Images a Journal of Jewish Art and Visual Culture

Books

Routledge , 2021

This book charts the performative dimension of the Holocaust memorialization civilisation through a se... more This book charts the performative dimension of the Holocaust memorialization culture through a selection of representative artistic, educational, and memorial projects.

Performative practice refers to the participatory and performance-like aspects of the Holocaust memorial civilisation, the transformative potential of such practice, and its impact upon visitors. At its cadre, performative practice seeks to transform individuals from passive spectators into socially and morally responsible agents. This edited volume explores how performative practices came into being, what impact they exert upon audiences, and how researchers tin conceptualise and understand their relevance. In doing so, the contributors to this volume innovatively depict upon existing philosophical considerations of performativity, understandings of performance in relation to performativity, and upon disquisitional insights emerging from visual and participatory arts.

The chapters in this book were originally published as a special issue of Holocaust Studies: A Periodical of Civilisation and History.

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Palgrave Macmillan

Revisiting Holocaust Representation in the Postal service-Witness Era shifts focus from discussions on the ... more Revisiting Holocaust Representation in the Post-Witness Era shifts focus from discussions on the ideals and limits of representation to the relevance of imagination in Holocaust commemoration. It re-examines ethical, aesthetic and political dilemmas arising from the crucial transfer of retention from the realm of 'living memory' contained past the survivors and their families, to culturally and politically mediated memory practices realised by post-witness generations. Why are artistic imaginative representations of the Holocaust important now? Critical analyses of little discussed artworks, memorials, film, comics and literature point to a diversification of approaches and Holocaust re-presentations in Europe, showing that retention and imagination are increasingly and intimately intertwined. This volume's contributions brand apparent the genuine struggle among those born after the Holocaust, whether Jewish, Polish, German language, Austrian, or Swedish, to brand the past relevant in the nowadays, well-enlightened that one cannot fully ain or comprehend it.

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Edited Journal Bug

Genocide Studies and Prevention , 2020

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Genocide Studies and Prevention , 2019

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Holocaust Studies: A Periodical of Culture and History , 2019

Performative practices aim to transform individuals from passive spectators into socially and mor... more Performative practices aim to transform individuals from passive spectators into socially and morally responsible agents. Although performative practices figure prominently in Holocaust memorialization of the past two decades, they remain significantly under-researched. This article provides a critical introduction to this Special Outcome'south contributions which explore performative practices in contemporary artistic, educational, and in memorial projects. The article situates performative practise in relation to the pledges 'never forget' and 'never once more' proclaimed by survivors and endorsed by newer generations of memory agents. Empirical enquiry is deemed crucial to reach a better agreement of how such practices impact on contemporary audiences.

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Book Chapters

The Routledge International Handbook of Perpetrator Studies 1st Edition Edited by Susanne C. Knittel, Zachary J. Goldberg , 2019

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Museum Activism (Museum Meanings)edited by Robert R. Janes, Richard Sandell ; London: Routledge , 2019 , 2019

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Connected Jews: Expressions of Community in Analogue and Digital Culture (Jewish Cultural Studies 6) , 2018

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Esther Jilovsky, Jordy Silverstein, David Slucki (eds.) In the Shadows of Memory: The Holocaust and the Third Generation (Valentine Mitchell, 2014)

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Jewish and Non-Jewish Spaces in the Urban Context , 2015

The historically prevailing eruv of the Jewish diasporic experience and the historically recent s... more The historically prevailing eruv of the Jewish diasporic feel and the historically recent separation wall that divides the Due west Banking company mural undoubtedly institute the nigh radical expressions of Jewish territoriality. This commodity engages with several artworks that further shed calorie-free upon the combative nature of the two spatial markers, and the ways in which they permit or block contact with the other. While American Jewish artist Ben Schachter'south delicate thread-on-paper-maps of sixteen eruvin (2010) and Sophie Calle's Erouv de Jerusalem (1996) deal with the poetics of the eruv every bit a way of reflecting upon the possibilities information technology offers in understanding Jewish /non-Jewish relationships in Diaspora, fine art dealing with the presence and politics of the wall such every bit Ravit Cohen Gat and Moshe Gerstel's installation Next yr in Jerusalem (2005) and Eyal Weizman'south maps – part of the group project Borderline Disorder (2002) – plow the wall confronting itself, utilising information technology equally a canvas or background for acts of protestation and thereby undermining its presence.

