High-res
Roee Rosen, Live and Die as Eva Braun # 69, 2012 (one of five new pieces added to the mid 90s project, and used for the making of a storefront piece for INIVA, Rivington Place, London)
High-res
Roee Rosen, Live and Die as Eva Braun # 69, 2012 (one of five new pieces added to the mid 90s project, and used for the making of a storefront piece for INIVA, Rivington Place, London)
High-res
Live and Die as Eva Braun, number 2, Acrylic, pastel and gesso on paper, 1995
1995-1997
Live and Die consists of 66 works on paper and a text in ten segments. Addressing the viewer as a potential client, the text promises and describes the ultimate entertainment experience: becoming Hitler’s lover during the last days of the war, experiencing intimacy with the dictator, the suicide and a short trip to hell.The project is realized as both an installation and an artist book.
Live and Die stirred a scandal when first exhibited at the Israel Museum. Members of the right-wing religious MAFDAL party and secular conservatives demanded its removal. Live and Die was later recognized as groundbreaking in its approach to the representation of the holocaust, and was exhibited in Berlin,New York, Warsaw and, in 2012, in London. Linda Nochlin wrote in Artforum: “…The experience of Live and Die, both textual and visual, is unforgettable, like nothing else.”
Live and Die as Eva Braun, Mixed media on paper, 1995-1997
Live and Die as Eva Braun, Acrylic on paper, 1995-1997
Live and Die as Eva Braun, Mixed media on paper, 1995-1997
Live and Die as Eva Braun, mixed media on paper, 1995-1997
Roee Rosen, Live and Die as Eva Braun, installation views, INIVA, Rivington Place, London
Roee Rosen, “The Visibility and Invisibility of Trauma - Traces of the Holocaust in the Work of Moshe Gershuni and in Israeli Art,” The Jerusalem Review, number 2 (Tel Aviv, Ah’shav Publishers, 1997).
Originally published in Hebrew in Studio Art Magazine, number 76, 1996, this essay was written as I was working on Live and Die as Eva Braun.