Thousands visit Rome Jewish Museum, show Solidarity to Brussels

Visitors to Rome Jewish Museum Monday night. Photo: Shalom7

By Ruth Ellen Gruber

This post also appears on my En Route blog for the LA Jewish Journal

Thousands of people lined up to visit the Rome Jewish Museum, which was specially opened for free Monday night to show solidarity with the Jewish Museum in Brussels and honor the victims of Saturday's shooting attack, which left four dead.

Other Jewish institutions in Italy also opened Monday night -- including the Shoah Memorial in Milan.

“This is our response to the attack, a ‘white night’ against fear,” Rome Jewish community president Riccardo Pacifici told the Italian media.

In Rome, Jewish leaders and political figures including the presidents of the Lazio and Puglia regions addressed the crowd before they entered the museum. The ambassadors of Belgium and Israel also were in attendance at an opening ceremony broadcast live on Italian TV.

"The Brussels assassins wanted to strike in the heart of culture, in a place where one wants to learn," Pacifici said. "They wanted to intimidate the Jewish community and the general public. Tonight the museum opens its doors to whoever desires to get to know it."

"There is no choice more just than to find ourself in a place of culture in order to respond to hatred and ignorance," Nicola Zingaretti, president of Lazio region, said. "The act of us all being here sends out the message that whoever carries out an act of ignorance will always have the eyes of the world upon them."

Dario Disegni, the president of the Italian Jewish Cultural Heritage Foundation, issued a statement Monday urging the more than a dozen other Jewish museums in Italy to also open to the public for free one day this week. “We feel confident that civil society in our country will want to feel the moral imperative to bear witness, through solidarity with the victims of the crime, to a firm commitment to safeguarding democracy and to the construction of a future of peace, justice and liberty,” he said.

The Association of European Jewish Museums issued a statement about the Brussels attack:

A murderous attack has taken four lives in the Jewish Museum of Belgium in Brussels on Saturday 24 May. The AEJM is deeply shocked by this atrocity directed against an institution that for many years stands for mutual understanding, tolerance and intercultural exchange - a symbol for the only possible future of Europe. We lack the words to describe our feelings of horror and we humbly want to express our solidarity with our friends. Hopefully the murderer will be identified and caught soon and it will be possible to shed light on this crime. We mourn with our colleagues of the Jewish Museum in Brussels and the families of those who lost their loved ones in this attack.

Prague Jewish Museum opens new visitor center

Photo: Jewish Museum Prague

By Ruth Ellen Gruber

The Prague Jewish Museum is the most visited museum in the Czech Republic -- drawing more than half a million visitors a year.

So in a way, it's high time that it has opened a new visitor information and reservation center.

The new facility opened Feb. 3 at Meiselsa 15, close to the historic synagogues that house the museum's collections, as well as to other Jewish sites such as the Old-New synagogue, the Old Jewish cemetery and the Jewish Town Hall.

According to the museum’s announcement on its web site:

This new site provides visitors with a multimedia information space and offers a range of additional services. It is an interactive information gateway with basic details about the monuments and permanent exhibitions in the Jewish Town, as well as about specific Jewish monuments in Prague and the rest of the Czech Republic. It also contains information about current educational and cultural programmes held by the museum and related organizations and institutions. Visitors will also be given useful tips on where to find kosher meals and on services provided by travel agencies specializing in Jewish heritage tours. [...] As well as providing services for individual tourists, the new centre will also accept bookings from guides, school representatives and travel agencies. It also includes a rest area with refreshments and toilet facilities, as well as disabled access and a baby changing table.

In October, the museum will mark 20 years since it was given back to Jewish ownership by the state, and the new visitor center is just one of the initiatives and changes that are being implemented this year to mark the anniversary.

Big events in Poland next weekend

by Ruth Ellen Gruber

(This post also appears on my En Route blog for the LA Jewish Journal)

Two long-awaiting events are happening in Poland next weekend -- the opening of the Jewish museum installed in the restored synagogue in the little town of Chmielnik, and the opening of the restored synagogue in the town of Wielkie Oczy, which will now be used as the public library.

I've actually never seen the elegant synagogue in Wielkie Oczy, located in the southeastern corner of Poland on the Ukrainian border -- but I have long loved it from its photographs: its state of disrepair made it a particularly poignant image. Distinguished by its arched windows and doors, it was built in 1910 but rebuilt in 1927 after suffering serious damage in World War I. It was long used as a warehouse and office after World War II but had languished derelict for years in a steadily deteriorating condition.

A series of events  on June 16 will celebrate its reopening after a restoration funded by the town, with support from the Foundation for the Preservation of Jewish Heritage in Poland. These will include the unveiling of a memorial plaque to the destroyed Jewish community, speeches, and a concert.

The development of the Jewish museum in Chmielnik, north of Krakow, is something that I have followed for years -- and it all comes to fruition June 15-16, with two days of events including a conference, concerts, talks and more.

Partially restored synagogue, July 2012. Photo © Ruth Ellen Gruber

I first saw the ruined synagogue, one of the largest buildings in the little town, back in 1990, when I made my first forays into documenting Jewish heritage sites. Originally built in the 1630s, it was, though derelict, still a splendid building, a massive masonry structure with barrel vaulting. The Nazis turned it into a warehouse, but the interior still retained stucco work dating from the 18th century, and the walls still bore traces of delicate polychrome decoration, including frescoes of lions, neoclassical geometric forms, and signs of the zodiac. 

Me and Piotr Krawczyk outside the synagogue under renovation, July 2012.

About a dozen years ago, young local activists, in particular Piotr Krawczyk, became interested in the Jewish history of the town -- which Krawczyk noted to me actually meant the history of the town: before the Holocaust, Jews made up about 80 percent of the population, but their memory and the memory of their contribution was long suppressed or forgotten.    

