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POLIN Museum of the History of Polish Jews Warsaw 2013 Museum of the City of New York New York 2014 the Contemporary Jewish Muse

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POLIN Museum of the History of Polish Jews Warsaw 2013 Museum of the City of New York New York 2014 the Contemporary Jewish Muse POLIN Museum of the History of Polish Jews Warsaw 2013 Museum of the City of New York New York 2014 The Contemporary Jewish Museum San Francisco 2015 Sokołów, video; 2 minutes Courtesy of the YIVO Institute for Jewish Research, New York Letters to Afar is made possible with generous support from the following sponsors: POLIN Museum of the History of Polish Jews Polish Ministry of Culture and National Heritage Museum of the City of New York Kronhill Pletka Foundation New York City Department of Cultural Affairs Righteous Persons Foundation Seedlings Foundation Mr. Sigmund Rolat The Contemporary Jewish Museum Patron Sponsorship: Major Sponsorship: Anonymous Donor David Berg Foundation Gaia Fund Siesel Maibach Righteous Persons Foundation Taube Foundation for Jewish Life & Culture Anita and Ronald Wornick Major support for The Contemporary Jewish Museum’s exhibitions and Jewish Peoplehood Programs comes from the Koret Foundation. POLIN Museum of the History of Polish Jews, Warsaw 05.18.2013 - 09.30.2013 Museum of the City of New York 10.22.2014 - 03.22.2015 The Contemporary Jewish Museum, San Francisco 02.26.2015 - 05.24.2015 Video installation by Péter Forgács with music by The Klezmatics, commissioned by the Museum of the History of Polish Jews and the YIVO Institute for Jewish Research. The footage used comes from the collections of the YIVO Institute for Jewish Research in New York, the National Film Archive in Warsaw, the United States Holocaust Memorial Museum in Washington, Beit Hatfutsot in Tel Aviv and the Steven Spielberg Jewish Film Archive in Jerusalem. 4 Péter Forgács / The Klezmatics Kolbuszowa, video; 23 minutes Courtesy of the YIVO Institute for Jewish Research, New York 6 7 Péter Forgács / The Klezmatics beginning of the journey Andrzej Cudak The Museum of the History of Polish Jews invites you Acting Director on a journey to the Second Polish-Jewish Republic. This Museum of the History of Polish Jews journey begins with our first temporary exhibition,Letters to Afar – a video installation prepared by Péter Forgács, with music by The Klezmatics. The exhibition presents the life of Polish Jews as cap- tured in prewar films made by American Jews during return visits to their birthplaces, where they attempted to capture Jewish life in the towns and cities of their childhoods for friends and family back home. The exhibition is a joint project organized within the frame- work of a partnership agreement between the Museum of the History of Polish Jews and the YIVO Institute for Jewish Research. Founded in 1925 in Vilna and trans- ferred to New York in 1940, YIVO is the most important center of Yiddish Studies in the world. Its collections are a treasure house of archival, library, museum, photo- graphic and film resources on Jewish life in Poland. Home films from YIVO’s archival collection form the basis of Péter Forgács’s installation and were the inspiration for the accompanying music by The Klezmatics. May 2013 8 9 Péter Forgács / The Klezmatics Oszmiana , video; 18 minutes 44 seconds Courtesy of the YIVO Institute for Jewish Research, New York 10 11 Péter Forgács / The Klezmatics a road into the open Jonathan Brent Executive Director YIVO Institute for Jewish Research YIVO is pleased to enter into the first joint project YIVO’s home movies from the 1920s are a perfect vehicle under our new partnership agreement with the for establishing this partnership. In conjunction with the Museum of the History of Polish Jews in Warsaw. This world renowned music of the Klezmatics and the inspired project has great significance for both institutions. It vision of Péter Forgács this project bears the old into the marks the first formal collaboration of the YIVO Institute new, history into the present day, and provides a window with a Polish institution since the collapse of the Soviet for demonstrating YIVO’s work in public education, Union in 1991, and it represents YIVO’s participation in scholarship and artistic programming. the awakening of new Jewish life in Poland today. This May 2013 awakening is taking many forms: a rediscovery of Polish- Jewish history; a resurgence in the study of Yiddish among both Poles and Jews; a historical and moral introspection that is the precondition for ensuring the democratic, liberal future of the Polish nation and the ability of the Jewish people of the Diaspora to imagine what Arthur Schnitzler called in 1908 “The Road into the Open.” 12 13 Péter Forgács / The Klezmatics Kolbuszowa, video; 23 minutes Courtesy of the YIVO Institute for Jewish Research, New York 14 15 Péter Forgács / The Klezmatics LETTERS REWRITTEN Tamara Sztyma “There” And “now” – Film locations From The PAsT éter Forgács’s installation, Letters to Afar, is based on Pthe concept of addressing images, and then trans- mitting these