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.

A professor at HaMidrasha College of Art, Kfar-Saba, and at the Bezalel Art Academy of Arts and Design, Jerusalem.


Roee Rosen: The Mosquito-Mouse and Other Hybrids, Kunsthal Charlottenborg

Exorcisms, Project Arts Centre, Dublin, Ireland

Roee Rosen, Poetry and Catharsis, Impakt Centre for Media Culture, Utrecht

The Buried Alive Cycle: Videos and Drawings, Erna Hecey Gallery, Luxembourg

Histoires dans la pénombre (Stories in the Dark), Centre Pompidou, Paris

Douce sueur (Sweet Sweat): Roee Rosen Film Retrospective, Centre Pompidou in collaboration with Jeu de paume, Paris

Roee Rosen Film Retrospective, Ficunam International Film Festival, Mexico City

The Dust Channel, Riccardo Crespi Gallery, Milan

Roee Rosen – A Group Exhibition, The Tel Aviv Museum of Art (catalogue)

Live and Die as Eva Braun and Other Intimate Stories, Edith-Russ-Haus fur Medienkunst, Oldenburg, Germany (catalogue)

Roee Rosen / Justine Frank web project,

A Guided Journey Inside My Grave, Rosenfeld Gallery, Tel Aviv

Pasta alla Putinesca, Riccardo Crespi Gallery, Milan

Maxim Komar Myshkin: Vladimir’s Night, Rosenfeld Gallery, Tel Aviv

Roee Rosen Film Retrospective, La Roche Sur Yon International Film Festival (catalogue)

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

One Person Museum Screenings

2015 With Roee Rosen, Screenings and dialogues with Jean-Pierre Rehm, BOZAR, Brussels

2014 Truth or Dare, Roee Rosen in Person, MUMOK, Vienna

2013 Museum Ludwig, Cologne

2010 Tate Modern, London


Phantasms: Ingeborg Prehn, Julie Nord, Roee Rosen, Roneebaekshom, Naestved, Denmark

Reality is More Absurd Than Any Film, a group exhibition, Marta Herford, Herford, Germany

Unspoken Rule, Contemporary Art Tasmania, Australia

Love, Displaced, Perth Festival, Lawrence Wilson Gallery, Perth, Western Australia

Jews, Money, Myth, The Jewish Museum, London

Wild Grammar, EMAF 2015, Kunstahlle Osnabrück, Osnabrück, Germany

La Fete du Slip Gender and Sexuality Festival, Lausanne, Switzerland

5th Ural Industrial Biennial of Contemporary Art, Ekaterinburg

Teleology of the Human: Biography, Destiny, Hope, Faith, Moscow Museum of Modern Art, Moscow

Chronicles, Haaretz Newspaper in Israeli Art, Minus 1 Gallery, Tel Aviv

The Athens Biennale, Athens, Greece

Fear of Change, Site 131, Dallas, Texas

Transmediale, Haus der kulturen der welt, Berlin

Oberhausen International Short Film Festival, Oberhausen, Germany

The Ground Beneath Your Feet, Castlefield Gallery, Manchester, UK

Kills 99.9% Bacteria, CCA Derry-Londonberry, Northern Ireland

What Is Enlightenment?, The Museum of Modern Art, Warsaw 

Vos désirs sont les nôtres, Le Friche, Marseille

Steirischer-Herbst Festival, Graz, Austria

Dancing is What We Make of Falling, OGR, Torino

FID 29th International Film Festival, Marseille

Bucharest International Experimental Film Festival

Painting Now 2, Riccardo Crespi Gallery, Milan

The Enchanted Kingdom, Beit Uri and Rami Nehushtan Museum, Kibbutz Ashdot Yaakov Meuhad, Israel

Thinking Ahead, Erna Hecey Gallery, Luxembourg

Dancing is What We Make of Falling, OGR, Torino, Italy

BB8 After BB8, Conceptual Art Centre, Bukovje, Sweden

Days Without A Night, Goethe Institute / Max Mueller Bhavan, New Delhi, India

Documenta 14, Benaki Museum, Athens, Greece; Palais Bellevue and GrimmWelt, Kassel, Germany

