facility:jewish museum

  • Feu sur la liberté d’expression en Europe
    dimanche 30 juin 2019 par Coordination nationale de l’UJFP
    http://www.ujfp.org/spip.php?article7264

    Il aura fallu que Yossi Bartal, guide au musée juif de Berlin, démissionne pour qu’apparaissent toutes les manœuvres de l’État d’Israël, toutes ses compromissions aussi.

    La démission de Yossi Bartal(1) se produit huit jours après celle du Directeur du musée, Peter Schäfer (2).

    Peter Schäfer avait protesté avec 240 intellectuels juifs (dont Avraham Burg et Eva Illouz) pour s’opposer à une motion du Parlement allemand qui considérait le mouvement BDS comme antisémite. Il a été directement attaqué par l’ambassadeur d’Israël, Jeremy Issacharoff et Josef Schuster, directeur de l’équivalent du Crif allemand qui n’ont pas hésité à utiliser des « fake news » pour le salir.

    L’année dernière déjà le budget d’une exposition consacrée à Jérusalem, montrant aussi son versant palestinien a été divisé par 2 à la suite d’une intervention de Benjamin Netanyahou (qui réclamait l’annulation totale du budget). De son côté, Josef Schuster avait critiqué le fait que la majorité des employés du musée n’étaient pas juifs. Et les détracteurs de la liberté d’esprit du musée sont soutenus par l’ALD, le parti d’extrême droite…

    Un panier de crabe insoupçonné que nous révèle son (ex) guide. (...)

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    (1) Opinion Why I Resigned From Berlin’s Jewish Museum
    Yossi Bartal - Jun 22, 2019 9:39 AM
    https://www.haaretz.com/opinion/why-i-resigned-from-berlin-s-jewish-museum-1.7398301

    Last Monday, after guiding hundreds of different tour groups from Germany and around the world to various exhibitions, I submitted my resignation as a guide at the Jewish Museum of Berlin in protest against the crass political intervention by the German government and the State of Israel in the work of the museum.

    The shameful firing of Peter Schäfer, among the most important scholars of Judaism in the world, in the wake of an aggressive campaign of “fake news” conducted by the Israeli Ambassador to Germany, Jeremy Issacharoff, and Josef Schuster, president of the Central Council of Jews in Germany, made it clear that the German government is not interested any more in guarding the artistic and academic autonomy of the museum. And I am not interested in working for an institution that relinquishes its independence to serve the political interests of this or that state.

    From the beginning, working as a Jewish guide at a Jewish museum where most of the staff and visitors are not Jews presented personal, political and pedagogical challenges. Thus questions of representation of the other and of speaking in their name have accompanied the work of the museum since its opening in 2003.

    Is it appropriate for a German state museum to be called a Jewish museum at all, or must it be under the complete control of the official Jewish community (that itself only represents part of German Jewry)? Is a Jewish museum, in the absence of a similar institution addressing the Muslim community or other minority groups, responsible for providing space for the perspectives of children of migrants in Germany, many of whom live in neighborhoods nearby, and for conducting Jewish-Muslim dialogue?

    Should the museum function as a forum in which various opinions in the Jewish world can be heard, those touching on Israel as well? The answer of the head of the Jewish community, the Israeli ambassador and right-wing journalists, who for years have been running a toxic and untruthful campaign against museum staff, is an absolute no.

    Thus a significant portion of the criticism of the museum suggests, or even declares openly, that the very fact that many of the staff members of the museum are not Jews negates their right to social activism that is not in keeping with the political preferences of the Jewish community’s representatives. This discourse reached the point of absurdity when Schuster, the leader of a community in which many members are not considered Jewish according to halakha, negated the museum’s right to call itself Jewish.

    But we should not be confused by the legitimate criticism over the lack of Jewish representation in leading positions in Germany, because this criticism is raised only when non-Jews dare, even in the most sensitive way, to criticize policies of the Israeli government, or to come out against anti-Muslim racism. Proof of this may be seen in the Jewish community’s support for the 10 officials who have been nominated to fight anti-Semitism in the country: All 10 are non-Jews, and all 10 support the position that strong criticism of the occupation and of Israel’s religiously discriminatory character should be seen as an expression of anti-Semitism.

