Towards an Online Platform for Jewish History and Culture

The mid-term online strategy of the Jewish Museum Berlin

photo of a workshop at we are museums 2014

At a wearemuseum’s workshop in Warschau 2014 CC-BY-SA wearemuseums

At the moment, the conference “we are museums” is taking place in the rooms of our Academy. I have been working for days on my keynote lecture in which I take stock of recent developments at our museum. It is almost two years to the day since my colleagues and I first sat down together to discuss the web presence then in place and the cornerstones of its renewal. For while our online activities had been steadily expanding and diversifying, external assessment and target group evaluation revealed that visitors were finding it increasingly difficult to navigate our website. So it was evidently high time to  continue reading


“When civilization goes wrong, there is blood:” A brief exchange with Peter Greenaway

The exhibition “Obedience: An Art Installation in 15 Rooms by Saskia Boddeke & Peter Greenaway” is about to open. It reflects on the biblical story of Abraham, a forefather willing to sacrifice his son in compliance at God’s command.The installation is still being set up when the catalog arrives, hot off the press. It comprises an art book designed by Peter Greenaway as well as a compilation of essays. The artist and filmmaker took a break from the hectic pre-opening preparations to talk with Mirjam Wenzel about the meaning of the biblical story, and the notion of text, image and blood.

Mirjam Wenzel: The biblical story in the Book of Genesis 22 holds an awkward place in Jewish memory and has given rise over the centuries to many theological debates and artistic interpretations. We had been considering doing an exhibition about this story and its reception for a very long time. What did you think when we approached you with the idea of creating this exhibition? How do you perceive this biblical story?  

Peter Greenaway: I think that when making an exhibition it is as important to attend to form and language as to content. The content is always maneuverable, adjustable, and ever subjective. This story consists of very many meanings,  continue reading


Happy Moments for a Curator
Ilse Bing’s Photograph “New York—The Elevated and Me”

A self-portrait shot by Ilse Bing on her first trip to New York in 1936 has been imprinted on my mind’s eye for a very long time. The image was up for sale only twice in the last twenty years. On the first occasion, in 2009, a vintage print went at auction for the princely sum of 25,000.00 EUR. Given its rarity and great market value, I imagined at the time that the enchanting image was unlikely ever to become a part of our collection. For me, it came to be the very epitome of wishful thinking.

black white photograph of the skyline New York with Ilse Bing in specular reflection

Ilse Bing, “New York—The Elevated and Me,” print from 1988 of the original negative from 1936. Jewish Museum Berlin © Estate of Ilse Bing

 

The photograph depicts a station on the Elevated (subway line) in New York and the reflection in a small round mirror of the photographer with her Leica. The title “New York—The Elevated and Me” underscores the hybridity here of cityscape and self-portrait.

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