{"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\/ro\/619\/esther-nisenthal-krinitz-no-columbus-museum-of-art\/","title":{"rendered":"Esther Nisenthal Krinitz la Muzeul de Art\u0103 Columbus"},"content":{"rendered":"
\n
\nAlb \u0219i negru sunt culorile Holocaustului. cel<\/span> rigiditate alb-negru a <\/span>Imaginile documentare sunt pur \u0219i simplu rezultatul tehnologiei disponibile \u00een anii 1940.<\/span>tonurile moi respectuoase urmeaz\u0103 exemplul<\/span> ca \u0219i cum ad\u0103ugarea de culoare ar \u00eengr\u0103m\u0103di senza\u021bii insuportabile pe imagini \u0219i amintiri deja cople\u0219itoare \u00een nuan\u021be de gri scurse de culoare.<\/span><\/p>\n\n\n\n\n
<\/td>\n<\/tr>\n
Esther Nisenthal Krinitz, \u00cenot \u00een r\u00e2u, <\/i>1978. Broderie pe lenjerie. Art\u0103 \u0219i memorie.
<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

A\u0219a c\u0103 am fost surprins c\u00e2nd am intrat \u00een galeria unde Fabric of Survival: Arta lui Esther Nisenthal Krinitz <\/i>se arat\u0103 <\/span>la Muzeul de Art\u0103 din Colombo<\/span> <\/span>p\u00e2n\u0103 pe 14 iunie. Umplut\u0103 cu \u021bes\u0103turi care detaliaz\u0103 amintirile unui supravie\u021buitor al Holocaustului, camera este plin\u0103 de via\u021b\u0103 cu scene bucolice ale naturii, cusute cu \u021bes\u0103turi multicolore, \u021bes\u0103turi \u0219i fire de broderie. de Krinitz <\/span>Imaginile cusute manual prezint\u0103 via\u021ba \u0219i peisajul polonez \u2013 fundaluri <\/span>durabil<\/span> <\/span>suficient \u00een memorie pentru a fi supravie\u021buit la tot ce au comis nazi\u0219tii; scene \u00een care nazi\u0219tii par de fapt a fi mic\u0219orati de c\u00e2mpurile \u0219i p\u0103durile din jurul lor. <\/span>
\n
<\/span>
\nAceste scene cu r\u00e2uri, cereale \u0219i gr\u0103dini au r\u0103mas vii <\/span>at\u00e2t de mult \u00eenc\u00e2t atunci c\u00e2nd Krinitz a \u00eenceput s\u0103-\u0219i \u00eenregistreze copil\u0103ria la v\u00e2rsta de cincizeci de ani, ororile erau cuprinse \u00een imagini ale unei lumi mult mai mari dec\u00e2t certitudinea mor\u021bii din care au sc\u0103pat doar ea \u0219i sora ei, din \u00eentreaga familie.<\/span>
\n
<\/span>
\nTapiseria de mai sus a fost prima realizat\u0103 de ea, \u00een 1978. Aminte\u0219te de casa ei din copil\u0103rie \u00eenainte de r\u0103zboi. Ea \u0219i fratele ei \u00eenoat\u0103 \u00een r\u00e2u \u00een timp ce surorile ei privesc. S\u0103tenii vin \u0219i pleac\u0103 \u00een treburile lor, iar natura benign\u0103 domin\u0103. Casa lui este mare \u0219i solid\u0103, de m\u0103rimea unui castel. Nu conteaz\u0103 c\u0103 Krinitz avea cincizeci de ani c\u00e2nd a f\u0103cut asta, deoarece este o imagine a ceea ce a l\u0103sat \u00een urm\u0103 copilul \u00eenc\u0103 \u00een via\u021b\u0103 din ea. <\/span>
\n
<\/span>
\nAceasta este imaginea c\u0103minului care este fundamental\u0103 pentru personalitate \u0219i caracter, imaginea pe care fiecare dintre noi o ad\u0103poste\u0219te la un anumit nivel. Partea superioar\u0103 este liniar\u0103 \u0219i structurat\u0103; fundul este curbiliniu \u0219i fluid. \u00centregul este stabil \u0219i relaxat. Imaginea naiv\u0103 are pu\u021bin artificiu \u0219i o abunden\u021b\u0103 de expresie vesel\u0103, nefiltrat\u0103.<\/span>
\n
<\/span>
\n\u00cen anii 1970, Krinitz a realizat ini\u021bial c\u00e2teva piese cu teme ca aceasta, extrase din amintirile de dinainte de r\u0103zboi ale vie\u021bii din satele poloneze, unde evreii \u0219i neamurile tr\u0103iau unul l\u00e2ng\u0103 cel\u0103lalt. Ea \u00eenregistreaz\u0103 amintiri de a face matzoh, de mers la ceremoniile de s\u0103rb\u0103tori pe piloni pe care le-a f\u0103cut fratele ei: pl\u0103cerea vie\u021bii simple, preindustriale, pre-electrice, agricole ordonate de combina\u021bia comunit\u0103\u021bii de observa\u021bii sezoniere \u0219i religioase. <\/span><\/p>\n\n\n\n\n
<\/td>\n<\/tr>\n
Esther Nisenthal Krinitz, Albinele m\u0103 salveaz\u0103,<\/i> 1996. Art\u0103 \u015fi memorie.<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