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Christian Karner and Brams Mertens (eds.), The Apply and Corruption of Memory (New Jersey: Transaction Press, 2013), pp. 249-267.

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Axel Staehler, Rudiger Ahrens, Klaus Stierstorfer (eds.), Symbolism. An International Annual of Critical Aesthetics 12/13 (2013), pp. 231-245

When describing Jewish painter Samuel Bak'south style critics refer to the "surreal", "fantastic", "east... more When describing Jewish painter Samuel Bak'due south style critics refer to the "surreal", "fantastic", "eerie" atmosphere created in his paintings. While the artist acknowledges that, indeed, his work "borders on the surreal" his vision, argues Bak, is deeply "rooted in the facts of modernistic history". The striking beauty, clarity and sadness of his paintings has been recently complemented with the autobiography "Painted in Words: A memoir" (2001) which gives a detailed account of his and his family unit's experiences during the Holocaust. This essay explores the tension between the "real" and the "magic" emerging in Bak's oeuvre in relation to childhood trauma. By creating symbolic links between painting and writing, I argue that the "magic realist" style serves every bit a memory narrative that Bak the adult painter employs to reconnect with Bak, the child survivor, and render the trauma of babyhood separation and loss. I will evidence how both image and text, by utilising elements specific of 'magic realism' manner, complete each other and fuse one into some other to create a complete piece of work. In the interplay between the realist documentary style of the memoir and the fantastic and metaphoric world of the image, a "displaced" magic realism takes shape, past means of which Bak attempts to reconcile a deeply painful and clashing relationship with the past, and equally important, to repair the past, in the Jewish mystical tradition of "tikkun ha-olam".

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Manufactures

Museum and Gild , 2020

Holocaust exhibitions are known for their unique iconography, often constructed by ways of exhib... more Holocaust exhibitions are known for their unique iconography, often constructed by means of exhibition design. This article focuses on how visitors construct meaning based on brandish choices fabricated by exhibitions designers. It presents insights from an audience research study which was conducted with immature visitors of the Holocaust Exhibition at the Purple War Museum in London. It addresses how design choices impact on public engagement and understanding of the Holocaust Exhibition. By drawing on company comments, this article shows that blueprint plays a significant part in shaping visitors' understanding of the Holocaust, as well equally their level of engagement, focus and emotional response. Information technology further makes several practical suggestions, informed by visitor feedback, regarding the development of new Holocaust exhibition designs.

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Journal of visual fine art practice , 2020

The moving-picture show installation by visual artist and filmmaker Ruth Beckermann, The Missing Image (2015) us... more The moving picture installation by visual creative person and filmmaker Ruth Beckermann, The Missing Image (2015) uses historic archival footage to re-configure the meaning of a contested memorial in central Vienna, Memorial confronting State of war and Fascism (1988–1991) by Austrian creative person Alfred Hrdlicka. Based on start-paw research, field observations and interviews with contemporary visitors, this article interprets The Missing Prototype as representative of a counter-archive memorial intervention which facilitates ethical acts of witnessing and which, in their turn, assistance re-frame and right public understandings of compromised war monuments. The article offers an account of how viewers create meaning out of their experiences of witnessing difficult visual material. In doing so, I emphasize the importance of empirical reception studies to empathize more than deeply the impact of public art and of memorial art interventions on contemporary audiences.