Viennale, Vienna International Film Festival

I Can’t Tell You Because I Can’t Tell You, 601 Artspace, New York

“The Museum of Modern Comedy (MoMCo): A Proposal,” conceived by Olav Westphalen, Project Arts Centre, Dublin

A Desire Called Utopia and Other Science Fictions, Nassauischer Kunstverein, Wiesbaden

Motions for the Agenda, Artport, Tel Aviv

The Dangerous Professors, Triumph, Chicago

Homefront, BWA Studio Gallery, Wroclaw, Poland

Jeonju International Film Festival, Seoul, South Korea

FILMADRID International Film Festival, Madrid

Lo schermo dell'arte film Festival, Florence

17es Journées cinématographiques Dionysienne, Cinéma l'ecran, Saint Denis, France

Mixed Zone, Museum Helmond, Helmond, Netherlands

More Love Hours Than can Ever Be Repaid, RawArt Gallery, Tel Aviv

Festifreak, Festival Internacional de Cine Independiente de la Plata, Buenos Aires, Argentina

Manofim, Jerusalem Contemporary Art Festival, Hansen House, Jerusalem

AV Festival, Newcastle upon Tyne, UK

Transmediale, Haus der kulturen der welt, Berlin

Thousand Islands, The Miriam Nissenholtz gallery, Tel Aviv

Evil Clowns ReloadedKunstpalais, Erlangen, Germany

FID 27th International Film Festival, Marseille

AAVE Film Festival, Helsinki, Finland

Greener on the Other Side International Video Art Festival, Hilbertraum Gallery, Berlin

Art School, Hamidrasha Faculty of Art at Seventy, Helena Rubinstein Pavilion for Contemporary Art, The Tel Aviv Museum of Art

The Midnight Show 4, Wroclaw, Poland.

International Kansk Video Festival, Siberia.

The Telenational Dream, Kino Iluzjion, Warsaw

Gender in Art, The Museum of Contemporary Art, Krakow

A Government of Times, Rebuild Foundation, Chicago

Irony in Media Art: Subversive Interventions, the European Media Art Festival, Kunsthalle Osnabrück, Germany

History Restaged, curated by Edit Molnar and Livia Paldi as part of the OFF-Biennale, Galeria Centralis / Open Society Institute, Budapest, Hungary

Alfred Jarry Archipelago, curated by Keren Detton and Julie Pellegrin, Le Quartier Centre d’art de Quimper, France

Trends, The Sixth Moscow Biennial, Gogol House, Moscow

Rotterdam International Film Festival

For a Differential Government of Times – Live Writing, Cinema Ponrepo, Prague

Painting Now, Riccardo Crespi Gallery, Milan

Evil Clowns, Dortmunder U Center for Art, Dortmund, Germany

Judgement Night, Zbigniew Libera and Roee Rosen, Labyrinth Gallery, Lublin

Roee Rosen and Pavel Sterec, FUTURA, Prague

Real Emotions, Thinking in Film, Kunst-Werke, Berlin

Rotterdam International Film Festival

Ten Million Rooms of Yearning, Para Site, Sheung Wan, Hong Kong

Secular Judaism, Naum Gutman Museum, Tel Aviv

Berlin Documentary Forum 3, Haus der Kulturen der welt, Berlin

Arena, Centre for Contemporary Art, Torun, Poland

Power of Attraction, Rosenfeld Gallery, Tel Aviv

FIDMarseille International Film Festival

Bucharest International Experimental Film Festival

Dynasties, Haifa Museum of Art


“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

The Rome International Film Festival

Host & Guest, The Tel Aviv Museum

The Confession, National Centre for Contemporary Arts, Moscow 

BIII Moving Image Biennial, Frankfurt 

I Am Another World, Xhibit, Akademie der Bildenden Künste, Vienna 

IsReal Estate, group exhibition, The New and the Bad Gallery, Haifa, Israel 

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

Histories, The Center for Digital Arts, Holon, Israel 

FIDMarseille Film Festival, Marseille

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)

