Archive documents, drafts and testimonies restore personal and professional dignity to nine stories interrupted by racial laws.
On 14 July 1938, the Race Manifesto was published in Il Giornale d’Italia, signed by ten scientists and professors, which was to become the ideological basis of the regime’s racist policy. This document was followed by the Racial Laws, aimed at increasingly stripping non-members of the ‘Italian race’ of their rights. In this escalation of the curtailment of freedoms and subtraction of civil rights, other laws were promulgated on 29 June 1939 regulating ‘the exercise of professions by citizens of the Jewish race’.
The exhibit features these architects:
Daniele Calabi, Angelo Di Castro, Romeo Di Castro, Enrico De Angeli, Vito Latis, Gino Levi Montalcini, Alessandro Rimini, Ernesto Nathan Rogers, Nina Livia Viterbo
The exhibition is conceived as part of the project ‘Architecture and Remembrance. The discrimination of architects in nazi-fascist regimes”.
Willesden Jewish Cemetery: 150 years of Heritage 1873 – 2023 Guided Walk
As part of the year long celebrations of the 150th anniversary of the Willesden Jewish Cemetery, this guided walk will tell the story of the establishment of the cemetery, highlighting the early years of the United Synagogue, the people who made it happen and their role in the community.
Opening of an exhibition of photographs by Daniella Grinberg to mark the 200th anniversary of the synagogue in the village of Kővágóörs, near the north shore of Hungary’s Lake Balaton. The exhibit runs until June 30.
Long abandoned and ruined, the synagogue is now under the care of a foundation that purchased the building and is working to restore it for use as both a synagogue and a cultural center. It already hosts cultural events there.
The Synagogue of Káli-valley Foundation (in Hungarian, Káli-medence Zsinagógája Alapítvány) officially acquired the building in October, 2020 after a year and a half of discussions, from a Canadian businessman of Hungarian origin, who had owned the synagogue since 2013.
A Zoom webinar in English introducing the current temporary exhibition at MEIS — the National Museum of Italian Judaism and the Shoah in Ferrara— Houses of Life; Synagogues and Jewish Cemeteries in Italy.
The exhibition mainly features plans and architectural drawings of synagogues, as well as gravestones, tombs, and other architecture features, through the ages.
A historic ark and other Judaica are also featured.
Speakers in the webinar include the two curators of the exhibition, Andrea Morpurgo and MEIS director Amadeo Spagnoletto, as well as Dr. Jessica Del Russo.
Click here to receive the Zoom link
Presenting a selection of nearly 150 pieces from various sources, this photographic exhibition recreates the history of Salonika (today Thessaloniki) Greece from the second half of the 19th century to the end of the First World War. Men and women are captured in their traditional costumes: modest artisans, porters, traders, members of the local “aristocracy;” society is revealed. Urban modernization is also shown: the quays and the White Tower, cafes, restaurants and entertainment venues; the Countryside sector where the notables established their residence; deprived areas, where emerging industries were established.
But also, in the now Greek city, the great fire of August 1917, an authentic trauma for the Jews who saw their historic neighborhoods, the municipal archives and more than thirty synagogues swept away by the flames, before the geopolitical upheavals caused by the First War worldwide.
In 2020, we were privileged to host an online exhibition of work by the Warsaw-based papercut artist Monika Krajewska. The pieces were drawn from her extraordinary cycle of papercuts called “Burning,” a commemoration of the physical destruction of the Shoah.
This fall, from October 4 to December 18, Krajewska’s Burning cycle will be exhibited at the POLIN Museum of the History of Polish Jews in Warsaw.
The exhibit consists of 31 works in which the artist refers to the objects related to synagogue cult and transfers them to the traditional Jewish paper-cutting technique, painstakingly recreating the symbolism and ornamentation of Jewish art from East-Central Europe—stylised floral decoration, symbolic representations of animals, a repertoire of traditional sacred Judaic symbols (a menorah, Torah and the Tablets of Law, the Temple) and calligraphic quotations from religious texts and prayers.
In order to introduce reflection on loss and destruction, the artist subjects her painstaking work to destruction: she tears apart sections of the works after cutting them out and burns the ends of the sheets. She uses tinted paper as a background for the cut-outs, incorporating the motif of fire, ashes and ruins. In the representations, she incorporates quotations from religious texts or classics of modern Jewish literature, in which there are references to flames and destruction, as well as to the hope of salvation.
