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64Th Anniversary of the Liberation of Auschwitz-Birkenau

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64Th Anniversary of the Liberation of Auschwitz-Birkenau O Ś WIĘ CIM ISSN 1899-4407 PEOPLE CULTURE HISTORY OF AUSCHWITZ-BIRKENAU 64TH ANNIVERSARY OF THE LIBERATION 64TH ANNIVERSARY OF THE LIBERATION no. 1 January 2009 Oś—Oświęcim, People, History, Culture magazine, no. 1, January 2009 EDITORIAL BOARD: Oś—Oświęcim, People, History, Culture magazine EDITORIAL It is not easy to explain what ”Oś” for Dialogue and Prayer. Each of the forming the consciences of people really is. The literal translation institutions sees the Auschwitz Me- who take responsibility for the fu- should be “axis,” but it does not morial in a different way, but these ture. That is why we decided to create show the obvious connection with perspectives are mutually comple- the English edition of the magazine. the name of the town “Oświęcim.” mentary. The Museum protects the After more than sixty years, people That is we decided to keep the sites of the former camp, the IYMH from all over the world continue to Polish word. The rest is although promotes the idea of international visit the sites of the former concentra- Editor: clear: Oświęcim, people, history dialogue between young people tion camp and extermination center. Paweł Sawicki and culture. Generally speaking it through various activities; the Jew- In 2008 the Memorial was visited by Editorial secretary: is a project intended to present the ish Center look after the heritage more than one million people from Agnieszka Juskowiak activities undertaken to protect the of Jewish citizens of Oświęcim that around the globe. The message of Editorial board: Auschwitz Memorial – the real axis created its history and the Center of this place still has its strong mean- Bartosz Bartyzel of cooperation. The monthly news- Dialogue and Prayer concentrates ing and importance and we believe Jarek Mensfelt Bogdan Owsiany paper has been published in Polish on the sphere of sacrum and spir- that memory is crucial both to com- Jadwiga Pinderska-Lech language since May 2008. Now it is ituality in history. “Axis” is the memorate the victims and to learn Leszek Szuster time for the English version. symbol of collective co-operation our lesson for the future. Artur Szyndler that must be present at such place Columnist: The Auschwitz-Birkenau State Mu- to fully use this difference of per- Mirosław Ganobis seum is the publisher of “Oś” but spectives. Design and layout: this is in fact a joint project with the Paweł Sawicki Agnieszka Matuła, Grafi kon International Youth Meeting House, Auschwitz is a global symbol and it Editor-in-chief Translations: the Jewish Center, and the Center remains the most eloquent place for [email protected] William Brand Proofreading: Beata Kłos Cover: Paweł Sawicki A GALLERY Photographer: Tomasz Mól OF THE 20TH CENTURY PUBLISHER: Auschwitz-Birkenau State Museum www.auschwitz.org.pl PARTNERS: Jewish Center www.ajcf.pl Center for Dialogue and Prayer Foundation www.centrum-dialogu.oswiecim.pl International Youth Meeting House www.mdsm.pl IN COOPERATION WITH: Kasztelania www.kasztelania.pl www.kasztelania.pl Factory workers. Photograph from the collections of Mirosław Ganobis, Gallery of the 20th Century State Higher This photograph of machine-factory for the camera. The dynamism of la- by such stars as Jan Kiepura. After Vocational School workers in Brzezinka reflects the bor is absent; the figures in the fore- the war, the OMAG Mining Machin- in Oświęcim worldwide trend from the begin- ground are static while the impres- ery Spare Parts Factory operated www.pwsz-oswiecim.pl ning of the 20th century for “social sive factory interior and the outlines here, expanding from spare parts to documentation.” Its main goal was of the figures of other workers are in making cranes and drilling equip- to present human living conditions. the background. ment. In 1993, the company assumed Editorial address: The influence of such internationally its present name. Aside from mining „Oś – Oświęcim, Ludzie, Historia, Kultura” renowned photographers as Timothy The present Machinery and Equip- equipment, it also manufactures car Państwowe Muzeum O’Sullivan, George Bretz, or Gustav ment Factory in Brzezinka is the parts. Auschwitz-Birkenau Marrissaux can be seen. While they former Oświęcim United Machinery ul. Więźniów Oświęcimia 20 showed people “at work,” the anon- and Automobile Joint Stock compa- 32-603 Oświęcim ymous photograph of the Brzezinka ny, which produced the Oświęcim- More details at e-mail: [email protected] workers depicts its subjects posing Praga cars advertised before the war www.kasztelania.pl/galeria20.php 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 Oś—Oświęcim, People, History, Culture magazine, no. 1, January 2009 Auschwitz-Birkenau State Museum A CARICATURIST IN CAMP he Museum art collection has been enhanced by a work by