel
1889 (Branau, Austria) – 1945 (Berlin, Germany), Rosenfeld Gallery, Tel Aviv
Three Cities Against the Wall, Al-Hallaj Gallery, Ramallah; ABC No Rio, Voxpop and Sixth Street Community Center, New York City; The Artist House, Tel-Aviv (catalogue)
Blanks, The Center for Contemporary Art, The Rachel and Israel Pollak Gallery, Tel Aviv (catalogue)
Halshanot, Ha’Midrasha Gallery, Tel Aviv
One Pink Rose, Organic Art in a Digital Era, an exhibition held at the prison cells of “refusers,” Miltiary Jail number 6, Israel
Fallout, Ha’Midrasha Gallery, Tel Aviv
Sharon, Rachel and Israel Pollak Gallery, Tel Aviv (catalogue)
Hot Days, Rosenfeld Gallery, Tel Aviv
Videozone 2 International Festival, Israel (catalogue)
Homage To Hanoch Levin, Haifa Museum of Art (catalogue)
No New People, Time For Art, Tel Aviv
The Promise, The Land, O.K. Center of Contemporary Art, Linz, Austria (catalogue)
Wonderyears—New Reflections on Nazism and the Shoa in Israel, Kunstraum Kreuzberg/NGBK, Berlin (catalogue)
The Claim of Images, Jewish Perspectives in Modern Art, Museum Bochum, Germany (catalogue)
Chopsticks, Ha’Midrasha Gallery, Tel Aviv
There Are Flowers, ‘Kav 16’ Gallery, Tel Aviv
Mirroring Evil: Nazi Imagery/ Recent Art, The Jewish Museum, New York (catalogue)
(Artist and co-curator) Imagine, Artists For Co-Existence, Um-El-Fachem Art Gallery, Um-El-Fachem and Rosenfeld Gallery, Tel Aviv
Side-Effect, Ha’Midrasha Gallery, Tel Aviv
Il Dono - The Gift, Palazzo Delle Papesse, Siena; Candiani Cultural Center, Venice; Scottsdale Museum of Contemporary Art, Arizona; Bronx Museum, New York; Mary and Leigh Block Museum of Art, Northwestern University, Illinois, Art Gallery of Hamilton, Ontario (catalogue)
I Slept With Ari Libsker, The Free Academy Art Pavilion, Tel Aviv
(Artist and co-curator) The Thirty Third Year: Artists Against Israel’s ‘Strong Hand’ Policy, Beit Ha’Am Gallery, Tel Aviv
Self Portrait, Bezalel Academy Gallery, Tel Aviv
The Angel of History, Herzliya Museum of Contemporary Art, Israel (video catalogue)
The Republics of Art: Israel, Palazzo Delle Papesse, Siena (catalogue)
Arieh Aroch: Erections in Israeli Art, Ha’Midrasha Gallery, Tel Aviv
(Artist and co-curator) Regarding Raffi, Ha’Midrasha Gallery, Tel Aviv
Good Kids, Bad Kids, ‘Childliness’ in Israeli Art, The Israel Museum, Jerusalem (catalogue)
Forbidden, Ami Steinitz Contemporary Art, Tel Aviv
Recommended Retail Price, The Pyramid, Haifa
Imprisoned Without a Trial, Beit-Ha’Am, Tel Aviv
Ha’Midrasha, The Museum of Israeli Art, Ramat Gan, Israel (catalogue)
I/zkor, Ami Steinitz Contemporary Art, Tel Aviv
Shades of Sexuality, The Artists’ House, Jerusalem (catalogue)
Anxiety, The Museum of Israeli Art, Ramat Gan, Israel (catalogue)
Petty Schemes & Grand Designs, 319 Grand, New York
Markings, curated by Yony Koenig, New York.