Dup\u0103 o lung\u0103 pauz\u0103, Krinitz a revenit la proiectul s\u0103u \u00een anii 1990, ad\u00e2ncindu-se \u00een cele din urm\u0103 \u00een povestea \u00eentunecat\u0103 a adolescen\u021bei sale \u0219i a sosirii nazi\u0219tilor. C\u00e2teva dintre \u021bes\u0103turile lui Krinitz arat\u0103 nedemnurile sadismului nazist. Ea \u00eenf\u0103\u021bi\u0219eaz\u0103 solda\u021bi t\u0103ind barba bunicului ei; trezirea familiei \u00een haine de noapte, sub amenin\u021barea armei, \u00een timp ce vecinii priveau cu gura c\u0103scat\u0103; ducerea b\u0103ie\u021bilor evrei la munc\u0103 for\u021bat\u0103, unde erau \u00eempu\u0219ca\u021bi c\u00e2nd erau epuiza\u021bi; \u0219i \u00een cele din urm\u0103, adunarea evreilor printre vecinii lor pentru a fi transporta\u021bi \u00een lag\u0103rele de exterminare. <\/span><\/p>\n

Esther \u0219i sora ei \u00een v\u00e2rst\u0103 de treisprezece ani au fugit (restul familiei a fost ucis). Au supravie\u021buit vorbind doar polonez\u0103 \u0219i pref\u0103c\u00e2ndu-se c\u0103 nu \u0219tiu german\u0103 (\u00een str\u00e2ns\u0103 leg\u0103tur\u0103 cu idi\u0219ul lor natal). Au mers sub acoperire pentru a g\u0103si de lucru pentru un cuplu \u00een v\u00e2rst\u0103 dintr-un sat din apropiere. \u00cen scena de mai sus, Esther lucreaz\u0103 \u00een gr\u0103dina pe care b\u0103tr\u00e2nul i-a permis s\u0103 o planteze. \u00centr-o zi au venit nazi\u0219tii \u0219i au \u00eencercat s\u0103 o interogheze. Ea explic\u0103 \u00een legenda brodat\u0103: <\/span>

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\n\u201eIunie 1943 \u00een Grabowka. \u00cen timp ce \u00eengrijeam gr\u0103dina pe care o plantasem, au ap\u0103rut doi solda\u021bi nazi\u0219ti \u0219i au \u00eenceput s\u0103-mi vorbeasc\u0103. Nu le-am putut spune c\u0103 i-am \u00een\u021beles, a\u0219a c\u0103 am dat din cap \u00een timp ce vorbeau. Dziadek, b\u0103tr\u00e2nul fermier care m-a luat ca menajer\u0103, a venit s\u0103 stea de paz\u0103 \u00een apropiere, dar albinele m-au salvat primele, roiind brusc \u00een jurul solda\u021bilor. a fugit din gr\u0103din\u0103.\u201d<\/span>

<\/span>
\nLua\u021bi pu\u0219tile, lua\u021bi subtitrarile, \u0219i ce deosebe\u0219te aceste dou\u0103 scene, realizate la aproape dou\u0103zeci de ani distan\u021b\u0103, mai \u00eent\u00e2i c\u00e2nd artistul avea 50 de ani \u0219i apoi se apropia de 70? <\/span>