Auschwitz prisoner Tadeusz Myszkowski. It is a caricature of another prisoner, Jan Kowalski, camp number 99. Like Myszkowski, Kowalski, known in the Tcamp as “Grandfather,” came from Zakopane, and the two were related. The Germans arrested him in 1939 for displaying political cartoons by Myszkowski, featuring Hitler and Mussolini, in the Empire café in Zakopane. For drawing the caricature, for fellow prisoners reveal Myszkowski was arrested him as an outstanding cari- and sent to Auschwitz. He caturist with a knack for was one of the deportees in picking out individual traits the fi rst transport of Polish and presenting them in an political prisoners on June amusing way. Caricatures 14, 1940, and obtained camp had a special function in number 593. the camp. They had a thera- peutic role. They warded His fellow prisoners valued off depression, soothing the painter and sculptor the aching for freedom, and from Zakopane for his sense also expressing self-defense of humor above all, and and defi ance of the cruel re- also for his psychological alities of Auschwitz. resilience and resourceful- ness. Myszkowski helped The reverse of the drawing set up the camp sculpture acquired by the Museum is studio, a haven for such an interesting scene, which artists as Bronisław Czech, also has a connection to Za- Xawery Dunikowski, the kopane. Myszkowski paint- Kupiec brothers, Wincenty ed a portrait of Auguste Gawron, and other per- Piccard ascending into the sons including the famous skies like a balloon, but the Captain Witold Pilecki accompanying symbols—a (in Auschwitz under the Polish fl ag, the Zygmunt’s name Tomasz Serafi ński). Column, and numerous Additionally, he worked stars—suggest that this is in the carpentry shop and not a depiction of Piccard’s the photographic studio. famous 1931 stratospheric His status as an artisan and ascent. It is a metaphor of employee of the SS photog- the pioneering attempt at raphy offi ce gave him rela- a stratospheric ascent by tively free access to artists’ The Polish Star. After an un- supplies. In all the labor successful attempt in 1938 details where he worked, (a great event in Zako- he covertly drew portraits pane), a renewed attempt of his fellow prisoners. He was scheduled for Septem- also made works, mostly ber 1939. The outbreak of paintings, engravings, and World War II ruled out this carvings, on orders from much anticipated launch. the SS. After the war, Myszkowski helped set up the future Myszkowski joined the re- Museum. He was one of the sistance movement inside founders of the Collections the camp. He belonged to Department, tracking down the Military Organizations art works made in the camp Union, set up by Captain by prisoners. In the fi rst Witold Pilecki for the pur- years after the war, he also pose of preparing an armed drew numerous caricatures mutiny. of the SS men and his fellow prisoners, which today rep- The fact that political cari- resent an important form of catures led to his arrest did historical documentation, not deter Myszkowski from supplementing the written continuing to draw them in accounts and memoirs. the camp. He drew numer- ous caricatures of his fellow prisoners, prisoner func- Agnieszka Sieradzka, tionaries, and SS men. The art historian, Auschwitz-Birkenau State Museum cards connected with vari- photo: A-BSM Collections Department ous occasions that he drew Caricature by Tadeusz Myszkowski The Nazis put a great deal of effort into destroying every trace of Ausch- in possession of an item that could help save the victims of Nazi atrocities witz—the crematoria, the records, and anything that bore witness to the from being forgotten. Such items may fi nd a place in the new permanent crimes they committed here. However, they did not manage to destroy main exhibition that we are creating, or in the planned exhibition of camp everything. Fewer and fewer eyewitnesses to this tragedy remain, but art. They can help warn the entire world: “Never again!” they have left their memories behind, on paper or on canvas. Every object Remember: all of us, throughout Europe and around the world, bear the or drawing is a history unto itself, a narrative about a specifi c individual. responsibility for preserving the memory of Auschwitz. Each of these We cannot allow them to be forgotten. items contains authentic, individual emotions and experiences. We can Each object associated with the history of this place is evidence of and bring them back to life and permit them to testify to the crimes that the testimony about unimaginable suffering. If you have anything in your Nazis committed, here in the place with which they are inseparably con- home connected with the tragic history of Auschwitz, we urge you to nected. contact us. We are grateful for each donation to the Museum; you may be 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 Auschwitz-Birkenau State Museum Oś—Oświęcim, People, History, Culture magazine, no.
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