{"id":619,"date":"2022-06-23T21:38:27","date_gmt":"2022-06-23T21:38:27","guid":{"rendered":"https:\/\/tirinha.com\/esther-nisenthal-krinitz-no-columbus-museum-of-art\/"},"modified":"2022-06-23T21:38:27","modified_gmt":"2022-06-23T21:38:27","slug":"esther-nisenthal-krinitz-no-columbus-museum-of-art","status":"publish","type":"post","link":"https:\/\/tirinha.com\/hr\/619\/esther-nisenthal-krinitz-no-columbus-museum-of-art\/","title":{"rendered":"Esther Nisenthal Krinitz u Muzeju umjetnosti Columbus"},"content":{"rendered":"
\n
\nCrno i bijelo su boje holokausta. O<\/span> crno-bijela krutost od <\/span>Dokumentarne slike jednostavno su rezultat tehnologije dostupne 1940-ih.<\/span>nje\u017eni tonovi puni po\u0161tovanja slijede primjer<\/span> kao da bi dodavanje boje nagomilalo nepodno\u0161ljive osje\u0107aje na ve\u0107 silne slike i sje\u0107anja u nijansama sive bez boje.<\/span><\/p>\n\n\n\n\n
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Esther Nisenthal Krinitz, Plivanje u rijeci, <\/i>1978. Vez na lanu. Umjetnost i pam\u0107enje.
<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

Pa sam se iznenadio kad sam u\u0161ao u galeriju gdje Tkanina pre\u017eivljavanja: Umjetnost Esther Nisenthal Krinitz <\/i>se prikazuje <\/span>u Muzeju umjetnosti Colombo<\/span> <\/span>do 14. lipnja. Ispunjena tkaninama koje detaljno oslikavaju sje\u0107anja na pre\u017eivjelog holokausta, soba je \u017eiva od bukoli\u010dkih prizora prirode pro\u0161ivenih raznobojnim tkaninama, ukrasima i nitima za vezenje. od strane Krinitza <\/span>ru\u010dno \u0161ivane slike prikazuju poljski seoski \u017eivot i krajolik \u2013 pozadinu <\/span>izdr\u017eljiva<\/span> <\/span>dovoljno u sje\u0107anju da pre\u017eivi sve \u0161to su nacisti po\u010dinili; scene u kojima se \u010dini da su nacisti zapravo patuljasti u odnosu na polja i \u0161ume oko njih. <\/span>
\n
<\/span>
\nTi prizori rijeka, \u017eita i vrtova ostali su \u017eivi <\/span>toliko da kada je Krinitz po\u010dela bilje\u017eiti svoje djetinjstvo u dobi od pedeset godina, u\u017easi su bili sadr\u017eani u slikama svijeta mnogo ve\u0107eg od izvjesnosti smrti iz kojeg su pobjegle samo ona i njezina sestra, od cijele obitelji.<\/span>
\n
<\/span>
\nTapiserija iznad bila je prva koju je izradila 1978. godine. Podsje\u0107a na dom iz djetinjstva prije rata. Ona i njezin brat plivaju u rijeci dok njezine sestre gledaju. Seljani dolaze i odlaze po svojim obavezama, a dominira dobro\u0107udna priroda. Ku\u0107a mu je velika i \u010dvrsta, veli\u010dine dvorca. Nije va\u017eno \u0161to je Krinitz imao pedeset godina kad je to u\u010dinila, jer je to slika onoga \u0161to je jo\u0161 uvijek \u017eivo dijete u njoj ostavilo iza sebe. <\/span>
\n
<\/span>
\nOvo je slika doma koja je temeljna za osobnost i karakter, slika koju svatko od nas nosi na nekoj razini. Gornji dio je linearan i strukturiran; dno je zakrivljeno i fluidno. Cjelina je stabilna i opu\u0161tena. Naivna slika ima malo umje\u0161nosti i obilje radosnog, nefiltriranog izraza.<\/span>
\n
<\/span>
\nTijekom 1970-ih, Krinitz je izvorno napravio nekoliko predstava s ovakvim temama, izvu\u010denim iz predratnih sje\u0107anja na \u017eivot u poljskim selima, gdje su \u017didovi i ne\u017eidovi \u017eivjeli jedni pored drugih. Bilje\u017ei sje\u0107anja na pravljenje matzoha, na hodanje na blagdanske ceremonije na \u0161tulama koje je napravio njezin brat: zadovoljstvo jednostavnog, predindustrijskog, predelektri\u010dnog, poljoprivrednog \u017eivota ure\u0111enog kombinacijom sezonskih i vjerskih opa\u017eanja zajednice. <\/span><\/p>\n\n\n\n\n
<\/td>\n<\/tr>\n
Esther Nisenthal Krinitz, Spasite me p\u010dele,<\/i> 1996. Umjetnost i pam\u0107enje.<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

