https://www.elinorartworks.com/projects daily 1.0 2025-07-19 https://images.squarespace-cdn.com/content/v1/591896dde6f2e16ac8546743/1494929717189-CFGNW5161BSMQAKBWQV2/Rana%27ana_Butterfly_Lovers_2011.jpg PROJECTS - Butterfly Lovers Performance. Israel. 2011 https://images.squarespace-cdn.com/content/v1/591896dde6f2e16ac8546743/1540117254128-NSSMLFDSH9J6FZGPFNLC/HipstamaticPhoto-561491805.987753_small.jpg PROJECTS https://images.squarespace-cdn.com/content/v1/591896dde6f2e16ac8546743/1527506644203-UVUO5V9YFKFI5NPSZ3W7/Mom_kissing_letetr032_small.jpg PROJECTS THE MAGICAL LETTER. 2018 A CHILDREN’S BOOK ABOUT THE POWER OF WORDS. Text and Illustration by Elinor Milchan As he discovers writing, Nitai decides to write his first letter to his mother. The story is told from the viewpoint of this simple white page, that is passed from one individual to another and magically touches people in a very meaningful way. Selected by the PJLibrary and the Educational Ministry for 2nd grade students in Israel. 50,000 copies https://images.squarespace-cdn.com/content/v1/591896dde6f2e16ac8546743/1575894089979-W9BQHICAD2Y4CPH57F34/TEL_AVIV_MUSEUM_2009.jpg PROJECTS - Tel Aviv Museum. 2009 “A Journey between the Imaginary and the Real. “ Menahem Goldenberg, June, 2010 Following Milchan’s work, wondering around and about these images, one finds himself as if immersed in the richness of colors, caught within the harmonious movement of shapes. It is as if Milchan ties together the product of the power of imagination and the political by invoking the (modern) aesthetic value of the beautiful as a “social feeling”. Milchan’s image-world thus point at two complimentary themes: first, the relation between the social and the personal as a reflection of the relation between reality and imagination; and second, the ‘role’ of art – and more specifically that of photography – in this relation. https://images.squarespace-cdn.com/content/v1/591896dde6f2e16ac8546743/1494864847677-LYS6KQ57J88D8CROAZAH/DSCN5115_crop.jpg PROJECTS - A permanent video Installation in The Times Square building. Music by Avishai Cohen. 2009 https://images.squarespace-cdn.com/content/v1/591896dde6f2e16ac8546743/1494928299012-6X116YXMLGUBSDVNHC9Y/JP+ENTRANCE+june+21st.jpg PROJECTS - T-Squared Video installation. Los Angeles. 2006 Created as collaboration between multi-media artist Elinor Milchan and Uri Dotan , the T2 Project is an Architectural Video Intervention composed of multiple panels of motion that span from morning to night. This series of moving images reflecting Time Square and its kinetic energy, proposes insights into divergent, convergent and parallel times, forking and breaking off, and embracing at once a view of past, present, and future. With the cubist concept in mind, the artists sliced reality in multiple facets, offering a spatial rather than linear experience of time. “one sinuous spreading labyrinth that would encompass the past and the future and in some way involve the stars…”1 1.Borges, Jorge Luis. The Garden of Forking Paths https://images.squarespace-cdn.com/content/v1/591896dde6f2e16ac8546743/1494928425619-E2B06CNVEV5KUACD5EDE/06.jpg PROJECTS - LIGHTLANDS installation. New York. 2009 “Because everything must collapse into nothingness if it wants to live in the Being” Johann Wolfang von Goethe, One and Everything. ART IN AMERICA. article by Daniel Belasco. March 2005 …Elinor Milchan has invented a wonderful photographic process. She takes time-laps photographs of colored light that she reflects on a white canvas or wall in her studio… Milchan’s large format opens up the interstices of light to obtain a full spectrum of tonality. In the spirit of Nabokov rolling each syllable of “Lo-li-ta” across the tip of Humbert’s tongue, Milchan savors the limpidity of her images. Seven works in this vein from 2003 and 2004, ranging from single panels nearly 6 feet square to several polyptychs, were recently on view in the first solo show by the self-taught artist, a New York resident born in Israel and raised in Paris and Los Angeles. The strongest piece was Motion (2003), a grid of 12 photographs. With colors seeming to blend across