About Lital Dotan

Lital Dotan is a visual artist, scholar, educator, and curator. She is currently a doctoral fellow in Theatre and Performance at the CUNY Graduate Center, where her research focuses on the historiography of contemporary performance art, the hermeneutics of the temporal, and the dramaturgy of time in performance. Dotan is the executive artistic director of the Glasshouse Project, an art-house founded with Eyal Perry in 2007 and now based in Upstate New York. Glasshouse is dedicated to performance in the domestic sphere, hosting festivals, thematic exhibitions, durational works, collaborations, and artist residencies. Dotan frequently collaborates with her partner, Eyal Perry, whose photography accompanies much of her work. Between 2015 and 2019, Dotan ran Que sal mah, a clothing brand that merges performance, choreography, and fashion through one-to-one sessions, culminating in a dress. Integrating installation, documentation, and lived experience, her performance narratives investigate structures and mechanisms across art and society, dissolving and reimagining notions of privacy, audience, ownership, value, and success through a poetics of harsh intimacy.

Her immersive artworks and performances appear on rural farms, in abandoned barns, ruins, homes, and at temporary gatherings, and occasionally within institutional spaces. Before her shift toward unmediated public encounters, Dotan exhibited widely in museums, including the Israel Museum, the National Museum in Krakow, the Queens Museum, the Haifa Museum, and the Contemporary Jewish Museum SF. Her work has been featured in the New York Times, Hyperallergic, DNA Info, New York Magazine, Paper Magazine, ArtSlant, Haaretz, the Huffington Post, VISION China, TAR Magazine, among others.

Dotan is the author of The Glasshouse in Retrospective (2011), Seven Invitations (2014), and The Case of Second Floor: An Anatomy of Performance and the Invitation of Aggression (2024). Her essay on performance ecology in New York was published in TAR Magazine (2016), featuring conversations with artists, curators, and organizers shaping the city’s performance landscape.

Click here for full cv>> 

Contact information:
For requests or inquiries regarding exhibitions, speaking engagements, reproduction rights of works, acquisitions, or interviews, please send a brief email.

Selected Press, Interviews, and Publications

“
Like Lital’s fabrics stretched between tree, body and earth, like Eyal’s “silent presence” – a tending in attendance – what is at stake in the life project that is Glasshouse is making felt the fissures in attention, the cracks in experience, that create resonances in the everyday ecologies both human and more-than human. Their work is not to rebuild a home for a cracking world but to make felt the fragility of the architecture we call home, to make felt the home’s dissolution as stable enclosure of human life. Theirs is a politics of cracking asunder the mortgaged architecting of security that too often comes to define home, to define art. This is Glasshouse: the patient crafting of the infinite collaboration of a tending toward the fissures, toward the openings and intervals of event time.
”

— Erin Manning

Jen Ortiz, “Life as a Glass House: A globe-trotting performance artist invites the world into her Williamsburg apartment, where every room is a stage.” Narratively (January 2013)

Serena Dai, “Williamsburg Artist's Dresses Double as Performance Art.” DNA Info (March 2015)

Luca Lisci, “Glasshouse: Art in a Place That Allows Staying.” TAR Magazine (Fall 2014- Issue 12)

Erin Manning, “Glasshouse: A Fragile Tending.” TAR Magazine (Fall 2014- Issue 12)

Meredith Hoffman, “Williamsburg Couple Showcasing Their Home as Art Gallery.” DNA Info (August 2012)

Renee Ghert-Zand, “Throwing Art in Glass Houses.” Forward (September 2010)