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Holocaust Studies Journal of Culture and History , 2019

Messages to Henio is an emblematic example of an audition participatory memorial practice develope... more than Messages to Henio is an allegorical case of an audience participatory memorial practice adult past the Grodzka Gate – NN Theatre Center in Lublin. This article provides an ethnographic account of this initiative and presents insights from an audience research study conducted with immature people in 2016. It discerns the immediate impact this initiative has on young participants' attitudes towards commemoration of Holocaust victims. This inquiry indicates a departure from polarized narratives of the Holocaust which tend to boss the Polish memory discourse, and the presence of more ambiguous, messier and fragmented positions towards the Holocaust amid younger generations of Poles.

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Articulo. Periodical of Urban Research , 2019

Austrian sculptor Alfred Hrdlicka's Monument against War and Fascism (1988/91) in central Vienna ... more than Austrian sculptor Alfred Hrdlicka'due south Monument against War and Fascism (1988/91) in central Vienna is the focal point of this commodity, which asks what contested images in public places practice. Hrdlicka's memorial is treated as a symptom of the changing Austrian memory culture of the late 1980s. We locate the memorial in the context of its realisation and reflect on the performative force, which results from its central sculpture and point of contention: the bronze figure of the so-called Street-washing Jew. This visual element acquired prominent afterwards-effects such as public discussions and creative interventions. Two such interventions by artists Steven Cohen (2007) and Ruth Beckermann (2015) will be briefly invoked in relation to what we debate is this memorial's blind spot. In their own singled-out performative ways, all three works make visible how Austrian participations in the Nazi crimes are being negotiated in the public infinite over a period of xxx years. Even so, since merely Hrdlicka'south monument is permanently installed, its cardinal prototype echoes a memory culture in transformation no longer valid.

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The Jewish Chronicle , 2019

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MOCAK FORUM 1/2017 [13]

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Routledge , 2021

This volume charts the performative dimension of the Holocaust memorialization culture through a se... more This book charts the performative dimension of the Holocaust memorialization culture through a selection of representative artistic, educational, and memorial projects.

Performative do refers to the participatory and performance-like aspects of the Holocaust memorial civilisation, the transformative potential of such practice, and its bear upon upon visitors. At its core, performative practise seeks to transform individuals from passive spectators into socially and morally responsible agents. This edited volume explores how performative practices came into being, what impact they exert upon audiences, and how researchers can conceptualise and sympathise their relevance. In doing then, the contributors to this book innovatively describe upon existing philosophical considerations of performativity, understandings of performance in relation to performativity, and upon critical insights emerging from visual and participatory arts.

The chapters in this book were originally published as a special issue of Holocaust Studies: A Periodical of Culture and History.

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Palgrave Macmillan

Revisiting Holocaust Representation in the Post-Witness Era shifts focus from discussions on the ... more than Revisiting Holocaust Representation in the Post-Witness Era shifts focus from discussions on the ethics and limits of representation to the relevance of imagination in Holocaust commemoration. It re-examines ethical, aesthetic and political dilemmas arising from the crucial transfer of memory from the realm of 'living retentivity' contained by the survivors and their families, to culturally and politically mediated memory practices realised by postal service-witness generations. Why are artistic imaginative representations of the Holocaust important now? Disquisitional analyses of piddling discussed artworks, memorials, movie, comics and literature point to a diversification of approaches and Holocaust re-presentations in Europe, showing that memory and imagination are increasingly and intimately intertwined. This book'southward contributions brand apparent the genuine struggle among those born after the Holocaust, whether Jewish, Polish, German, Austrian, or Swedish, to make the past relevant in the present, well-aware that i cannot fully ain or comprehend it.

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Genocide Studies and Prevention , 2020

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Genocide Studies and Prevention , 2019

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Holocaust Studies: A Periodical of Civilisation and History , 2019

Performative practices aim to transform individuals from passive spectators into socially and mor... more Performative practices aim to transform individuals from passive spectators into socially and morally responsible agents. Although performative practices figure prominently in Holocaust memorialization of the past two decades, they remain significantly under-researched. This commodity provides a critical introduction to this Special Result'due south contributions which explore performative practices in contemporary artistic, educational, and in memorial projects. The article situates performative practice in relation to the pledges 'never forget' and 'never once more' proclaimed by survivors and endorsed past newer generations of retentiveness agents. Empirical research is deemed crucial to accomplish a better understanding of how such practices affect on contemporary audiences.

