{"title":"《寻找逝去的童年","authors":"Eliad Moreh-Rosenberg","doi":"10.3167/ej.2023.560110","DOIUrl":null,"url":null,"abstract":"\nSigalit Landau is an internationally recognised artist born in Jerusalem whose works have been exhibited in major museums worldwide. This article seeks to analyse the sculpture Father and Tufik (2014), in which the artist relates for the first time to the story of her father, a Holocaust survivor from Transnistria. Starting with the creative process that led to the sculpture and examining unpublished sketches, the study shows how the work involves a multigenerational tale and a desire for communication and transmission which is further developed in a series of large-sized sculptures. Furthermore, elements of play, which Ernst van Alphen identifies as a means used by younger generations of artists to confront Holocaust remembrance, can be found in this sculpture and in other key works including Barbed Hula (2000) and One Man's Floor Is Another Man's Feelings (2011) which can thus be interpreted in the context of the Shoah.","PeriodicalId":41193,"journal":{"name":"European Judaism-A Journal for the New Europe","volume":" ","pages":""},"PeriodicalIF":0.1000,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"In Search of a Lost Childhood\",\"authors\":\"Eliad Moreh-Rosenberg\",\"doi\":\"10.3167/ej.2023.560110\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"\\nSigalit Landau is an internationally recognised artist born in Jerusalem whose works have been exhibited in major museums worldwide. This article seeks to analyse the sculpture Father and Tufik (2014), in which the artist relates for the first time to the story of her father, a Holocaust survivor from Transnistria. Starting with the creative process that led to the sculpture and examining unpublished sketches, the study shows how the work involves a multigenerational tale and a desire for communication and transmission which is further developed in a series of large-sized sculptures. Furthermore, elements of play, which Ernst van Alphen identifies as a means used by younger generations of artists to confront Holocaust remembrance, can be found in this sculpture and in other key works including Barbed Hula (2000) and One Man's Floor Is Another Man's Feelings (2011) which can thus be interpreted in the context of the Shoah.\",\"PeriodicalId\":41193,\"journal\":{\"name\":\"European Judaism-A Journal for the New Europe\",\"volume\":\" \",\"pages\":\"\"},\"PeriodicalIF\":0.1000,\"publicationDate\":\"2023-03-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"European Judaism-A Journal for the New Europe\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.3167/ej.2023.560110\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"RELIGION\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"European Judaism-A Journal for the New Europe","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.3167/ej.2023.560110","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"RELIGION","Score":null,"Total":0}
引用次数: 0
摘要
Sigalit Landau是一位出生于耶路撒冷的国际知名艺术家,他的作品曾在世界各地的主要博物馆展出。本文试图分析雕塑《父亲与图菲克》(2014),艺术家在其中首次讲述了她的父亲的故事,他是德涅斯特河沿岸的大屠杀幸存者。该研究从导致雕塑的创作过程开始,并考察了未发表的草图,展示了作品如何涉及多代人的故事,以及在一系列大型雕塑中进一步发展的沟通和传播欲望。此外,Ernst van Alphen认为游戏元素是年轻一代艺术家用来纪念大屠杀的一种手段,可以在这座雕塑和其他关键作品中找到,包括Barbed Hula(2000)和One Man's Floor Is Another Man's Feelings(2011),因此可以在Shoah的背景下进行解释。
Sigalit Landau is an internationally recognised artist born in Jerusalem whose works have been exhibited in major museums worldwide. This article seeks to analyse the sculpture Father and Tufik (2014), in which the artist relates for the first time to the story of her father, a Holocaust survivor from Transnistria. Starting with the creative process that led to the sculpture and examining unpublished sketches, the study shows how the work involves a multigenerational tale and a desire for communication and transmission which is further developed in a series of large-sized sculptures. Furthermore, elements of play, which Ernst van Alphen identifies as a means used by younger generations of artists to confront Holocaust remembrance, can be found in this sculpture and in other key works including Barbed Hula (2000) and One Man's Floor Is Another Man's Feelings (2011) which can thus be interpreted in the context of the Shoah.
期刊介绍:
For more than 50 years, European Judaism has provided a voice for the postwar Jewish world in Europe. It has reflected the different realities of each country and helped to rebuild Jewish consciousness after the Holocaust. The journal offers stimulating debates exploring the responses of Judaism to contemporary political, social, and philosophical challenges; articles reflecting the full range of contemporary Jewish life in Europe, and including documentation of the latest developments in Jewish-Muslim dialogue; new insights derived from science, psychotherapy, and theology as they impact upon Jewish life and thought; literary exchange as a unique exploration of ideas from leading Jewish writers, poets, scholars, and intellectuals with a variety of documentation, poetry, and book reviews section; and book reviews covering a wide range of international publications.