Nakon duge pauze, Krinitz se devedesetih vratio svom projektu, kona\u010dno zadubiv\u0161i se u mra\u010dnu pri\u010du o svojoj adolescenciji i dolasku nacista. Nekoliko Krinitzovih tkanina pokazuje nedostojnost nacisti\u010dkog sadizma. Ona prikazuje vojnike kako \u0161i\u0161aju bradu njezina djeda; bu\u0111enje obitelji u spava\u0107icama na ni\u0161anu dok su susjedi gledali otvorenih usta; odvo\u0111enje \u017eidovskih dje\u010daka na prisilni rad, gdje su iscrpljeni strijeljani; i kona\u010dno, okupljanje \u017didova me\u0111u njihovim susjedima kako bi ih transportirali u logore istrebljenja. <\/span><\/p>\n

Esther i njezina trinaestogodi\u0161nja sestra su pobjegle (ostatak obitelji je ubijen). Pre\u017eivjeli su tako \u0161to su govorili samo poljski i pretvarali se da ne znaju njema\u010dki (usko vezan za njihov materinji jidi\u0161). Oti\u0161li su na tajni zadatak kako bi prona\u0161li posao za stariji par u obli\u017enjem selu. U gornjoj sceni Estera radi u vrtu koji joj je starac dopustio da posadi. Jednog dana do\u0161li su nacisti i poku\u0161ali je ispitati. Ona obja\u0161njava u izvezenom naslovu: <\/span>

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\n\u201cLipanj 1943. u Grabowki. Dok sam ure\u0111ivao vrt koji sam zasadio, pojavila su se dva nacisti\u010dka vojnika i po\u010dela razgovarati sa mnom. Nisam im mogao dati do znanja da ih razumijem, pa sam samo kimao dok su govorili. Dziadek, stari farmer koji me je uzeo kao svoju doma\u0107icu, do\u0161ao je \u010duvati stra\u017eu u blizini, ali su me prve spasile p\u010dele koje su se odjednom rojile oko vojnika. istr\u010dao iz vrta.\u201d<\/span>

<\/span>
\nOduzeti pu\u0161ke, oduzeti titlove, a \u0161to razlikuje ove dvije scene, nastale u razmaku od gotovo dvadeset godina, prvo kad je umjetnik imao 50 godina, a onda se bli\u017ei 70-oj? <\/span>

<\/span>
\nPrvo, prijeratno sje\u0107anje, sasvim je specifi\u010dno \u2013 svaki od petorice bra\u0107e je lociran, u kojoj se pamti ku\u0107a <\/span>detalj \u2014 ali je i mitski. To je neizbrisivo sje\u0107anje na zlatno djetinjstvo. Estherino sje\u0107anje moglo bi trajati cijeli \u017eivot kad je imala \u010detiri ili \u010detrnaest godina. To je sje\u0107anje na dobrobit, nevinost, stabilnost i ljubav - sje\u0107anje na mjesto kao osje\u0107aj. Mnogi odrasli pamte takvu idilu iz djetinjstva. Ali malo tko se sje\u0107a prekida idile tako iznenadnom i potpunom traumom kakvu bi do\u017eivio Krinitz.<\/span>

