White land
of
After the "lbrbidrlen Forestr" lq6l-2001
Rona Sela
ln 1967 the Littmans, an Anglo-fewish family
residing in Switzerland, donated, for Zionist
reasons, money to the lewish National Fund in
order to have a forest planted in the memory of
their grandfather, foseph Aaron Littman
Ariane Littman-Cohen's father's father. A few
E
-
short weeks after the end of the Six Day War the
forest was planted in Nahal Sorek, close to Bet
Shemesh. The Littman family's donation was
added to donations from British lews; the forest
which grew and spread, was called Yishi Forest,
ln Memory of foseph Aaron Littman, I 898-l 953
lit hltc
lrnd
because of its proximityto theVshi Moshav.
Courtesy of the Ministry of Science, Culture and Sports
The National Council of Culture and Art
ActionNo.l,1992
Visual Arts Section
Catalogue by courtesy of Chic, Events and Catering Ltd.
Special thanks to Panorama
-
Imaging Technologi.,
@
W
Exhibition advisor: Rona Sela
Hebrew editing: Y. Kuris
English translation: Timna Seligman
Photography: Oded Antman (unless otherwise indicated)
All 'White
Land' photographs are from a series of 70 censored aerial photographs
30 x 30 cm. each
Within the framework of her exhibition 'Nature
Morte' (Bograshov Gallery Tel Aviv) which
dealt with the interaction between culture and
nature, Ariane Littman-Cohen went out to look
for both the forest that had been planted in her
The Artists House, ferusalem, February 2001
@ AII rights reserved
grandfather's memory, and
drove Littman-Cohen out to the forest, and it
from the, in her words, threatening "Forbidden
Forest." The plaque was set in a place where
soft seedlings had recently been planted,'z
the memorial
plaque situated there. She got in touch with the
lewish National Fund (lNF), whose employees
found the location of the forest on a map. They
was then that she discovered that the forest was
camouflage for a secret military camp, and that
access to the forest and to the memorial stone
was forbidden. Since then she has called it the
ln the exhibition
she
exhibited, amongst other things, a replica ofthe
memorial plaque, prepared for her by the
lewish National Fund.
ActionNo.2,1997
As part of the exhibition 'Out of
close to the blooming ludas tree.
Aetion No.3,2000*2001
Littman-Cohen began to look for
photographs of the "Forbidden Forest"
historical photographs
-
aerial
both
of the area and
photographs from recentyears. Backed by the
documentation she hoped to find answers to
the questions which had been bothering her
Senses'
since 1997: When did the forest become
Belgium)
Littman-Cohen exhibited an additional replica
of her grandfather's memorial plaque. At the
same time she initiated another action: she
asked to appropriate a new portion of forest,
"forbidden," since when has it been part of a
military base? Was there a connection between
the mature forest, after the trees had grown,
(MUKHA Museum, Antwerp,
Artist's web site: www.alc-art.co.il
according to her choice, in memory of her
grandfather, where she could place a new
memorial plaque.r lt was intended to thus fulfill
the original aim ofthe forest, as foreseen by the
artists family when they decided to make a
sizable donation to the INE The forest would be
both a memorial site and a place of leisure and
being at one with nature. Littman-Cohen chose
to place the memorial plaque ten minutes away
"Forbidden Forest."
Design and Production:,!alon Printing
Relocation o[the Memorial Slone, 4.4.1997
ln collaboration wilh lhc lNf
Pholo: Rina Caslelnuevo
and its role of concealing the base - maybe the
area had been designated from an early stage to
be a military base, and the forest was planted
for state reasons, thus deceiving the donors,
whose money was not used as requested? Wlry
were the families and donors not notified that
the forest had become "forbidden"T The above
notwithstanding, Littman-Cohen acted through
personal considerations,
for
example the
voyeuristic impulse to look at the "Forbidden
Forest," which she had never seen, and would
probably never see. lt distressed her that she
was prevented from reaching the forest, a place
that for her was supposed to be personal and
intimate, a place for her to bring her children
and tell them stories of her grandfather and his
life.