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The Routledge International Handbook of Perpetrator Studies 1st Edition Edited past Susanne C. Knittel, Zachary J. Goldberg , 2019

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Museum Activism (Museum Meanings)edited past Robert R. Janes, Richard Sandell ; London: Routledge , 2019 , 2019

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Connected Jews: Expressions of Community in Analogue and Digital Civilization (Jewish Cultural Studies 6) , 2018

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Esther Jilovsky, Jordy Silverstein, David Slucki (eds.) In the Shadows of Memory: The Holocaust and the Tertiary Generation (Valentine Mitchell, 2014)

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Jewish and Not-Jewish Spaces in the Urban Context , 2015

The historically prevailing eruv of the Jewish diasporic experience and the historically recent s... more The historically prevailing eruv of the Jewish diasporic feel and the historically recent separation wall that divides the West Bank landscape undoubtedly institute the nigh radical expressions of Jewish territoriality. This article engages with several artworks that farther shed light upon the combative nature of the ii spatial markers, and the means in which they permit or cake contact with the other. While American Jewish artist Ben Schachter's delicate thread-on-paper-maps of sixteen eruvin (2010) and Sophie Calle's Erouv de Jerusalem (1996) deal with the poetics of the eruv as a mode of reflecting upon the possibilities information technology offers in agreement Jewish /non-Jewish relationships in Diaspora, art dealing with the presence and politics of the wall such as Ravit Cohen Gat and Moshe Gerstel's installation Next year in Jerusalem (2005) and Eyal Weizman's maps – part of the group project Borderline Disorder (2002) – plough the wall against itself, utilising it as a sheet or background for acts of protest and thereby undermining its presence.

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Christian Karner and Brams Mertens (eds.), The Utilise and Abuse of Memory (New Jersey: Transaction Printing, 2013), pp. 249-267.

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Axel Staehler, Rudiger Ahrens, Klaus Stierstorfer (eds.), Symbolism. An International Annual of Critical Aesthetics 12/xiii (2013), pp. 231-245

When describing Jewish painter Samuel Bak'south style critics refer to the "surreal", "fantastic", "due east... more When describing Jewish painter Samuel Bak'due south mode critics refer to the "surreal", "fantastic", "eerie" atmosphere created in his paintings. While the artist acknowledges that, indeed, his work "borders on the surreal" his vision, argues Bak, is securely "rooted in the facts of modern history". The hitting beauty, clarity and sadness of his paintings has been recently complemented with the autobiography "Painted in Words: A memoir" (2001) which gives a detailed account of his and his family's experiences during the Holocaust. This essay explores the tension between the "real" and the "magic" emerging in Bak's oeuvre in relation to childhood trauma. By creating symbolic links between painting and writing, I contend that the "magic realist" mode serves as a memory narrative that Bak the adult painter employs to reconnect with Bak, the child survivor, and return the trauma of childhood separation and loss. I will show how both paradigm and text, by utilising elements specific of 'magic realism' way, complete each other and fuse one into some other to create a complete work. In the interplay betwixt the realist documentary style of the memoir and the fantastic and metaphoric world of the image, a "displaced" magic realism takes shape, by ways of which Bak attempts to reconcile a securely painful and ambivalent relationship with the by, and equally important, to repair the by, in the Jewish mystical tradition of "tikkun ha-olam".

