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)

Live and Die as Eva Braun

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.”


Texts on Live and Die as Eva Braun

Ariella Azoulay, “The (Spectator’s) Place: Adolf Hitler and Eva Braun,” in: Azoulay, Death’s Showcase, The Power of Image in Contemporary Democracy, translated by Ruvik Danieli (Cambridge, MA, The MIT Press, 2001), pp. 48-75 

Norman Kleeblatt, “Confusing Gender and Identity, Roee Rosen’s Live and Die as Eva Braun,” in: Mirroring Evil, Nazi Imagery / Recent Art, (New York, The Jewish Museum, 2001), pp. 101-104

Linda Nochlin, “Mirroring Evil,” ArtForum, Summer, 2002, pp. 167-168