AnimismModernity 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 MedusaIsraeli 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)


2016 The Dust Channel, 23 minutes. Premiere: DIDMarseille. Award: Best Film, Kansk International Video Festival, Moscow.

2013 The Buried Alive Videos, 36 minutes. Premiere: Rome International Film Festival. Awards: special mention, The Rome International Film Festival; Best film award, Bucharest International Experimental Film Festival, 2014

Buried Alive as Six separate works:

The Buried Alive Group, Historical Joke number 1 (Garbuz), 2004, 2:50 minutes

The Buried Alive Group, Historical Joke number 2 (Vrobl-Golobkina and Grobman), 2007, 4:55 minutes

The Buried Alive Group, Historical Joke number 3 (Copti), 2010, 6:00 minutes

The Buried Alive Group, Killing Andrey Lev, 2008, 8:15 minutes

Maxim Komar-Myshkin, Animation Chants for Commodities: Little Iron, 2009, 5:42 minutes

Maxim Komar-Myshkin, Animation Chants for Commodities: A Hybrid, 2008, 3:50 minutes

‏2010 Hilarious, 22 minutes. Premiere: Tate Modern, London.

Out, 34 minutes. Premiere: Venice Film Festival. Awards: Orizzonti award for best medium-length film, The Venice Film Festival; Special mention, CPH:DOX, Copenhagen; ARTE award for best European short, Oberhausen International short film festival, Official nomination for the European Academy Award for best short film; Best film award, Bucharest International Experimental Film Festival, 2011

2008 The Confessions of Roee Rosen, 57 minutes. Premiere: FIDMarseille. Award: Special mention, FIDMarseille.

Gagging During Confession: Names and Arms, 4'38 minutes. Premiere: CCA, Tel Aviv, 2009

2007 Confessions Coming Soon, 8’40 minutes. Premiere: Oberhausen International Short Films Festival.

I Was Called Kuney-Lemel, 4'15 minutes. Premiere: CCA, Tel Aviv, 2009

2005Two Women and A ManJoanna Führer-Ha’sfari on Justine Frank 17 minutes. Premiere: Oberhausen International Short Film Festival. Awards: Special mention, Oberhausen; The International Gecko Award, Cinematexas film festival.

1995 Dr. Cross, A Dialogue, 15 Minutes.


Maxim Komar-Myshkin – Vladimir’s Night, (Berlin and New York, Sternberg Press, 2014)

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


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


Ana Teixeira Pinto and Roee Rosen, “Du hast recht, aber ich sehe das anders!,“ Springerin, Issue 2/2019

“Influences: Roee Rosen,” Frieze, Contemporary Art and Culture, no. 198, October 2018, pp. 218-223

The Death of Cattelan” in: Quinn Latimer and Adam Szymczyk, editors, South, issue 8 (Documenta 14, #3), fall/winter 2016, pp. 141–156

“Elision, Excess, Parody, Disavowal: Justine Frank in the Museum,” Field Notes Issue 4, Asia Art Archives

Roee Rosen and Katarzyna Bojarska, “One Man and One Woman, or Too Many Characters in a Conversation,” Widok, number 5, 2014

Joanna Fuhrer–Ha’Sfari (aka Roee Rosen), “Things Collapse in the Worls: Georges Bataille with Jacob and Justine Frank,” in: Galit Eilat and Aneta Szylak, editors: C. H. O. S. E. N (Holon, The Israeli Center for Digital Art, 2014), pp. 92–112

Roee Rosen and Erika Balsom, “Dead and Alive, A Conversation,” in: Hila Peleg, editor: Berlin Documentary Forum 3 (Berlin, Haus der kulturen der welt, 2014), pp. 178–181

“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

“Maxim Komar-Myshkin: The Buried Alive Manifesto, and Animation Chants for Commodities: A Little Iron,” in: Ekaterina Degot and David Riff, editors, Monday Begins on Saturday, Bergen Assembly (Berlin, Sternberg Press, 2013), pp. 186-190

“E-Mails on Guests and Hosts,” in: Steven Henry Madoff, editor, Dis/Placed, Guest and Host (The Tel Aviv Museum, 2013), pp. 32-46

“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; translated and published in French as: “Vers ‘Hilarious,’ Antécédents d’humour Dysfonctionnal, La Roche Sur Yon 4th International Film Festival catalogue (16-21 October, 2013), pp. 19-20.

