Künstlerinnen gegen den Krieg

„Crown Letter“ sammelt schöpferische Positionen für Ende des Überfalls auf die Ukraine

Das internationale Online-Kunstprojekt „The Crown Letter“ bezieht Stellung gegen den völkerrechtswidrigen Krieg Russlands gegen die Ukraine. Unter dem Motto „Stop invasion of Ukraine“ (Stoppt die Invasion der Ukraine) veröffentlichte die Webseite in dieser Woche die Beiträge von knapp 20 Künstlerinnen aus verschiedenen Ländern, darunter auch aus Russland und der Ukraine.

Weitere Künstlerinnen seien eingeladen, sich gegen den Krieg zu positionieren, hieß es: „Dieses künstlerische Fenster wird geöffnet bleiben, um Stimmen zu empfangen, die den Frieden fordern.“

„The Crown Letter“ wurde im April 2020 während des ersten Corona-Lockdowns von der Künstlerin Natacha Nisic (Paris) ins Leben gerufen. Die Seite präsentiert und vernetzt mehr als 50 Künstlerinnen aus aller Welt. Im vergangenen Jahr erhielt Nisic dafür den Hans-und-Lea-Grundig-Preis in der Kategorie Kunstvermittlung. Gruppenausstellungen fanden bislang in Frankreich, Argentinien und Uruguay statt.

Ein vergessenes Talent aus Safed

Leben und Werk des Bildhauers Jussuf Abbo: Online-Vortrag von Grundig-Preisträgerin Dorothea Schöne

Den facettenreichen und zu Unrecht vergessenen Künstler Jussuf Abbo (1888–1953) präsentierte die Leiterin des Kunsthauses Dahlem, Dorothea Schöne, am 2. März 2022 in einem Online-Vortrag. Unter dem Titel „Jussuf Prince of Thebes – Re-constructing the life and work of a forgotten talent from Safed“ ist sie bei der Fritz Asher Society in New York City (USA) zu Gast. Die Gewinnerin des Hans-und-Lea-Grundig-Preises 2021 in der Kategorie Kunstgeschichte wird dabei auch auf die traumatische Fluchterfahrung des Bildhauers aus Nazi-Deutschland und sein Exil in England eingehen.

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Kunst als Widerspruch

Publikation zur Neuprofilierung des Hans-und-Lea-Grundig-Preises unter der Schirmherrschaft der Rosa-Luxemburg-Stiftung erschienen

Zum fünften Mal ist im vergangenen Jahr der Hans-und-Lea-Grundig-Preis unter der Schirmherrschaft der Rosa-Luxemburg-Stiftung vergeben worden. [LINK]

Die aktuellen Preisträgerinnen Rajkamal Kahlon, Dorothea Schöne (beide Berlin), Natacha Nisic (Paris) und Rudolf Herz (München) und ihre ausgezeichneten Werke werden in der jüngst erschienenen Publikation „Kunst als Widerspruch“ vorgestellt. Die 56-seitige Broschüre widmet sich darüber hinaus dem Anliegen und der Neuprofilierung des Preises seit dem Jahr 2011 und geht auf die Bedeutung von Kunst und Kultur für die politischen Bildungsarbeit ein. Die Namensgeberinnen Lea Grundig (1906–1977) und Hans Grundig (1901–1958) werden ebenso vorgestellt wie die internationale Jury sowie die Preisträger*innen der Vorjahre.

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Hans-and-Lea-Grundig-Prize 2021

The 2021 Hans and Lea Grundig Prize has been awarded to artists Rajkamal Kahlon (Berlin), Rudolf Herz (Munich), and Natacha Nisic (Paris), as well as to art historian Dorothea Schöne (Berlin). After intensive discussion, the nine-member jury headed by Rosa von der Schulenburg and Eckhart Gillen made its majority decision on 19 May 2021 in Berlin.

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Guy Raz: ”A Yemenite Portrait” u. a.

Laudatio: Ines Weizman, NS-Dokumentationszentrum München, 7. November 2019

Guy Raz studied photography in Tel Aviv at the School of Art in Tel Aviv, the Bezalel Academy of Art in Jerusalem and later also at the Hebrew University. As a jury, we were impressed by the work and engagement of Guy Raz, that began as a photographer and later moved increasingly to research projects and curating exhibitions. His portfolio shows this very noticeably – how he began his practice as a photographer reflecting on, observing and documenting the country in which he lived and how it was so radically transformed through the history of conflict between Israel and Palestine.

In the early 1990s he managed to capture portraits, streets scenes, landscapes in Gaza, the Westbank, or Lebanon – places to which it is today impossible to travel as an Israeli – at least not in a non-military mission. Over the long period of time we see how the views into the beautiful landscape – and of course, the passages and livelihood of Palestinians – are being interrupted and parcellated by Israeli roadblocks and checkpoints, watchtowers. Raz’ images show sensible scenes of the everyday on both sides of the borderlines. The paradoxical spatial fragmentation and militarization of the land call for the shared humanity of the region. His collection of treacherously-pleasant-to-look-at colourful photographs of painted new roadblocks – opens however to other border structures that go back to earlier military conflicts or to early divisions set up under the colonial orders of the French and the British mandate governments. It involved interviews that Raz conducted over many years with locals, the re-reading of landscapes and historical research. Raz’ trajectory hence evolved from taking, collecting and exhibiting his photographs, which of course, involved the rearrangement and reading of his own archive, to other image archives and collections that had been largely forgotten or that called for new ordering principles and readings.

As a curator Raz set about to research and exhibit early photography in Palestine since 1839 to counter its far-reaching transformations with the scenic and cultural reality of the present. He devoted a particularly noteworthy research to women photographers who were forced to flee the national socialist regime in Europe and who struggled to continue their artistic works in British Mandate Palestine. I do envy you for the key you have to these wonderful treasures of images and collections, and it would be so wonderful if these image collections and your exhibitions could also be shown again or made available to the public in all parts of Israel/ Palestine, in the region and elsewhere internationally.

Working with photographs. Living with photographs. Is always a looking again. And every time we look at them again we are in them – in different details that connect to different histories. And this depends on context. We also need to revisit these photographs and collections presented by Guy Raz with new audiences, but we should also find a way to make them accessible across borders – especially in Israel/ Palestine and the wider region – where photography has been all-too ideologically  recorded and encoded. Guy Raz, as you are planning for years to establish an institution devoted to the history of photography of the region, and to make it a medium for exchange between artists and photographers across borders, it would be most delightful if this prize would help you to realise this project.