Archive | 2016/09/26

Dzieła żydowskich twórców Szkoły Paryskiej w Villi la Fleur

Dzieła żydowskich twórców Szkoły Paryskiej w Villi la Fleur

Krzysztof Bielawski


Mojżesz Kisling, Roman Kramsztyk i inni. W Konstancinie-Jeziornie otwarto wystawę prac mistrzów Szkoły Paryskiej. Wielu z nich było polskimi Żydami.

Wystawa to kolejna inicjatywa Marka Roeflera, jednego z najbogatszych Polaków i kolekcjonera dzieł sztuki. W 2010 r. Marek Roefler w swojej rezydencji – Villi la Fleur w podwarszawskim Konstancinie-Jeziornie – urządził prywatne muzeum.

Wystawa Mistrzowie École de Paris (fot. Krzysztof Bielawski)

Najnowsza wystawa czasowa Mistrzowie École de Paris prezentuje ponad sto prac takich twórców, jak: Bolesław Biegas, Maurycy Mędrzycki, Henryk Epstein, Pinchus Kremegne, Mela Muter czy Mojżesz Kisling. Większość z nich miała żydowskie pochodzenie i do Paryża przybyła z Polski.

– Tymi artystami zacząłem interesować się ponad 20 lat temu. Moja fascynacja przerodziła się w pasję, a pasja przerodziła się w kolekcjonerstwo – mówi Marek Roefler.

Wystawa Mistrzowie École de Paris (fot. Krzysztof Bielawski)

Poprzez staranny dobór obrazów, grafik i rzeźb wystawa ma opowiedzieć o Montparnassie z pierwszej połowy XX wieku.

– École de Paris to nie tylko paryskie kawiarnie, ale także wspaniała riwiera – dodaje kurator wystawy Artur Winiarski – Dlatego na wystawie można obejrzeć pejzaże południa Francji na obrazach Meli Muter i innych artystów. Mamy też znakomite Saint-Paul de Vence na obrazach Milicha, Gottlieba czy Mędrzyckiego. Jest też cała sala kubistów, których pan Marek sobie szczególnie upodobał. Pokazujemy również mniej znanych artystów, takich jak Marc Sterling.

Wczorajszy wernisaż przyciągnął około 200 osób. Obrazy z kolekcji Marka Roeflera oglądali m.in. Małgorzata Walewska, Zbigniew Niemczycki i Wojciech Fibak.

Wystawa w Villi la Fleur będzie prezentowana do 31 marca 2017 r. Można ją zwiedzać po wcześniejszym ustaleniu terminu (tel. 22 578 41 22).


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The danger in Poland’s frontal attack on its Holocaust history

The danger in Poland’s frontal attack on its Holocaust history

Jan Grabowski


New legislation threatening prison time for anyone who talks about Poland’s complicity with the Nazi’s is just the latest dark turn in the country
Jan Grabowski
A man walks on the railway tracks in the former Nazi death camp of Auschwitz-Birkenau in May 2016. REUTERS/Kacper PempelA man walks on the railway tracks in the former Nazi death camp of Auschwitz-Birkenau in May 2016. REUTERS/Kacper Pempel

Last year’s presidential and parliamentary elections in Poland gave power to a right-wing, nationalistic and populist party, called Law and Justice. The ensuing changes on the political scene were nothing short of dramatic—and deeply troubling. Those who thought that the constitution was the supreme law of the land, were in for a nasty surprise: the new Polish government, with the help of the president, immediately started to dismantle and muzzle the Constitutional Court (an equivalent to the Canadian Supreme Court), the only remaining obstacle to its complete control of the state. The court is now paralyzed, and its most important verdicts are simply ignored by the authorities.

Elsewhere, the journalists of the state radio and television have been purged and those less sympathetic to the new regime were fired. Not surprisingly, the European Parliament took a dim view of the dismantling of democracy in one of its member states and repeatedly expressed its deep and growing concern over the situation in Poland.

However, the departure from democratic practices also goes hand in hand with a frontal attack on Polish history. “Who controls the present, controls the past,” wrote George Orwell, and the Polish authorities seem to have taken Orwell’s words to heart.

Earlier this month Zbigniew Ziobro, the Polish minister of justice, introduced new legislation intended to “defend the good name of the Polish nation.” The new set of laws, already approved by the cabinet, would impose prison terms of up to three years on people “who publicly and against the facts, accuse the Polish nation, or the Polish state, [of being] responsible or complicit in Nazi crimes committed by the III German Reich.” In the governmental narrative, the recently approved law is a penalty for those who talk about the “Polish death camps” of the Second World War. In reality, however, the new law, with its ambiguous and imprecise wording, is meant to freeze any debates which might be incompatible with the official, feel-good, version of the country’s own national past.