<\/span>
\nPrima, amintirea de dinainte de r\u0103zboi, este destul de specific\u0103 \u2013 fiecare dintre cei cinci fra\u021bi este localizat, casa este amintit\u0103 \u00een <\/span>detaliu \u2014 dar este \u0219i mitic. Este o amintire de ne\u0219ters a copil\u0103riei de aur. Memoria Esterei ar putea avea o via\u021b\u0103 \u00eentreag\u0103 la v\u00e2rsta de patru sau paisprezece ani. Este o amintire a bun\u0103st\u0103rii, a inocen\u021bei, a stabilit\u0103\u021bii \u0219i a iubirii - o amintire a locului ca sentiment. Mul\u021bi adul\u021bi \u00ee\u0219i amintesc o astfel de idil\u0103 din copil\u0103rie. \u00cens\u0103 pu\u021bini \u00ee\u0219i amintesc de \u00eentreruperea idilei de c\u0103tre o traum\u0103 la fel de brusc\u0103 \u0219i complet\u0103 precum ar experimenta Krinitz.<\/span>

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\nScena de dinainte de r\u0103zboi este de fapt o tapiserie. Fiecare bucat\u0103 de in este acoperit\u0103 cu broderie crewel, astfel \u00eenc\u00e2t suprafa\u021ba s\u0103 fie lucrat\u0103 \u00een \u00eentregime cu ochiuri. Fiecare centimetru al suprafe\u021bei a fost atins \u0219i transformat de m\u00e2na artistului. Ideile de m\u00e2ng\u00e2iere \u0219i modelare vin cu asta. Nu este doar o scen\u0103 pe care \u0219i-o aminte\u0219te, ci \u0219i una pe care a inventat-o - una ea <\/span>a f\u0103cut-o s\u0103 apar\u0103, <\/i>\u0219i s\u0103 apar\u0103 exact a\u0219a cum vrea ea s\u0103-\u0219i aminteasc\u0103. Ea este autoarea acesteia. <\/span>

<\/span>
\nImaginea ei ca adolescent\u0103 \u2013 nu mai este o fat\u0103, \u00eempins\u0103 la maturitate prematur\u0103 \u2013 nu este o tapiserie. Cerul, \u201ep\u0103m\u00e2ntul\u201d gr\u0103dinii \u0219i alte zone sunt simple suporturi din material textil. Plantele de gradina erau cusute cu broderie sau aplicatie; albinele, florile, detaliile figurilor, dar suprafa\u021ba nu era at\u00e2t de atent m\u00e2ng\u00e2iat\u0103. Spre deosebire de prima fotografie, este complet aliniat\u0103. Importan\u021ba ordinii \u00een aceast\u0103 etap\u0103 a vie\u021bii fetei era primordial\u0103. Chiar \u0219i albinele din stupii lor se odihnesc \u00een r\u00e2nduri. Krinitz a inventat \u0219i aceast\u0103 scen\u0103. Ea a scris aceast\u0103 scen\u0103 nu pentru a se r\u0103cori, ci ca o modalitate de a difuza trauma.<\/span>

<\/span>
\nO mai mare parte din timpul \u0219i aten\u021bia artistului a fost \u00eendreptat\u0103 c\u0103tre o nara\u021biune substan\u021bial\u0103 de sub imagine, care explic\u0103 ceea ce altfel ar putea evita privitorul. Ea interpreteaz\u0103 imaginea pentru a se asigura c\u0103 \u0219tim ce a sim\u021bit \u0219i cum Natura a continuat s\u0103 o ajute.<\/span>

<\/span>
\nA doua imagine este remarcabil\u0103 prin modul \u00een care o supravie\u021buitoare a unei traume majore \u00ee\u0219i imagineaz\u0103 c\u0103 se confrunt\u0103 cu aceasta. Figurile umane \u2013 at\u00e2t bune c\u00e2t \u0219i rele \u2013 r\u0103m\u00e2n mici \u00een scena \u00een mare parte natural\u0103. Este situat al\u0103turi. Ea pare s\u0103-\u0219i medieze propriile sentimente de fric\u0103, r\u0103sp\u00e2ndind toate sentimentele posibile \u00een peisajul natural, cum ar fi vindecarea r\u0103nilor folosind p\u0103m\u00e2ntul. Chiar \u0219i albinele, care roiesc \u00een jurul stupilor \u0219i b\u00e2z\u00e2ie \u00een jurul solda\u021bilor, par nesemnificative \u00een schema grandioas\u0103 a imaginii. Krinitz \u00ee\u0219i controleaz\u0103 panica \u0219i teama spun\u00e2nd povestea, control\u00e2nd contextul \u0219i perspectiva \u0219i plas\u00e2ndu-se \u00eentr-un cadru larg.<\/span><\/p>\n

