A nameless suitcase from Auschwitz in a glass case. On the wall opposite an enlarged photo of a high empty bags. Large white letters testify even if the name and address; Fochtmann, Vienna. It halvmörka the room depicts the beginning and the end of the journey of the Holocaust. And forms the entrance to the Historical museum's exhibition ”Speaking of memories – the Holocaust of the last witnesses”.
It is a form unassuming museum exhibition with a number of objects, a series of screens and a first impression of the silence. But after the visually strong installation ”Witnesses” at Kulturhuset in Stockholm in the autumn, continues and deepens here the survivors ' stories. About 10 000 jewish survivors came to Sweden after the war. Exemplary educational shows a timeline of the step-by-step the way to the systematic genocide in Europe in the middle.
Everything is liquefied testimony. Digital technology conflates the presence of people's voices to a multi-faceted depiction of annihilation and survival. A manifestation of the memory of that resistance!
the Core of the exhibition is porträttserien of 29 still living witnesses in the ages from 80 up to 100 years. Artless, individualized color photos of Karl Gabor, on the screens that unfurl themselves in the middle of the room. Provided with name, date of birth, city, war experiences and a personal message. Today the last survivors, then the rise of nazism young victims. The stories are published in an anthology of Jewish culture in Sweden.
Short video interviews with 15 survivors to be activated with a push of a button. The holocaust is broken down to direct personal meetings. In Swedish is told specifically and in detail. If the persecution, the humiliation, the horrors, of death's eternal presence. On hides, luck and chance. If överlevandets price and gift. The reality comes close. Language, sometimes aa, making it impossible to defend themselves.From the exhibition ”To hopfoga the crumbling world”, in the centre Lenke Rothmans ”Brooklyn”, 1978. Photo: Valdemar Asp
a computer where it is possible to search in the USC Shoah Foundation's archive of 55,000, the videotaped interviews of Holocaust and other genocide. And to a hologramliknande installation made of pre-recorded calls can direct questions to be asked in an interactive dialogue with the two survivors.
Sitting in her chair, say to me, Pinchas Gutter sincerely and patiently. If it is the worst. If the life that was. If it was not. Don't miss this unique lesson on surviving after the massive trauma! The time for the comfortable questions about how the Holocaust could happen is past. The survivors are still among us. No one is talking about revenge. But if humanity. If that it happened. Can happen again. And if the world as our own responsibility.
Surviving objects, intimately connected with the human need, confirms the Holocaust. A single synagogue escaped the nazi Kristallnatt in Hamburg in 1938. Referred to as ”furniture/wood” rescued cabinet for Torahrullar instantly to Stockholm. Arrived bruised, carved with swastikas. Reminders this dignified, steadfast and restored on Novemberpogromen. The pacific witness the authentic artifacts from Auschwitz. A striped prison. A spoon and rescued by three camps. A small tillbucklad Kiddushbägare for sabbatsritualen, found at one of the crematoria.
Survival, escape, loss and memory are also taken up at Sörmlands museum in Nyköping, sweden, which got a new building. In the art gallery in progress ”To hopfoga the crumbling of the world” with Lenke Rothman (1929-2008), in dialogue with younger, contemporary artists; Alina Chaiderov in the middle of may and then Gery Georgieva.
Teenage Lenke survived three camps and was reunited with his brother Alexander in Sweden. In the Rothmans multi-faceted, sensitive but purposeful work is the repair of the personal lower thread. Creating meaning out of nothing, the lost, the rejected. No material is too worthless. The plastic twists she faces. Buttons eyes. Burning of the paper present features. Besvärjer they annihilated to the presence. Safety pins, stitches, tape the links together life before the Holocaust with the present moment.Lenke Rothman ”Rain”, 1963. Photo: Valdemar Asp
and the symbolic. A coat wrapped in the plastic is reminiscent of the wreaths at the arrival. Over the surface of the powerful painting Rain, falls Hebrew letters. Blue drops, a rain of tears, forming the profession of faith the Shema.
”So sacred that you could cut the air with a knife”, describes her brother Alexander the thickening sabbatsstämningen in the chassidiska home, in a video in connection to the exhibition. A memory that became a överlevnadshjälp.
His sister recovered the feeling in collagesviten ”Pages from the book of Sabbath”. I think of the damaged Kiddushbägaren for sabbatsritualen, found in Auschwitz, and on the Lenke Rothmans words ”ihågkom us to life”.