David Moses © photo: B.Gruhl
The construction and the fall of the Berlin Wall have occupied two generations of artists in the Moses family: in 1963/64 Manfred Heinz Moses created “The Balcony,” an etching on which, fifty years down the line, his grandson David Moses was to base a woodcut and polychrome etching. The latter works are likewise called “The Balcony” and they number among the unique pieces developed by seven artists resident in Berlin for the art vending machine on display in our permanent exhibition. A total stock of 1,400 artworks has been sold since early summer.
Grandpa Moses created his etching when still reeling from the shock of a trip to Berlin shortly after the Wall was built. It shows → continue reading
The 9th of November was not a day of national commemoration in England, where I grew up. We had to
“Remember, remember the 5th of November, gunpowder, treason and plot…”
The Gunpowder Plot Conspirators, unknown engraver, ca. 1605-1606
This was the date on which Guy Fawkes, a Catholic renegade, dramatically failed to blow up London’s House of Lords. This cultural memory has been faithfully preserved for over 400 years. However, the 9th of November never went unremarked in our household. It was always referred to in German with a shudder: “Kristallnacht,” a name and concept for which no English equivalent exists.
Moving to Germany in 2001, I was surprised to discover that the 9th of November was indeed a day when the organized pogroms against Jews in Germany in 1938 were discussed in the media and commemorative events were held. → continue reading
Tomorrow evening, 9 September 2014, the cultural anthropologist Alina Gromova will present her book “Generation ‘kosher light’” (transcript Verlag 2013) in the Academy of the Jewish Museum Berlin. As in the case of the many other authors whose “New German Stories” we recently discussed, we put three questions to Ms. Gromova prior to her reading:
Alina Gromova © Judith Metze
Alina, for your study of an international group of young Jews in Berlin you took the city itself as your springboard. Exploring the locations where your subjects live, hang out, mingle and party enabled you to chart their diverse notions of identity, tradition and religion. Why did you opt for such an explicitly spatial focus?
Identity and tradition are terms often difficult to grasp, because they are interwoven with symbols, values, wishful thinking or memories. A space, however, has not only a symbolic but also a physical dimension and is therefore more palpable. Personally, I don’t see a space as a 3-D void waiting to be filled by people or things. On the contrary, people and things are what create a space in the first place. And urban space is especially fascinating, I find, because a broad cultural and religious spectrum often occupies one and the same spot, however tiny; and different elements simultaneously give rise there to their own spaces, so the result is a palimpsest of spaces that then interconnect.
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