scholarly journals Arquitectura, dispositivo de experiencia memorial. *** Architecture: a drive of memorial experience .

2018 ◽  
Author(s):  
Marilda Azulay Tapiero
Keyword(s):  
Present Communication ◽  
History Museum ◽  
Historical Significance ◽  
Holocaust Memorial ◽  
Peter Eisenman ◽  
The Holocaust ◽  
Daniel Libeskind ◽  
Yad Vashem ◽  
Jewish Museum

La arquitectura puede introducirnos en la experiencia de la memoria; memoria como reflexión, y arquitectura como dispositivo para la experiencia memorial a la vez que contenedor de la información. Cada objeto es definido en un proceso en el que considerar diversos actores, sus voluntades, opciones y experiencias. Es el caso de las obras que aborda este trabajo, en las que evidenciar e interrogarnos sobre el gesto arquitectónico, la memoria evocada y su interpretación social. Obras que han alcanzado notoriedad por diferentes motivos: como la Sala del Recuerdo, de Arieh Elhanani, Arieh Sharon y Benjamin Idelson (1961) en Yad Vashem, Jerusalén; por su significado científico e histórico, como el Museo de Historia del Holocausto, también en Yad Vashem, de Moshé Safdie (2005); por su relevancia cultural o arquitectónica, como el Museo Judío (Ampliación del Museo de Berlín con el Departamento del Museo Judío) de Daniel Libeskind en Berlín (1999); e incluso por la controversia que han suscitado, como el Monumento en Memoria de los Judíos Asesinados de Europa, también en Berlín, conocido como el Monumento del Holocausto, de Peter Eisenman (2004).***Architecture can introduce us to the experience of memory; memory as reflection, and architecture as a drive for the experience of remembering as well as a container of information. Each object is de ned in a process in which different actors, their wills, options and experiences, are taken into account. This is the case of the artworks addressed by the present communication, in which we reveal and ask ourselves about the architectural gesture, the evoked memory and its social interpretation. Artworks that have achieved prominence for different reasons, such as the Hall of Remembrance, of Arieh Elhanani, Arieh Sharon and Benjamin Idelson (1961) in Yad Vashem, Jerusalem; for its scientific and historical significance, such as the Holocaust History Museum, also in Yad Vashem, by Moshe Safdie (2005); for its cultural or architectural relevance, such as the Jewish Museum (Extension of the Berlin Museum with the Department of the Jewish Museum) by Daniel Libeskind in Berlin (1999); and even because of the controversy they have raised, such as the Memorial to the Murdered Jews of Europe, also in Berlin, known as the Holocaust Memorial, by Peter Eisenman (2004).  

Moshe Safdie at Yad Vashem: Architecture, Politics, Identity

Pólemos ◽  
2019 ◽  
Vol 13 (1) ◽  
pp. 43-62
Author(s):  
Paolo Coen
Keyword(s):  
Initial Phase ◽  
The State ◽  
Jewish State ◽  
History Museum ◽  
The Holocaust ◽  
International Reputation ◽  
The 1950S ◽  
State Of Israel ◽  
Yad Vashem

Abstract This article revolves in essence around the contributions made by the architect Moshe Safdie to the Yad Vashem memorial and museum in Jerusalem. Both probably need at least a brief introduction, if for no other reason than the nature of the present publication, which has a somewhat different scope than the type of art-historical or architectural-historical journals to which reflections of this kind are usually consigned. The first part draws a profile of Safdie, who enjoys a well-established international reputation, even if he has not yet been fully acknowledged in Italy. In order to better understand who he is, we shall focus on the initial phase of his career, up to 1967, and his multiple ties to Israel. The range of projects discussed includes the Habitat 67 complex in Montreal and a significant number of works devised for various contexts within the Jewish state. The second part focuses on the memorial and museum complex in Jerusalem that is usually referred to as Yad Vashem. We will trace Yad Vashem from its conception, to its developments between the 1950s and 1970s, up until the interventions of Safdie himself. Safdie has in fact been deeply and extensively involved with Yad Vashem. It is exactly to this architect that a good share of the current appearance of this important institute is due. Through the analysis of three specific contributions – the Children’s Memorial, the Cattle Car Memorial and the Holocaust History Museum – and a consideration of the broader context, this article shows that Yad Vashem is today, also and especially thanks to Safdie, a key element in the formation of the identity of the state of Israel from 1967 up until our present time.

