Detail of a Megillah, Germany, 18th century
© Jewish Museum Berlin. Photo: Michaela Roßberg
Today, 16 March, Jewish communities are celebrating Purim. On this holiday, the biblical Book of Esther is read aloud in synagogue. In keeping with tradition, the story of Esther—who saves the Jewish people in the Persian Empire from destruction by Haman, the king’s highest-ranking official—is read not from a book but from a parchment scroll. Commenting on the (Hebrew) reading, noisy hoots and rattles are sounded. (Alternative customs are described in our blog text for last year’s Purim).
Numerous Esther scrolls are currently in the custody of the Jewish Museum. The 32 works on loan will be on display along with other historical manuscripts from 4 April 2014, in the special exhibition “The Creation of the World. Illustrated Manuscripts from the Braginsky Collection.” → continue reading
On Why the Death of Stuart Hall Is a Loss for our Academy Programs
Stuart Hall, the renowned British cultural theorist and sociologist, passed away exactly one month ago, on 10 February 2014. His death prompted in us a deep sense of personal loss. His groundbreaking writings on cultural studies, in particular on racial inequality, were first translated into German in the mid 1990s—a time when people here were beginning to acknowledge the importance of racism as an issue.
Silent vigil of the Jewish Community at the Putlitz Bridge Deportation Memorial
Photo: Michael Kerstgens, Berlin Tiergarten, 1992
Hall’s approach incited a new discussion and coined a new vocabulary: until then, Germans in the Federal Republic had spoken of “Fremdenfeindlichkeit” (xenophobia), which they regarded as a marginal social phenomenon. Politicians and the media spoke matter-of-factly of society “reaching breaking point” when “the boat gets too full” owing to “Überfremdung.” The latter term denotes the state of ‘being overrun by foreigners.’ It is itself deeply racist and was accordingly voted Non-word of the Year 1993. “Being overrun” was presumed however to be explanation enough for the fire-bombings and other attacks then being carried out almost daily on asylum-seekers’ accommodation centers or immigrants’ apartments—and likewise for the hate campaigns, man-hunts, and pogrom-type riots erupting in Rostock, Hoyerswerda, and elsewhere, or the emergence of no-go areas in other towns and rural centers. In consequence, the law on asylum was altered in 1993 such that judicial opinion held it to have been “de facto repealed.” Therefore, anyone who wished to address the issue of racism as a structural phenomenon and thereby draw on theoretically sound academic sources had necessarily to turn to authors from England, France, the USA, or Canada—and repeatedly to Stuart Hall. → 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