Q*Bert at the Holocaust Memorial
September 6th, 2007
This is not what architect Peter Eisenman had in mind when he designed the Memorial to the Murdered Jews of Europe, a field of concrete slabs (or stelae) on a 4.7 acre site between Potsdamer Platz and the Brandenburg Gate: “The stelae are designed to produce an uneasy, confusing atmosphere, and the whole sculpture aims to represent a supposedly ordered system that has lost touch with human reason.” (Wikipedia)
It’s possible that the man hopping from stone to stone like Q*Bert in the photo above is enacting some sort of postmodern commentary on Eisenman’s intentions — after all, “losing touch with human reason” is second nature to some of us, and “an uneasy, confusing atmosphere” is what we like to call “the modern condition.” Either way, instead of remembrance, introspection, and grief, the 2,711 stones seem to invite inappropriate behavior. Visitors can be seen sunbathing on the stelae, playing hide-and-seek, or eating curry sausages.
Other scandals and failures accompanied the memorial: the stelae were covered in anti-graffiti paint by Degussa, a company that produced Zyklon B for the gas chambers, the stones are already beginning to crumble, light fixtures are broken, and Der Spiegel reports that in the darkness, drunkards from a nearby club come to urinate and horny couples screw in the maze.
Perhaps R. Mutt would have enjoyed the Stelenfeld’s playground repurposing, but there is a harsh lesson here about the disconnect between artistic intention and actual use; clearly, the memorial’s symbolism is too arbitrary, too wide open to interpretation, to produce the desired effect. I don’t know of another memorial that fails on such a spectacular scale.
The Golem: How He Came Into the World
March 24th, 2007
Before he made this 1920 version, director Paul Wegener, who also stars as the monster, had already adapted the Jewish folk tale about the Golem in 1915 and 1917. Individual moments of this third incarnation are great, but in a decade filled with fantastic movies, they’re somewhat few and far between. You know the story: the Rabbi breathes life into a clay statue to protect the ghetto, but he doesn’t read the fine print, and the Golem exacts a terrible price. 1920 was a long time ago (especially in movie years), and the film is worth appreciating as a museum piece and early horror classic more than something you’d watch for kicks. Some of The Golem prefigures Frankenstein and so forth, but from our vantage, most of it doesn’t feel terribly inspired. For one thing, it’s much too slow, and you could be excused for setting the DVD player to double speed and providing your own soundtrack. I do wish there were more movies with Rabbis who cast spells–and I don’t mean Matisyahu.
Der Golem, wie er in die Welt kam. Paul Wegener, 1920. ***
After the jump, the entire movie via Google Video. It’s ok for taking a look, but if you’re serious about watching it, you’re much better off with the Kino DVD–it’s a restored version with better intertitles and tints.