(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

[Hebrew] “The Son Who Called ‘Cuckoo,’ On the First Solo Exhibition of Ben Hagari,” HaMidrasha Journal of Art, number 11, pp. 125–138

[Hebrew] “Uneasy Love: On Avi Mugrabi’s Film How I Stopped Being Afraid and Learned to Love Arik Sharon,” in: Maayan Amir, editor, Documentally (Tel Aviv, Am Oved, 2007), pp. 63–75

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)

[Hebrew] “The Horny Homemakers, On a Photograph by Guy Ben Ner, and a Photograph by Francesco Finizio,” Studio Art Magazine, number 161.

“The Zionist Ventriloquist,” VideoZone 2 (CCA, Tel Aviv), pp.67-73

[Hebrew] 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.

“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)

[Hebrew] “Art Crossword Puzzle for the Summer,” Studio Art Magazine, number 116

[Hebrew] “Glaat-Kosher Surrealist Smut: On Sweet Sweat, the Pornographic Novel by Justine Frank,” Theory and Criticism, number 15 (Van-Lir Institute, 1999)

“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).

[Hebrew] “The Birth of the Shaman and the Life of the Machine, On the Myths of Joseph Beuys and Andy Warhol and on Their Reception In the Israeli Scene,” Studio Art Magazine, number 94.

[Hebrew, a comic strip under the pseudonym “Dr. Anne Kastorp”] “Culture In Discontent!!! The Condition of Israeli and International Painting! Hair weekly, January 3rd, 1997; reprinted in Studio Art Magazine, number 100, January-February 1999.

“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).

[Hebrew] “Sexuality Crossword Puzzle,” in: Michael Gluzman and Gil Nader, editors, A Different Dictionary (Tel Aviv, Private Press); reprinted in Studio Art Magazine, number 76.

[Hebrew] “Mutation, Water, Sex, Place, Four Chapters on Dganit Berest,” Studio Art Magazine, number 70

[Hebrew] “Sore Eros Conversions: Agression and Submission in the Art of Bruce Naumann and Vito Acconci,” Studio Art Magazine number 65; reprinted in: Itzhak Benyamini and Idan Zivoni, editors, Slave, Enjoyment, Master, On Sadism and Masochism in Psychoanalysis and in Cultural Studies (Tel Aviv, Resling, 2002) 

Art, Money, Identity, Fragments From Contemporary American Art, The Tel Aviv Museum Press, 1992, 40 pp., Illustrated.


Monographic Books and Catalogues
Gilad Melzer and Joshua Simon, editors, Roee Rosen – A Group Exhibition (Tel Aviv, The Tel Aviv Museum of Art, 2016), 328 pages. 

Roee Rosen, Justine Frank (1900–1943), A Retrospective (Herzliya Museum of Art), 2003

Roger Rothman, Roee Rosen et al, Roee Rosen, Live and Die as Eva Braun (The Israel Museum, Jerusalem, 1997).

Roberto M. Dainotto and Edna Goldstaub-Dainotto, Roee RosenMartyr Paintings, (Exhibition catalogue, Ramat-Gan Museum, 1994).

Selected Essays and Reviews (by date)
[Hebrew] Hezy Leskli, “HaRosen Lautreamont,” HaIr Weekly, 1986

[Hebrew] Naomi Siman-Tov, “The Trauma of the Blind Merchant,” Tel Aviv Weekly, 1991

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).