visual messages through time and space. Entering the exhibition, we are immediately surrounded by multiple images of past lives reflected on film. Like many other films made for private use, the home movies made by Jewish immigrants from the United States visiting their former homes capture unique, intimate moments from the past, stirring feelings and allowing the viewer to be at once “there” and “now”. Warsaw, Vilna, Łódź, Kałuszyn, Kamionka, Kolbuszowa, Nowogrodek, Oszmiana, Krakow, Kurów—film locations from the past— become settings in which the action, although registered long ago, is played out inside the gallery. We see the life of locals in the streets, markets, parks, in front of homes, schools, synagogues; we follow their everyday routines and gestures. Finally, we encounter them in the extraordi- I noticed a great change in the population, the market nary situation of meeting with their kin from beyond the place seemed much less peopled […] yet I was happy to Atlantic. It is here that family ties and relationships within see that modern Jewish culture had reached this place the community are fully revealed. The scenes played out too.” The visitors, if they had cameras, recorded films with before our eyes make us not only witnesses of history, the intention of showing them to relatives in America. but also a party to these events. They documented familiar places, families in their daily surroundings, playing games, going on walks, waving to For the Jews from the United States visiting their former the camera, sending greetings, and visiting the graves of homes the journey to Poland was a sentimental one: a ancestors. Next to the joy of these meetings, these films voyage to their own lost past, as it were. The nostalgic also express the distance and sense of alienation that set and emotional component of these trips is evidenced by the filmmakers apart from their relatives in Poland. The a note composed by Alexander Harkavy during his first everyday life of the provincial towns they observed stood return visit to Nowogrodek in 1921: “I finally reached in stark contrast to the modern life of Jewish immigrants the gates of my great, beloved town [...] The sight of in New York, the most modern city in the world, whilst Nowogrodek moved me to tears. It was 43 years since also the heart of modern Yiddish culture. I left the place where my cradle once stood, where I dreamed youthful dreams, where I left the grave of my Focused on capturing the inner life of local communi- mother who died before her time.” Visitors’ feelings were ties, these films provide a meaningful glimpse of the a mixture of hope and fear. Curious about the changes autonomy and richness of Jewish life in interwar Poland. that had occurred, they still wanted to find the places School, youth, self-help and cultural organizations they remembered from the past. “After 43 years I was existed in even the smallest towns, operated not only by expecting a lot of changes, but the market square looked local communities, but also assembled around political exactly the same,” Harkavy wrote. “On the other hand movements, both national and religious. This broad social 16 17 Péter Forgács / The Klezmatics Kamionka, video; 14 minutes Courtesy of the YIVO Institute for Jewish Research, New York 18 19 Péter Forgács / The Klezmatics spectrum can be discerned especially in the films made Concentrating on smaller towns and the lives of largely by members of American “landsmanshafts”, organiza- impoverished relatives, visitors seldom turned their tions of immigrant Jews from the same locality, which cameras on in the large urban areas that functioned as often tried to organize help for their former communities the birthplaces of vibrant political and cultural life—those in Poland. Pesach Zukerman’s film, shot in 1929 on behalf cities that were home to an active Jewish intelligentsia of the Kolbuszower Relief Society, was just such a report and witnessed the rise of Jewish press, theater, cinema, on the economic and social conditions of the local Jewish politics and sports. Thus, although these films provide an community in Kolbuszowa. Thanks to numerous screen- accurate picture of Jewish towns, they do not give a com- ings of the film in the United States, the society raised plete view of Jewish life in interwar Poland, where, aside funds not only for the citizens of Kolbuszowa, but also for from religious life and autonomous Jewish institutions, those of nearby towns, including Sokołów, Rzeszów and there was also increasing polonization and assimilation, Raniżów. Similarly, the film from Nowogrodek was made coupled with the rise of a modern Jewish culture. This by Alexander Harkavy, president of the Nowogrodek aspect of Jewish life is only dimly present in these Relief Committee in New York, which the citizens of amateur films, mostly visible in the modern appearance Nowogrodek had turned to for help in 1930. These and of the young men and women who stand in contrast to many other films show the difficult economic situation of the traditional lifestyles of their parents and grandparents.
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