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"... One of the weaknesses of the European man at the end and beginning of the century has been not believing in the absurd, in horror, crime free, in the demonic. The have forgotten that certain things , some horrors, had happened between us is not so long ago, and not have guessed that could happen again under another mask, and other reasons, certain horrors as important as they occur. That man, civilized man has been able to commit, the ground ... invented. The complicated process of deification and his crimes may be summarized by saying that is the triumph of destruction. Western man's desire to create drunk, perhaps it want to create from nothing, in the image and likeness of God. And this is not possible precipitates in the frenzy of destruction, destruction and destroyed into nothing, until it sinks into nothingness ... "Maria Zambrano


" The agony of Europe "

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Diario La Nacion

Shows
Sunday July 19, 2009

July 19, 1937, the exhibition opened in Munich call, by the Nazi regime, Degenerate Art. They argued

artists Marc Chagall, Paul Klee, Piet Mondrian, Max Ernst, Wassily Kandinsky, including 112 artists who were introduced through their creations in a mocking, often accused of being part of a Jewish-Bolshevik conspiracy against the Third Reich.

This exhibition, which featured over 600 works, toured Germany and was the result of picking the museums of that country for more than 16,000 pieces are considered, at least, remote from the so-called heroic art, or is he showing big , noble and racially pure, according ideologues like Joseph Goebbels, was the German people.

Por supuesto, esa idea involucraba todas las vanguardias de la época, como el dadaísmo y surrealismo, y se extendía a la música, más precisamente el jazz, hasta el punto en que también se prohibían películas que lo incluyeran en su banda sonora.

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No te equivoques otra vez.
No rechines los dientes en las noches.
En esa franja incierta
donde habitan los nombres
deambula el sueño atroz,
llamarada agonizante.
Te preguntas ¿por qué?
El sueño no devuelve certezas.
Esperaras.
Las manos volverán de su destierro
incautas de destino.
Volveran para recordarte
the sacred word,
unpronounceable
breath of things,
the road that never ends.
will return for weaving
life in the eyes of men. Alicia

Smolovich
Clarín - December 19, 1994
Suplumento of Architecture, engineering, planning and design. Call
"Construction of Memory"

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A conmoverora history - Daily Bugle - 16 July 2009

Auschwitz survivor is 81 years and completed his doctorate
Eliezer Schwartz did his thesis on the origin of the concentration camps.

http://www.clarin.com/diario/2009/07/16/sociedad/s-01959313.htm

By: Demian Doyle Middle

century. That time had passed since that Eliezer had left behind the horror. But the years as a prisoner in Auschwitz had been in a corner of his memory. Were his grandchildren who insisted to convince translate their experiences into a document that would transcend his life. So Schmartz Eliezer decided to close the circle. His memories, true first-person historical records, became a theory of forced labor in Nazi concentration camps and their relation to industrial development. Then his own life story fueled the argument that allowed him, at age 81, gaining a doctorate in urban planning at the University of Haifa, north of Israel.

In defining his own life, Schwartz does not hesitate to ensure that "never had a linear nor logical." And it's true. With only 16 years old fell to the Nazi army and was taken to Auschwitz. Then spent a year going from one camp to another. His release came along with the end of World War II. "I decided to return to my village in Hungary, but as any member of my family had gone, I went to Israel," says Schwartz.

its course by the Nazi concentration camps allowed him to learn about its operation. And although he admits he tried to distance himself emotionally from his personal history, his experiences gave added value to its argument. "I worked on the adaptation of underground mines to industries. I was there. I know how the whole process was handled because my familiarity with the subject is first hand. That is a source of information that no other historian has access" he explains.

spent nearly 57 years until Eliezer decided to do something with all this wealth of experience and raised a question that had always haunted his mind: how linked the Auschwitz concentration camp with the installation of an industrial park large scale to three miles away.

The thesis, entitled "Forced Laborers in the Third Reich ", states that the origin of the camps is directly related to the installation of new industrial centers. And this project of industrialization of Nazi slave labor demanded.

According to the work of Schwartz, the amount of Auschwitz prisoners grew exponentially after 1940 and this same process is reflected in the internal books of the factory: the need for more and more workers. In Schwartz's words, "This project was a critical contribution to the growth in capacity Auschwitz and its transformation into a reservoir of labor for Nazi industry and later a center of extermination. "

The final question raised by Schwartz's why so many workers were needed slaves. The answer lies in an unprofessional management and lack of organizational capacity of the Germans. "However, this is understandable, considering that it was a German industrial complex," Schwartz challenges. "To understand how it is that people considered as meticulous and precise work can do so disorganized, they have to read the study," concluded the man who at 81 could finally remove the ghosts from his memory.