[Hebrew]  Roger Rothman, “Speech Through Irony, On Roee Rosen’s Live and Die as Eva Braun”, Studio Art Magazine, number 88, 1997

[Hebrew]  Sarah Breitberg-Semel, “Know Thyself,” Studio Art Magazine, number 88, 1997

[Hebrew]  Deuel-Luski, “To have pleasure, Torture and Trouble With Eva Braun,” Kol HaIr, 1997 (Reprinted in The Protocols of History and Theory, number 14, The Bezalel Academy of Art and Design, 2009)

[Hebrew]  Gideon Samet, “Holocaust and Other Denials,“ Haaretz, December 5, 1997.

Larry Derfner, “The Holocaust According to Eva Braun,” The Jerusalem Post, November 14, 1997, p. 16.

[Hebrew]  Dan Daor, “Roee Rosen’s Professionals”, Studio Art Magazine number 79, 1997

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.

[Hebrew] Yigal Zalmona, Good Children, Bad Children, The Childlike Stance In Israeli Art (Exhibition Catalogue, The Israel Museum, 1998)

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.

[Hebrew] Smadar Shefi, “The Face of the Generation,” Haaretz, November 9, 2000, p. B1

[Hebrew] Asaf Zipor, “It Has Been a While Since We Had Such a Celebration at Home: on Roee Rosen’s Book A Different Face,” Haaretz Book Supplement, November 22, 2000, p. 10

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

[Hebrew] Oded Wolkstein, “To Be Crucified on the World’s Skeleton,” Haaretz Book Supplement, March 7, 2001, p. 6.

[Hebrew]  Gilad Melzer, “They Say It Was Happy Here Once,” Yediot Achronot, Seven Days Magazine, November 9, 2001, pp. 70–74.

[Hebrew]  Ruth Almog, “An Escape From Escapism,” Haaretz, December 7, 2001, p. B15.

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…”, 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.

[Hebrew] Tamar Getter, “Noli Me Tangere, Some Thoughts on the Book Sweet Sweatby Justine Frank and Roee Rosen,” Studio Art Magazine, number 140, 2003, pp. 55–61

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

[Hebrew] Itzhak Benyamini, “A Mustache Like Hitler’s: on Pretense in Art and in Israeli Identity Following Works By Roee Rosen and Honi HaMeagel,” What Does the Man Want? 8 Psycho-Theological Essays (Tel Aviv, Resling, 2003), pp. 57–68.

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)

[Hebrew] Jonathan Soen, “Eternal Limbo for the Virgin Sinner,” Maarav, 2007,

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)

[Hebrew] Mati Shmuelof, “Sex in the National Lottery; From Dream to Despair: 14 Fragments Following a Reading of Roee Rosen’s Novel Ziona™,” Maarav, 2008,

Jőrg Heiser, What is ‘What Is Art’?, Frieze Magazine editor’s blog, October 2008. Frieze Magazine Oct 2008

Jőrg Heiser, Greetings From Benelux, Frieze Magazine editor’s blog, February 2009. 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)

[Hebrew] Ellie Armon-Azoulay, “I Have Sinned,” Haaretz, Gallery, February 27, 2009, pp. 1–2.

[Hebrew] Yaniv Yehudah Aiger, “The Complete Fragmented Artist,” Maariv Culture,February 27, 2009, pp. 18–19.

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. 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

[Hebrew] Alon Hadar, “The Exorcist,” Maariv Weekend Magazine, September 8, 2010, pp. 50–53

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. Domus May 2011

Karin Schneider, “ReCoCo, Resignation, Conspiracy and Corruption,” Domus website, 16 June, 2011. Domus Jun 2011

Jean-Pierre Rhem, “The Infamous Lives of Roee Rosen,” Cinema Scope, summer 2011, issue 47, pp 15-17; Published in French as: “Les Vies Infâmes de Roee Rosen,” La Roche Sur Yon 4th International Film Festival catalogue (16-21 October, 2013), pp. 19-20

Kamila Wielebska, “I Believe in the Speculative Emancipation Art Can Offer, an Interview with Roee Rosen,” Obieg, 19.8.2011. 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

Stella Santacatterina and Juliet Stein, “Roee Rosen, Vile Evil Veil,” Third Text, Volume 26, Issue 5, 2012, pp. 618-622

Jessica Shepherd, “Power Dynamics Stripped Bare: ‘Vile, Evil Veil’ at Iniva,” One Stop Arts, 20th April 2012,