Inspired by the Jewish Culture Festival in Krakow, Krawczyk and other activists, cooperating with the municipality, launched an annual Jewish culture festival in Chmielnik, held each June. They also started other initiatives, including clean-up of the ravaged Jewish cemeteries and erection of the memorial, as well as a web site about Jewish heritage, history and culture of the region.

The museum project has been the most ambitious project, entailing the renovation and transformation of the synagogue -- the design has been somewhat controversial because of a glass bimah installation.

Austria -- Vienna Jewish Museum Reopening

By Ruth Ellen Gruber

Just a brief note -- the Jewish Museum in Vienna re-opened Tuesday after being closed for about a year for a fullscale -- and controversial -- restoration and revamping of its exhibition. I have yet to see it, but the next time I go to Vienna (probably in early December) I will make sure to give a full report, as I am very curious to see the new facility. The opening (temporary) exhibition is a sure-fire crowd pleaser on 100 years of Jewish experience in Hollywood...

Here's a video of the opening ceremony:

The Jewish Museum Vienna is now open - Welcome back! from Jewish Museum Vienna on Vimeo.



As for now, according to one brief (and dry) article:

Not only the technical infrastructure and visitor facilities were renovated, but visitors will also be offered new and exciting insights into the collections − of Jewish past and present − as well as a new atelier for children and several other services.

Visitors will get to know whom the Jewish Museum Vienna has to thank for its collections and take a virtual tour through the synagogues that existed in Vienna before 1938. They will also be invited to view the new permanent exhibition, but also to Hollywood − the location where the first temporary exhibition will take place. This will be an introduction to the founding fathers of the film metropolis, the men who left their shtetl in Galicia and Ukraine to invent the American dream in Hollywood. This journey will take one across 100 years of Hollywood and trace this Jewish experience as far as the present."

I posted here earlier this year about the controversy over the museum renovation, in the process of which the holograms that had formed part of the museum's historic exhibition, mounted in 1994, were destroyed during their removal.

Slovakia -- More highlights from Slovak Jewish Heritage Route -- Presov

Mezuzahs in Barkany Judaica collection. Photo: (c) Ruth Ellen Gruber

By Ruth Ellen Gruber

Here are further highlights from my five days following the Slovak Route of Jewish Heritage -- a  project  devised by my friend Maros Borsky, the leading expert on Jewish heritage in Slovakia. The author of the book Synagogue Architecture in Slovakia, Maros founded and directs the Slovak Jewish Heritage Center. You can see earlier posts on the trip HERE and HERE.

A major stop on the journey was the Presov, in the far east of Slovakia, the country's third largest city.

Here we visited the orthodox Jewish compound, centered on the large and sumptuous orthodox synagogue, built in 1898. It is a wonderfully ornate building -- still used by the tiny Jewish community -- that testifies to the one-time size and prosperity of the community here. The women's gallery houses the wonderful Barkany collected of Judaica that was collected for what was the first Jewish museum in the region, which opened in Presov in the 1920s. Alas, it is a branch of the State-run Museum of Jewish Culture in Bratislava and suffers the same lack of information on the objects. But what is there is really wonderful.

Exterior of Presov orthodox synagogue. Photo (c) Ruth Ellen Gruber

Door into sanctuary. Photo (c) Ruth Ellen Gruber

Presov: Ark and Ceiling. Photo (c) Ruth Ellen Gruber

Sanctuary. Photo (c) Ruth Ellen Gruber

Ceiling near Ark. Photo (c) Ruth Ellen Gruber

Click HERE for information about travel and tourism in Slovakia.

Serbia -- Belgrade Jewish Museum downloadable guidebook

By Ruth Ellen Gruber

I just found a downloadable version (PDF) of the illustrated, 35-page guidebook to the Museum of Jewish History in Belgrade, published last year. Go to the link by clicking HERE. I will add it to the other PDF guides I have on my iPad....

Italy -- Jewish Book Festival, Ferrara

By Ruth Ellen Gruber

I spent Sunday afternoon at the big Festival of the Jewish Book in Italy. A beautiful, sunny spring day, lots of books (all in Italian, issued by Italian publishers), lots of people....

Sign for the Jewish book festival outside the cathedral. Photo (c) Ruth Ellen Gruber

Photo (c) Ruth Ellen Gruber

most of the action, including talks, "debates", food-tasting and schmoozing,

Schmoozing at the festival. Photo (c) Ruth Ellen Gruber

took place in a graceful cloister in the historic city center near the castle,

An event at the book festival. Photo (c) Ruth Ellen Gruber

but I took in several linked exhibitions, including one that displayed all the 52 entries (including the winner by the Bologna-based Studio Arco-Architettura) for the building design of the National Museum of Italian Jewish and the Shoah (MEIS) now in development, which will occupy the building of an old prison in Ferrara.

Photo (c) Ruth Ellen Gruber

Photo (c) Ruth Ellen Gruber

Vienna -- controversy over destroyed Holograms during renovations

Aftermath of the destruction of the Vienna Jewish Museum holograms. Picture taken from http://www.juedisches-museum-blog.de

By Ruth Ellen Gruber

Wow. I'm just catching up with the controversy in Vienna over the destruction of the the Jewish Museum's acclaimed signature permanent exhibition of Holograms during renovation of the building and creation of a new exhibit. As JTA (and German-language media) reported,  directors of European Jewish museums and other educational institutes wrote an open letter to Vienna Museum Director Danielle Spera condemning the destruction of the 21-Hologram display, which had been installed in 1994 as the museum's main permanent historical exhibit.

The letter's signatories included directors or high-ranking staff members of Jewish museums in  German, Holland, France, Austria and Belgium. They said they expected colleagues to "show dignity and respect for their own institutional history. And the same dignity and respect should be shown to our colleagues and their work." The holograms, they said, "were among the most remarkable presentations of Jewish history in the world of Jewish museums and beyond."

The issue prompted criticism after pictures  showing the shattered glass of the destroyed holograms appeared in museum blogs and elsewhere.