Re-Configuring Bodies, Hunter Gallery, New York (catalogue)
Sir-Lahatz, The Jerusalem Theater, Jerusalem (catalogue)
Shfayim 85. Israel (catalogue)
BOOKS BY ROEE ROSEN
Sweet Sweat – Justine Frank, English translation by the author (Berlin and New York, Sternberg Press, 2009); originally published in Hebrew(Tel Aviv, Babel Publishing House, 2001)
[Hebrew] Ziona™, a novel (Tel Aviv, Keter Books, 2006)
[Hebrew] A Different Face (a children book), (Or-Yehuda, Israel, Hed Artzi Press, 2000)
[Hebrew] Lucy, translated from English by the author (Tel Aviv, Shadorian Press, 2000); original Xerox edition in English, 20 copies, 1992
ARTIST’S BOOKS and SPECIAL PROJECTS
The Death of Cattelan, A Story in Stereo, 16 pages, text and mixed media, a facsimile edition, 30 copies, 2011
Ha’Aretz Haram Al-Sharif (political work in Xerox for The Thirty Third Year exhibition; 40 copies, 2001); abridged version reprinted in: Plastica Journal, number 4 [Tel Aviv, 2002], pp. 82-90.
Live and Die as Eva Braun, an Illustrated Proposal for a Virtual Reality Scenario, Not to Be Realized, Bilingual edition in Hebrew and English (Jerusalem, The Israel Museum, 1997)
Live and Die as Eva Braun, an Illustrated Proposal for a Virtual Reality Scenario, Not to Be Realized, Bilingual edition in Italian and English, translated to Italian by Martino Marazzi (Siena, Palazzo Delle Papesse, 2000)
The Blind Merchant (Original Text, and the Complete Text of Shakespeare’s “The Merchant of Venice,” 145 Drawings, 81/2” X 11”; Archival Edition: 7 Copies), 1989-1991
The Education of A Marginal Saint (Xerox edition), 1988
SELECTED PUBLISHED WRITINGS IN ENGLISH
“Maxim Komar-Myshkin: The Buried Alive Manifesto,” in Cargo Cult, Artists from the Ex-Eastern Bloc (exhibition catalogue, MoBy – Museums of Bat-Yam), pp. 36-41
“Vengeful Animisim, on Maxim Komar-Myshkin’s Vladimir’s Night,” in: Anselm Franke, editor, Animism, Modernity Through the Looking Glass (Vienna, Generali Foundation, 2011), pp. 105-107
(English and Spanish) “Towards Hilarious – Former Cases of Dysfunctional Humor,” Eduardo Thomas, editor, Constelaciones De Lenguaje (Mexico, Ambulante, 2011), pp. 14-21
(English and Spanish) Hila Peleg in Conversation with Roee Rosen,” Ibid, pp. 134-147
“The Confessions of Roee Rosen,” in: Krist Gruijthuijsen, editor, The Addition (Zurich, JRP|Ringier, 2010), pp. 227-234
“Hilarious,” in: Krist Gruijthuijsen, editor, The Addition (Zurich, JRP|Ringier, 2010), pp. 341-349
“The Law is Laughing: Fragments Following the War in Gaza,” in: Robert Kluijver, editor: Borders, Contemporary Middle Eastern Art and Discourse (The Hague, Gemak), pp. 105-108
The Confessions of Roee Rosen (Tel Aviv, CCA, 2009)
“Roee Rosen – Confessions: A Conversation with Avi Pitchon,” Manifesta7 Companion (Silvana Editoriale), pp. 220-224
An excerpt from the novel “Ziona™,” translated by Anthony Berris, Modern Hebrew Literature, Number 3 (London, the Toby Press), pp. 103-107
“Terrible, Dangerous New Hebrews, on Zoya Cherkassky and Igal Zak,” Zoya vs Igal (exhibition brochure, GDK, Berlin)
“The Zionist Ventriloquist,” VideoZone 2 (CCA, Tel Aviv), pp.67-73
“On Justine Frank,” [English and Italian] in: Antonio Somaini, editor, The Gift, Generous Offerings, Threatening Hospitality (Milan, Charta), pp. 436-437.
“Scatology and Other Uncanny Delights, Getting Dirty with Mike Kelley [first published in 1994],” translated by Oran Moked, in: Video One: Body-Screen-Digitalia (Exhibition Catalogue, Haifa Museum of Art), pp. 112-132.
“The Secret of Bureaucratic Beauty,” Jonathan Gould: Ideal Types (Exhibition catalogue, Rosenfeld Gallery, Tel Aviv).
