The many faces of Isaac and Ismael, Part 3
Everyday, hundreds of video clips get produced at our video box that is part of the exhibition “Obedience. An Installation in 15 Rooms by Saskia Boddeke & Peter Greenaway.” This month, we have been particularly taken by the multitude of languages spoken by our visitors who present themselves as Isaac or Ismael:
Lisa Albrecht, responsible for compiling the clips, is since able to introduce herself in a number of languages.
A Conversation with Rachel Heuberger on the Biblical Story of the Binding of Isaac and the Exhibition “Obedience”
Still from a film in the installation “Obedience”
© S. Boddeke & P. Greenaway, photo: Digidaan
The exhibition “Obedience. An Installation in 15 Rooms by Saskia Boddeke & Peter Greenaway” has been open for some time now at the Jewish Museum Berlin. As with every exhibition, this one meets the approval of our visitors to various degrees. Unlike other exhibitions however, the feedback – which often reaches us later – is different than what we might have anticipated. Indeed, this was the case with Dr. Rachel Heuberger, the curator of the Hebraica and Judaica collections at the University Library of Frankfurt. We spoke right after her visit about her thoughts and impressions.
Mirjam Wenzel: You just saw the exhibition “Obedience” by Saskia Boddeke and Peter Greenaway. How would you describe it? → continue reading
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.
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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