Abstract: In the past few decades, Poland has seen a growing number of attempts to reclaim its Jewish past through traditional forms such as historiographic revision, heritage preservation, and monument building. But a unique new mode of artistic, performative, often participatory “memory work” has been emerging alongside these conventional forms, growing in its prevalence and increasingly catching the public eye. This new genre of memorial intervention is characterized by its fast-moving, youthful, innovative forms and nontraditional venues and its socially appealing, dialogic, and digitally networked character as opposed to a prior generation of top-down, slow moving, ethnically segregated, mono-vocal styles. It also responds to the harsh historical realities brought to light by scholars of the Jewish-Polish past with a mandate for healing. This article maps the landscape of this new genre of commemoration projects, identifying their core features and investigating their anatomy via three case studies: Rafał Betlejewski’s I Miss You Jew!; Public Movement’s Spring in Warsaw; and Yael Bartana’s Jewish Renaissance Movement in Poland. Analyzing their temporalities, scopes, modalities and ambiences, as well as the new visions for mutual identification and affiliation that they offer Poles and Jews, we approach these performances not as representations, but rather as embodied experiences that stage and invite participation in “repertoires” of cultural memory. Different from simple reenactments, this new approach may be thought of as a subjunctive politics of history—a “what if” proposition that plays with reimagining and recombining a range of Jewish and Polish memories, present-day realities, and future aspirations.
Abstract: It can be supposed that most people interested in twentieth-century history are familiar with the Imperial War Museum (IWM) and that most will have visited its permanent Holocaust exhibition since this was formally opened in June 2000. What Suzanne Bardgett, the curator who runs the exhibition, calls its ‘artifacts’ cover 1,200 square metres but before 2009 it showed only one piece of ‘art’ indirectly derived from the discovery and liberation of Bergen-Belsen concentration camp by the British Army in April 1945: Edgar Ainsworth’s drawing Wem Berger, Aged 13, after a Year in Ravensbriick (near Bélsen), April 1945 It is not always realised that the IWM has, in fact, many more drawings and paintings connected with what is now known as Holocaust Art. The museum now publishes a history of the ‘hangings’ from which each of these works has benefited and this indicates that, while there were many hangings immediately after the war, there was then a long period of ‘purgatory’ from which these works are only now re-emerging. In a revealing article of 2004, Bardgett suggested that it was the whole issue of representing the Holocaust in the Museum which was taboo until the 1980s.2 Inevitably, the paintings and drawings suffered from this reticence, which largely explains their neglect as an iconographie source for Holocaust studies in Britain.
Abstract: L'arte e il Museo rappresentano due settori all'avanguardia nella ricerca e nella trasmissione della Memoria della Shoah. Esattamente queste due frontiere disciplinari si occupano fra l'altro dei molti e diversi modi in cui la Memoria stessa è vista, comunicata o percepita. Il libro, frutto di uno studio durato molti anni, accoglie contributi di specialisti fra i più accreditati nei due temi: persone, situazioni e realtà nuove e a tratti sorprendenti aiutano il lettore a comprendere meglio i volti, le sembianze della Memoria della Shoah nel mondo di oggi e di domani.
Indice
Maya Zack, Counterlight
Clara Ferranti, Per una definizione linguistica del totalitarismo del XXI secolo: “radiografia” controluce dell’epoca contemporanea
Paolo Coen, Da Richard Serra in qua. La memoria dell’Olocausto nell’arte e nel Museo, fra continuità, fratture e intersezioni
Eleonora Palmoni, Proposta per musealizzare una delle località di internamento fascista nelle Marche: la Villa Giustiniani-Bandini di Urbisaglia
Daria Brasca, “Holocaust-Era Looted Art” nel contesto italiano: le collezioni private ebraiche tra rimozioni storiche e mancata coscienza nazionale
Manfredo Coen, Il Parco del Cardeto ad Ancona
Chiara Censi, Il patrimonio ebraico di Ancona e delle Marche. La musealizzazione del Cimitero Ebraico di Ancona
Lola Kantor-Kazovsky, Post-Holocaust Reflexion in Moscow Non-conformist Art of the 1960s and Michail Grobman’s Israeli Leviathan group
Danielle Pardo Rabani, La memoria del Bene, Brindisi accoglie: proposta per il recupero e la valorizzazione della ex Stazione Sanitaria Marittima di via Mater Domini
Giorgia Calò, Rappresentare il non rappresentabile. Il volto della Shoah
Anastasia Felcher, Of Their Own Design: Curatorial Solutions to Commemorate the Shoah in Museums across Eastern Europe
Elenco delle immagini
Abstract: The dissertation explores the work of Tanya Ury and Esther Dischereit as political interventional, contemporary, Jewish art in Germany. Ury and Dischereit analyze the power relationships surrounding the body, femininity, and expressions of Jewishness in contemporary Germany. The dissertation focuses on the nature of their artistic work - such as video art performances, sound installations, and radio plays- in its relation to, and impact on the public discourse about history, memory, and a culturally diverse society in contemporary Germany. Performance and Body Art comment in the strategies of `re-embodiment' and `re-enactment', illustrate the historical facts from a contemporary perspective, and urge us to reconsider the transmissions of memory. Ury and Dischereit offer experimental spaces of experience, and succeed in preserving Jewish knowledge and art. The work by Ury and Dischereit unfolds a vital political function, as it creates and fosters a creative critical resistance.
Abstract: This article seeks to trace how visions of a “Jewish return to Europe” inform contemporary cultural production. I am particularly interested in asking how the presence of Israeli émigrés in Germany, a dramatic instance of such a “return,” challenges the country’s memorial culture due to the “exportation” of dispositions relating to the Holocaust construed in Israel. I view this dislocation of memo-rial practices, a new instance of Hebrew-German exchange, as embedded in a broader discourse on migration, integration and xenophobic violence. At the core of my argument is the 2007–2011 film trilogy And Europe Will Be Stunned, directed by Israeli artist Yael Bartana, who is based in Berlin and Amsterdam. The trilogy presents a fictional national movement that advocates the return of 3,300,000 Jews to Poland, with the claim that Poland’s ethnic and religious homogeneity is a deficiency that could be corrected with the renewal of Jewish life in the country. Wearing the form of an enthusiastic political manifesto, the trilogy mirrors early Zionist images and motifs in articulating the vision of the return to the homeland. The trilogy’s end reveals this endeavor as a failure, to which the assassination of the movement’s leader, Slawek, attests.
Abstract: Based on preliminary research, we ask what insights can be gleaned about Polish Holocaust memory and testimony by examining the prolific art made by Polish ‘folk’ artists, via a range of disciplinary approaches. What can art history, visual culture studies, oral history, anthropology, memory studies, and museum studies tell us about the motivations, functions, and ethical implications of such works? Can they be considered acts of witness? Broadly, our text considers the status of ‘art naïve’ in the contexts of Holocaust representation, ethnographic museology, and bystander testimony.