Tamar Getter, Aim Deuelle Luski and Roee Rosen, “The Thirty-Third Year, Artists Against Israel’s ‘Strong Hand’ Policy–Curator’s Statement,” (published bilingually in Studio Art Magazine, number 121, and distributed through gallery venues and the web)
“The Visibility and Invisibility of Trauma: on Traces of the Holocaust in the Work of Moshe Gershuni and in Israeli Art,” Jerusalem Review, number 2 (Tel Aviv, Ah’shav), pp. 98-118.
“Quality Time, On Maggie Cardelús’ Taglio, L’Origine du Monde (II),” in: Maggie Cardelús, Matrix (Almagro, Galer’a Fúcares)
“Beyond Idomania,” Ido Bar-El: Construction Works (Herzliya Museum of Art, Israel).
“Less and More Than Two,” Ariela Shavid: Beauty is a Promise of Happiness (The Israel Museum, Jerusalem).
Art, Money, Identity, Fragments From Contemporary American Art, The Tel Aviv Museum Press, 1992, 40 pp., Illustrated.
SELECTED BIBLIOGRAPHY (by date)
Roberto M. Dainotto, “A portrait of the Artist as a Young Martyr,” in: Roee Rosen, Martyr Paintings, (Exhibition catalogue, Ramat-Gan Museum, 1994).
Edna Goldstaub-Dainotto, “Roee Rosen’s Martyrs: Wicked Hagiographies,” in: Roee Rosen, Martyr Paintings, (Exhibition catalogue, Ramat-Gan Museum, 1994).
Ilana Tenenbaum et. al., Anxiety (exhibition catalogue, Ramat Gan, 1994).
Roger Rothman, “Mourning and Mania, Roee Rosen’s Live and Die as Eva Braun,” in: Roee Rosen, Live and Die as Eva Braun (The Israel Museum, Jerusalem, 1997).
Larry Derfner, “The Holocaust According to Eva Braun,” The Jerusalem Post, November 14, 1997, p. 16.
Inge Günther, “Anschließend in die Holle,” Berliner Zeitung, November 26, 1997.
Unsigned, “Nuzzling With The No. 1 Nazi,” Newsweek, December 8, 1997, p. 6.
David B. Green, “Shock Treatment,” The Jerusalem Report, Volume VIII, no. 16, December 11, 1997, pp. 42-43.
Meir Ronnen, “Eva Braun Artwork Causes Outcry,” ARTnews, volume 92, number 1 (New York, January 1998), p. 68.
Sarit Shapira, “The Suppressed Syndrome: Holocaust Imagery as a Taboo in Israeli Art,” The Israel Museum Journal Volume XVI, summer 1998, pp. 35-46.
Dalia Manor, “From Rejection to Recognition, Israeli Art and the Holocaust,” Israel Affairs, volume 4, numbers 3 & 4 (London, Frank Cass Journals, 1998), pp. 253-277. Essay reprinted in: Stephen E. Feinstein, editor, Absence / Presence, Critical Essays on the Artistic Memory of the Holocaust (Syracuse, Syracuse University Press), pp. 194-218.
Antonio Somaini, “Roee Rosen,” in: Art and Artists From Israel and Palestine [English and Italian] (Siena, Palazzo Delle Papesse, 2000), pp. 116 and 162-163.
Dana Gilerman, “I Didn’t Know Her Well,” Ha’aretz English Edition, September 27, 2000.
Ariella Azoulay, Death’s Showcase, The Power of Image in Contemporary Democracy, translated by Ruvik Danielli (Cambridge, MA, The MIT Press, 2001).
Norman L. Kleeblatt, “Male Fantasies of Hitler: Confusing Gender and Identity; Roee Rosen’s Live and Die as Eva Braun,” in: Kleeblatt, editor: Mirroring Evil, Nazi Imagery/ Recent Art (New York, The Jewish Museum and Rutgers University Press, 2001), pp. 101-104.
Sidra DeKoven Ezrahi, “Acts of Impersonation: Barbaric Spaces as Theater,” in: Kleeblatt, editor, Mirroring Evil, pp. 17-38
Ellen Handler Spitz, “Childhood, Art and Evil,” in: Kleeblatt, editor, Mirroring Evil, pp. 39-52.