The Vienna Museum, located in the Eskeles Palace in downtown Vienna, closed down in January for a six-month overhaul that will bring it up to building standards and also  install new exhibits throughout.

Writing on the web site of the Vienna Jewish Museum, Peter Menasse, director of the financial and organizational department, said that the team had wanted to preserve the holograms which had "become almost a trademark of our house." He said the Technical Museum was going to take some of them and the rest were to have been stored and conserved.

However, suddenly the steelwork and glazing experts we assigned found they had an unsolvable problem. The more than 100 kilo heavy glass shields were not only screwed to the floor with steel cross braces, but were also glued in place. The shields could not simply be taken out, as that would require the use of heavy machinery. The glass shields in question are made of safety glass similar to the glass used in car windshields. Even the smallest damage to any part of the glass would result in the complete destruction of the entire shield.
Preserving the shields, as we had originally intended, proved impossible. The pictures of the broken glass shields have upset us, as well as many museum experts. The one drop of comfort we have is that we have two smaller series of holograms, meaning the technology will not be lost forever.

The shocking destruction of the Holograms (an exhibit designed by Felicitas Heiman Jelinek and Martin Kohlbauer) and the polemics in its wake seem part of a general series of disputes and politics on various levels at the Museum. (Politics that have been exacerbated with the total renovation of the institution and also the nomination of Danielle Spera as museum director last summer). Critics accuse the new administration of failing to recognize the value of the older exhibit. According to

Hannah Holtschneider, of the University of Edinburgh, writing in Museologien, an Austrian Museology blog:

There is no recognition on the part of the Museum of the critical acclaim of the exhibition. This is astonishing as the international community has commented favourably on the innovative design and critical features of the exhibition which had the holograms as a centrepiece. Among the critics and international commentators on the exhibition, the holograms were appreciated both as a significant medium of display and as artefacts on display which were able to involve the visitor physically in the discovery of approaches to Jewish history in a post-1945 exhibition in Europe. Thus the holograms were not simply a display technology, such as a glass case or television screen, but part of the collections of the Jewish Museum Vienna. Critics point to the principles of ICOM which explicitly state that such artefacts need to be preserved and cared for.

I must say, I loved the hologram exhibit, and the entire museum -- though it was clearly time for an update and overhaul.

It was really cutting-edge when it opened, perhaps the European Jewish museum where the questions, theories and dilemmas embodied in Jewish representation and the Jewish museum experience had most consciously and to such a degree been translated into the actual practice of exhibition. I looked at the museum closely in my book Virtually Jewish: Reinventing Jewish Culture in Europe, (which BTW is now available on Kindle) and also at that time -- in 1997, so not long after it was opened -- interviewed Felicitas. This is what I wrote:

Visitors to the Museum’s permanent historic exhibition [...] are confronted not by traditional display cases presenting documents, torah scrolls, Holocaust memorabilia or Jewish ritual objects, nor do they find dioramas or didactic installations. Missing, too, is a commemorative section or memorial dedicated specifically to the Holocaust. Instead, they step within a bare room housing 21 holograms: ghostly three-dimensional images of ritual objects, paintings, photographs, documents, and architectural models, rather than the real thing.

Each hologram represents a specific stage, facet or theme associated with Austrian Jewish history and the relationship between Jews and Austrian society: "Out of the Ghetto," for example. "Houses of God," "Zionism," "Anti-Semitism," "Loyalty and Patriotism," "From Historism to Modernism," "Shoah," "Vienna Today …" Most of the images are holographic still lives that combine groupings of various source material, some of which are easily understood objects in themselves, while others are defined by context or elaborate back stories recounted in the ample information notes that accompany each piece. The hologram entitled "Banishments," for example, shows what is described as a seventeenth century Torah curtain that a Viennese couple took with them to Prague when they were expelled from Vienna in 1670, along with a pile of film canisters described as containing a copy of the classic movie Some Like It Hot, which was directed by Vienna-born Billy Wilder, who fled Berlin after the Nazis took power in 1933. The hologram representing "Fin de Siecle" includes images of an array of artifacts owned, used or associated with turn-of-the-century Jewish cultural figures: writer Karl Kraus' glasses, a candlestick from a music stand used by Gustav Mahler, a book by Arthur Schnitzler with a flyleaf dedication to Theodore Herzl, Sigmund Freud's bookplate, playing cards designed and used by Arnold Schönberg.

Eerily glowing red and green and yellow, the images are captured on sheets of plexiglass that look totally transparent until the visitor stands directly before them; unless the panels are approached, the room, indeed, looks empty: even in the museum catalogue, the photograph captioned "The Historical Exhibition" shows a room with seemingly nothing in it but windows, lights, a parquet floor and scattered, three-meter-tall transparent sheets. The hologram images appear, move and shift with changed angles of vision; the objects seen are virtual objects; the scenes are glimpses of a virtual reality -- one even includes a holographic film clip; they are seemingly three-dimensional images that exist but don't exist: a "real" virtual Jewish world.

"Holography could prosper only in America, a country obsessed with realism, where, if a reconstruction is to be credible, it must be absolutely iconic, a perfect likeness, a 'real' copy of the reality being represented," wrote Umberto Eco in the mid-1970s.[1] Yet the curators of the Vienna exhibit had the opposite in mind. Their aim was precisely to reject any attempt to present a "real" real image of Austrian Jewish history and experience through the conventional use of the objects, documents and displays typical of museum exhibits. The use of the incorporeal holograms attempts to show the imprecise nature of memory and the role played by imagination and interpretation in viewing and presenting the past. History is not an absolute; physical objects represent the historical meaning that we ourselves assign to them. Even what is "carved in stone" is subject to interpretation. The use of holographic objects and scenes that are "there" but "not there" at the same time is also, obviously, a striking means of elaborating a sense of Jewish absence and the continuing impact of the Jewish past on the present. The exhibit, which opened in 1996, is called a "place of remembering." We see the objects, but we see through them, too. The holograms are nothing -- but many things altogether, "mnemonic devices" or "memory aids in the form of abbreviations". [2]

