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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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-Pasteur July 18 633 - 9:56 a.m. - 15 I-


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. "

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