View of a room of the exhibition GOLEM; Jewish Museum Berlin, photo: Yves Sucksdorff
Laura (23), Romania, architecture student
What is your impression of the exhibition?
The exhibition is fascinating and creepy at the same time. It makes you believe that the creatures displayed are real. Therefore, the atmosphere is very intense.
Which object or room has impressed you the most?
The room with the mirrors impressed me a lot. First, we were just playing around, which was fun. I could see myself and my friend in the mirror at the same time. But when I think of it now, it could be a metaphor for “looking beyond yourself.”
Do you know a sort of “Golem” from today?
As children, we have toys, dolls, and sometimes imaginary friends. We can talk to them and make them do what we want them to do.
Edgar (49), Germany, computer science
What was your impression of the exhibition? → continue reading
Golem Costume for Death, Destruction, and Detroit II at the Schaubühne Berlin, 1987. Directed by Robert Wilson; Lender: The Jewish Museum, New York
The Golem is brought to life from inanimate material, as is the exhibition we are dedicating to him. Up until the opening on September 22, many days will be spent building, painting, felting, typesetting, printing, writing, cutting, hanging and pouring. For the celebratory opening, we have invited as our special guest, a robot who will greet the public.
REEM and REEM C at a Meet-and-Greet © PAL Robotics, Barcelona
© Scholem Archives, The Jewish National and University Library, Jerusalem, Israel
But up until that moment, there is still a lot to be done. All of the objects and works of art have already arrived in Berlin. For example, the smallest item (14.5 x 11 cm), which is roughly the size of a post-it. On this piece of paper, Gershom Scholem (1897–1982), the scholar of Jewish mysticism, noted the beginning of the so-called “Golem Recipe,” which he had discovered in a medieval manuscript during his research at Oxford. → continue reading
A Conversation with Peter Weibel about whether Boris Lurie Should Be Seen as a Part of the Ultra-realist Neo-avant-garde, and Pornography as a Metaphor for Capitalist Society
Boris Lurie, “A Jew is dead,” 1964; Boris Lurie Art Foundation, New York, USA
Mirjam Bitter, blog editor: As part of the program accompanying our Boris Lurie retrospective, you’ll be giving a lecture at the Jewish Museum Berlin on 30 May 2016 on the subject of “The Holocaust and the Problem of Visual Representation,” (further details of which can be found in our events calendar). Is this tied up with the idea that the Holocaust is a major theme in Lurie’s work?
Peter Weibel: The Holocaust, along with war, Hiroshima, and Nagasaki were pivotal traumatic experiences for the post-Second World War neo-avant-garde. Take, for example, Yves Klein’s painting “Hiroshima” (1961) or Joseph Beuy’s environment “Show Your Wound” (1974–1975). Many artists responded to the inhumanity they had witnessed by calling into question humanity and indeed, civilization itself: Why, they asked, had literature, painting, music, and philosophy been unable to prevent this twentieth-century barbarism? → continue reading