The history of the Jewish ghetto of Florence, which existed in the city between the sixteenth and nineteenth centuries, is an exhibition organized by the Uffizi Galleries and arranged in the Gallery of Modern Art of Pitti Palace. Curated by Piergabriele Mancuso, Alice S. Legé and Sefy Hendler (The Medici Archive Project), the exhibition can be visited until January 28, 2024.
The ghetto of Florence was established in 1570 by Cosimo I and Carlo Pitti, and was demolished between 1892 and 1895. For almost three centuries the ghetto was the gravity point of Hebraism in Florence.
Subdivided into five sections,the exhibition draws from the extraordinary cultural heritage of Florence as well as from important international loans. It reveals a significant and forgotten chapter of the Medici’s political strategy in a centuries-old context of conflicts, diplomacy and cultural exchanges.
The exhibition starts with the Florence of Cosimo the Elder and Lorenzo the Magnificent; illuminated manuscripts commissioned by Jewish and Medici patrons, which was the result of the interaction between Jewish scribes and Christian artists of the early Tuscan Renaissance; loans from the Jewish Theological Seminary of New York and many Italian libraries. Republican and Medicean imagery intertwine in the depiction of paradigmatic biblical figures, “Jewish heroes” such as Donatello’s bronze David (on loan from the Berlin Museums), or Joseph from the series of tapestries woven in Flanders for Cosimo I. The exhibition places mythical figures alongside real ones, revealing little-known pieces of the history of Florentine Judaism, such as the activity of the explorer Moisè Vita Cafsuto or that of the Jewish painter Jona Ostiglio, whose pantings were all commissioned by the Medici court, together with the self-portrait of Isaia or David Tedesco, a little-known author who was probably a pupil of Ostiglio in the first ever art workshop inside an Italian ghetto.
A place of segregation, but also the fulcrum of an important human, cultural and spiritual microcosm, the ghetto of Florence is also reconstructed through a three-dimensional model, the result of a decade of research conducted by the Eugene Grant Jewish History Program of The Medici Archive Project.
Caring about the multiplicity of audiences and the need to break down prejudices and stereotypes, the exhibition investigates the way in which the history of the Grand Duchy is intertwined with that of the Jewish minority, finally shedding light on the events of an important and so far little known chapter of the Renaissance Florence.
The JTS Library exhibit, “A Sacred Space: Synagogue Architecture and Identity” (October 26, 2023 to March 7, 2024), offers an opportunity to view a large selection of rare prints depicting historic synagogues. The exhibit, co-curated by Samuel D. Gruber and Sharon Liberman Mintz, traces the history of European synagogue styles from the 17th to the 19th century, exploring how the image of the synagogue was used by Christians and Jews to present often conflicting ideas of Jewish identity. The 42 prints on view—selected from books, art prints, magazines, and newspapers—showcase a wide range of synagogue types. Notably, the pace of production of these images accelerated in the 19th century, when we first encounter Jewish architects of synagogues, along with the Jewish artists who depicted them.
The exhibit features images of synagogues from the Netherlands, England, France, Austria, and Germany, ending on American shores. Images of the latter will allow us to consider how this pictorial tradition would evolve in a country of immigrants that boasted of religious freedom and cultural pluralism.
The opening event of an exhibition that runs until March 7, 2024 — a large selection of rare prints depicting historic synagogues, co-curated by Samuel D. Gruber and Sharon Liberman Mintz.
The event features a lecture by Samuel D. Gruber: “The Image of the Synagogue in Prints: Architecture and Identity.”
The 42 prints on view—selected from books, art prints, magazines, and newspapers—showcase a wide range of synagogue types. Notably, the pace of production of these images accelerated in the 19th century, when we first encounter Jewish architects of synagogues, along with the Jewish artists who depicted them.
The exhibit will feature images of synagogues from the Netherlands, England, France, Austria, and Germany, ending on American shores.
An exhibit that documents the urban and architectural experience of the historic ghetto in Verona. It is mounted in connection with Holocaust Remembrance Day, January 27.
Opening hours are:
Mondays 14:00 – 19:00
Tuesday-Saturday 9:00 – 19:00
Special opening
Sunday January 28 9:00 – 19:00
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