Roee Rosen
| Roee Rosen | |
|---|---|
| Born | Rehovot, Israel |
| Nationality | Israeli, American |
| Education | Tel Aviv University, School of Visual Arts, Hunter College |
| Known for | Multidisciplinary Art |
Roee Rosen is an Israeli multidisciplinary artist, writer and filmmaker.
Roee Rosen was born in Rehovot in 1963. He 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 Ha Midrasha College of Art in Kfar-Saba and at the Bezalel Academy of Arts and Design in Jerusalem.
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). Rosen's second principle fictive 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.
Rosen has exhibited all over the world with different media, including paintings, video art, installations, multimedia, artist books and writing.
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