“All art nowadays is inadequate to representing the inhumanity of the world.”

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

Collage with yellow star and the words "A Jew Is Dead"

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?

Portrait photograph of Peter Weibel

Peter Weibel
© ONUK

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


Names Come to Life

Black and white photograph of an elderly couple

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


Boris Lurie & Me

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.

Black-and-white photography of Rudij Bergmann with his iPhone

Rudij Bergmann in the Boris Lurie Art Foundation warehouse in New York
Photo: Benjamin Donath

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