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This past Monday, 29 closed our second season. Third actually if you go back to functions performed in 2007 in the cycle "TRICYCLE" Space TBK which was the beginning of this journey.
Throughout this long working time "a Polish Jew" turned into a tool that allowed us to say and think, that allowed us to make up the body, which enabled us to think. The testimonies of Berek
and Claudio Frydman were founded where to put our voices, where add own images. Origin and point of departure.
continue attached to these voices. Return safely to them because they are some manera.El our journey continues.
Thanks to everyone who supported us with their views and their return.
continue in force, on the way, we, now proposes a new assembly and we know return again and again to this beloved "a Polish Jew"
to the next.

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TRIBUTE TO THE VICTIMS OF THE HOLOCAUST

CLARIN Journal - July 3, 2009
CULTURE: TRIBUTE TO THE VICTIMS OF THE HOLOCAUST
Pictures and memories, in a sample of the horror in Poland
photographer Dani Yako visited the Polish town of his grandmother and the field where his family was murdered.
By Juan Carlos Anton
Source: SPECIAL CLARIN
Miran
serious camera and are stiff as starch their clothes. Is Poland in the twenties. Do not they know that a few years some of them would be killed in a concentration camp at the hands of the Nazis. The history of the image, tragically, is remembered now for one of his descendants, the photojournalist Dani Yako, who on Tuesday opened in Buenos Aires Holocaust Museum A trip to your sample. "I had always liked that picture, I had it on my bedside table. Were sent to the family was gone. It was like a postcard. The above is saved and the underdog, the little ones who remain, died . They were my grandfather, my grandmother and uncle. With my grandmother, who also appears there, you could not talk about it, "he says.

Yako-chief of Clarin-traveled photo with that image in 2007 to Telaki, the village where his grandmother took the picture and then made the three miles to Treblinka, the Nazi death camp where their relatives were killed. He put the family on a famous photo of the memorial stones that rises on the place and shot with his camera. Of course not so simple: "In theory, it is the easiest photo shows. It is not complicated but just could not do. My legs were trembling. Dusk. When I returned to the hotel, I was exhausted." So much so that night to see him in a restaurant, he was interrogated and almost stopped.

The moment reminded him of his own story: Yako was kidnapped in the dictatorship and was forced into exile. "The Jewish issue has never been so important or what is in my life. My parents and my family are communists, but there were a number of circumstances such as when I was kidnapped, beaten me twice because he was Jewish. Without doubt, has to do with my story and everything appeared very strong in Poland, "he said. Another photo

centerpiece of the exhibit is the portrait of Yako, who took in the Auschwitz concentration camp. "While taking pictures of the piles of shoes of victims, on the glass that separated me and saw my image reflected fired. The picture is achieved but with this show do not want something self-referential. I have my doubts about whether it is valid or not what I'm doing, because ultimately it is an aesthetic approach. I would not look like something related only to the Jewish people. The idea is to consider how human beings can get to that horror. It is a decision. They were highly educated people, "he says.

The exhibition is composed of nine black and white photos and is the first" abstract "Yako." There are people at the center of the image. I feel it is a tribute to the victims of the Holocaust and other persecutions. I see it as an instrument. Hopefully people can reflect, "he says.

After returning from Poland, the work was published in Viva in 2008, on the day of the liberation of Auschwitz." He went something strange, "recalls Yako. He joined the family a lot from these pictures. My mother sent them to the descendants of the picture in Israel. They felt that I had taken the photo for everyone. That was the idea. Everyone wanted to make this trip and it was my turn. "

w

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Page 12

The country The experience of different directors on the Holocaust memorial Show

horror is not enough

In a seminar organized by the Secretariat

Human Rights, experts discussed how museums should function to generate a memory self-critical eye on visitors and avoid the simple attribution of evil to others.

The entrance to the main camp of Auschwitz, where he now runs a museum that covers 190 hectares .

By Laura Vales

How should run a museum of memory? Do they get the visitor memorials change, or delegate to others, provided the Nazis, dictators, occupying forces, all evil, limiting critical thinking about one's ability to harm? Yariv Lapid, the Memorial of Mauthausen (Austria), posed the question with an air of defiance. Beside him sat the assistant director of the Auschwitz Museum. It was at an international seminar held in Buenos Aires, where directors Holocaust memorials recounted their experiences to an audience of, mostly hand, those working in the building of the Argentine memory spaces.