the edges of the individual frames, the piece is a more expansive version of Gerhard Richter’s formalist color charts. Milchan’s sensuous fields of light and dark hues suggest remains: fingertip traces on fogged glass, a receding wave, foam against glistening sand. Infinitely (2003) most overtly depicts a trajectory of light frozen by time lapse as two dramatic shocks of blue crisscross against a softer purple field. The diptych Cross Roads (2003) shows a gossamer arc of pinks and violets, evoking a silk scarf discarded in haste. Milchan, like generations of abstract photographers before her, liberates the medium from its function as an index of the world. It seems as if critics are forever rehearsing the contingency of the photograph, yet it takes artists like Milchan to remind us that the essential subject of photography is light itself. https://images.squarespace-cdn.com/content/v1/591896dde6f2e16ac8546743/1494845533715-1FJG76IYDYN1S2PDZ9AN/IMG_1855.jpg PROJECTS - EXPRESSIONS INSTALLATION. NEW YORK. 2005 Some Thoughts on Elinor Milchan’s Pictures By Frederic Tuten I’m leaving aside for the moment he site-specific references, for the moment, the tragic history, and the implied narrative of disaster. Leaving it aside just as I would had I come upon Guernica for the first time, not knowing the work’s title and the horrific event attached to it and was left to respond to the picture itself, and what it elicited in me disrobed of its historical context. It is the child’s screams in Picasso’s jagged painting that I hear and not the bombs—which inspired his monumental work—dropping on Guernica. I’m leaving all that aside because when I first chanced upon Elinor Milchan’s pictures, I did not know the artist or the titles of her work. I walked into the Spike Gallery one afternoon for reasons wholly other than those paintings—for that is what I first thought them—burning on the walls and was taken by a wonderful surprise. I was struck by the punch of waving and flaming light brighter than the room which was itself swept in bright midday light and was now suddenly bathed in saturated color. The triptychs seemed great color-drenched curtains and translucent banners opening to a make-believe sky or to the idea of the indefinite. Of course, one’s feelings are formed before knowing or trying to know the reasons for them. And at that moment I felt I was seeing a powerful, lyrical vision removed from galleries, shows, art strategies and aesthetic exercises, a vision owing itself only to the artist. That feeling persisted, even after realizing that the paintings were, in fact, photographs. But there was an added mystery of wondering by what photographic craft the artist created the impression of the immediacy and the intensity of her flowing explosions. Beware, I was once told, of love at first sight, in life and in art. Often the work you are most immediately attracted to is not always the work that stays with you. Or that you stay with. But over time and the longer I looked, the more I experienced her pictures as tableaus of an inextinguishable emotional fire, the kind of vision that Francis Bacon or Van Gogh would have recognized. Not that I can define that vision, The beauty of terror I thought, after seeing images of faces and limbs nested among the rhapsodic waves of color. A Dantesque vision of inferno, maybe. But that idea seems too literary and illustrational for a work so obdurate to literalism. The title WTC Series helps to explain the work’s impetus, but there are some deeper reaches into the human condition being made here, some glimpse into the dialectical nature of beauty and its pivot into darkness. In the tradition of Picasso’s Guernica and Goya’s Disasters of War series Milchan’s pictures both commemorate and transcend the occasion of their origin. https://images.squarespace-cdn.com/content/v1/591896dde6f2e16ac8546743/1607269196639-71KQIK3BYDRNTAQCYYGP/Hydra.jpg PROJECTS - HYDRA. 