Achtung GOLEM!

Objekts on a table and a sign "Achtung Objekt"

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.

Two humanoide robots greet each other

REEM and REEM C at a Meet-and-Greet © PAL Robotics, Barcelona

A piece of paper with handwriting in German and Hebrew

© 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


After Installation Comes De-Installation

Conservation Work on the Boris Lurie Exhibition

Alicija Steczek with a work of Boris Lurie

Conservator Alicija Steczek in front of a work of Boris Lurie; Jewish Museum Berlin, photo: Stephan Lohrengel

Visitors to our exhibition “No Compromises! The Art of Boris Lurie” (further information on our website) do not usually realize that they are viewing the result of lengthy groundwork and complex collaboration between various divisions of the museum. Those involved include, among others, employees of the temporary exhibition department, the registrars who for example take care of loans and organize shipments, and us conservators. We were already on board a year and a half before the exhibition was installed. Our work continues for the duration, only coming to an end with the closing and removal of the show in early August.

Boris Lurie’s art is fascinating and very variegated as to materials. Our work to protect it is thus correspondingly elaborate.  continue reading


Boris Lurie – Trying Out an Approach for High School Students

Nina Wilkens in front of her computer screen

Nina Wilkens contemplating the collage “Found objects on flat cardboard box” on her computer screen; Jewish Museum Berlin, photo: Svenja Kutscher

Five black and white photographs of a scantily-clad woman, legs spread open, in various suggestive poses. The pictures smudged and stuck askew onto white cardboard. On top, a Star of David partly smeared with yellow paint.  A brown dildo is fastened next to the cardboard. This constellation of things looks at first glance like useless trash. Objects left on the ground, covered with their share of grime, and now lying here piled on top of one another. This work by Boris Lurie from our current exhibition “No Compromises! The Art of Boris Lurie” (further information about the exhibition on our website) has no name and its date is ambiguous.

When I started thinking, around a year ago, about a pedagogical program on Boris Lurie, I got stuck on this picture as I sat at my computer clicking through images of the works that were being considered for the exhibit. I was confused by my own reaction to this collage of two- and three-dimensional objects: vacillating between disgust and uncertainty. I had the words “obscene” and “tasteless” on the tip of my tongue but found them unsuitable. The image hurt. I wondered how students would react to Boris Lurie’s art.  continue reading