The Many Faces of Isaac and Ismael

Video box with Peter Greenaway and Saskia Boddeke

Peter Greenaway and Saskia Boddeke at the video box in the Eric F. Ross Gallery © Jewish Museum Berlin, photo: Yves Sucksdorff

For the last several weeks, an interactive video box has stood in the Eric F. Ross Gallery, as part of the current special exhibition, “Obedience: An Installation in 15 Rooms by Saskia Boddeke and Peter Greenaway.” “Are you Isaac or are you Ismael?” a neon sign asks visitors as they approach the box. The question relates to the story from Chapter 22 of the First Book of Moses, in which God commands Abraham to sacrifice his son. However, Saskia Boddeke and Peter Greenaway turn this story on its head. It’s not the voice of God greeting the visitors at the beginning of their installation, but a large-screen projection of various children and young people presenting themselves, each in their own languages, as Isaac or Ismael.  continue reading


Art Against Forgetting

Young woman with a camera

Hadas Tapouchi © Katja Täubert

History cannot be captured in a single form. Not in brass, not in metal. That is what Hadas Tapouchi says. The Berlin-based Israeli artist believes that monuments and inscriptions miss the actual sense of commemoration. This type of remembrance would be an inevitable path towards forgetting.

Undoubtedly, Hadas works against forgetting. Upon our first meeting at her Tel Aviv apartment about four years ago, the artist’s rendered self-portrait in prisoner’s garb immediately jumped out at me. It was one of the precursors to her project, “The Third Generation“. A countless number of portraits since followed – portraits of mutual friends, the author himself, as well as young men and women between Berlin, Tel Aviv and Ramallah.  continue reading


A “kosher gnome” and everything’s ok? A conversation with Anna Adam

Woman leaning on a jamb

Anna Adam, “Pastoral care for a German-Polish border post”, March 2015 © Jalda Rebling

It’s not easy to find the way there. Good thing that the artist picked me up at the nearest subway station in Berlin’s Wedding district. Together we cross the courtyards of various businesses, pass a halal diner, climb a staircase, and suddenly we’re standing in front of the door of her atelier. Hardly has Anna opened it when I see the “kosher gnome”, observing the world through his binoculars.

It’s this figure that the artist reproduced in paper cut-out form on a card for our art vending machine: you cut the card and fold it to create a three-dimensional object. The instructions state that you should set him in your kitchen and then everything will be ok.

Atelier Door with "Kosher Gnome"

Atelier Door with “Kosher Gnome” © Jewish Museum Berlin, Photography: Gelia Eisert

Anna, what does the odd name “kosher gnome” mean? How do “kosher” and “gnome” even fit together? How will everything be ok? I’m confused.

At home, a wichtel (in the original German) is an important little man. There are a lot of these “important men”. My “kosher gnome” was born in 2002. He’s definitely supposed to be confusing. “Kosher” and “gnome” fit together because I committed myself to the task of “healing the German-Jewish sickness”, as I call it. To that end I work with satirical means, which – unlike comedy – take everyday politics as a starting point.

You mentioned the year it was born. What were the circumstances of the “kosher gnome”‘s birth?  continue reading