2020 "To one degree or another, we are all perceiving warped reflections of the truth. Imagine what would happen if the reflection became aware of itself" . Don Miguel Ruiz. The three questions. Chapter 9. The eye contains everything that exists in our subconscious; all our hopes, fears, despair…It is the silent, intuitive, emotional part of being human. It is there open,like a mental map, outlining the maze of one’s mind. The eye is a space that one enters, while remaining outside. Milchan, in this series, brings the viewer to be contemplated by the very object it is contemplating. De-centered from his own space and place, like in a mirror where one does not recognize one-self, the onlooker is left vulnerable to a foreign gaze. And the more he looks into the work, the deeper he goes without a final destination, apart for death… The Vortex, is this moment where the reflection becomes aware of itself. Each eye is an encounter between the photographer and the photographed journey into unknown territories, like a distant planet in the galaxy. https://images.squarespace-cdn.com/content/v1/591896dde6f2e16ac8546743/1623152815534-5MEU07F9OO3M1Z61EXNY/Michtav+HaKesem+++%28174%29_small.jpg PROJECTS - THE MAGICAL LETTER The Magical Letter is a play adaptation from the book The Magical Letter, a platinum book in Israel, written and Illustrated by Elinor Milchan. The adaptation, co-written by Elinor Milchan, Ronit Muszkabilt and Ofer Amram, is an interactive journey, half stage, with live actors, and half animation. It won best play, best video work, best sage design at the International Haifa children Theater festival, as well as an award of excellency by the ministry of Arts and Culture in Israel. 2021 Adaptation, Art, Concept Video and Direction: Elinor Milchen Adaptation and direction: Ronit Moshkatblit Adaptation and choreography: Ofer Amram Video design, editing, animation, and video mapping for the stage: Yaara Nirel Music and sound design: Avishai Cohen Set design: Zohar Shoef Lighting design: Baruchi Spiegelman Additional animation: Ron Levin Stage Producer: Lior Israel Actors: Sharon Burstein Bichchi, Ofer Amram Hebrew production by The Haifa Theather : מכתב הקסם Photo credits: Yossi Zviker https://static1.squarespace.com/static/591896dde6f2e16ac8546743/t/61e7e2acbcc6300bd97795bf/1642586796200/ PROJECTS - THE INVISIBLE BOOK_PRESENTATION REEL THE INVISIBLE STORY The Invisible Story is a full immersion performance composed of actors, video and sound, inspired by the Invisible Book, a children book created by Elinor Milchan and Keren Ann. As visitor arrive, they are accompanied by performers to enter a dark box, and invited to sit on comfortable pillows on the floor. Headphones are gently positioned on their head, and a reassuring poise and care by the actors follows, as if one enters a womb. As you sit there, in the darkness of the space, and you feel the movement of the actors surrounding, you become immersed in children’s whispers, flickers of light that resonate through infinite mirroring, and the sound of a beat….. Immersed into video, slow movements and sounds you are taken onto a journey through nature and to the source of a beating heart. A work in collaboration with Ronit Muszkabilt and Adi Ezroni. Music composition by Keren Ann. The work was first presented at The Print Screen International Festival 2019. https://images.squarespace-cdn.com/content/v1/591896dde6f2e16ac8546743/1659294192965-R1L3MK113E6N7EZS0LXX/DSC_2543_retouched.jpg PROJECTS https://images.squarespace-cdn.com/content/v1/591896dde6f2e16ac8546743/1745420489823-A7JS3174U6FQJG5767PZ/SAY+MY+NAME_audiencecharacters_small.jpg PROJECTS SAY MY NAME Immerse yourself and embrace the journey in the waiting room of the unknown where characters and audience freely interact while waiting for their name to be called. Say My Name sheds light, in the most unexpected ways, on what it means to feel alive. Shedding an unexpected look at life, memories and regrets from a different point of view. Say My Name is written by Elinor Milchan and Ronit Muszkatblit and their third collaboration. The play originally opened in Israel in 2024, and received multiple acclaims by both audience and reviews. "The drama unfolding in the multi-arena space of the somewhat mysterious and underground theater in Jaffa, Hadive, along with the eloquent writing of Milchan and Muszkatblit, and the wonderful direction of the surreal characters, all together provide a unique human and Israeli experience." Oron Shwartz - Mokasini "Fascinating, interesting, made amazingly. Just WOW!