Galit Eilat and Aneta Szylak, “Chosen,” in: The Israeli Center for Digital Art: Agenda, 2001-1012, pp. 286-298

Amateur d’art “par Lunettes Rouges,” “La résurrection de Justine Frank et autres histoires,” Le Monde, 29. 1. 2013,

Andrea Heinz, “Im Kleingedruckten,” Die Zeit Kultursommer 2013, pp. 50-51

Barbara Wurm, “Spitting Out the Truth,” Sight & Sound, volume 23 issue 8, August 2013 (London, BFI), p. 61

Jacques Mandelbaum, “Roee Rosen: Sexe, Politique et Vidéo,” Le Monde, 21. 10. 2013,

Erika Balsom, “Dead And Alive, A Conversation With Roee Rosen,” in: Hila Peleg, editor, Berlin Documentary Forum 3 (Berlin, Haus der Kulturen der Welt, 2014), pp. 178-181

Dietmar Schwärzler, “Becoming Plural: an Interview Collage of Roee Rosen’s Conversations with Hila Pele, Erika Blasom, Dietmar Schwärzler and the Audience,” in: Christiane Erharter, Dietmar Schwärzler, Ruby Sircar and Hans Scheirl, editors, Pink Labor on Golden Streets, Queer Art Practices (Berlin and New York, Sternberg Press, 2015), pp 162-177 

Graham Lawson, “The Many Faces of Roee Rosen,” Jerusalem Post, February 11, 2016,

Naomi Lev, “Roee Rosen,“ Artforum, April 2016

Tal Niv, “Tel Aviv Art Exhibit Puts Spectators in the Bunker with Hitler,“ Haaretz, February 18, 2016

Keren Goldberg, “Roee Rosen: A Group Exhibition,“ Telavivian, February 8, 2016

Maya Margit, “Borrowed Identities: The art and Alter-Egos of Roee Rosen,” i24 News, February 7, 2016,

Alma Mikulinsky, “Bio-Bibliography,“ Tohu Magazine, April 21, 2016,

Hila Peleg, “Roee Rosen,” in: Quinn Latimer and Adam Szymczyk, editors, Documenta 14: Daybook (Munich, London and New York, Prestel Verlag, 2017)

Jennifer Higgie, “Documenta 14: Benaki Museum,“ Frieze, April 8, 2017,

Ben Eastman, “Documenta 14, Athens,“ Art Agenda, April 10, 2017,Ben Vickers, “Virtual Reality, Dreaming Awake at the End of Time,” Spike Art Quarterly#52, Summer 2017, pp. 120–131

Raphael Dillhof, “Roee Rosen, Zwischen den Geschichten,” Art Kunstmagazin, June 2017, pp. 50–55

Ben Davis and Hili Perlson, “From Frog Art to a Socialist Shoe Store: These Are the Eight Unmissable Artworks of Documenta 14 in Kassel,” Artnet News, June 9, 2017,

Alexander Forbes, “Fifteen Documenta Artists with Staying Power,” Artsy, June 9, 2017,

H.G. Masters, “Documenta 14, Kassel,” Art Asia Pacific, June 12, 2017,

Chris Paul Daniels, in: “Documenta 14, Kassel: 30 Recommendations by 10 Artists,” A-N, June 13, 2017,

Ildikó Szántó, “Sex, Schmutz, Xenophobie und ein lebendiger Staubsauger. Roee Rosens Operettenfilm The Dust Channel,” in: WissenderKuenste 6,

Rachel Haidu, “Documenta 14,” 4 Columns, August 11, 2017,

[Hebrew] Shaul Seter, “Why is Roee Rosen a Great Artist?,” Haaretz, July 27, 2017,

Jessica Romero, “Este artista dedica su obra al erotismo radical y al exterminio,” Vice, April 13, 2018,

Ana Teixeira Pinto, “Where the Bodies Are Buried: on Roee Rosen at the Centre Pompidou,” Texte zur Kunst, number 112, December 2018, pp. 222 – 225