Edward Lucie-Smith, Movements in Art Since 1945, New Edition (New York and London, Thames & Hudson, 2001), pp. 268-269.
Deborah Sontag, “Tel Aviv Journal: New Conflict Begets Culture War by Israeli Artists,” The New York Times, January 15, 2001
Edward Lucie-Smith, Art Tomorrow (Paris, Editions Pierre Terrail, 2002), pp. 99-101.
Ernst Van Alphen, “Toys and Affect: Identifying with the Perpetrator in Contemporary Holocaust Art,” Australian and New Zealand Journal of Art, volume 2, number 2, 2001 and volume 3, number 1, 2002, pp. 159-190.
Michael Kimmelman, “Evil, the Nazis and Shock Value,” The New York Times, March 15, 2002, pp. E33, E35
Leslie Camhi, “Peering Under the Skin of Monsters,” The New York Times, Arts and Leisure section, March 17, 2002, pp. 36, 39.
Daphne Merkin, “Forget ‘Is It Good For the Jews.’ Is ‘Nazi’ Exhibit Good For Art?” Forward, March 22, 2002
Blackhawk, “Mirror, Crack; Fade to Black…” bbs.thing.net, March 22, 2002
Elisabeth Franck, “Urine Trouble,” The New York Observer, March 25, 2002, p. 1
Roy Edroso, “The Banality of ‘Evil’,” Alicubi Journal, New York, April 2002
Linda Nochlin, “On Mirroring Evil: Nazi Imagery, Recent Art,” Artforum, summer 2002, pp. 167-168, 207.
Ariella Azoulay, “The Return Of the Repressed” / “Die Wiederkehr des Verdrängten,” in: Tsafrir Cohen, Avi Pitchon and Mirjam Wenzel, editors, Wonderyears, New Reflections on the Shoah and Nazism in Israel (Berlin, NGBK, 2003), pp. 59-75.
Tsafrir Cohen and Mirjam Wenzel, “On the Dangers of Monumentalization and the Attempt of an Intimate Examination” / “Von den Gefahren der Monumentalisierung und dem Versuch einer intimen Auseinandersetzung,” in: Cohen, Pitchon and Wenzel, editors, Wonderyears, pp. 9-21.
Smadar Sheffi, “The Invented Jew,” Haaretz Guide English Edition, February 7, 2003, p. 17.
Gil Goldfine, “Vases of Tragedy,” The Jerusalem Post, February 14, 2003, p. B14.
Joshua Simon, “Vivre sa vie, Thoughts About Justine Frank Upon the Retrospective at the Herzliya Museum of Art,” Studio Art Magazine, number 140, February 2003 [English abstract of an essay in Hebrew], pp. 95-96.
Claus Philipp, “Landvermesser und andere Akteure,” Der Standard, March 7, 2003, p. 25
Tsafrir Cohen, “Andere Wege zur Shoah. Gespräch mit dem israelischen Künstler Roee Rosen,” Kommune, Forum für Politik, Ökonomie, Kultur, 4/03, Berlin, August-September 2003, pp. 77-80
Gene Ray, “The Trauerspiel in the age of its Global Reproducibility: Boaz Arad’s Hitler Videos,” Afterimage, September-October 2003
Shelley Hornstein et al, editors, Impossible Images: Contemporary Art After the Holocaust (New York, New York University Press, 2004)
Dana Arieli-Horowitz, “On ‘Mirroring Evil’,” Studies in Contemporary Jewry, vol. 19 (New York, Oxford University Press, 2004), pp. 290-293
Maaria Oikarinen, “Holokaustin Hahmoja,” Historiallinen Aikakauskirja (Finland, February 2004), pp. 177-190.
Jeanne Pearlman, “The Jewish Museum, Mirroring Evil: Nazi Imagery/ Recent Art,” in: Pam Korza and Barbara Schaffer Bacon, editors, Museums and Civic Dialogue, Case Studies from Animating Democracy (Washington DC, Americans for the Arts, 2005), pp. 21-50.
Ernst Van Alphen, Art in Mind, How Contemporary Images Shape Thought (Chicago & London, the University of Chicago Press, 2005).
