Snow White and The Madness of Truth (Swedish: Snövit och sanningens vansinne) was an item of installation art by Swedish, Israeli-born composer and musician Dror Feiler, and his Swedish wife, artist Gunilla Sköld-Feiler. Feiler and Sköld-Feiler created the visuals and the music for the artwork together, which was installed in the Museum of National Antiquities (Historiska muséet) in Stockholm, Sweden.
The installation consisted of a long pool of water coloured blood red, upon which floated a small white boat named "Snövit" ("Snow White") carrying a portrait of Hanadi Jaradat, a Palestinian suicide bomber, which were accompanied by text written on the nearby walls, and the sound of Bach's Mein Herze schwimmt im Blut (Cantata 199). That piece begins with the words, "My heart swims in blood / because the brood of my sins / in God's holy eyes / makes me into a monster". According to the artists, the installation was made to "call attention to how weak people left alone can be capable of horrible things".
The artwork became the centre of some controversy when the Israeli ambassador to Sweden, Zvi Mazel, claimed it was antisemitic in nature. Some argued that critics failed to understand the artists' central message about tolerance, freedom of thought, and diversity. Reactions to the piece have been compared to reactions to Steve Earle's song "John Walker's blues", which appeared on his 2002 album "Jerusalem".
As scheduled, the artwork was removed from display on February 8, 2004. In 2011 the Feilers created a new installation called "Once upon a time in the middle of winter" based on the events.
Read more about Snow White And The Madness Of Truth: Controversy
Famous quotes containing the words snow, white, madness and/or truth:
“Each person sweeps the snow before his own door, and never minds the frost on another family’s roof.”
—Chinese proverb.
“(The black stream, catching on a sunken rock,
Flung backward on itself in one white wave,
And the white water rode the black forever.”
—Robert Frost (1874–1963)
“The multiplication of individual sects should not fool us: the important point is that the whole of America is preoccupied with the sect as a moral institution, with its immediate demand for beatification, its material efficacity, its compulsion for justification, and doubtless also with its madness and frenzy.”
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“The truth is, as every one knows, that the great artists of the world are never Puritans, and seldom even ordinarily respectable. No virtuous man—that is, virtuous in the Y.M.C.A. sense—has ever painted a picture worth looking at, or written a symphony worth hearing, or a book worth reading, and it is highly improbable that the thing has ever been done by a virtuous woman.”
—H.L. (Henry Lewis)