<\/p>\n\n\n\n\n
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Esther Nisehnthal Krinitz, S-a ordonat s\u0103 ne p\u0103r\u0103seasc\u0103 casele, <\/i>1993.
Colaj de broderii \u0219i \u021bes\u0103turi. Art\u0103 \u0219i memorie.<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

\u201c<\/span>Aceasta a fost familia mea \u00een diminea\u021ba zilei de 15 octombrie 1942. Gestapo ne-a ordonat s\u0103 p\u0103r\u0103sim casele noastre la ora 10 diminea\u021ba pentru a ne al\u0103tura tuturor celorlal\u021bi evrei de pe drumul c\u0103tre gara Crasnik \u0219i apoi la moartea noastr\u0103.\u201d <\/span>
\n
<\/span>
\nAceast\u0103 pictur\u0103 mural\u0103, \u00eentr-o secven\u021b\u0103 narativ\u0103 anterioar\u0103 celei anterioare, \u00eenf\u0103\u021bi\u0219eaz\u0103 amintirea Estheri despre ziua \u00een care familia ei a trebuit s\u0103 fac\u0103 fa\u021b\u0103 iminen\u021bei lor deport\u0103rii \u00een lag\u0103re. Acesta este un portret de familie, nediluat de prezen\u021ba uciga\u0219ilor lor. Aceasta era ziua \u00een care Esther \u0219i sora ei, \u00een ro\u0219u, aveau s\u0103 fug\u0103. <\/span>
\n
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\nDintre cele treizeci \u0219i \u0219ase de piese realizate de Krinitz, aceasta este una dintre cele mai pu\u021bin dense \u00een ceea ce prive\u0219te cus\u0103turile. Fundalul \u021bes\u0103turii este \u00een mare parte din p\u00e2nz\u0103 simpl\u0103, cu c\u00e2teva benzi mari de aplica\u021bii. Corbi uria\u0219i se ghemuiesc pe acoperi\u0219, simboluri ale mor\u021bii iminente pentru cvintetul \u00eembr\u0103cat \u00een negru. Dou\u0103 floarea-soarelui uria\u0219e \u00eenfloresc pentru fetele care evadeaz\u0103 \u00een pelerine ro\u0219ii.<\/span>
\n
<\/span>
\nCulorile \u00eenchise semnific\u0103 con\u021binutul dureros al acestei imagini, dar con\u021binutul ei important este semnalat de m\u0103rimea \u0219i amplasarea direct\u0103 a familiei \u0219i a casei. Natura nu \u00eenmoaie \u0219i nu mascheaz\u0103 emo\u021bia; Dac\u0103 ceva, subliniaz\u0103 tragedia. Krinitz nu m\u00e2ng\u00e2ie \u0219i nu decoreaz\u0103 aceast\u0103 imagine cu mii de lovituri ale acului s\u0103u. \u00cen ceea ce prive\u0219te prezentarea celui mai traumatizant eveniment din via\u021ba ei \u2013 un moment \u00een care ar putea fi \u00eenghe\u021bat\u0103 emo\u021bional pentru totdeauna \u2013 este scurt, dar totu\u0219i eroic direct. \u00cen arta naiv\u0103, plasarea figurilor \u00een partea de jos a imaginii \u00eenseamn\u0103 plasarea lor \u00een cel mai important loc. Este pentru a le \u00eemp\u0103m\u00e2nta, a\u0219a cum fac copiii cu desenele cu creioane. Acesta este desenul care va ramane pentru totdeauna pe peretele parintilor, pretiosul portret al familiei, realizat de fiica cu inima plina de dragoste. Din acest moment, Esther avea s\u0103 fie propria ei mam\u0103 \u0219i a surorii ei. La \u0219aptezeci de ani, mam\u0103 \u0219i fiu, poveste\u0219te cum sa \u00eent\u00e2mplat. <\/span><\/p>\n\n\n\n\n
<\/td>\n<\/tr>\n
Esther Nisenthal Krinitz, nepoata,<\/i> 1999. Broderie \u0219i colaj de \u021bes\u0103turi.
Art\u0103 \u0219i memorie.<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n