This “feel good” narrative, which the new Polish authorities espouse, is, however, based on historical lies and revisionism masquerading as a defence of “the good name of the Polish nation.” Just a few weeks ago Anna Zalewska, the Polish minister of education, declared herself unable to identify the perpetrators of the notorious 1946 Kielce pogrom. It is a matter of very public record that in 1946, in Kielce, in the center of Poland, one year after the end of the war, an enraged mob, incited by tales of blood libel, murdered close to 50 Jewish survivors of the Holocaust; women, men and children. Unfortunately, the minister was unable to admit that much. “Historians have to study the issue further,” she said, before finally declaring “it was perhaps anti-Semites.”

Her words were echoed Jaroslaw Szarek, the new chief of the Institute of National Remembrance, a state institution that aspires to be the guardian and custodian of Poland’s national memory. He flatly denied Polish involvement in, and responsibility for, the communal genocide in Jedwabne in 1941. Again, it is a matter of historical record that in July 1941 Polish citizens of Jedwabne herded hundreds of their Jewish neighbours into a barn and then set the barn on fire, burning their neighbours alive. The new law will, quite likely, make further debates surrounding these unpleasant events unlikely.

It so happens that the list of “unpleasant” historical themes, which could soon become a topic of interest to the police and to state prosecutors, is long. For instance, in the face of the new legislation, historians who argue that certain segments of Polish society were complicit in the extermination of their Jewish neighbours in the Second World War will now think twice before voicing their opinion. What about those who would like to study the phenomenon of blackmailing of the Jews, known in Polish as shmaltsovnitstvo? What about those who would like to talk about the role of the Polish “blue” police who collaborated with the Germans in the extermination of the Polish Jewry? What about those who want to shed light on the deadly actions of the Polish voluntary firefighters involved in the destruction of Jewish communities? Or on the involvement of so-called “bystanders,” who might have been much more involved in the German policies of extermination than had previously been thought?

Those are but a few of the who questions that have not yet been tackled by historians. Now, it’s the minister of justice and his prosecutors will probably decide what is a historical fact and what is not.

In the light of the clear message sent by the authorities, the new law, which should be adopted by the Polish parliament any day now, becomes a clear and present threat to the liberty of public and scholarly discussions. It is also a dramatic departure from the democratic principles and standards which govern the laws of other members of the European Union. Finally, introducing prison terms for people who dare to tackle some of the most difficult questions of the country’s past puts Poland right next to Turkey, infamous for its laws against “slandering of Turkish identity,” which is a code word for denying the Turkish responsibility for the Armenian genocide.

Unfortunately for Polish authorities—and fortunately for those involved in the study of the past—the history of the Holocaust, which is at stake here, is not the property of the Polish government. The history of the destruction of the European Jewry is, actually, the only universal part of the national history of Poland, one which resonates in the minds and hearts of people around the world. Any attempt to muzzle debate and to stifle academic research into the various aspects of the history of the Shoah can, should and, hopefully, will be seen as a form of Holocaust distortion, or Holocaust denial—something to be vigorously protested by the international community.


Jan Grabowski is a professor of history at the University of Ottawa and the 2016-17 Ina Levine Senior Invitational Scholar at the United States Holocaust Memorial Museum in Washington. His last book, Hunt for the Jews, was awarded the 2014 Yad Vashem International Book Prize for Holocaust Research.


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גד אלבז – פותח את ידיך – Gad Elbaz – Open Up

גד אלבז – פותח את ידיך – Gad Elbaz – Open Up

http://www.gadelbaz.com/
Join my Facebook page הצטרפו לעמוד הרשמי של גד אלבז בפיסבוק – https://www.facebook.com/GadElbazOffi…
לינק לרכישת 2 הגרסאות להורדה ישירה באיכות HD
Link to download the song there is two versions – Hebrew and English
http://www.gadelbaz.com.usrfiles.com/…

“Open up”
Lyrics – Zvika Bornstein / Prayer
Composed by Gad Elbaz and Shlomi Cohen
Producer – Shlomi Cohen
Produced & Arranged by Gad Elbaz & Elad Emek
Guitars: Shlomi Cohen
Recorded, Mixed & Mastered by Elad Emek
Produced and directed by Danny Finkelman
Production and Management: Shlomi Cohen ZOAB Entertainment
Public Relations: Hoshen Production – Shlomi Cohen