-- it gave me the creeps. Art at its best!"Yael M. ״I came out with a different feeling - thoughts about the transience of life. Loved it! Thank you for this great opportunity to experience a new dimension in a space of life within death.״Rama D. ״A witty, funny, and thought-provoking writing about death—a subject that people avoid talking about. An intelligent mise-en-scene and a great set design that serves the narrative brilliantly. Tamar D. Created and Written by Elinor Milchan and Ronit Muszkatblit Directed by Ronit Muszkatblit Set Design Zohar Shoeff Lighting Design Baruchi Spigelman Costumes Design Li Alembik, Sarah Levy Music and Sound Design Alberto Shwartz Assistant Director Yonatan Kovanski Technical Manager Ilan Shalom Video Elinor Milchan Cast Reut Agemi, Nina Kotler, Ora Meirson, Roberto Pollak, Tomer Sharon and Ben Zeev Rabian Additional words Poem by Henry Scott Holland: "Death is Nothing at All" Special Thank You Shani Melamed Nitzan, Keren Wolf Photos credit: Elinor Milchan https://images.squarespace-cdn.com/content/v1/591896dde6f2e16ac8546743/1746024607298-K6RVNJ3VT5TLHLQ4U6JF/Poster_germany.png PROJECTS - Untitled (194418) Untitled (194418) is a play written by Elinor Milchan and Sharon Burstein-Bichachi What happens when your final moment is the only escape from reality? "Untitled (194418)" explores the profound weight of missed opportunities and human potential. Beyond documenting what people achieved in their lives, the theatrical piece examines the infinite possibilities that the end of a life erases - chances to love, create, experience, and leave lasting impacts on the world and others. Drawing from historical documentation of World War II, the play is inspired by the stories of women artists who created within the confines of ghettos and concentration camps, forging worlds from nothingness. These women shared a common thread: their art provided strength, meaning, and hope, not only for themselves but for those around them. From their testimonies emerges the play's protagonist, Nelly, a feminist artist who revolutionizes art during World War II and beyond, by creating works from bread and found materials, establishing a movement known as "Nellyism. " In her quest for survival, she builds a new life through her art and her life’s mission: "To revive silenced voices, cut short before their time.” Through a non-linear storytelling, the play deliberately blurs reality and imagination. Characters drift through scenes like ghosts, creating an atmosphere of uncertainty as Nelly confronts her life's pivotal moments. The narrative takes an unexpected turn with our present time, as Nelly's imagined life intersects with a kibbutz in Israel where lives were lost in October 2023. Through her dream, we navigate between historical possibilities and contemporary reality, highlighting how countless un-lived lives might have shaped our present world differently. By approaching Holocaust remembrance through a lens of vitality and "what if" scenarios, the play creates an accessible entry point for diverse audiences to engage with this history and invites us to consider not just what was lost, but what might have been - and what still could be. Illustration by Friederike Becker The play premieres in Germany at the Dortmund KJT theater, commemorating 80 years since the end of WWII. https://www.elinorartworks.com/about daily 0.75 2025-04-23 https://images.squarespace-cdn.com/content/v1/591896dde6f2e16ac8546743/1494787851192-QZ3JPZP04ZNMITJBC141/image-asset.jpeg ABOUT - The faucet The Faucet. Public Diary series. https://www.elinorartworks.com/read-me daily 0.75 2025-07-23 https://www.elinorartworks.com/contact-1 daily 0.75 2017-06-01 https://www.elinorartworks.com/about-hebrew daily 0.75 2025-04-30 https://images.squarespace-cdn.com/content/v1/591896dde6f2e16ac8546743/94de8ac5-3c57-4ebd-b3e1-4dbf03100baf/Plugged.jpg ABOUT (Hebrew) - The faucet Plugged. Public Diary series.