The meeting was organized by the Secretariat

Human Rights

Nation and European experts met last week. Lapid, the most acidic of the exhibitors, working on the design of a new educational infrastructure Mauthausen Memorial, where he ran the largest Nazi concentration camp in Austria. It was from this role was a series of revealing cases not on memory but on the mechanisms of forgetting.

The Memorial of Mauthausen was the largest Nazi concentration camp in Austria. Had, Lapid told, forty subfields within Austrian territory, some of them in Vienna, the capital, although this was not recorded in the collective memory. The subfields were usually places where industrial factories had mounted weapons of war that prisoners used as slave labor. Therefore, each population civilians were aware of the existence of prisoners and contact fields.

After the war, in Austria more than 130 thousand people were convicted of participating in Nazi crimes. However, in 1957 the Austrian government pardoned them all in the name of "integration" society.

Lapid asked 24 students from the Mauthausen Memorial to talk to their families about their memories of war. "80 percent had a sub in his hometown, but I did not know. Students traveled 50 kilometers

to learn how well the Mauthausen concentration camp, while they had a sub in your area that had been erased from memory. Everything was delegated to Mauthausen. "

Another example of the delegation mechanism reported was the documentary The grandfather was a Nazi, a result of 300 interviews conducted in Germany to investigate what stories were told in the within families. In cases where a grandfather had participated in Nazi crimes, said, "this family" ever became a virtuoso for the third generation. " The family changed its story: "Even if the person had been tried and convicted, the family story saying things like: was a good father" or being argued that the Nazis had tried to save lives. Evil was always exercised by others. "The environments are intimate and non-contaminated by evil."

To Lapid, memorials tend to repeat this procedure for the delegation. "When we have that the perpetrators crimes were ordinary people, this causes internal conflict. We like to make a proposal to the students in a workshop to look that everyone can admit their own potential evil. Can we be all potential evil? Are you among our ability to do such things? "But this is not the rule. "The memorials are places quite ambiguous, because its success depends on the failure of the visitor, and do not know if that's something we're really getting. What we apply to them is still almost always the police. "

That is not Disneyland Auschwitz

The Auschwitz Museum has an extension of 190 hectares in what was the concentration camp. His deputy, Teresa Swiebocka said that Auschwitz is a graveyard without graves and a school. In its vicinity there were several factories, including what was the largest chemical plant in Europe, where work was carried prisoners. The museum has material on the resistance movements that were in Auschwitz, are the ruins of what were the gas chambers and the documentation generated during the subsequent trials of the Nazis. There are also places where people do religious ceremonies. The management of the site is to unite all those records.

The museum was created at the request of the survivors (when liberated the concentration camp in him about seven thousand people), who mounted the first exhibition in 1947, two weeks before the Act was passed for its creation. Discussions on how to work is ongoing. One is whether to restore facilities destroyed by the Nazis, to show how they worked, or leave everything as is. It happens that those responsible for the field in his last days, dismantled the crematoria to destroy all evidence of the crimes. Where the gas chambers were left ruined.

"Some wanted to rebuild the crematoria with all the details, and others, however, leave the site as is, with the proposition that the original site, even if in ruins, is much more important than rebuilding, "said Swiebocka. And indeed, although some sectors were reconstructed account-this has been the predominant position.

- Why?

"Because we want nothing artificial. We do not want a Disneyland-Pagina/12 said the assistant.

The issue is, however, edges unresolved. One is that there are sectors where the ruins-was Swiebocka-are collapsing slowly. "We do not know what the best solution, be sincere to the audience.

There are sectors that have been prepared to show visitors the living conditions of prisoners and what life was like in the field, including the killing process. Mount these exposures involved decide what to show and what not. "First of all, we want to show corpses. Sometimes you need and put photos, but people have to understand, no pictures of those horrors, which are all a lost generation. It is important that visitors feel that kind of empathy, "said Swiebocka. "We show yes, the items found after the release. When the visitor sees two thousand bags, eighty thousand shoes, imagination can grasp the magnitude of what happened. At the same time we also show the individuality, the story of a suitcase. "

in Birkenau, Auschwitz sector where they were killed most victims, it was decided to leave the soil of the field intact. There is one exhibition mounted in the building known as Sauna, location was recorded and disinfection of newly arrived prisoners. Sauna in the walls were left in their original condition, but the floor was placed a special glass that visitors do not walk over the original. In open places of Birkenau were placed posters are both explanation and remembrance, with photos, for example, women walking to the gas chamber. To Lapid, exposing visitors to the vision of the atrocities are not necessarily those sensitized. "Most of the exhibits are related to display images, photographs, visual narratives. We believe that people change just to see them, not necessarily. The truth is that not one hundred percent understand how to portray the torture and murder, but we can say something with certainty: display is not enough. "

