A Photo Collection Found Hiding in Berlin-Friedrichshain
A girl standing in front of a door, presumably Berlin, about 1918–1922; Jewish Museum Berlin
Every time I open a new folder of photos, I can’t know what’s waiting for me – what faces I’ll find or fates will be revealed. Images are often part of a larger collection, consisting of documents, everyday articles and artwork, for which we already know the biographies of those pictured or can further research. Such was the case, for example, of the cabaret artist, Olga Irén Fröhlich, whom I’ve written about before on this blog. This time, however, the people in the photographs will remain unknown to me; I won’t be able to attach names or histories to them. Perhaps you can!
It’s not out of the ordinary to work with collections that have been in the Museum’s possession for decades. → continue reading
Emanuel and Johanna Stern, ca. 1903; Jewish Museum Berlin, gift of Alexander Summerville
Just over two years ago, I penned a blog text describing a Passover Haggada that I had purchased online. It caught my attention due to the lists of names written on the inside front and back covers of individuals who attended the Passover Seders over the course of seven years that were held in two residences in Berlin, both of which were in close proximity to the Jewish Museum Berlin. Research revealed a substantial amount of information about various persons named therein and my text concluded with the hope that contact might be established with descendants of some of those found in the lists.
At the end of March of this year, I flew to Stockholm to visit Alexander Summerville, the great grandson of Paul Aron, in whose home in the Hedemannstraße 13/14 Passover Seders took place in five of the years for which lists exist in the Haggada. → continue reading
A Guest Entry by Rudij Bergmann
Accompanying our current exhibition, “No Compromises! The Art of Boris Lurie,” Rudij Bergmann’s film about the artist will premiere on 21 March 2016 (additional information available on our event calendar). In this guest entry, the filmmaker tells us how this very personal documentary came about.
The artist’s longing for Europe was palpable from the moment I first saw him in the dim light of an apartment hallway on New York’s 66th Street. Stepping into his home studio, confronted by this breathtaking collage of memory, it was immediately clear to me that Boris Lurie hadn’t fully left the concentration camps he survived with his father – at least mentally.
It was October 1996. A film for the television magazine BERGMANNsART, which I’m for all intents and purposes responsible for, was the reason to rush to see Lurie in New York. (The film, in German and with age restriction, is available on YouTube.)
It was the beginning of a long friendship. → continue reading