Un nuevo Reglamento de acceso a disposición de los investigadores y del público para consultar los archivos del Comité Intemacional de la Cruz Roja

1996 ◽  
Vol 21 (137) ◽  
pp. 590-592
Author(s):  
Jean-François Pittelou
Keyword(s):  
United States ◽  
Holocaust Memorial ◽  
Memorial Museum ◽  
The Holocaust ◽  
Holocaust Memorial Museum ◽  
World Centre ◽  
Yad Vashem

En julio de 1995, el Consejo Ejecutivo del CICR solicitó a la Dirección de Derecho Internacional y Doctrina y a la División de Archivos que redactaran un nuevo Reglamento de acceso a los archivos del CICR. En su reunión del 17 de enero de 1996, la Asamblea del CICR aprobó el texto que le fue presentado y encargó a la División de Archivos organizar la consulta de los archivos públicos del CICR.El CICR adopto esta medida teniendo en cuenta el extraordinario interes que los archivos de una institución, presente en la mayoría de los conflictos de estos últimos treinta años, tienen para el público. Responde, simultáneamente, al interés científico de los historiadores y al deseo manifestado por institueiones tales como el Yad Vashem World Centre for Teaching the Holocaust de Jerusalén, el United States Holocaust Memorial Museum de Washington, o el Centra de Documentación Judío Contemporáneo de París, de completar las respectivas colecciones de archivos. El CICR también desea facilitar el acceso a las personas en busca de datos biográficos o de testimonios relacionados con las víctimas de los conflictos.

scholarly journals The spectre of the thing: The construction of the Sydney Gay and Lesbian Holocaust memorial

2021 ◽  
Vol 8 (3) ◽  
pp. 27-40
Author(s):  
Martin Kerby ◽  
◽  
Malcom Bywaters ◽  
Margaret Baguley ◽  
◽  
...  
Keyword(s):  
Gay And Lesbian ◽  
Public Meetings ◽  
Holocaust Memorial ◽  
Starting Point ◽  
The Holocaust ◽  
Gays And Lesbians ◽  
Western Side ◽  
Planning And Construction ◽  
Sydney Australia ◽  
Jewish Museum

The Sydney Gay and Lesbian Holocaust Memorial is situated on the western side of Green Park in Darlinghurst, in Sydney, Australia. Darlinghurst is considered the heart of Sydney's gay and lesbian population, having been the site of demonstrations, public meetings, Gay Fair Days, and the starting point for the AIDS Memorial Candlelight Rally. It is also very close to both the Sydney Jewish Museum and the Jewish War Memorial. The planning and construction of the Memorial between 1991 and 2001 was a process framed by two competing imperatives. Balancing the commemoration of a subset of victims of the Holocaust with a positioning of the event as a universal symbol of the continuing persecution of gays and lesbians was a challenge that came to define the ten year struggle to have the memorial built.

scholarly journals Cruising Eisenman’s Holocaust Memorial

Anos 90 ◽  
2015 ◽  
Vol 22 (42) ◽  
Author(s):  
Valentina Rozas Krause
Keyword(s):  
New York ◽  
Art Exhibition ◽  
Everyday Practices ◽  
Holocaust Memorial ◽  
The Holocaust ◽  
Sexuality And Gender ◽  
And Gender ◽  
The One ◽  
Holocaust Narratives ◽  
Jewish Museum

Profile pictures from gay dating sites of young men posing with the stelae of the Memorial to the Murdered Jews in Europe in Berlin have been subject to an art exhibition at the Jewish Museum in New York and a tribute online blog. This paper unveils the meaning of these pictures on this particular site, in an effort to understand why these men chose to portray themselves at the Holocaust Memorial in order to cruise the digital sphere of gay dating websites. In three consecutive sections, the paper asserts that, on the one hand, the conversion of the Holocaust Memorial into a cruising scenario is facilitated by a design that —putting forward autonomy and abstraction— allows and even invites its constant resignification in terms of everyday practices. And, on the other hand, it posits that the images exhibited at the Jewish Museum can be interpreted as a performative memorial which reinscribes sexuality and gender into Holocaust narratives. 