All this led Littman-Cohen to the INF archives
to look for correspondence, photographs, and
maps; and
to the
-
Panorama
Imaging
Technologies archives, there it became clear to
-
but she decided to leave the emptiness the
white stain - emphasized and empowered in its
becomes outspokenly political. The artist
Driven by this desire Littman-Cohen reached
[The] 'White Land'. With determination and
obsession she began to build a map of lsrael,
makes use of photographs that map the entire
country, where large areas have been erased at
the order of the Military Censor. The use of
photographs as ready-mades emphasizes the
made up
of
innumerable "white holes." ln
similar
to
the puzzle work 'Mother
a way
actions
and
Invitation to a Voyage. I 993
Postcr and nrircd nrcclir 27(r
personal photograph - the artist tries to build a
contemporary puzzle of lhe Ho[y Land through
the aerial photographs. But it is created with the
viewer's awareness of the totality of the "white
holes," the areas that segment the continuity of
the map of lsrael. As in the work 'Mother and
the dream has been destroyed by its conflict
with reality, and my observation has become
critical, immanent to the place. The work
personal and private experiences and desires of
Littman-Cohen, but touches on the collective
experience and existence.
Pilgrinr in llhite l,:rnrl
Ariane Littman-Cohen 6rew up in Switzerland
and was educated in a Catholic school. in the
lap of the Christian tradition. She states that this
was one of the central reasons that led to her
extended occupation and research of the
concept "Ho!y Land": "The concept'Ho!y Land'
is meaningless for most lsraelis. I trew up
surrounded by longing for the Holy Land, the
land of fesus. Like the pilgrims who came here
during the Nineteenth Century and looked for
meanings and clues to the lile ol fesus in every
tree and shrub, I was also entranced by the
symbolism of the subject and the romantic
ideology of the Holy Land. Even though I came
to lsrael for Zionist reasons, my point of view, at
least at the beginning, couldn't be freed from
of
camouflage
Daughter 1963', 1994 - an attempt to trace a
personal memory through the assembly of
thousands of pieces that make up an old
erased at the orders of the Military Censor, and
-
With 'White Land,' 200 I Littman-Cohen's work
from her, and her family.
Daughter 1963', anchored in personal
memory, so'White Land', 200 I is based in the
photographs are filled in by Panorama
lmaging Technologies with images such as
pools, trees, paths, roads, houses and the like,
in the post-materialist age.l
symbolism: the realm of desire whose access is
blocked from her, taken from her and concealed
her that the "Forbidden Forest" was only one of
many "forbidden areas." The lorest had been
in its place was left a large white stain. And so
her hopes to see an image of the forest from
above were dashed. Usually the stains on these
in order to point out the place of the consumer
r 192
erasure, concealment, and
reveal information that the
to
establishment has tried to reduce and hide from
x -1O cnr
the public. By the referencing of conceptual
actions on the white stains Littman-Cohen
upturns the purpose of the authorities
concealment. The lacking and disappeared
become exposed and concrete, building a new
reality of the Holy Land, a type of virtualterritorial sieve: Hole's Land.a The "White
'lnvitation to aVoyage' , I 993, which is the first
work to deal with the subject of the Holy Land,
was displayed in the exhibition 'The Range of
Realism' [Tel Aviv Museum of Art, I993-94,
R.S.l. The magical landscape of Paradise was
Holes" are not the artist's initiative, as in the
works of the artists Meir Cal and Eti Yakobi, but
were "imported" from the lsraeli public sphere
shown in all its glory and below it, as its
antithesis, were placed 50 million and 180
million year old fossils, animal skeletons, and
that is subjected to the outlook of the military
establishment. As with Hans Haacke, who since
the I 9ZOs reveals the apparatus and veracif
bottles from the Old City
of
f
erusalem
containing ho[y water, oil, and earth. From the
Iabels I erased the word 'The,'and thus, for the
first time, still in an unconscious manner,
I
inserted a critical and unsettling element into
the concept 'Holy Land.' The early Paradise
blended with the image of the Holy Land and
exploded in its conflict with current reality."