<\/span>
\nPredratni prizor zapravo je tapiserija. Svaki komad lana prekriven je vezom tako da je povr\u0161ina u cijelosti obra\u0111ena \u0161avovima. Svaki centimetar povr\u0161ine dotaknut je i transformiran umjetnikovom rukom. Ideje za gla\u0111enje i oblikovanje dolaze s ovim. To nije samo scena koje se sje\u0107a, ve\u0107 i ona koju je izmislila - ona <\/span>u\u010dinio da se pojavi, <\/i>i pojaviti se to\u010dno onako kako se \u017eeli sje\u0107ati. Ona je njegova autorica. <\/span>

<\/span>
\nSlika nje kao tinejd\u017eerice \u2013 koja vi\u0161e nije djevoj\u010dica, gurnuta u prerano odraslu dob \u2013 nije tapiserija. Nebo, "zemlja" vrta i neka druga podru\u010dja jednostavni su nosa\u010di od tkanine. Vrtne biljke bile su u\u0161ivene vezom ili aplikacijom; p\u010dele, cvije\u0107e, detalji figura, ali povr\u0161ina nije bila tako pa\u017eljivo milovana. Za razliku od prve fotografije, potpuno je poravnat. Va\u017enost reda u ovoj fazi djevoj\u010dina \u017eivota bila je najva\u017enija. \u010cak se i p\u010dele u svojim ko\u0161nicama odmaraju u redovima. Krinitz je tako\u0111er izmislio ovu scenu. Ovu scenu nije napisala kako bi se ohladila, ve\u0107 kako bi ubla\u017eila traumu.<\/span>

<\/span>
\nVi\u0161e umjetnikovog vremena i pa\u017enje bilo je usmjereno na sadr\u017eajnu pripovijest ispod slike, koja obja\u0161njava ono \u0161to bi ina\u010de moglo izmaknuti gledatelju. Ona tuma\u010di sliku kako bi bila sigurna da znamo \u0161to je osje\u0107ala i kako joj je priroda nastavila pomagati.<\/span>

<\/span>
\nDruga je slika zna\u010dajna po na\u010dinu na koji osoba koja je pre\u017eivjela veliku traumu zami\u0161lja sebe kako se nosi s njom. Ljudske figure - i dobre i zle - ostaju male u uglavnom prirodnom prizoru. Nalazi se u susjedstvu. \u010cini se da posreduje vlastite osje\u0107aje straha \u0161ire\u0107i sve mogu\u0107e osje\u0107aje po prirodnom krajoliku, poput lije\u010denja rana pomo\u0107u zemlje. \u010cak se i p\u010dele, koje se roje oko ko\u0161nica i zuje oko vojnika, \u010dine bezna\u010dajnima u velikoj shemi slike. Krinitz kontrolira svoju paniku i strah pri\u010daju\u0107i pri\u010du, kontroliraju\u0107i kontekst i perspektivu i postavljaju\u0107i se unutar \u0161irokog okvira.<\/span><\/p>\n

<\/p>\n\n\n\n\n
<\/td>\n<\/tr>\n
Esther Nisehnthal Krinitz, Nare\u0111eno da napustimo na\u0161e domove, <\/i>1993.
Kola\u017e od veza i tkanina. Umjetnost i pam\u0107enje.<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