Zionist-Nazi Collaboration and the Holocaust-A Historical Aberration? Lenni Brenner Revisited

2014 ◽  
Vol 13 (2) ◽  
pp. 187-212
Author(s):  
Tony Greenstein
Keyword(s):  
Natural Reaction ◽  
Anti Semitism ◽  
Holocaust Memorial ◽  
Memorial Museum ◽  
The Holocaust ◽  
Zionist Movement ◽  
Holocaust Memorial Museum ◽  
Yad Vashem

Over thirty years ago Lenni Brenner's Zionism in the Age of the Dictators awakened the ghosts of Nazi-Zionist collaboration. This collaboration was an extension of Zionism's historical attitude to anti-Semitism in Europe, which saw anti-Semitism as the natural reaction of non-Jews to the abnormal presence of Jews. The Zionist movement was outraged by these public revelations of collaboration and sought to censor them. Brenner brought together some of the most damning evidence of Zionism's collaboration with the Nazis and their obstruction of the rescue of European Jews to anywhere but Palestine. This essay critiques Brenner's thesis, especially its failure to analyse the Holocaust in depth. Brenner rightly denounced this collaboration, but, as in the case of the Israeli Holocaust Memorial Museum Yad Vashem, he produced no analysis of this official Israeli memorial project. This essay furthermore explores the implications of Zionist collaboration as in the case of Argentina under the Junta and for a future resurgence of anti-Semitism.

scholarly journals Libeskind’s Museum in Berlin as a toppled tower

2015 ◽  
pp. 325-352
Author(s):  
Artur Kamczycki
Keyword(s):  
The Holocaust ◽  
Daniel Libeskind ◽  
Jewish Museum

In the article the author will attempt to interpret the architectural structure of the Jewish Museum in Berlin, designed in 1989 by Daniel Libeskind. The context of deliberations presented here will rely on a broadly understood idea of tower, an entity identical with the Judaic as well as Christian vision of the Heavenly Jerusalem. However, the key to the metaphor is the assumption that the structure symbolizes a toppled tower, which in its turn is a meaningful analogy to the concepts derived from the issues of the Holocaust.

The Kabbalistic Alphabet of Libeskind: The Motif of Letter-shaped Windows in the Design of the Jewish Museum in Berlin

Ikonotheka ◽  
2019 ◽  
Vol 28 ◽  
pp. 7-40
Author(s):  
Artur Kamczycki
Keyword(s):  
Jewish Tradition ◽  
Visual Metaphor ◽  
Jewish Mysticism ◽  
Entire Structure ◽  
The Holocaust ◽  
New Meanings ◽  
Tikkun Olam ◽  
The World ◽  
Daniel Libeskind ◽  
Jewish Museum

The present article attempts to analyse and interpret the structure of windows in the Jewish Museum in Berlin, designed by Daniel Libeskind and constructed in 1989–1999. Elongated, narrow, irregular window openings arranged at different angles like a tangle of cuts and grooves span the entire structure and resemble Hebrew letters and the kabbalistic notion of the “scattered alphabet”, which functions in Jewish tradition as a visual metaphor. The assumption of such a perspective of interpretation, based on the visual form of the building which was, in its principle, meant to partially refer to the Holocaust, leads to the hypothesis that the chosen motifs of letter-shaped windows (the scattered alphabet) is connected to the kabbalistic postulate of the “repair of the world”, known in Jewish tradition as tikkun olam. The characteristic chaotic arrangement of the window openings is not, as it might be assumed, simply a symbol of the civilisational “fragmentation” resulting from the Holocaust. On the contrary, the design manifestly embodies the nostalgia for the mythical (and messianic) times of harmony, order and regularity, as well as the longing for clear structure and symbiosis. This manifests in the kabbalistic interpretation of the motif of letter-windows understood as a mystical (or even theurgical) element of restoration. Concentration, contemplation, perception and consideration of the forms and shapes of the letters is a notion known from the Kabbalah; in this case architectural references to Jewish mysticism are more than just a strategy for interpretation, but a declarative assumption made by the architect himself. Libeskind’s design in Berlin, therefore, involves the matter of language as the elementary material and instrument of salvation, while the context of the Kabbalah ought to be regarded as a certain symptom or a specific modality shaping new meanings manifested by the work of art that this museum undoubtedly is.