Littman-Cohen began
"products" from
to
create series of
the Holy Land, as
for
industrial-commercial production: air, water,
earth (Ho!y Land for Sale,' 1996:'Holy Air,'
1996:'Holy Wat6r,' 1998). These works were
created with an awareness of the connection to
the popular manufacture ol bottles containing
"Ho!y" earth, water and oil which are sold in
Christian holy places, especially in ferusalem's
hidden behind seemingly innocent state
institutions, Littman-Cohen reveals through the
white stains the Establishment's continuin6 and
purposeful activity, which misleads the
individual, and also tries to subjugate the civil
administration to the military one, a trend
which has continually gained strength since the
summer of 1967. The white stains, the action
of erasure and the action of concealment, the
innocent forest ravaged at the hands of the
army
-
all these are but a lew visual symptoms
actualized in a tangible
*:X:rln.r"renon,
1967
The Six Day War: the "Creat
Old City, as "authentic" souvenirs from the Holy
Victory",
euphoria, national elation, self-contentedness
amonEst the Israeli public. The quick victory
Land. This action joins the artist's stated
was seen on mary levels of Israeli society as the
stratety from the start
high-point of realizing the Zionist dream. lust a
few understood that the glowing triumph and
Censored aerial photoqraplry of the
Forbidden Foresl, 50 x 50 cnr.
the place where Christianity observes the Holy
Land, like a tourist, from outside. Over the
From the series White Land. 2001
years, as I have become more and more lsraeli,
collaboration with private and state companies,
of her work:
the late I960s
conquered territories would bitterly lead to
hegemonic concept from
difficult conseeuences, bad fortune.
onwards, its residue exists to this day.
The
official lsraeli explanation wanted to emphasize
the view that the country was in a state of
The white stains, "threatening stains,"
continual preventative war, and only the
Littman-Cohen's words, and the trees used by
-
in
strength of the army could secure the fewish
the security establishment
sovereign existence in the area; the political and
planting for camouflage, for security purposes,
military system continually proclaimed
messaEes of the need
to increase security
and
land requisition,
or alternative[y, uprooting for security purposes
acted to found and increase the army's power
- are used by her to make a pointed statement:
this is a vulgar habit, of the military
and scope. The lewish communities in the
establishment penetratint the boundary of the
Diaspora enlisted to support the State of lsrael,
private and the public.
mainly through the raising of funds and
donations. The security of the State and the
army was obviously placed at the head of
Littman-Cohen goes along the trail of 'Paradise
Lost'." She states, for example, that when she
first traveled (in 1992) to the memorial site of
Haunted Grove of William Shakespeare's 'A
Midsummer's Night's Dream') It was like the
expulsion from the magical and holy Paradise,
again expelled from her personal Paradise. For
Littman-Cohen this is the Holy Land in its
from the entranced primordial forest. The
peaceful nature became one of danger and
Notes
nlystery (Casper David Friedrich), and cultural
associations in the collective awareness were
planted. Or in Nissim Aloni's words: "ln the
only later did Littman-Cohen see it as an act ofprotest. Fronl
head are pretty pictures of an organized human
landscape, but in the stomach is a forest, the
old forest, the lorest that is never erased..."
(from 'The Gypsies of affa'). As in Aloni's plays,
f
Littman-Cohen also tries to erase the old forest
in the stomach. but it chases her, and doesn't let
go, and she returns to deal with
it in an
obsessive manner, onto an unclear point on the
horizon.'
ln lungian teachings the forest
symbolizes the unconscious and powers of
danger and intimidation. ln European folklore
contemporaryform.
l.
The action, at first don€ intuitively, expressed anger and
conversations with the artist, December 2000
-
fanuary
2001.
The following notes are from the same conversations with
the artist.
2. Accordingto Littman-Cohen, this was reminiscent
of
her
action at the Bograshov Gallery, 1992: the placing of
botanical signs without plants.
3.