——Open Up—–
I look all around, its everywhere,
You are there besides me
You give everything, you the one above
I have nothing here beside you
From just grains of sand
You created land
That can nourish all creation
Let your wealth expend
Open up your hands Oh

Poteach Et Yadecha Umasbia lechol Chai Ratzon
Open up your hands….(Oh Oh Oh)

Just my inner child, with a list in hand
Asking you to keep on giving
Sometime we pretend
We don’t understand
That its you who keeps us living

Poteach Et Yadecha Umasbia lechol Chai Ratzon
Open up your hands….(Oh Oh Oh)

—————

It’s where upscale meets gourmet, where grocery shopping is transformed into an experience so joyous, you might just find yourself dancing down Breadberry’s carefully choreographed aisles.

This all new music video, starring superstar Gad Elbaz, captures the essence of Breadberry, a modern culinary paradise that has quickly become a favorite of customers of all types. Open Up, an original composition by Elbaz, is an upbeat and lighthearted reminder that all the goodness in our lives, even the food that we eat, is a divine gift to be treasured.

Directed and produced by Danny Finkelman, this is a collaboration between Clive NY and Sparks Next, choreography by Zvika Bornstein, with executive producer Sam Schlesinger
Open Up is a fun romp through Brooklyn’s hottest food market that will forever change your shopping experience.

השיר הוקלט בשתי גרסאות – גרסת הווידאו קליפ באנגלית וגרסת רדיו בעברית

״ פותח את ידיך – עבריתOpen Up״
מילים: מקורות
לחן: גד אלבז // שלומי כהן
הפקה מוזיקלית: גד אלבז
עיבוד מיקס ומאסטרינג: אלעד עמק
תכנותים: אלעד עמק
גיטרות: שלומי כהן
אולפן: דני סיון
במאי ומפיק – דני פינקלמן
ניהול והפקה: שלומי כהן ZOAB Entertainment
יחסי ציבור: שלומי כהן Hoshen Production – info@hoshenpro.com
מיתוג: סם שלזינגר מחברת הפרסום קלייב ניו יורק

Produced and Directed by: Daniel Finkelman
Executive Producer: Clive NY
Director of Photography: Brandon Pro
Assistant Director: Samantha Santos
Camera Operator: Steven Tong
Assistant Camera: Matthew Van Vorst
Gaffer: Mark Baucher
Best Boy Grip: Pat O’Callaghan
DIT: Jason Chen
Production Manager: Kimberly DiPersia
Location Sound: Grady Christopher
Writer/Script: John Olson
Casting/Choreography: Zvika Bornstein
Driver/Runner: Alejandro Marulanda
MUA: Kelley Coleman
Costumes: MaryLynn Suchan
Props: Cathleen Parra
Lead Production Assistant: Meir Kalmanson
Script Supervisor: Marcy DeRocha
1st Team Production Assistant: Daniel Rubin-Marx
Production Assistant: Brian Belzer
Production Assistant: Yehudah Benscher
Production Assistant: Shia Fried
Edited: Michael Puro and Jason Chen
Graphics: Jesse Martinez
Wardrobe: “Name Street”
Catering: Breadberry

Lighting (special effects): Mendy Boaron
Master Lighting Productions

Set photographer: Chana Blumus

Writer: Sandy Eller
Boy – Ryan Scalero
Manager – Gad Elbaz
Dad – Daniel Finkelman
Chaim Applebaum
Zevi Goldstone
Yoel Kreindler
Zevy Goldstone
Swayam Bhatia
Justin Grant
Rocco Wu
Lauren Hartman
Simone Vysnovsky
Ohad Bornstein
Shmuel Carmel
Yechiel Jacobs
Yoel Kreindler
Menachem Kamman
Chezky Moskowits
Moshe Kammen
Noam Bornstein
Sruly Gottlieb
Chaim Gottlieb

Dancers:
Chris Sottile, Anthony Pontecorvo, Max Zhang, Ryan Fiore, Jared Grospe, Nate Grospe, Ethan Thai

Special Thanks to:
Breadberry Supermarket & staff
Yanky Mayer
Sam Schlesinger at Clive NY
Yossi at Name Street Gifts
Cecelia Margules
Chaim Mayzlesh
Aaron Orian – “Olam Umloo”
For the latest projects, go to:
www.sparksnext.com

הפקה: ZOAB Entertainment
שלומי כהן Shlomi Cohen
+להזמנת הופעות: 972524339353
דוא”ל: s@gadelbaz.com

Kategori
Musik

Licens
Standardlicens för YouTube

Musik
”פותח את ידך” av גד אלבז (Google Play)

 


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