"A historical exhibition cannot show or explain everything," the museum's then chief curator Felicitas Heimann-Jelinek, who designed the Hologram installation, told me in 1997. "So why not say from the beginning that, in principle, we cannot do it. Perhaps it makes more sense to think about the relativity of history and historical presentations than to say this object means this, and this year was that, and this event meant such and such, and so on – because it's not true. We cannot reconstruct history; we should openly say that we are only its interpreters, and nothing else." The Jewish Museum of Vienna thus offers a radical and highly sophisticated approach to the problem of dealing with history, memory and absence. For Heimann-Jelinek, the function of the exhibit is to force its audience think and reflect about the Jewish experience and the impact of the Holocaust on the present. "This installation gives people the opportunity to think about what would have been possible, what could have happened, what could be different today," she told me. "The hologram room is a very peaceful surrounding; it is a bit like a prayer room because on the one hand it is so spacious and on the other hand it is very calm. People don't talk loudly; they read the information panels and look at the holograms. There is a very contemplative atmosphere."

---

[1] Eco, Travels in Hyperreality, pg 4

[2] Felicitas Heimann-Jelinek, "On the Historical Exhibition at the Jewish Museum of the City of Vienna," in Jewish Museum Vienna, Vienna (catalogue of the museum), pg 62. See also her article "On the Re-Organization of the Jewish Museum of the City of Vienna," in Jewish Museum Vienna Newsletter, No. 8/9, March 1996, pg 2.

Jewish Museums -- New article on Casablanca

By Ruth Ellen Gruber

I have posted in the past about the Jewish Museum in Casablanca, Morocco -- to date the only Jewish museum in the Arab world. (For web sites on Jewish Morocco, click HERE and  HERE)

There is a new article now on AFP/European Jewish Press.

Founded in 1997, the Jewish museum assembles a hodgepodge of objects -- clothes, tools, even a jeweller's studio -- that attest to the rich history of the country's 2,000-year-old Jewish community.


"It's the only Jewish museum in the Arab world," said museum curator Zhor Rehihil, a Moroccan civil servant who is Muslim.


Some 5,000 Jews live in Morocco today -- including 2,000 in Casablanca, according to Rehihil's estimates.


The school visits "show to Moroccans that there are other Moroccans with other religious beliefs," she said.


And the museum's philosophy?


"That the Jews of Morocco did not disappear without a trace," says
76-year-old Simon Levy, who has directed the museum since its creation.


He wants Morocco to acknowledge its Jewish heritage in other ways -- namely in history textbooks, which he says is not currently the case.

Slovakia -- I find Bratislava's Museum of Jewish Culture disappointing

 These portraits of rabbis in the museum are prominently signed  but it is far from clear if those signed "Boruth A." were actually done by the Slovak painter Andor Boruth, who died in 1955 -- and it's really doubtful those signed "Szekely" were done by the Hungarian academic painter Bertalan Szekely. Yet there is nothng to identify the artists, the subjects, how and why they got to the museum collection. Photo (c) Ruth Ellen Gruber.

I paid a visit yesterday to the Museum of Jewish Culture in Bratislava, a branch of the Slovak National Museum that was reopened in 2009 following the revamping of its original exhibition, which dated from 1993, when the museum opened.

Alas, I found the new exhibit a big disappointment. The wonderful collection of ritual objects, everyday materials, textiles, artwork and more is laid out well -- but the items on display are exhibited with almost no contextual or other information about them: no information on the date, the provenance,  who donated the object, the place of origin; nothing  even on the artists and titles of paintings, even when these are known.

 Photo (c) Ruth Ellen Gruber

A collection of photographs of Slovak synagogues identifies the towns but omits even rough dates as to when the pictures were taken, not to mention the names of the architects, information as to when the synagogues were destroyed, etc etc etc. One item on display is a decorative paving stone rescued from the great Neologue synagogue next to the Cathedral, which was destroyed in 1969 when the old Jewish quarter was razed during construction of the New Bridge. But the stone just lies there, a decorated lump, without any explanation as to why it is included in the exhibit...

Nor, in a "symbolic Jewish cemetery" in the basement, an installation of fragments of tombstones, is there information provided as to which cemeteries the stones came from, or about the number of Jewish cemeteries around Slovakia. There is rudimentary information about burial practices, and a bit about inscriptions, but that's it.

What's more, no distinction is made between photographs and copies (such as that of a ketubah) and original objects. And some of the items that did have labels (albeit generic ones) were incorrect: it seem as if meal coupons issued by the American Jewish Joint Distribution Committee are identified as  certificates issued to guarantee kashrut!

All in all, it was very frustrating -- a sadly wasted opportunity.

Modern museum practice does not seem to have entered here: the only provenance shown was a label on an oil lamp bought in Israel guaranteeing that it was ancient. The objects shown could have come from anywhere: there was little sense of their connection with Slovakia, and even when this connection was presented, it was not elaborated.

The young woman who showed me around could answer only some of my questions -- she went somewhere to consult when I asked her who the artist was of a very lovely water color of a Jewish cemetery. (She found the name of the artist, but nothing more: other, Holocaust-related, works of his, too, are hung with no identification, as is a nice installation of collaged photographs of the Chatam Sofer memorial.)

She told me she informed someone on the design team about my concerns and said he assured her that labels were being prepared. But I have my doubts.

London -- Great NYTimes Review of Newly Revamped Jewish Museum

Congratulations to Rickie Burman, director of the newly reopened Jewish Museum in London, and her team! The reviews of the museum, which just reopened after a multi-million dollar expansion and redesign, are glowing. The latest is in the New York Times.  The article, which describes the museum as a "carefully thought-out museum" whose expansion and redesign has established it "as an important addition to a new generation of Jewish institutions in cities including San Francisco and Warsaw,"       also has a slide show.