The companies and bodies Littman-Cohen
has
collaborated with are: lewish National Fund; Arim, Urban
Development Co.: Eden SprinEs, natural mineral water;
Malerna;
Air Monitor Ltd.: Kibbutz Beit Hashita, and
Panorama
-
lmaging Technologies.
4. ln this context Mona
I
Hatoum's work 'Present Tense,'
996 should be mentioned. lt was shown at the Anadiel
a
map
of the Oslo Agreement,
and fairy tales the forest is place of mystery and
Gallery lerusalem:
danger, of the unknown and uncontrollable.
assembled from small olive-oil soaps from Nablus and tiny
Desires and dreams on the one hand,
threatening, uncontrollable and invasive
that will be created in lsraeli territory and the setmentation
powers on the other, it all whispers in LittmanCohen's "in the stomach, in the forest" potion.
Agree me
The forest as backdrop, the forest
red glass beads. The work showed the Palestinlan "threat"
of the
Palestinian territory, as suggested
by the
Oslo
nt.
Littman-Cohen's 'White Land,' as with
Hatoum's work, points out the isolation, paralysis ofand the
as
control over geographical areas by the lsraeli military and
camouflage, the mysterious forest, and the
"haunted grove," the forest, embodying great
powers, the Paradise Lost of Littman-Cohen
and of lsraelisocie!.
establishment. See: "lnterview; Michael Archer in
Conversation with Mona Hatoum," in 'Mona Hatoum'
(London:Phaidon,)
5.
I9
97, pp. 26-27.
See S.N. Eisenstadt, 'The Transformation
of
lsrael
Society,' (lerusalem: Magnes Press, The Hebrew University),
From the series White Land. 2001
national priorities, and enioyed great
ideological promotion in comparison to any
- social, civilian, etc.. New forms of
lsraeli identity, based on militarist concepts
replaced, or distorted, previous values and
other issue
images that had became seemingly out-dated,
such as the figure of the pioneer, that
symbolized the basic concept ol the "old"
Zionism.s The importance and power of the
military establishment grew, and the civilian
society was willing to accept this, at least during
the years immediately following 1967, as a
necessity. Even though other voices started to
be heard and fissures started to appear in the
her grandfather, a mlhological figure from her
childhood, there was a sense of maSic in the air.
It was a winter
day, the pastoral area was
immersed in peace and quiet, birds chirped,
and from the earth rose that intoxicating smell it
g,ives off after rain. On arriving at the site the
first warning light was lit. A cautionary sign: "no
photography allowed," and the people from
the INF forbidding her to enter and see the
memorial plaque donated in memory of her
grandfather. She insisted, and from the moment
she tried to enter the forest it changed its skin:
The good forest, relaxing,, paci!ing became the
threatening forest, concealing, hiding (Gerald
Durrell's The 'Drunken Forest' becomes the
ln the European tradition, finding a path in the
forest emphatical!y symbolizes the acquiring of
knowledge of the adult world or of the self.
Littman-Cohen tried to hold on, for just a
moment, to the religious mlh of the Holy
Land. as it was constructed in her childhood
awareness in the Catholic school (as in'Paradise
Lost,' which was written through religious
experience.) This happens first in the magical
forest of childhood, and later, in adulthood
through sober and intellectual walking along
the forest's paths. She aimed to build a personal
yet also collective map of the country, but was
I
985.
6. 'Paradise Lost,' by the prosaic English poet, lohn Milton,
was written in theyears
I
658-65. AmonEst other things,
the workdescribes the expulsion from Paradise.
/.
For this reason the artist wished
emotional and intuitive decision,
to
in
1997, out
ofa
replace the memorial
plaque from its imprisonment by the military powers in the
threateninE, "Forbidden Forest" to an area of"domesticated
nature," designated for leisure and relaxation.
Five Sealed Rectified Blue Boxes. I 997 (dctail)
l4 x 9.5 r,5 cnr.
(cach). Photo: Avraham l'lai
I
White Land. 200
I
ln collaboration rrith 'Panorama hnaginr Technologii:s'
I
2001
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