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
Fred Stein was only twenty-four years old when he had to flee Germany in 1933. A rabbi’s son and member of the Socialist Workers’ Party, he had studied law and hoped to work as an attorney, defending people’s rights. When he learned by chance that the Gestapo was planning to arrest him, he and his wife Lilo fled to Paris under the pretext of taking a honeymoon trip. In exile, the young couple was obliged to rethink its future.
Fred Stein, Berlin 1958
© Estate of Fred Stein
A Leica camera, the wedding present they had bought for themselves, proved to be the key to a new career. Fred Stein began taking photographs: street scenes in downtown Paris and portraits of celebrities, many of whom were German emigrants. In 1941 Fred and Lilo Stein, who by then had a little daughter, managed to flee a second time. They reached New York on one of the last ships out. There, Fred Stein once again devoted himself to shooting portraits and street scenes.
In 1958 Fred Stein returned to Germany for the first time in twenty-five years. He was prompted to do so by Will Grohmann’s planned publication of the book Deutsche Porträts [German Portraits]. Fred Stein was commissioned to photograph Konrad Adenauer, Heinrich Lübke, Ludwig Erhard, and other politicians, as well as artists, authors, and publishers, such as the young Axel Springer, or Rudolf Augstein. Yet apparently, many a German head he portrayed for the book posed a dilemma for him. → continue reading
The authors signing their book
© Jewish Museum Berlin
Alice Bota, Khuê Pham and Özlem Topçu recently presented their book “We, the New Germans: Who We Are and What We Want” at the Academy of the Jewish Museum Berlin. The three women, all journalists for the newspaper Die Zeit, discussed with one hundred guests what it means to be German in the 21st century. Before the event we asked the three authors a number of questions, including: “What inspired you to write this book?” They responded:
“We three are colleagues. We are political editors. And we are children of foreigners. But we find that despite being quite different, we share an outrage at those who would like to tell us who we are. By writing this book, we wanted to voice our concern, claim our identities and share our families’ stories. We wanted to demonstrate that immigrants’ stories are not necessarily about failure, and that broken and mixed family histories can in fact lead to personal success.” → continue reading