London -- More on New Jewish Museum (by someone who's actually seen it)

The Times of London reports on the new Jewish museum in London -- writer David Aaronovich has actually seen it.

Five years ago I first went to an exhibition at the small Jewish Museum in North London. I suppose I saw it as a rather charming bijou museum, mostly about Jews showing things to other Jews. On March 17, however, it will be relaunched as a much bigger enterprise: the museum I was taken round last week by its director, Rickie Burman, was altogether a different proposition.

The Jews are the nation’s oldest minority, and the first Jewish Museum, mostly of objects from the practice of Judaism in Britain, was opened in 1932. Much later a second museum, devoted to the distinctive history of the Jews of the East End of London, started up in Finchley. In 1995 these two institutions merged into one museum located in two terraced houses in a street not far from Camden market. The museum had already bought the premises backing on to the terrace — a piano factory — for some £4 million. Two major benefactors helped to raise nearly £6 million, to set alongside £4.2 million granted by the Heritage Lottery Fund. The museum closed in 2008 to be reshaped under the old skin of the building. Now it’s ready to emerge. 

[...]

You enter the museum through a series of moving images projected onto five screens, depicting the life and words of a variety of modern British Jews. They include an Edward Lear-bearded, accented Hasidic rabbi; a young gay Jew; an ex-army Jewish princess; the concentration-camp survivor and former British weightlifting champion Ben Helfgott; a London cabbie who had fought in the Yom Kippur war of 1973; a woman Chinese convert to Judaism; a smoked-salmon magnate; and a Guardian journalist. The films are beautifully made and the idea of representing “different ways of being Jewish” is, I think, realised.

Then, right in front of you, is the museum’s “scoop” item. In 2001, excavators in Milk Street in the City of London uncovered a sunken bath made out of green sandstone, 4ft wide and 4ft deep, reached by seven steps. Its location, on the site of a house owned by a Jewish family in the late 13th century, identified it as a mikveh, or ritual bath, typically used by women after menstruation or before attendance at synagogue.

[...]

 There is an interactive “ask the rabbi” feature, in which those who enjoyed A Serious Man can put questions to four rabbis of different denominations (Jews like to argue), and an electronic Ten Commandments. The largest gallery tells the tale of the Jews of Britain through history: the 18th-century Jewish pedlars, the Jewish bare-knuckled boxers, the Jew Bill of 1753 which had to be repealed because of public outcry over naturalisation rights given to Jews, the first Jewish public men, and so on.

Part of the display is in “street” form, representing life in the Jewish East End, and allows visitors to follow members of a Jewish family circa 1900 in their daily lives. There’s even a pot, where you lift the lid and it smells of chicken soup. Very poignant is the small collection of items left and never reclaimed from the deposit boxes in the Poor Jews’ Temporary Shelter. For children and exhibitionists there’s a chance to dress up like characters from the old, lost Yiddish theatre.

London -- Jewish Museum to Reopen after Major Transformation and Redevelopment

 By Ruth Ellen Gruber

The Jewish Museum in London reopens March 17 after a 10 million pound ($15 million) redevelopment. The new museum places Jewish history and culture in the U.K. in the wider context of British history.

The museum is located in Camden Town, at 129-131 Albert Street, London NW1 7NB.

The exhibits are divided into new galleries including

• Ground floor displays
• History: A British Story
• Judaism: A Living Faith
• The Holocaust Gallery
• Changing Exhibitions

There is also

• Education Space
• Foyle Research Library
• Café
• Museum shop

A press release last fall described the new museum  and its concept as follows:

Its new displays and exhibitions will tell the story of Jewish history, culture and religion in an innovative and compelling way and engage with people of all backgrounds and faiths to explore Jewish heritage and identity as part of the wider story of Britain. The only museum in London dedicated to a minority group, the museum’s expansion and redevelopment was made possible following a £4.2m grant from the Heritage Lottery Fund.

One of Britain’s oldest minority groups, the Jewish community has made a vital contribution to British life. From banking and business to fashion, entertainment and food, many sectors have benefited from the energy and talents of the Jewish community who have come here from all over the world. At the same time, the story of the Jewish people reflects the experiences of other immigrant groups settling in a new country, seeking to make a new life while retaining their identity and traditions. The new museum brings this experience of immigration to life through internationally important collections of artworks, artefacts and photography, as well as ground-breaking interactive displays.

Displayed across four permanent galleries, the huge variety of objects, films, photography, hands-on exhibits and personal stories on display will paint a rich and nuanced picture of British Jewish life and religion as well as exploring contemporary social issues around immigration and settlement. The new museum will also house a Changing Exhibitions Gallery, a 100-seat auditorium, an Education Space and a café and shop.
Highlights from the four permanent galleries include:

• A highly evocative recreation of an East End street and tailor’s workshop brought to life with different characters talking about their lives at home and at work.
• A map showing where Jews have come from around the world, embedded with highly personal objects that they brought with them to their new country, for example a doll brought by a child refugee on the Kindertransport and a bible which was the only object an anti-apartheid activist was allowed to take with him into solitary confinement in prison in South Africa.
• Rare and precious ceremonial objects including a 17th century Italian Ark and the oldest English silver Hanukah lamp.
• A Yiddish theatre karaoke presented by comedian David Schneider, whose grandparents were performers in London’s Yiddish theatre, displayed with costumes, posters, programmes from the museum’s extensive collection.
• A medieval mikveh (ritual bath) from the 13th century, on display for the first time since its discovery in 2001 in the City of London.