    Not surprisingly, the extreme right-wing “Alternative for Germany” is the party that, by way of parliamentary questions, has been leading the campaign against the museum for the last year, as reported sympathetically by the house newspaper of Benjamin Netanyahu. Despite the Israeli Embassy’s contention that it is not in contact with members of the party, its opposition to museum activities is based on a fervent rejection of democratic discourse, and its absolute conflation of the interests of the Israeli government with those of world Jewry. Already in the past year, as part of an exhibition on Jerusalem and its significance to three religions, the museum was forced to cancel a lecture on the status of LGBTQ Palestinians in East Jerusalem because the Israeli ambassador suspected that the speaker, God help us, supports BDS.

    Accusations of anti-Semitism, which carry enormous weight in Germany, lead more and more to censorship and self-censorship. Cultural institutions in Germany, which are supposed to provide a stage for critical positions, are threatened financially and politically if they even dare to host artists and musicians who at any time expressed support for non-violent resistance to the Israeli occupation. This policy of fear-mongering that Miri Regev leads in Israel is imported by supporters of Israel to Germany. Only in Germany, because of its great sensitivity to anti-Semitism and deep identification with Israel in the wake of the Shoah, are there politicians not only on the right but on the left as well who vehemently endorse the silencing of criticism of Israel.

    The extreme right’s ascendance to power in places across the globe is based in great part on the constriction of democratic space and the intimidation and sanctioning of anyone who dares to oppose suppressive nationalist policies. The efforts of the Ministry of Strategic Affairs and the Foreign Ministry, in cooperation with Jewish and right-wing organizations around the world, to defame and slander anyone who refuses to join their campaign of incitement against human rights activists, has now led to the firing of an esteemed scholar, strictly because he chose to defend the rights of Israeli academics to oppose the designation of the BDS movement as an anti-Semitic movement.

    Against this paranoid impulse toward purges, which to a great extent recalls the years of McCarthyism in the United States, one must take a clear public stance. If the firing of Peter Schäfer has a moral, it is that no matter how much approbation a person has received for his opposition to anti-Semitism and support for Israel, opposition to Netanyahu’s anti-democratic policies is enough to turn him into an enemy of the people and the nation.

    If the German and Israeli governments are interested in the Jewish Museum representing only their narrow political interests and denying its staff members freedom of expression, I am not interested in having a part in it. So despite my deep respect for the museum’s staff, I proffered my resignation. I and many other Jews of my generation do not want or need a kashrut certificate from the State of Israel or the heads of the institutional Jewish community, nor, certainly, from the German government. Judaism, as a pluralistic and democratic world culture, will continue to exist after the racist, ultra-nationalist politics that has taken over many communal institutions passes from the world.

    The writer has lived in Berlin for 13 years and works as a tour guide.

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    (2) https://seenthis.net/messages/788398

  • Israeli Government Sends Letter to German Chancellor Requesting the Country Cut Funding to Jewish Museum in Berlin
    https://hyperallergic.com/475315/israeli-government-sends-letter-to-german-chancellor-requesting-the-c

    Earlier this year, the Israeli government sent an official letter to the office of Chancellor Angela Merkel demanding Germany cut its funding of the Jewish Museum in Berlin over an ongoing exhibition, Welcome to Jerusalem, which is said to probe Jerusalem’s “extraordinary political tensions, claimed as the capital city by both Israelis and Palestinians.”

    i24NEWS - #Israël exhorte l’Allemagne à cesser de financer le musée juif de Berlin
    https://www.i24news.tv/fr/actu/israel/diplomatie-defense/190653-181210-israel-exhorte-l-allemagne-a-cesser-de-financer-le-musee-juif-

    De son côté, le Musée juif de Berlin a déclaré dans un communiqué qu’il estimait « qu’un dialogue ouvert sur des questions controversées est crucial pour permettre aux visiteurs (du musée) de se faire leur propre idée sur la question et de la juger par eux-mêmes".

  • #El_Lissitzky exhibition in Moscow, November 2017-February 2018 | The Charnel-House

    https://thecharnelhouse.org/2017/11/20/el-lissitzky-exhibition-in-moscow-november-2017-february-2018

    El_Lissitzky était entre autre un grand copain d’Otto Neurath, avec qui il a développé la méthode Isotype à Moscou au début des années 1930.