\nImaginea final\u0103 a seriei \u0219i a acestui spectacol arat\u0103 o feti\u021b\u0103 ridic\u00e2nd bra\u021bul pentru a examina trunchiul unui copac puternic \u00eentr-o gr\u0103din\u0103 frumoas\u0103. Iarba, scoar\u021ba, florile, p\u0103rul fetei \u2014 totul este elaborat brodat. Ei sunt atin\u0219i peste tot cu o m\u00e2n\u0103 iubitoare \u0219i persistent\u0103. Krinitz \u0219i-a adus povestea succesiv prin anii de r\u0103zboi \u0219i vizita sa \u00een lag\u0103rul \u00een care familia sa a fost ucis\u0103, o scen\u0103 \u00eengrozitoare chiar \u0219i \u00een cus\u0103turi naive. Ea detaliaz\u0103 \u0219i nume\u0219te mormanele de cenu\u0219\u0103, camerele de gazare, casa ars\u0103 a directorului taberei. \u00cen afar\u0103 de \u00eempletiturile \u0219i rochia fetei, nu este nimic genial \u00een scena meticulos catalogat\u0103.<\/span><\/p>\n

\u00cen aceast\u0103 scen\u0103 final\u0103, ea a tr\u0103it o via\u021b\u0103 lung\u0103 \u00een Brooklyn cu so\u021bul pe care l-a \u00eent\u00e2lnit \u00eentr-o tab\u0103r\u0103 de refugia\u021bi, cu fiicele ei, iar acum \u00ee\u0219i s\u0103rb\u0103tore\u0219te nepoata, vesel\u0103 din fire. Exist\u0103 o \u00eencercare de reprezentare observa\u021bional\u0103 a acesteia; a trecut dincolo de ghearele memoriei \u0219i de povara interpret\u0103rii \u00eentr-un prezent real \u0219i sigur. Fata este mic\u0103 \u0219i copacul de l\u00e2ng\u0103 ea este adev\u0103rat<\/i> imens; exist\u0103 o scar\u0103 real\u0103 \u0219i se simte reconfortant. Chenarul este verde, textul este alb: \u201e<\/span>C\u00e2nd aveai trei ani, drag\u0103 Mami Sheine, bunica a venit s\u0103 te viziteze. Ne-am dus \u00eentr-un parc unde ai descoperit un copac imens. Nu am uitat niciodat\u0103 expresia de pe chipul t\u0103u \u00een timp ce st\u0103teai acolo admirand copacul. Bunica te iube\u0219te at\u00e2t de mult.\u201d <\/span>

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\nBunica este liber\u0103 \u0219i garanteaz\u0103 c\u0103 va face parte din for\u021ba altei feti\u021be, indiferent de situa\u021bie.<\/span><\/p>\n<\/div>\n<\/div>","protected":false},"excerpt":{"rendered":"

Alb \u0219i negru sunt culorile Holocaustului. Severitatea alb-negru a imaginilor documentare rezult\u0103 pur \u0219i simplu din... <\/p>","protected":false},"author":1,"featured_media":620,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"fifu_image_url":"http:\/\/4.bp.blogspot.com\/-uLZxlpyloho\/VWopY6U_CLI\/AAAAAAAAHCk\/YfIRMKgB1nk\/w1200-h630-p-k-no-nu\/02_Swimming_in_the_River.jpg","fifu_image_alt":"","footnotes":""},"categories":[34],"tags":[],"class_list":["post-619","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-arte","latest_post"],"yoast_head":"\nEsther Nisenthal Krinitz no Columbus Museum of Art - Tirinha.com<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/tirinha.com\/ro\/619\/esther-nisenthal-krinitz-no-columbus-museum-of-art\/\" \/>\n<meta property=\"og:locale\" content=\"ro_RO\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Esther Nisenthal Krinitz no Columbus Museum of Art - 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