The four permanent galleries are:

• Welcome Gallery – This innovative multimedia exhibit is the first you encounter as you enter the museum. It introduces visitors to a diverse range of Jewish people including a third generation smoked salmon manufacturer, an Indian-born marathon-running grandmother, a taxi-driver and an ex-army engineer who was commended for her action during the London bombings of 2005.
• History: A British Story – Visitors can play the Great Migration board game, or smell the chicken soup in an immigrant home. The Same Old Story? interactive display allows visitors to explore attitudes to immigration over the past two centuries. This gallery explores how and why Jewish people have come to the UK from around the world and the challenges of making a new home in a new country.
• Judaism: A Living Faith – Newly commissioned films in this gallery will reveal a range of contemporary Jewish families celebrating festivals and Jewish lifecycle events such as a wedding and bar mitzvah. These are shown alongside rare and beautiful ceremonial objects including silver Torah scrolls made by George III’s silversmith and religious textiles, such as a fabulous Torah mantle commissioned by the Mocatta family, one of the oldest Jewish families in Britain. Interactive displays enable visitors to design their own synagogue and to hear the chanting of the Ten Commandments from a Torah scroll.
• The Holocaust Gallery ­ this unique space explores the impact of Nazism through the experiences and poignant personal items of London-born Auschwitz survivor Leon Greenman OBE and other survivors who have made their home in Britain.

The first temporary exhibition, Changing Cultures, will explore cultural exchange, migration and identity through the work of contemporary artists from immigrant backgrounds living in Britain including Noa Lidor, Yara El-Sherbini, Mona Hatoum and Sonya Boyce amongst others. Planned future exhibitions will cover themes from Jews in Entertainment to Jewish food and comic book superheroes.

The new museum has been designed by Long & Kentish Architects, an award-winning practice who have a long history of developing museums and galleries including the British Library Centre for Conservation, Pallant House Gallery, Chichester (Museum of the Year 2007) and the National Maritime Museum in Falmouth. The new museum triples the space at its Camden Town site, combining its premises in Albert Street with an adjacent former piano factory.

Rickie Burman, Director of the Jewish Museum said: “What it means to be British and the issue of cultural identity has never been more hotly debated. At the new Jewish Museum we explore these issues in the context of one of Britain’s oldest immigrant communities. We hope our ground-breaking new displays will inspire people to take a stand against racism and build interfaith understanding and connection."

The Jewish Museum London brings together two distinguished museums with complementary collections - the Jewish Museum and the former London Museum of Jewish Life. For the first time these important collections will be brought together on a single site.

The Jewish Museum was founded in 1932 and merged in 1995 with the London Museum of Jewish Life, which was created to preserve the disappearing heritage of London’s East End. While the East End has remained an important focus, the museum expanded to reflect the diverse roots and social history of Jewish people across London. It has also developed an acclaimed programme of Holocaust and anti-racist education.
Between 1995 and 2007 the combined Jewish Museum ran on two sites, but with a long-term aim to find the means to combine the two collections, activities and displays within a single site. In 2005 the Heritage Lottery Fund awarded a grant of £4.2 million towards the museum’s development project and following years of planning and fundraising, building work started in January 2008.

The Jewish Museum’s collections of ceremonial art are among the finest in the world. In recognition of the outstanding importance of the museum’s collections as part of Britain’s national heritage, the Jewish Museum has been awarded Designated status by the Museums, Libraries and Archives Council, one of only 14 museums in London to be awarded this special status.

Long & Kentish The partnership of MJ Long and Rolfe Kentish was formed in 1994, but the experience of the partners goes back many years before, when they were with Colin St John Wilson, working on the new British Library. The practice’s current projects include the Durlston World Heritage Gateway Centre, The University of Essex Centre for Latin American Art and an apartment building in Falmouth. MJ Long was born in the USA and studied at Yale. She has lived in England since 1965, and worked with Sandy Wilson from 1965 to 1996. MJ also ran a separate practice, mostly designing studios for artists, from 1974 to 1996. In 2009 she was awarded an OBE for her services to architecture and architectural education. http://www.longkentish.com/
Event Communications is responsible for exhibition design of the new galleries at the Jewish Museum. Event is Europe’s leading exhibition design group, recognised as a pacesetter for pushing the boundaries of existing practice and constantly exploring new ways to interpret, present and connect with audiences.

Vienna -- Michael Jackson and the Jewish Nose

In Vienna this weekend, I visited the Jewish Museum to see the exhibit "Typisch!" -- about Jewish and other ethnic stereotypes. The exhibition already has shown at the Jewish Museum in Berlin and at the Spertus Museum in Chicago. What should I find as one of the exhibits? Michael Jackson, who else....

So -- here's my latest Ruthless Cosmopolitan column about the experience.....

Poster for Typical!," an exhibit at the Jewish Museum in Vienna that features a photo of Michael Jackson used to illustrate how the singer tried to crush stereotypes. (Ruth Ellen Gruber)

Ruthless Cosmopolitan: Michael Jackson and the Jewish nose

By Ruth Ellen Gruber - June 29, 2009

VIENNA (JTA) -- Amid all the noisy outpouring over Michael Jackson's sudden death, the last place I expected to find him was in a Jewish museum. But there he was, his pale, mask-like, surgically engineered image featured as part of an exhibition at the Jewish Museum in the Austrian capital.

Called "Typical! -- Cliches of Jews and Others," the exhibition deals with the use (and abuse) of ethnic stereotypes in popular culture. The exhibition, which runs until October, has been shown at the Jewish Museum in Berlin and the Spertus Museum in Chicago.

It was assembled long before Jackson died June 25 in Los Angeles.

In a life-size photograph from 2002, he is shown with lank black hair framing a long, square stubbly chin, pinched red mouth, huge made-up eyes and a tiny nose with distorted pointy tip.

The photo is used to illustrate how, for better or worse, the King of Pop attempted to destroy stereotypes and, literally, to cut himself away from the confines of physical definition.

Jackson's "surgical transformations mirrored back to the culture the blurring of boundaries demarcating adulthood, sex and even race," Guy Trebay wrote in The New York Times after Jackson's death.

The "Typical!" exhibition deals with stereotypes commonly used to categorize African Americans, Muslims, women, Native Americans and others.