    Voilà qui mériterait largement un voyage à Moscou.

    https://i1.wp.com/thecharnelhouse.org/wp-content/uploads/2017/11/Эль-Лисицкий.-«Небоскреб-на-площади-у-Никитских-ворот.-Общий-вид-сверху».-c

    https://i1.wp.com/thecharnelhouse.org/wp-content/uploads/2017/11/%D0%AD%D0%BB%D1%8C-%D0%9B%D0%B8%D1%81%D0%B8%D1%86%D0%BA%D0%B8%D0%B8%CC%86.-%D

    https://i2.wp.com/thecharnelhouse.org/wp-content/uploads/2017/11/%D0%AD%D0%BB%D1%8C-%D0%9B%D0%B8%D1%81%D0%B8%D1%86%D0%BA%D0%B8%D0%B8%CC%86.-%C

    https://i1.wp.com/thecharnelhouse.org/wp-content/uploads/2017/11/%D0%A0%D0%B0%D0%B1%D0%BE%D1%87%D0%B8%D0%B5-%D1%81%D1%86%D0%B5%D0%BD%D1%8B-192

    El Lissitzky, renaissance man of the Soviet avant-garde, is the subject of a major career survey in Russia that opened last week. It is the first such show in the country for thirty years.

    Ambitiously organized across two venues, the State Tretyakov Museum and the Jewish Museum and Tolerance Center, the shows are being treated as a single exhibition. They draw on an archive of the artist’s work preserved against all odds by Sophie Küppers, his German wife, an art historian and collector. Roughly 400 works are on display.

    Lissitzky spent a significant portion of the 1910s and 1920s in Germany, promoting revolutionary art. When he returned to the Soviet Union in 1925, he left dozens of his paintings, photographs, architectural and graphic designs behind.

    #art #moscou #urss #ex-urss #otto_neurath #isotype

  • The memory map. A Topology of Remembrance | Jüdisches Museum Wien

    http://www.jmw.at/en/events/memory-map-topology-remembrance

    http://www.jmw.at/sites/jmw.at/files/styles/banner/public/media/images/2014-09/nikolaus-gansterer-memorymap-detail-01_kleiln.jpg?itok=-roc7De1

    The Jewish Museum Vienna has been given a special gift, Memory Map by the artist Nikolaus Gansterer (born 1974), who lives in Vienna and Berlin. The 2 x 3 m, three-dimensional “city map” was commissioned by The Vienna Project and its director Karen Frostig. It is also a model for the Memory Map app by The Vienna Project and can be downloaded onto smartphones. Download here

    Gansterer created the original with sentences cut out of scanned letters by survivors from Vienna, most of which were in US archives. This work, donated by The Memory Project and the artist Nikolaus Gansterer, is part of the new permanent exhibition at the Jewish Museum Vienna “Our City! Jewish Vienna Then to Now”. It links up with the city map at the start of the exhibition on the second floor showing the three Jewish communities in Vienna before 1945. Memory Map recalls in particular the third Jewish community destroyed between 1938 and 1945, which was also the third largest Jewish community in Europe in its time.

    http://www.gansterer.org/Memory-Map

    THE MEMORY MAP

    A Topology of Remembrance

    The Memory Map is creating a physical and interactive digital map to engage people in the legacy of the Holocaust on the streets of Vienna. To create the map, Viennese artist Nikolaus Gansterer has developed an intricate, sculptural representation Vienna’s urban layout based on letters of citizens of Vienna who tried to escape the town.

    Nikolaus Gansterer first scanned the Archival letters coming primarily from survivor families in the US and then cut the text into strips, assembling the lines of communication into a three dimensional city map of Vienna. The fragile intimacy of the letters developed as a large-scale map delivers new insights about the massive scale of destruction to a city, a nation, and to a people. The letters, reading literally as pathways of remembrance, provide a direct testimony to the past, challenging viewers to imagine the lives of the writers who inhabited this city, abruptly expelled and deported from their homes. Through high-quality photography, Gansterer’s art piece is transformed into a dynamic and original digital map that is housed on the website of the Vienna Memorial Project. The map was developed to scale with key coordinates matching a Google map. While the ostensible purpose of the map was for the project’s smartphone app, the actual map is now an object of consideration.

    `#rt #cartographie #cartographie_narrative #cartographie_radicale #vienne #nikolaus_gansterer

  • Jewish Museum under fire for hosting anti-Zionist, pro-BDS prof
    http://www.haaretz.com/mobile/.premium-1.575273?v=28DFDF1A869D9BA203ADFB214AE30DE7

    Judith Butler scheduled to appear at Kafka discussion in NYC; museum defends invite.

    Israeli artist and professor Dahn Hiuni told The Algemeiner he was “speechless" that the museum invited Butler to a discussion about the writer Franz Kafka, scheduled for March 6.

    But, he said, he wasn’t surprised, accusing Chief Curator Norman Kleeblatt of liking to “travel in those academic circles.”

    “As PhDs in art history, they are aligned with ultra-left, politically correct bodies, such as the College Art Association (CAA), where there is much anti-Israel sentiment," Hiuni was quoted as saying.