\u201c"\u201c<\/span>Ovo je bila moja obitelj ujutro 15. listopada 1942. Gestapo nam je naredio da napustimo svoje domove u 10 sati kako bismo se pridru\u017eili svim ostalim \u017didovima na putu prema \u017eeljezni\u010dkoj postaji Crasnik, a zatim u na\u0161u smrt.\u201d <\/span>
\n
<\/span>
\nOvaj mural, u narativnom nizu prije prethodnog, prikazuje Estherino sje\u0107anje na dan kada se njezina obitelj morala suo\u010diti s neizbje\u017enom deportacijom u logore. Ovo je obiteljski portret, nerazvodnjen prisutno\u0161\u0107u njihovih ubojica. To je bio dan kada \u0107e Esther i njezina sestra, u crvenom, pobje\u0107i. <\/span>
\n
<\/span>
\nOd trideset i \u0161est komada koje je Krinitz izradio, ovo je jedan od najmanje gustih u smislu \u0161ivanja. Pozadina tkanine uglavnom je obi\u010dna tkanina s nekim velikim trakama aplikacija. Ogromni gavrani \u010du\u010de na krovu, simboli neizbje\u017ene smrti za petorku odjevenu u crno. Dva ogromna suncokreta cvjetaju za djevojke koje bje\u017ee u svojim crvenim pelerinama.<\/span>
\n
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\nTamne boje ozna\u010davaju bolan sadr\u017eaj ove slike, ali njen va\u017ean sadr\u017eaj signalizira veli\u010dina i izravni smje\u0161taj obitelji i ku\u0107e. Priroda ne omek\u0161ava niti prikriva emocije; Ako i\u0161ta, to nagla\u0161ava tragediju. Krinitz ne miluje i ne ukra\u0161ava ovu sliku tisu\u0107ama udaraca svoje igle. U smislu prikaza najtraumati\u010dnijeg doga\u0111aja u njezinom \u017eivotu \u2013 trenutka u kojem bi mogla biti emocionalno zauvijek zamrznuta \u2013 kratak je, ali ipak herojski izravan. U naivnoj umjetnosti postavljanje figura pri dnu slike je njihovo stavljanje na najva\u017enije mjesto. Treba ih uzemljiti, kao \u0161to djeca rade s crte\u017eima bojicama. Crte\u017e je to koji \u0107e zauvijek ostati na roditeljskom zidu, dragocjeni portret obitelji koji je izradila k\u0107i srca punog ljubavi. Od ovog trenutka nadalje, Esther \u0107e biti vlastita majka i majka svoje sestre. U svojim sedamdesetima, majka i sin, pri\u010da kako se to dogodilo. <\/span><\/p>\n\n\n\n\n
<\/td>\n<\/tr>\n
Esther Nisenthal Krinitz, unuka,<\/i> 1999. Vez i kola\u017e tkanine.
Umjetnost i pam\u0107enje.<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n



\nPosljednja slika serije i ove serije prikazuje djevoj\u010dicu koja podi\u017ee ruku kako bi promotrila deblo \u010dvrstog stabla u prekrasnom vrtu. Trava, kora, cvije\u0107e, djevoj\u010dina kosa - sve je bogato izvezeno. Dotaknuti su cijelom rukom s ljubavlju i dugom rukom. Krinitz je svoju pri\u010du vodio nizom kroz ratne godine i posjet logoru u kojem je ubijena njegova obitelj, mu\u010dan prizor \u010dak iu naivnim \u0161avovima. Ona opisuje i imenuje gomile pepela, plinske komore, izgorjelu ku\u0107u upravitelja logora. Osim djevoj\u010dinih pletenica i haljine, nema ni\u010deg briljantnog u pomno popisanoj sceni.<\/span><\/p>\n

U ovoj posljednjoj sceni, pro\u017eivjela je dug \u017eivot u Brooklynu sa suprugom kojeg je upoznala u izbjegli\u010dkom kampu, sa svojim k\u0107erima, a sada slavi svoju unuku, radosna po prirodi. Postoji poku\u0161aj njegovog promatra\u010dkog prikazivanja; pre\u0161ao je iz kand\u017ei sje\u0107anja i tereta tuma\u010denja u stvarnu i sigurnu sada\u0161njost. Djevoj\u010dica je mala, a drvo pored nje je pravi<\/i> ogroman; postoji stvarna ljestvica i ugodan je osje\u0107aj. Rub je zelene boje, tekst je bijele boje: \u201c<\/span>Kad si imala tri godine, draga mama Sheine, u posjet ti je do\u0161la baka. Oti\u0161li smo u park gdje ste otkrili ogromno drvo. Nikada nisam zaboravio izraz tvog lica dok si stajao i divio se stablu. Baka te jako voli.\u201d <\/span>

<\/span>
\nBaka je slobodna i jam\u010di da \u0107e biti dio snage jo\u0161 jedne djevoj\u010dice, bez obzira na sve.<\/span><\/p>\n<\/div>\n<\/div>","protected":false},"excerpt":{"rendered":"

Crno i bijelo su boje holokausta. 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