But given that it is mounted at a Jewish museum, much of its focus is on stereotypes about Jews. The exhibition poster employs a few sketched strokes to conjure up some: corkscrew curls, a hat and a huge hooked nose.

Indeed, the multitude of variations on the (alleged) size and shape of the Jewish nose form a major theme.

"The paradigm for the 'typically Jewish' nose originated in the craniological studies of Johann Friedrich Blumenbach," an information panel informs. A German natural scientist who died in 1840, Blumenbach "claimed to have evidence that Jews had an especially prominent nasal bone."

Exhibit installations examine the misuse of this and other paradigms in "scientific" teaching, as well as the ways in which they became part of the vernacular shorthand that shapes the way we see others and ourselves.

A section called "the schnoz," for example, shows a collection of 19th century walking sticks whose handles are formed by exaggerated noses. The contemporary artist Dennis Kardon's installation "Jewish Noses” features dozens of larger-than-life-sized casts made from the noses of actual Jews to demonstrate the silliness of such nasal cliches. Also, a modern painting ironically comments on the love and success that are supposed to result if one has a nose job.

"I am often asked whether or not Jews have a 'Semitic' nose," reads an exhibition quote by the historian Sander Gilman, who has written extensively about Jewish stereotypes. "After 54 years of experience, I can only answer that every Jew I have ever met has a nose."

The inclusion of Jackson's picture in the mix highlighted the transformations his own nose infamously went through.

It also reminded me of a book I read some years ago, a vicious anti-Semitic satire called "The Operated Jew," that was written in 1893 by a German doctor named Oskar Panizza.

An attack on efforts by Jews to assimilate into mainstream society, the book is a creepy and extremely disturbing tale about how a Jew named Itzig Faitel Stern tries to rid himself physically of the stereotypical signs of his Jewishness and become a "modern" European.

Foreshadowing Jackson's experiences under the knife, Stern submits to radical procedures, including the straightening and bleaching of his hair, "Extreme Makeover"-style cosmetic surgery and a series of horrendous operations to straighten his bones. He even gets a full transfusion of "Christian blood."

"It is impossible for me to give the reader an account of all the garnishings, changes, injections and quackeries to which Itzig Faitel Stern submitted himself," the narrator states. "He experienced the most excruciating pain and showed great heroism so he could become the equivalent of an occidental human being."

In the end, it doesn't help. At his wedding to a Christian woman, all falls apart and Stern "reverts" to the ugliest anti-Semitic cliche of the Jew.

Panizza, an early exponent of Nazi-style racial anti-Semitism, set out to "prove" that Jews could never become part of the mainstream modern world, even if they physically attempted to change their skins.

It's not exactly clear what world Jackson was trying to become part of -- or leave -- with his surgeries and other transformations.

Artistically he was the ultimate crossover, winning fans of all colors, ages, religions, nationalities and sexual orientations all around the world. Over the years, though, he alienated some African Americans by his physical manipulation of identity and apparent ambivalence about his own blackness.

Death, though, appears to have brought Jackson back to his roots -- or in any case to a warm embrace by the African-American community.

“We want to celebrate this black man," the actor and singer Jamie Foxx said to cheers at the Black Entertainment Television Music Awards Sunday. "He belongs to us, and we shared him with everybody else.”

Foxx added, "It didn't matter what he looked like, it was all about what he sounded like. It didn't matter what his nose looked like -- I loved the old nose and the new nose."

Read Story on JTA

Switzerland -- Guided Tours at Jewish Museum

This summer, the Jewish Museum in Basel, Switzerland, is sponsoring one special guided tour a month of its current exhibition "Strange Objects Stepping Out of Line" which is describe as:

A journey to the world of Jewish curiosities. Objects from everyday-life, religious ceremonies and history have been chosen as they differ in their material, shape or intended use from the ordinary items of the collection.

The exhibit runs til the end of the year. Tour dates are June 21, July 19, August 16 and September 6 -- the European Day of Jewish Culture.

Find information HERE

Poland -- Warsaw Museum Inches Ahead, More Quickly

The new Museum of the History of Polish Jews is one step closer to realization. The Museum reports that a contract has been signed with a Polish construction company, and actual work could commence as early as next month. The deal was made April 30.

Here's what the Museum says:

Five companies answered the call for tenders issued by the Warsaw City Development Board.The winning bid, estimating Museum construction costs at PLN 152,3 mln gross (USD 43.5 million as of 30.04.09), came from the Polimex-Mostostal/Interbud-West consortium. After accepting the offer when asked to comment, Robert Supeł, Museum Deputy Director for Finance and Operations, could not contain his excitement: “If yesterday’s decision is not contested, the contract with the consortium will be signed before the end of this month and construction will start very soon thereafter. This means that the Museum of the History of Polish Jews will open in the summer of 2012 at the latest.” Under the contract, the builder has 33 months to complete the project. After the building is completed, a few months will be devoted to equipping it and completing installation of the multimedia core exhibition – already being developed by an international team consisting of scientific experts from Poland, United States and Israel and designers from the UK.

Polimex-Mostostal is Poland’s largest engineering-construction company with experience especially in steel constructions which is very important when it comes to the construction of the unique free form wall of the Museum. The company posted an income of PLN 4.3 billion in 2008 (15% more than in 2007) and is among the 20 blue chip companies quoted on the Warsaw Stock Exchange. It carries out both large construction and industrial projects (motorways, railways, power plants, Legia stadium in Warsaw, Wisła stadium in Kraków) as well as special cultural projects (the Chopin Centre and the University Medical Library in Warsaw, the Artistic Education centre in Gorzów Wielkopolski).

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Warsaw, 9.05.2009

Warbud S.A. which also participated in the tender filed an appeal on May 8. The company’s offer was worth PLN 163.3 million. The appeal is under consideration. It should be resolved within 10 days.