The Encyclopedia of the Righteous Among the Nations: Rescuers of Jews during the Holocaust – Poland, Yad-Vashem, Jerusalem 2005

2005 ◽  
pp. 318-319
Author(s):  
Marta Janczewska
Keyword(s):  
The Holocaust ◽  
Yad Vashem

Stosunki polsko-żydowskie podczas drugiej wojny światowej – to temat w szczególny sposób złożony i obciążony emocjami. Nawet jednak w najbardziej zażartej dyskusji dotyczącej tej problematyki strony milkną, gdy przywołane zostaną sylwetki Sprawiedliwych wśród Narodów Świata. Od roku 1963, kiedy Instytut Yad Vashem rozpoczął przyznawanie tytułu Sprawiedliwego wśród Narodów Świata, odznaczenie to otrzymało ponad 20 000 osób. Ponad 5300 spośród nich (dane na koniec 2000 roku) to Polacy. Po tomach prezentujących Sprawiedliwych z Holandii i Francji, staraniem Instytutu Yad Vashem do rąk badaczy i szerokiego kręgu czytelników trafia właśnie dwutomowa encyklopedia poświęcona Polakom uhonorowanym tym zaszczytnym tytułem.Książka w porządku alfabetycznym prezentuje kolejnych Sprawiedliwych, opatrując każde nazwisko (lub kilka nazwisk, w zależności od liczby osób zaangażowanych w konkretny przypadek) rodzajem noty biograficznej. Noty mają charakter narracyjny i ogniskują się na historii ratowania. W krótkich z konieczności zapisach autorzy starali się jak najpełniej ukazać sylwetkę Sprawiedliwego, jego status ekonomiczny, wykształcenie, poglądy i związane z nimi motywacje ratowania, oraz możliwie wiernie przedstawić historię pomocy, wskazać jej przebieg i okoliczności. Wszystkie hasła osobowe Encyklopedii... powstały jedynie w oparciu o akta, jakie każdy Sprawiedliwy posiada w Archiwum Instytutu Yad Vashem. Wiele not opatrzonych jest zdjęciem bohatera. Rozbudowany wstęp o charakterze historyczno-socjologicznym pióra profesora Israela Gutmana, mapa oraz słownik podstawowych pojęć przybliżają nawet zupełnie niezorientowanemu w temacie czytelnikowi złożoność stosunków polsko-żydowskich przed drugą wojną światową oraz przedstawiają mu realia okupowanej Polski, ze szczególnym uwzględnieniem reakcji Polaków na Holokaust. Autorzy Encyklopedii... zdecydowali się na prezentację sylwetek Sprawiedliwych, którzy zostali uhonorowani do końca 1999 roku. Jako że Instytut Yad Vashem kontynuuje nadawanie tytułu, spodziewany jest w przyszłości suplement, prezentujący kolejne postaci.

It was horrible, but we live now

Focaal ◽  
2016 ◽  
Vol 2016 (74) ◽  
pp. 97-110 ◽  
Author(s):  
Lisa J. Krieg
Keyword(s):  
High School ◽  
Field Study ◽  
Key Factors ◽  
Strange Matter ◽  
The Past ◽  
Holocaust Memorial ◽  
Personal Relation ◽  
The Holocaust

Based on an ethnographic field study in a museum and an evening high school in Cologne, this paper discusses experiences of young German adults in everyday encounters with the Holocaust, which are oft en accompanied by feelings of discomfort. Considering the Holocaust as an uncanny, strange matter contributes to understanding that distance and proximity are key factors in creating uncomfortable encounters. Distance from the Holocaust reduces discomfort, but where distance cannot be created, other strategies have to be put to work. This article underlines the significance of experience in an individual’s personal relation to the past for gaining an improved understanding of Holocaust memorial culture in Germany.

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