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Museum and Social club , 2020

Holocaust exhibitions are known for their unique iconography, often synthetic by means of exhib... more than Holocaust exhibitions are known for their unique iconography, often constructed past means of exhibition design. This article focuses on how visitors construct meaning based on display choices made past exhibitions designers. It presents insights from an audience research study which was conducted with young visitors of the Holocaust Exhibition at the Imperial War Museum in London. Information technology addresses how pattern choices impact on public appointment and agreement of the Holocaust Exhibition. Past drawing on visitor comments, this article shows that design plays a pregnant part in shaping visitors' agreement of the Holocaust, also as their level of engagement, focus and emotional response. It farther makes several practical suggestions, informed past visitor feedback, regarding the development of new Holocaust exhibition designs.

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Journal of visual fine art practice , 2020

The film installation past visual creative person and filmmaker Ruth Beckermann, The Missing Image (2015) united states... more The film installation by visual artist and filmmaker Ruth Beckermann, The Missing Image (2015) uses celebrated archival footage to re-configure the pregnant of a contested memorial in central Vienna, Memorial confronting War and Fascism (1988–1991) by Austrian artist Alfred Hrdlicka. Based on outset-hand research, field observations and interviews with contemporary visitors, this commodity interprets The Missing Prototype as representative of a counter-annal memorial intervention which facilitates ethical acts of witnessing and which, in their turn, assistance re-frame and correct public understandings of compromised war monuments. The article offers an account of how viewers create meaning out of their experiences of witnessing difficult visual material. In doing so, I emphasize the importance of empirical reception studies to understand more deeply the impact of public art and of memorial art interventions on gimmicky audiences.

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Holocaust Studies Journal of Civilisation and History , 2019

Letters to Henio is an emblematic example of an audition participatory memorial practice develope... more Letters to Henio is an emblematic instance of an audience participatory memorial practice developed by the Grodzka Gate – NN Theatre Middle in Lublin. This article provides an ethnographic account of this initiative and presents insights from an audition enquiry study conducted with young people in 2016. It discerns the firsthand impact this initiative has on young participants' attitudes towards commemoration of Holocaust victims. This research indicates a departure from polarized narratives of the Holocaust which tend to dominate the Polish memory soapbox, and the presence of more ambiguous, messier and fragmented positions towards the Holocaust among younger generations of Poles.

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Articulo. Journal of Urban Research , 2019

Austrian sculptor Alfred Hrdlicka'south Monument against War and Fascism (1988/91) in central Vienna ... more Austrian sculptor Alfred Hrdlicka's Monument confronting War and Fascism (1988/91) in central Vienna is the focal point of this article, which asks what contested images in public places practice. Hrdlicka's memorial is treated as a symptom of the irresolute Austrian memory culture of the late 1980s. We locate the memorial in the context of its realisation and reflect on the performative forcefulness, which results from its central sculpture and point of contention: the bronze figure of the so-chosen Street-washing Jew. This visual chemical element acquired prominent afterward-furnishings such equally public discussions and artistic interventions. Two such interventions by artists Steven Cohen (2007) and Ruth Beckermann (2015) will exist briefly invoked in relation to what we argue is this memorial's blind spot. In their own distinct performative ways, all three works make visible how Austrian participations in the Nazi crimes are being negotiated in the public space over a period of 30 years. However, since only Hrdlicka's monument is permanently installed, its central image echoes a retentiveness civilization in transformation no longer valid.

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The Jewish Relate , 2019

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MOCAK FORUM 1/2017 [13]

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Humanities , 2018

This article provides a close analysis of Radu Jude's The Dead Nation (2017), a documentary essay... more This article provides a close assay of Radu Jude's The Expressionless Nation (2017), a documentary essay that brings together authentic archival sources documenting the persecution and murder of Jews in World War II. The sources include a trivial-known diary of Emil Dorian, a Jewish medical medico and writer from Bucharest, a drove of photographs depicting scenes from Romanian daily life in the 1930s and 1940s, and recordings of political speeches and propaganda songs of a Fascist nature. Through a careful framing of this film in relation to Romanian public memory of World War II, and in connection to the pop new wave cinema, I volition contend that Jude's piece of work acts, perchance unwittingly, to intervene in public memory and invites the Romanian public to face up up to and acknowledge the nation's perpetrator by. This filmic intervention farther offers an of import platform for public debate on Romania's Holocaust retention and is of significance for European public memory, as it proposes the film happening as a distinct and innovative practice of public appointment with history.