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arrival of the "Happy." Mar del Plata, that bastion of tourist flood, an emblem of summer vacation. Ahi were then to be selected by: Maria José Lubertino (President INADI), Pedro Mouratian (Vice INADI), Alejandro Tantanian (playwright), Maruja Bustamante (Playwright), Greta Pena (Director Prevention and Investigation of discriminatory practices, INADI) and representing the Federal Capital in the Festival "Art against discrimination" organized by INADI.

2009 Art Against Discrimination

9, 10, 12 and February 13, NH Gran Hotel Provincial, Bvd. Patricio Peralta Ramos 2502, Mar del Plata

- Program -

Monday 9 February:

15hs. Opening and toast. Circular Hall
NH

17hs. BE AWARE work of Daniel Marcove. Victor Laplace and Virginia Lake.

21.30 hs. "On Wheels" (Jujuy) - Room 2 - Hall of Columns NH

Wheeler deals with the universe of adolescents, their relationships, their positions on friendship, love, study, discrimination and society. In his afternoon chat, Caro met Thomas, their new virtual friend. The connection between them is magical, funny and profound. Soon the time to meet face to face. Caro discover the secret of Thomas and what looked like a romance-door to take both the path of doubts and contradictions.

Director: Sergio Sebastián Díaz Fernández

Cast: Maria del Rocio Aguilera, Anahí Noelia Hurtado, Ana Gabriela Rios, Isaiah Marco Antonio Lopez, Thomas Urquiza, Joaquin Alberto Ramos.

Assistant Director: Miguel Bernardo Brunetti



23hs. "Muta" (Mendoza) - play-Hall 1 - Hall of Columns.
Find what to be, who to be. Speaking of life, this is life, our life. These fears of the void, finding no words, just babbling to cancel my action. "Grow!" He says everything around me, and say, Why? Grow! "Say ... How Do I? The work will be passing through different questions: the traditions (cultural and religious), social masks, sexual repression, the differences (aesthetic, gender),

Director: Daniel Massa

Cast: Daniel Bustos, Tania Casciani, Laura Cortes, Gisela Di Lauro, Carolina Duarte, Stephanie Ferraro, Lisandro Gómez, Mariela Locarno, Gisel Miranda, Natalia Moro, Diana Moyano, Lucas Nasrallah

Monica Ocampo, Joseph Orme, Melissa Orquera, Silvana Paola Ortiz, Natalia Pelleritti, Diego Quiroga, Tamia Rivero, Barbara Rodriguez Suoni. Assistant Director: Anne Pistone. Technical

: Marina Sarale.



Tuesday, 10 February:

19hs. "The back room" (Salta) - Hall 1 - Hall of Columns
NH Yokasta revealed to the society a forbidden dream he had with a neighbor, is interrogated at the police station in the neighborhood. The mother demands justice, and the commissioner is the guarantor of this happening. Director: Juan Carlos Sarapura Cast: Ana Carolina Beltran, Mariano

Madrazo Pablo Gustavo Leopoldo Lenes
Juan Cruz Cárrega

Laura Patricia Peralta Patricia Elizabeth Perez.
Assistant Director: María Belén Carballo


20hs. "Personally Einstein" (Tucumán) - Room 2 - Hall of Columns NH
The work is a tour of the life and contributions of Einstein's scientific and human resources,
with humor and wisdom. From a valid reason to break the "fourth wall

" actor talks directly with the public. Work: Personally Einstein.

Director: Leonardo Goloboff
Cast: John Tribul
Technical Assistant: Monica Lobo


21.30 hs. "What's up with Borges" (Buenos Aires) - Hall 1 - Hall of Columns NH
The sacred name of Borges is an excuse. Matthias Occipinti not allowed Rosita subtleties and attacks, "Diaz Stumpy" without mercy, supported by colleagues. The teacher looks away and tries in vain to continue with the class ... How long?
Director: Mark Arano

Cast:

Ada Angela Camacho
Dorrego

Melisa Gutierrez Cintia Tivolesi
Mario Reynoso
Assistant Director: Federico Costa
Coach: Ignacio Jiménez




Wednesday 11 February: Clinical

Maruja Bustamante. Hotel Hermitage. Av Colon 1643 y Blvd Maritimo, Mar Fair Schedule to define. Clinical

Mosquito. Schedule to be defined. Hotel Hermitage. Av Colon 1643 y Blvd Maritimo, Mar Fair Schedule to define.

