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Last 7 Days Catalog Additions

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  • 1
    Language: English
    Pages: 248 Seiten , Ill.
    Year of publication: 2015
    Keywords: Ausstellung ; Juden ; Krakau
    Abstract: The theme of the temporary exhibition We Were, We Are, We Will Be. The Jewish Community of Kraków after 1945 organised at the Old Synagogue, a branch of the Historical Museum of the City of Kraków, concerns the lot of Kraków Jews during the past seventy years. The title of the exhibition is significant in the reference it makes to the uninterrupted existence of the Jewish nation in spite of the Holocaust and World War II with their tragic consequences. Some of the survivors set off for the Middle East, looking to contribute to the building of the longed-for home of their nation – the State of Israel. Those others that stayed behind were made to tackle the challenges of the anything but easy new reality of the system imposed on Poland by the USSR. This is the most comprehensive exhibition yet to deal with the obscure subject of the presence of Jews in Kraków and in Poland after the Holocaust and the rebirth of Jewish social and religious life over the past two decades. It seeks to introduce visitors to a range of themes, encompassing the successive stages of Jewish emigration, the revitalisation of Kazimierz and Jewish places of worship, the life of the Congregation, and everyday problems (such as access to kosher meat). Matters pertaining to the adaptation to the new socio-political situation, the two-faced policy of Poland’s Communist administration, and government-inspired antisemitism have also been brought up. This event is yet another one in the series of historical exhibitions held at the Old Synagogue, and it has been conceived as part of the permanent exhibition at a New Jewish Museum in the future. Chronologically, it spans the period from 1945 (marking the end of the occupation of Kraków by the Germans and the beginning of Jewish returns to the city) to 2015. On the one hand, the title refers to the lot of Jews centred around the Congregation, which has always had tradition at its core, but on the other hand, it alludes to the Jews placing themselves outside the orbit of that institution. The structure and texts of the exhibition are based on the concept devised by Doctor Edyta Gawron of the Department of Jewish Studies at the Jagiellonian University and on her doctoral thesis, Społeczność żydowska w Krakowie w latach 1945–1995 [The Jewish community of Kraków in 1945–1995]. The exhibition consists of six sections having different times as their dividing lines: the time of decision, the time of assimilation, the time of trial, the time of hope, time versus identity, and the time of rebirth.
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  • 2
    Language: English
    Pages: 346 Seiten , Illustrationen
    Year of publication: 2017
    Keywords: Exhibition Code Name Żegota. The Hidden Aid (2017 - 2018 : Kraków) ; Widerstand ; Ausstellung ; Schoa ; Krakau
    Abstract: The exhibition Code Name Żegota – the Hidden Aid is devoted to one of the most tragic events in the 20th century history – the Holocaust, precisely planned and performed by the Germans, taking advantage of police and military formations, as well as an extensive clerical system and industrial potential of the Third Reich. The crime of an unprecedented scope was committed within the areas of Central-Eastern European countries occupied by Germany, in which within the area of the pre-war Republic of Poland. It is uncertain when and in what circumstances the decision on murdering the majority of the European Jews was taken, since no document on that matter has been preserved. The mass extermination of the Jewish population inhabiting towns and cities of the eastern area of the Second Republic and the Soviet Union was commenced in summer and autumn 1941 by the pacification divisions, so called Einsatzgruppen which consisted of individual Einsatzkommandos, following the Wehrmacht units. The exhibition raises the topic of the support provided to the Jews by the Poles, still relevant and arousing many emotions, both the support provided in an organised manner, as well as individual one. The title refers to the code name used by the “Żegota” secret Council to Aid Jews. Its responsibility was to save possibly the greatest number of Jews, both hiding ones and imprisoned in various camps, doomed to slow death as a result of malnutrition, the ambient conditions, and often as a result of physically strenuous labour for German industry. The underground Council to Aid Jews was founded in Warsaw in late 1942 as a unit at the Government Delegation for Poland, in place of Konrad Żegota Provisional Committee to Aid Jews, active from September. In spring 1943 the subsidiaries of the Council to Aid Jews were established in Krakow and Lvov. The exhibition currently presented in the MHK branch of Oskar Schindler’s Factory unfolds the story lines present in permanent exhibition Kraków under Nazi Occupation 1939–1945. It is not limited to present the organisational structures of “Żegota”, operation methods and cases of aid, but it also presents a wider context of rescuing Jews. The purpose of the exhibition is to familiarise the visitors with various attitudes of the Polish society towards the Holocaust, mostly all the dilemmas faced by those who sought shelter and those who decided to provide support risking their own lives. It also attempts to answer a question crucial from the present day point of view: what were the conditions of providing the aid? Who provided it? What was the attitude of the society to the rescuers and the rescued? What did the everyday life in the shadows look like? The exhibition draws the attention of the visitor to certain cases, stories of individuals through which it presents the complex reality of the German occupation period. The exhibition is based mainly on the coverage of the survivors and witnesses, as well as on the preserved documents.
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  • 3
    Language: Polish
    Pages: 287 Seiten , Illustrationen , 27 cm
    Additional Material: Beilage
    Year of publication: 2019
    Keywords: No! Art ; Künstler ; Ausstellung
    Abstract: Boris Lurie (1924–2008) was an American artist, who was born into a Jewish family in Leningrad (today Saint Petersburg). He spent his childhood in Riga. In August 1941, the Germans began the deportation of the Jewish population to the ghetto. The artist’s mother, sister and grandmother as well as the artist’s teenage girlfriend were shot in the Rumbula forests on the outskirts of Riga in December 1941. The Rumbula massacre was one of the greatest atrocities to be carried out in the course of two days by the Einsatzkommandos, in which some 30,000 Jews were killed. Boris and his father found themselves in concentration camps in Stutthof, and then in Buchenwald, from which they were liberated in May 1945. Shortly after the war ended, they emigrated to the USA. Until the end of his life, the artist lived and worked in New York. Lurie’s creative output encompassed many fields: he was a visual artist – creating paintings, installation and objects – as well as a writer and poet. His activity as he saw it was a form of protest against pop art and abstract expressionism – prevalent in the USA at the time. He did not care whether his art gained acclaim on the artworld market. Together with Stanley Fisher and Sam Goodman, he founded the NO!Art movement. To Lurie, “‘NO’ means not accepting everything that you are told and thinking of yourself. And it is also an expression of dissatisfaction.” His was art that was politically engaged and called for social action, art that was spontaneous, anarchic and therapeutic. Boris Lurie was psychologically affected by the Holocaust and his art was irrevocably linked to that experience – a ceaseless attempt to work through the trauma of war. Lurie created a unique symbolic language, in which authenticity and emotional tension went beyond the accepted norms of what is deemed appropriate. The recurrent leitmotifs of his work are footage from concentration camps, the Star of David, snaps of pinup girls cut out from magazines and the word ‘NO’ – given prominence in many of his works. The artist’s legacy – the majority of his works and archival material – are the property of the Boris Lurie Art Foundation in New York. The mission of the Foundation is to preserve and bring before the public the art of Boris Lurie, while making the viewers aware of the complex issues that were the impetus of these works.
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