Ella Littwitz
Red Mercury / Ella Littwitz
Feb 10 – Apr 30, 2023
Frankfurt, Germany

In her installations and objects, Ella Littwitz (b. 1982, Haifa, Israel) addresses the permanence, legitimacy and prevailing over borders as well as their historical, cultural and political meanings.

Her working method is characterized by a fundamental doubt about these markers as immovable entities that are erected by humans on the basis of certain traditions, political interests, or religious beliefs.

The question of how a place is defined, what its borders look like and change over time serves as the starting point of Ella Littwitz’s artistic practice, which thematically often deals with the borders between Israel and the adjacent territories.

Ella Littwitz’s objects are testimonies and are composed of former, appropriated components or replicas of territorial demarcations. They are stones, plants, signs, buoys or other objects that have been transformed into demarcation markers by human hands. Removed from their original contexts, their abstractness and artistic appearance conjures up a poetic language and aesthetic that stand in striking contrast to the real threats and conflicts in disputed border zones. Through the artistic modification, relocation and transformation of border markers, she exposes the mechanisms of political constructs and traditional narratives with a particular interest in the ruptures that arise between a real and conceptually imagined place and its borders.

Contrary to humanity’s seemingly endless desire to create borders, dominate nature, and preside over the surrounding landscape, Ella Littwitz’s objects show the inherent transience of those selfsame artificially constructed barriers by subtle allusions and the juxtaposition of ideological ideas.

Red Mercury is the artist’s first comprehensive institutional solo exhibition in Germany and will present new productions as well as a selection of works from recent years.

Kindly supported by Kulturfonds Frankfurt RheinMain, Artis and the Cultural Depa.

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