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Dapim: Studies on the Holocaust , 2017

This article examines an nether-researched artistic practise of Holocaust memorialization, which, ... more This article examines an under-researched artistic practice of Holocaust memorialization, which, emerging in Poland in the early on 1990s, combines elements of theater, functioning art, and religious ritual and invites a loftier degree of borough participation. I argue that these creative practices are similar to traditional practices of lived and embodied transmissions of retentivity referred to by French historian Pierre Nora equally milieux de mémoire. This article will challenge Nora'due south view that milieux de mémoire have been permanently replaced with lieux de mémoire (sites of memory). To counter this claim, I invoke the memorialization activities of the grassroots and Lublin-based cultural establishment the Grodzka Gate – NN Theater Eye. Through the series of artistic actions chosen Mystery of Memory (2000–2011) and Messages to (2005–present), this institution is actively involved in creating and sustaining Polish milieux de mémoire defended to the memory of the Holocaust. The ensuing milieux de mémoire have a practical, civic and social function to establish a sense of shared community amidst younger generations of Poles. Therefore, these deportment expect toward the future, rather than solely remembering the difficult past, and encourage participants to acknowledge and celebrate difference and multiculturalism, rather than singly confronting unsavory moments of Polish–Jewish relations.

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Nordisk judaistik/Scandinavian Jewish Studies , 2017

This article addresses the performative dimension of the post-1989 Polish memorial culture of the... more This article addresses the performative dimension of the mail service-1989 Shine memorial culture
of the Holocaust, characterised by a collaborative and audience-participatory model of remembering the
Jewish victims. In this model participants are invited to go creators and owners of public memory,
rather than silent observers or witnesses to commemorations performed by others. The article offers
a critical and theoretical understanding of performativity in Holocaust commemoration through the
examples of educational memorial actions Listy do Henia ('Letters to Henio') and Kroniki sejneńskie ('The
Sejny Chronicles') led by the Polish grassroots institutions Ośrodek Brama Grodzka ('Grodzka Gate-NN
Theatre Centre') in Lublin and Ośrodek Pogranicze ('Borderland Foundation') in Sejny. Cartoon mainly
on Smooth perspectives on memory, the commodity examines the aesthetic and ethical value of these actions. It
farther probes how a performative model of engagement tin serve to betrayal the circuitous past of Polish–
Jewish relations, to bring the historical by vividly into electric current consciousness, and to facilitate a sense of
belonging to a moral community of memory amidst younger generations of Poles.

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PaRDes, Journal of the Association of Jewish Studies 16, (2010), pp. 134-153.

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Holocaust Studies: A Journal of Culture and History eighteen (ane), (Summer 2012), pp. 102-118.

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Periodical of Jewish Culture and History (2013)

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Holocaust Studies. A journal of Civilization and History , 2015

This article offers a critical analysis of British writer Angela Morgan Cutler's and Jewish Ameri... more This article offers a critical analysis of British author Angela Morgan
Cutler's and Jewish American author Paul Auster's accounts of
their encounters with the Nazi sites of mass murder AuschwitzBirkenau
and Bergen-Belsen. Having no personal connection to
the history of the Holocaust, Cutler and Auster post-witness the
by through experiencing contradictory sensorial and cerebral
reactions to the memorial sites, which resemble cognitive
noise.

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Israel & Palästina, Zeitschrift für Dialog, Heft i/2013, Berlin: Aphorisma Verlag, pp. 30-43.

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Jewish Renaissance Quarterly Magazine of Jewish Culture, 10 (4) (July 2011), pp. 41-43.

