The author © David Ranan
For his book, “The shadows of the past are still long: Young Jews on their lives in Germany,” culture researcher, David Ranan, conducted interviews with Jews between 20-40 whose grandparents survived the Holocaust and then settled in Germany after the war. The London-based author will present his book at the Academy of the Jewish Museum Berlin on 7 July 2015, as part of the “New German Stories” series. In advance, we asked him three questions.
Julia Jürgens: Mr. Ranan, one question you asked your interviewees deals with the “packed luggage” the first and second generation seem to have at the ready, an expression of their inner conflict between being able to safely stay or having to again flee. Is there still this conflict within the third generation or how else would you describe its sense of belonging to Germany? → continue reading
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
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