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
Program Director Cilly Kugelmann on the Exhibition “NO COMPROMISES! The Art of Boris Lurie”
“As this image of Lurie with his brother-in-law Dino Russi from 1946 shows, the NO!art artists, in reclaiming the swastika symbol, robbed it of its symbolic value.” (Cilly Kugelmann)
Boris Lurie Art Foundation, New York
Our major retrospective dedicated to Boris Lurie opens 26 February 2016 (for more information see www.jmberlin.de/lurie/en). Blog editor Mirjam Bitter spoke with Cilly Kugelmann about the artist, his provocative work, and the possible impact today of the taboos that he broke throughout his career.
Mirjam Bitter: What is your view of Boris Lurie? What sort of a guy was he? What distinguished him as an artist?
Cilly Kugelmann: The man and the artist Boris Lurie was shaped by his experience of persecution and concentration camps under the Nazi regime. And yet, unlike other artists who faced similar experiences, I feel he cannot be described as a “Holocaust artist.” With the exception of some early drawings from 1946 and a few paintings from the late 1940s, he neither chronicled these events nor sought to interpret the Holocaust artistically in his work.
Then what role did the Holocaust play in Lurie’s work? → continue reading
Remembering 4 November 1995
Twenty years ago today, 4 November 1995, Israel prime minister, Yitzhak Rabin, was assassinated following a peace rally in central Tel Aviv. Mirjam Wenzel was there.
“It was a mild evening at Kikar Malchei Yisrael (Kings of Israel Square, now Yitzhak Rabin Square) in the middle of Tel Aviv, where throngs of people had gathered under signs of shalom achshav (peace now) to show their support for Rabin and Shimon Peres and their push for peace. The national religious movement had grown more hostile towards the government in recent weeks, and the media had been reporting its demonstrations with posters of Rabin in a SS uniform. No one could imagine, at least not within my circles, that this movement could turn deadly. From the Tel Aviv office of the Friedrich Ebert Foundation, where I had a semester internship, the Oslo Accords were viewed as a political and economic fact. → continue reading