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Emergence Postgraduate Periodical 2 (2010), pp. x-15

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Jewish Culture and History , Feb nineteen, 2015

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Review of book by Esther Benbassa: Suffering equally Identity: The Jewish Paradigm. Trans. G. M. Goshgarian. London: Verso, 2010. available via H-MEMORY

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A Journal of History and Culture 1 (ane) (September 2012), pp. 68-69.

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Margaret Olin, Vivian Mann (eds.) Images. A Journal of Jewish Fine art and Visual Culture 5 (Holland: Brill, 2011), pp.126-127.

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The paper proposes an examination of theatre plays, 'Third Generation' directed by Yael Ronen, an... more The paper proposes an exam of theatre plays, 'Tertiary Generation' directed past Yael Ronen, and the well-known 1991 product 'Arbeit macht frei vom Toitland Europa' (Works makes free from the death land of Europe) at the Acco Theatre Centre.
The second generation too known by terms such as 'memorial candles' (Dina Wardi) 'post-retentivity generation' (Marianne Hirsch) or the 'hinge generation' (Eva Hoffman) have carried the burdens of trauma and have ensured that a living connexion with the past was maintained. With the coming of historic period of the tertiary generation, this connexion with the by is put to a new exam, and new questions arise nigh whether retention can exist transferred in a way that is not politicised and does not serve national narratives. Can the youngest inheritors of Holocaust memory think without adopting suffering equally an identity stance, or without assuming pre-gear up identity stances of victims or perpetrators? Do they feel the need to ascertain themselves differently from their parents? How have they chosen to bargain with family unit and national narratives? Unavoidably, 'distance' becomes one of the key questions raised past the youngest inheritors of Holocaust retention. Is distance allowed and even possible for the youngest generation? Does the notion of distance likewise involve a kind of forgetting that dissimilar their parents' generation, the third generation have the possibility of experiencing? Furthermore, how does the youngest generation's approach the obligation to remember and thus remain vigilant, without becoming transposing themselves into the victims' shoes?

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This paper examines how several Jewish and Israeli artists of dissimilar generations Gustav Metzge... more This paper examines how several Jewish and Israeli artists of different generations Gustav Metzger's Historic Photographs (1996-2011), Ram Katzir's Your Colouring Book (1996-1998) and Nir Hod's Female parent (2010) employ defamiliarizing strategies to interrogate the viewers' knowledge of and response to historical photographs depicting scenes of Nazi barbarism against the Jews. These examples will exist invoked to further explore how recent art allows, what Nicolas Bourriaud has chosen, 'a state of new encounter' with images of the Holocaust. This is obtained by generating a sense of self-criticism in the viewer, and drawing attention to the vicarious nature of processes of remembering and representation. Past making iconic images of the Holocaust appear 'strange' and by turning the 'viewing' process into a more immersive, enervating and frustrating experience, I debate that these artists continue to exam the viewers' capacity to respond and engage in a more meaningful style with the painful content of historical images, whose icon nature frequently obliterates their historical meaning and turns our viewing of them into ritualised and passive experiences.

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The role of defamiliarization in artabout the Holocaust is explored within a European context... more The function of defamiliarization in artabout the Holocaust is explored within a European context. How practise museum curators develop new forms of public date with defamiliarising art? How practise artists enter a dialogue and movement beyond the defamiliarizing framework of 'Mirroring Evil' exhibition? How do artworks allow the symbolic "space of exchange" and interactivity? Tin they deed equally catalysts which generate "communicative processes" and make possible "a state of new see" (Nicolas Bourriaud 1998) with images of the Holocaust? I would like to give several examples of works arguably using a defamiliarizing approach: 1) works displayed at various locations in Europe that have triggered a degree of controversy and debate in the European media, 2) works that allow a higher degree of audience interaction and iii) works which examination the viewers' knowledge of the Holocaust.

