Rotem  Ritov

  • Installations
    • The Good Shepherd Installation
    • The Oracle
    • First Redemption Branch
    • Ha-Sair NordArt 2022
    • Lost & Found 2022
    • Air.Cat 2021
    • Ha-Sair / 2019 Alfred Gallery
    • Monarch Migration#3 – Biotopia: Gaza / 2018 Fresh Paint 10
    • Monarch Migration #2 / 2017 MUZA Muzeum
    • Adalaad / 2017 London Gordon Gallery
    • Sacred Ground / 2014 / Hahava Gallery
    • The Field 4# / NordArt 2016
    • The Field / 2015 Florentine 45 Gallery
    • Adalaad's Cult
    • The Field /2014 Digital Art Incubator
    • After The Butterflies / 2014 Alfred Gallery
    • The Wild East / 2012 Haifa Museum
    • Upupa Act / 2012 Alfred Gallery
    • The Field / 2013 Bezalel7 - ImageRoom
  • More Works
    • Complexed Godesses and Fake Heros
    • The Good Shepherd
    • Self portrait with Thistles
    • The Field
    • Redemption
    • Black & Solve (Gridllers)
    • Florentine
    • Apart.Art Project
    • Shoes
  • Thoughts Books
  • About & CV
  • Publications
  • Contact
  • Links
  • Installations
    • The Good Shepherd Installation
    • The Oracle
    • First Redemption Branch
    • Ha-Sair NordArt 2022
    • Lost & Found 2022
    • Air.Cat 2021
    • Ha-Sair / 2019 Alfred Gallery
    • Monarch Migration#3 – Biotopia: Gaza / 2018 Fresh Paint 10
    • Monarch Migration #2 / 2017 MUZA Muzeum
    • Adalaad / 2017 London Gordon Gallery
    • Sacred Ground / 2014 / Hahava Gallery
    • The Field 4# / NordArt 2016
    • The Field / 2015 Florentine 45 Gallery
    • Adalaad's Cult
    • The Field /2014 Digital Art Incubator
    • After The Butterflies / 2014 Alfred Gallery
    • The Wild East / 2012 Haifa Museum
    • Upupa Act / 2012 Alfred Gallery
    • The Field / 2013 Bezalel7 - ImageRoom
  • More Works
    • Complexed Godesses and Fake Heros
    • The Good Shepherd
    • Self portrait with Thistles
    • The Field
    • Redemption
    • Black & Solve (Gridllers)
    • Florentine
    • Apart.Art Project
    • Shoes
  • Thoughts Books
  • About & CV
  • Publications
  • Contact
  • Links
Picture
OutPosts on Maskingtape
Picture
OutPosts on Brown Paper
Picture
Settling in others Landscapes

Redemption

The infinite expanse of Judea and Samaria landscape is created with the masking tape, within are drawn archetypes of
temporary dwelling structures: the house typology of the settlers – the Trailer and the Cabin. There are no people or plants in the paintings, only structures of yellowish hilly landscapes.  The structure, texture and tone of the masking tape build the format of the works, which is also an integral part of the act of painting. All the Outposts drawings were painted by
observing photos from internet news and blogs websites.

The work deals with two opposites:
A Romantic-Pioneered approach that pushes the man who seeks to take over the alleged derelict territory and implement there a spiritual vision at the expense of his and his Arab neighbors' personal lives, opposite to the illegal trampling (settling on land) of the action that hurts the nesting of the local species. The outposts' phenomenon is part of broader contemporary situations of migration, occupation, and exclusion.

The Outposts are the home of idealistic, hopelessly romantic Jewish outlaws, who believe in the sanctity of the holy land and dream of Greater Israel. They are the pioneers of contemporary religious Zionism, who risk themselves and their families, trying to fulfill a great dream.

An Outpost is a lonely house in the endless prairie of the Israeli–Palestinian conflict.
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