Prague -- Heads Up for Summer Exhibition on Rabbi Löw

Sign for Golem Restaurant in Prague. Photo (c) Ruth Ellen Gruber

This Sept. 7 marks the 400th anniversary of the death of the famous Rabbi Judah Löw ben Bezalel --a renowned scholar known as the Maharal and also the legendary creator of the Golem, the artificial man brought to life to defend Prague's Jews who then ran amok, was deactivated and then hidden in the attic of the Old-New Synagogue.

Prague is gearing up to mark the date with events including a major exhibition jointly sponsored by the Jewish Museum in Prague and Prague Castle.

This exhibition aims to trace the Maharal’s life and work and to examine the image of this scholar in the eyes of his contemporaries and succeeding generations. Few people have attracted such a broad range of admirers, including those with starkly contrasting religious, philosophical and cultural views. There is a cavernous divide between the historical Maharal and the predominant image of him today. This fact is of such importance that it serves as the basis for the exhibition concept.

The exhibition, called "Path of Life," runs August 5-November 8 at the Royal Stables . The exhibit is divided into two main parts, one focusing on the historical Maharal and the authentic traditions connected with him, while the second will look at Rabbi Löw's legacy and the origin of the legends that are linked to his name.

The idea of the Maharal as the personification of the mystery of the ghetto, a miracle worker, mathematician and creator of an artificial being may not be historically grounded but it has provided immense inspiration for literature, drama and art. The historical and the imaginary Maharal both have a right to exist.

A major catalogue of the exhibition will be published in Czech and English, and other events and exhibits are also planned.

Already on June 3, an interactive installation called Golem, by the artist Petr Nikl will open at the Jewish Museum’s Robert Guttmann Gallery (it will run until Oct. 4).

Prague -- Michelle Obama Visits the Jewish Quarter

Photo (c) Jewish Museum Prague

While President Barack Obama held his political meetings, his wife Michelle became the latest of the millions of tourists who have visited Prague's famous Jewish quarter. She was accompanied by two of her husband's top advisors, both of them Jewish -- Rahm Emanuel and David Axelrod -- and also met local Jewish leaders.

Here's the press release put out by the Museum:

The First Lady of the United States, Michelle Obama, accompanied by the US president’s chief of staff Rahm Emanuel, and David Axelrod, political consultant, visited Prague’s Jewish Town today. Mrs. Obama first looked round Pinkas Synagogue, where she honoured the 80,000 Jewish victims of the Shoah from Bohemia and Moravia, whose names are inscribed on the synagogue walls. After listening to an exposition on the prayer house’s history, the First Lady was particularly interested in the story of the children’s drawings from the Terezín ghetto, over 200 of which are on display on the upper floor of the synagogue. Michaela Sidenberg, the Curator of Visual Arts at the Jewish Museum in Prague, said: “In preparing the museum tour for the First Lady, our starting point was what Michelle Obama has indicated several times in the past, namely that in her role as First Lady she intends to devote herself also to supporting programmes that focus on child education and on the importance of parents’ involvement in the education process. I believe that the experimental educational programme that the avant-garde artist Friedl Dicker-Brandeis (1898–1944) organized in Terezín and the children’s story itself were of great interest to the First Lady. In addition to the copies of artworks on display in the permanent exhibition, Mrs. Obama also had the opportunity to see an original collage by Marie Mühlstein (1932–1944), who, like the majority of children imprisoned in Terezín, did not survive the Nazi persecution.” After her tour of Pinkas Synagogue, the First Lady then went to the Old Jewish Cemetery, where she stopped by the graves of important figures from Prague’s Jewish history: the scholar and poet Avigdor Kara, whose tombstone (dating from 1439) is the oldest in the cemetery; the distinguished patron and mayor of the Jewish community Mordecai Maisel (d. 1601); and the renowned rabbi and Kabbalist Judah Loew ben Bezalel – Rabbi Loew, also known by his acronym MaHaRaL (1525?–1609) – who is the most important figure buried in the Old Jewish Cemetery and who died exactly 400 years ago. Following the old Jewish tradition, the First Lady placed a kvitl – a folded piece of paper with a personal wish – on the rabbi’s grave. Leo Pavlát, the Director of the Jewish Museum in Prague, added: “It is a great honour for us that Mrs. Obama chose to visit Prague’s former Jewish Town among other sights of the city. This testifies to the uniqueness of the Jewish monuments and to the important role that an awareness of Jewish culture can play in education, the promotion of tolerance, democracy and the sharing of human values. We co-operate with a number of institutions throughout the world and along with Prague Jewish school and kindergarten receive support from the U.S.-based Ronald S. Lauder Foundation, which is of great importance to us. We are pleased that Mrs. Obama also expressed interest in this area of our activities.” After visiting the Old Jewish Cemetery, the First Lady then went to the Old-New Synagogue, which is the oldest European synagogue that is still used for religious purposes. She was greeted there by representatives of the Czech Jewish community: the Chief Rabbi of the Czech Republic and Prague Efraim Karol Sidon, the Chairman of the Federation of Jewish Communities in the Czech Republic Jiří Daníček, the Executive Director of the Federation of Jewish Communities in the Czech Republic Tomáš Kraus, and the Chairman of the Jewish Community in Prague František Bányai with his wife. Looking round the interior of this unique Early Gothic building, Mrs. Obama’s interest was captivated particularly by the historical banner of the Prague Jewish Community with its emblem, the adornment of the Torah Ark and the seat on the east-facing side, which according to tradition belonged to Rabbi Loew. The Chairman of the Jewish Community in Prague František Bányai commented: “Mrs. Obama was probably pleasantly surprised by the atmosphere and history of the Old-New Synagogue. Her visit was a quite extraordinary event in the synagogue’s more than 700-year history.” The First Lady of the United States was presented with a Kiddush cup and memorial medal for the 700th anniversary of the Old-New Synagogue by the representatives of the Czech Jewish community and several publications by the Jewish Museum.