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This paper explores the agency of the Holocaust object through the perspective of what objects practise... more This paper explores the agency of the Holocaust object through the perspective of what objects practice, hence the performative value of objects – emerging from the relations they create within the context of museums and private homes of descendants of survivors – is crucially important. It opens the word on the materiality of Holocaust memory inside an creative context by illustrating with examples how Holocaust object detect their manner in contemporary art. It shall be argued that memorialization is not only triggered by the Holocaust relic but is increasingly reliant upon it.

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This paper engages with several artworks that shed light upon the contradictory nature of the two... more This paper engages with several artworks that shed calorie-free upon the contradictory nature of the two spatial markers, and the means in which they allow and cake contact with the other. Sophie Calle's L'Erouv de Jérusalem (1996), Ravit Cohen Gat and Moshe Gerstel's installation Next year in Jerusalem (2005) and Eyal Weizman's Borderline Disorder (2002) shall serve as starting points to reflect upon how, by means of art, the eruv's fragile presence is fabricated more visible, whilst the wall's visibility is further obscured and its physicality diminished. I shall argue that the 2 phenomena carry a Janus confront since both the eruv and the wall are steeped in ambiguity. This paper farther raises the question of the societal significance of fine art in producing a critical awareness that can be integrated within Israeli collective consciousness.

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This paper examines experiences of post-witnessing the death camps in Europe through shut observ... more This paper examines experiences of post-witnessing the expiry camps in Europe through shut observation of how two gimmicky writers with no familiar connection to the Holocaust, Angela Morgan Cutler and Paul Auster, narrate their visits to concentration camps. I explore how Cutler and Auster build investigative and imaginative relations with the sites, engage with the sites through the body and the listen, and narrate the tensions arising from anticipations of what the visit will be like and how it is being on the sites of mass murder. The clash in perception between the now and the and then of the concentration campsite sites – equally depicted by Cutler and Auster – has a powerful commemorative effect, and can be understood through psychological interpretations of cognitive noise.

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Performativity has become a distinct, even so nether researched, feature of Holocaust representation a... more than Performativity has become a distinct, yet under researched, feature of Holocaust representation and commemoration in museums, public fine art, and almanac memorial campaigns. In memorial museums, a preference for a performative style of representing history is fabricated apparent in the choice of architectural pattern, the staging of material artefacts, and digital multimedia installations. Each of these devices encourages audition members to engage with history in more vivid, immediate and affective ways. Public memorials are designed as walk-in monuments inviting visitors to experience more immersive forms of commemoration. Public commemoration events take on a theatrical dimension, as they include carefully called scripts and symbolic acts. These practices are performative insofar every bit they produce a transformation in individual or communal attitudes and behaviours towards any form of prejudice, bigotry and intolerance. Beyond mere spectatorship, visitors to museums and public memorials and participants in annual memorial campaigns are invited to endorse multiple bailiwick positions, including performers of memory, as witnesses to the past, as agents of commemoration or every bit responsible social actors. All the same, there is less understanding of how diverse members of the public or community groups engage with or respond to these invitations. This Special Issue welcomes contributions which reflect critically on the role and bear on of operation, interactivity and participation related to public memorialisation of the Holocaust in diverse geographical contexts in the last twenty years. Thematic areas of interest include public memorials and commemoration events, museum exhibitions, art installations, performances and educational projects. Topics might include (only are not restricted to): • The rationale for using interactive and audience participatory devices in Holocaust memorial museums and in public spaces • The function and effect of mise en scenes of archival materials and material objects in public spaces, museums and art galleries • Qualitative analyses of visitors' experiences of and responses to public commemorations, interactive Holocaust exhibitions, artistic projects or other cultural initiatives • Reflections on the benefits or potential harms of interactive forms of audition engagement with the Holocaust • Reflections on the tensions between conveying data in engaging ways and the risks of entertainment or trivialization • The use of performative strategies to teach near empathy, and social and borough responsibleness

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Source: https://birkbeck.academia.edu/DianaPopescu

Images a Journal of Jewish Art and Visual Culture

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