Thursday, 12 February:

19hs. "The useless" (Entre Ríos)-Hall 1 - Hall of Columns NH Learning, the passage from childhood to adulthood and permeated by power relations of domination within a metaphorical chosen as an orphanage. Replacement and torture. Punishments within the interior walls as a way to express violence, incarnate. And yet, the desire to rebuild a true identity through fragments, the story as a means of survival. Director: Oscar Lesa

Cast: Carolina Rodriguez, Cristina Witschi, Alicia Herman, Amelia Uzin, Guillermo Vesco, Oscar Lescano. Assistant Director

and space: Paul Roland
Technical and original music: Sergio Scacchi



20.30 hs. "A Jew Polaco "(Ciudad Autónoma de Buenos Aires)-Hall 1 - Hall of Columns NH

A child takes the voice of his father, a Polish survivor of the ghettos of Pabianice, Lodz, and the fields of Auschwitz, Mauthausen and Gusen II. Try to build your story, rewrite it. Find a hypothesis or maybe ... a little order.
Director: Alejandro Mateo
Assistant Director: Cinthia Chomski
Cast: Matthew Nicholas, Walter Rosenzwit Hector Segura
Techniques: Pamela Vargas, Cristina Lahet

22.00 hs. "L'acqua e finite" (Corrientes) - Room 2 - Hall of Columns NH

Set somewhere in the Guarani Aquifer. The characters in the play, let your life pass in the daily offices, away from the "city." Far from the privileges of the same and the temptations it offers. One day, the soil acquires a value unknown to them: a large pool of water. It's the future, today. They have to defend those who try to violate their rights.

Director: Thierry Calderon de la Barca.

Cast: Thierry Calderon de la Barca, Lucy Paz Franco

Fontoura and Sound: Thierry Margot

Music: Silvia Beatriz Romero.

Lighting: Jesus Herminio Moreira.
Costume Design: Lucy Paz.




Friday 13 February:

19hs. "The invisible girl" (Black River) - Hall 1 - Hall of Columns NH

If we are not loved, we are disappearing before the eyes of others. If we are mistreated, we want to be less visible to become invisible .... Director: Jorge Onofri Cast: Sting Sanchez, Liliana Ester Lucila Godoy and Silvina Vega.

Assistant Director: Ileana Brotsky

20.30 hs. "White Voices" (Salta)-Room 2 - Hall of Columns NH
Sole, the work begins with the funeral of the young Julian, which se suicida frente a la presión de todo un pueblo que lo acusa a partir de una calumnia. La obra plantea la exclusión social como terreno fértil para ejercer la autodestrucción y la muerte de los inocentes como sacrificios para limpiar los actos del resto de las personas.
Director: Sergio Cancelliere

Elenco: Miriam Díaz.

Técnico: Germán Tolaba.


21,30hs. "Días de libertad" (Santiago del Estero) -Sala 1 - Salón de las Columnas NH
Días de Libertad es un trabajo realizado dentro de un formato de taller actoral en base a improvisaciones de integrantes sin experiencia teatral previa que experimentan múltiples situaciones de vida. Suma a ello la creación de un guión theatrical stage made by the director. The start points to tell a story about discrimination, loneliness, heartbreak, final passage of time and order of reflection and constant desire for acceptance by the society.
Director: Fabian Avalos

Cast: Maria Marta Contreras - Luisa Paz - Sandra Castillo - Laly Rolón

Technical Assistant: Daniel Verduc
Idea, address book and general: Fabian Avalos
arrangements Assistant Director and Script: Monica Nazareno


23.00 hs. "We flew" (Córdoba)-Room 2 - Hall of Columns NH
Dove and Oscar try to carry out a performance. Paloma feels that is the day of his death and wants to finish making the best performance of his life. Oscar goes with it. Death, senility and delirium be around.
Director: Juliet Dagger

Cast: David Piccotto

Laura Ortiz Assistant Director: Paul Bortis
Technique: María Eugenia Pérez