The Festival of Liberation at the Front
Yesterday evening, Monday, 14 April 2014, was the start of the eight-day Passover festivities. These kick off each year with the first Seder, the name of which derives from the Hebrew word seder, meaning order, because a particular ritual sequence is observed the entire evening.
The ritual Seder program is laid down in the Haggadah, an often beautifully illustrated book. (Incidentally, some especially precious Haggadot are currently on display in our special exhibition “The Creation of the World” and our director of archives recently described in his blog why even a nondescript Haggadah might be of great value to a museum.) Traditional texts and songs are recited from the Haggadah. Symbolic dishes and drinks deck the tables, ready to be consumed at specific moments during the evening.
German soldiers celebrate Passover in the occupied town of Jelgava (near Riga). © Jewish Museum Berlin, photo: anonymous. Donated by Lore Emanuel
But why is this night different from all other nights? This is a question that Jews all over the world ask themselves year after year at the Seder dinner. The answer is: it is the festival of liberation, for it commemorates the Israelites’ exodus from slavery in ancient Egypt. Everyone is supposed to feel, each year, as if she or he personally is about to leave Egypt. As a token of tribute to this new-won freedom, people comfortably recline while eating and drinking—for to take this position was the prerogative solely of free individuals in antiquity, not of slaves. → continue reading
Interview with Alexis Hyman Wolff
Alexis Hyman Wolff in her exhibition Zur Zeit at the Museum der Dinge, Berlin, June 2013.
Photo courtesy of the artist.
One of the works in our art vending machine is a candle shaped like a root, made by the artist and curator Alexis Hyman Wolff. In this interview, she offers insight into the development of the work:
Christiane Bauer: Why did you make a candle for the art vending machine?
Alexis Hyman Wolff: Thinking about the small size of the objects and the temporary home they would find in the vending machine, I wanted to reflect on the idea of the souvenir, a central theme in museums. Candles are used for memorial in many cultures. In Jewish tradition, a yortsayt candle is lit to remember a loved one on the anniversary of their death.
What is special about the material you used?
The candles are made out of beeswax from a beekeeping supplier in Berlin. I understand that beeswax is one of the few materials that burn without producing black smoke, which could explain the belief that burning beeswax candles is good for the air. According to a European folk custom, when someone dies, a member of the family must go to the hive and “tell the bees,” and also invite them to the funeral. This tradition suggests a link between bees and the spirit world.
How important is the aspect of “remembrance” in your work? → continue reading
Excerpt from “The Guardian / Sycamore Group”
© Atalya Laufer
One of the works in our art vending machine is a booklet which provides an insight into the inner-workings of many of the Israeli Kibbuzim. With sober drawings and a text that is based on archival documents, artist Atalya Laufer (b. 1979) exposes a particular aspect of growing up on a Kibbutz. As one of the last generation of children to be raised in communal children’s houses (Batei Yeladim), she takes us on a journey through time and into the passing world of the Kibutzim.
The text in the booklet is based on protocols of night shifts that were taken in the early 1970s. In these protocols incidents and particularities in every house, during every night shift, had been recorded. Owing to these we can readily reconstruct the daily life in children’s houses. → continue reading