Gil Goldfine, “Picture Imperfect,” The Jerusalem Post, November 25th, 2005, p. 36
Naomi Aviv, The Raft of Medusa, Israeli Art and the Monster of Self-Identity, translated by Michal Sapir (Warsaw, Krolikarnia, 2006)
Moshe Zuckermann, Roee Rosen, “Das Bewußtsein von den Abgründen des Nichts – Gespräch über das Verhältnis von Kunst und Geschichte,” in: Moshe Zuckermann, editor, Tel Aviver Jahrbuch für deutsche Geschichte XXXIV (2006), Geschichte und bildende Kunst (GöWallstein verlag, 2006), pp. 15-36
Mira Lapidot, Far and Away, The Fantasy of Japan in Contemporary Israeli Art (The Israel Museum, exhibition catalogue, 2006).
Alec Mishory, Visual Israeliness (2007, Raanana, Israel, The Open University)
Cécile Brisson, [English and French], “1re Biennale d’art contemporain, Herzliya,” Art Press 341, January 2008, pp. 73-74
Laura Kern, “Stalags, Eyeing Pornography that Uses the Holocaust as Titillation,” New York Times, Wednesday, April 9, 2008:(The Arts, page E6)
J. Hoberman, “Horniness Meets Horror in Stalags,” Village Voice, Wednesday, April 9, 2008: Reviewed by J. Hoberman (Film, page 90)
David Fear,”Stalags review,” Time Out New York, April 10-16, 2008: (Film, page 99, issue 654)
Jőrg Heiser, What is ‘What Is Art’?, Frieze Magazine editor’s blog, October 2008. Link: Frieze Magazine Oct 2008
Jőrg Heiser, Greetings From Benelux, Frieze Magazine editor’s blog, February 2009. Link: Frieze Magazine Feb 2009
Aaron Schuster, “Justine Frank, Extra City,” Frieze Contemporary Art and Culture, number 123, May 2009
Stuart Comer, “‘Video Israel’ at Tate Modern, Winter 2010,” Programma Magazine number 1, September 2009, pp. 176-177
Joshua Simon, “Thoughts on the Aesthetics of Terror in General and Suicide Bombers’ Videos in Particular,” in: Joshua Simon and Manon Slome, editors, The Aesthetics of Terror (Milano, Charta, 2009)
Primary Information, “Best of 2009: Roee Rosen’s ‘Justine Frank, Sweet Sweat,” Artforum, December 2009, p. 81
Jörg Heiser, Torture and Remedy: The End of Isms and the Beginning Hegemony of the Impure, e flux Journal. Link: e flux Journal 100
Jőrg Heiser, “What is Appropriate? The Role of Art in Responding to the Holocaust,” Frieze, issue 130, April 2010, pp. 92-97
Olaf Möller, “Hurts So Good, The Patently Provocative Roee Rosen,” film comment, January-February 2011, pp. 20-21
Joshua Simon, “The Dynamic Dead by Roee Rosen, A News Report From Warsaw,” Domus website, 20 May, 2011. Link: Domus May 2011
Karin Schneider, “ReCoCo, Resignation, Conspiracy and Corruption,” Domus website, 16 June, 2011. Link: Domus Jun 2011
Jean-Pierre Rhem, “The Infamous Lives of Roee Rosen,” Cinema Scope, summer 2011, issue 47, pp 15-17
Kamila Wielebska, “I Believe in the Speculative Emancipation Art Can Offer, an Interview with Roee Rosen,” Obieg, 19.8.2011. Link: Obieg Aug 2011
Hila Peleg, “Artist Roee Rosen in Conversation,” Roee Rosen: Vile Evil Veil (London, INIVA, 2012), pp. 3-7
Madeleine Bernstorff, “I Am Not Really Me,” Festival Catalogue, 58 International Kurzfilmtage Oberhausen, 2012, pp. 147-149
Galit Eilat and Aneta Szylak, “Chosen,” in: The Israeli Center for Digital Art: Agenda, 2001-1012, pp. 286-298
Andrea Heinz, “Im Kleingedruckten,” Die Zeit Kultursommer 2013, pp. 50-51