#Judenplatz

[vienna-city]

memorial. judenplatz. wien.

[wachendlichauf]

"Ins Gesicht gespuckt" – Menge stoppt FPÖ-Rosenkranz bei Holocaust-Gedenken | Heute.at

[ganhosdoelefante]

Viena - 28 de julho de Ano 3 - Sábado - Doc - 27 anos

08:00 - Acordamos, tomamos banho e nos arrumamos. 08:40 - Tomamos café:

09:10 - Saímos para visitar uma vinícola. 09:33 - Chegamos: Weingut Wien Cobenzl

12:00 - Voltamos. 12:25 - Almoçamos: Joyce Café Restaurant

14:00 - Voltamos e dormimos. 16:00 - Acordo e estudo:

18:00 - Bebemos um drink na pool:

18:45 - Tomamos banho e nos arrumamos para sair. 19:40 - Jantamos, só os dois: die Feinkosterei Judenplatz

21:30 - Voltamos e dormimos (L).

[schreibtischschublade]

Rachel Whiteread, Holocaust-Mahnmal, Wien, Judenplatz

[vienna2023]

Day #2 -Melissa

Today’s goal was to gain perspective on Vienna with a look into the city’s early history. We kicked off the day’s activities with a visit to Vienna’s Römermuseum. Artefacts, plaques, and videos are spread out over three floors to give a brief overview of the Roman’s settlement of Vindobona (the Roman word for Vienna) from the end of the 1st century to the beginning of the 5th century. Some of the highlights of the museum were the descriptions of the Roman’s aqueduct, waste management, and heating systems.

Under-floor heating was created by hot air (from a fire in the next room or the courtyard) circulating through the hollow spaces beneath the floor and up the interior of the walls to the roof.

It is strange to realize that this sophisticated culture and society was immediately followed by the Dark Ages. An entire empire slowly faded from memory and was literally trampled underfoot by the civilizations that came after. The modern city of Vienna stands a top the ruins of a complex and fascinating civilization.

Without straying too far from the topic of subterranean historical artefacts, our next stop was the catacombs under Stephansplatz. Although pictures were not allowed, the tour was a memorable experience. A group of very alive tourists eagerly entered an underground grave that holds the remains of hundreds of people. Some of these remains are stored in coffins or jars in rooms decorated with statues and plaques. Other rooms are filled with countless bones stacked like firewood to save space. These latter rooms are partially the result of the bubonic plague that killed a third of Europe in the 14th century. Although most bodies were carried outside of the city during this time, some of the wealthy and influential members of the city were buried in the catacombs. The overwhelming number of bodies resulted in the need to fill rooms with stacks of bones.

There is an interesting question that arises when hearing about those that were buried in the catacombs during the plague. As mentioned by our tour guide, the reason for preserving the remains of those passed on was to prepare them for the resurrection. Whether or not this idea is theologically accurate, it indicates that the wealthy were seen as more valuable than the middle and lower classes. Were the souls of the poor not as important as those of the wealthy? Even in death, the poor and the rich were not equals.

The third stop of the day was Judenplatz, the centre of Jewish culture in Vienna during the Middle Ages.

This square has seen a lot of tragedy in the past 600 years. In the early 1400s, the emperor began to purge the city of Jews. As a form of protest against the imprisonment, torture, and executions committed by the government against the Jews, the rabbi and other Jewish leaders locked themselves in Judenplatz’s synagogue, eventually burning the building down on top of themselves. The remaining Viennese Jews were eradicated, and they only began returning to the city in the 1700s. Today you can find a plaque on the street that indicates the spot the old synagogue’s alter used to stand.

The atrocities committed against Jews in Vienna did not end in the Middle Ages. A Holocaust memorial in the centre of the square commemorates the 65,000 Austrian Jews that were killed by the Nazis between 1938 and 1945. The memorial is simple yet powerful. The cement around it lists the names of the death camps that Jews were sent to during WWII. The stone structure depicts shelves of books with the spines facing inward, making it impossible for viewers to read the book titles. The closed doors have no handles. These subtle details signify the powerlessness of the nameless victims of Nazi gas chambers and leave the observer sobered and thoughtful.

The final two activities of the day were slightly more cheerful. We were able to visit St. Rubert’s Church, which is the oldest church in Vienna. The green vegetation surrounding the old stone building was beautiful, and we were fortunate enough to be able to enter the church and admire the stunning stained-glass windows.

After contemplating the dark side of Vienna’s history at the Holocaust memorial, it was uplifting to visit such a beautiful and sacred part of the city’s heritage. To further lift our spirits, in the evening we attended a solo piano recital at the Musikverein. A lovely mixture of Schubert, Schoenberg, Mozart, and Beethoven was the perfect way to end the day. On that lovely note (pun intended), Day 2 came to an end.

From underground Roman ruins, rooms of bones, and Holocaust memorials, to small stone churches and piano sonatas played in stunning concert halls, Vienna's culture has been formed by layers of history. Each layer, whether ugly or beautiful, has all had a part to play in creating a rich and fascinating history.

[theworldthroughmycamerassc]

Judenplatz - Vienna, Austria

[coffeenewstom]

Jüdisches Museum Wien: „Endlich Espresso! Das Café Arabia am Kohlmarkt“

Jüdisches Museum Wien: „Endlich Espresso! Das Café Arabia am Kohlmarkt“

Das Jüdische Museum Wien, ein Museum der Wien Holding, bringt bis 23. Oktober 2022 im Museum Judenplatz die in Vergessenheit geratene Geschichte des Café Arabia und seines Gründers Alfred Weiss (1890-1973) wieder ins Bewusstsein der Stadt zurück. Am 10. März 1951 eröffneten der Unternehmer Alfred Weiss und der Gastronom Alfred Peysar am Kohlmarkt 5, mitten in der Wiener Innenstadt, damals…

[francoisbry]

Judenplatz, Vienna, Austria, 9 December 2017

Licensed under Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Germany (CC BY-NC-ND 3.0 DE)

[vienna-city]

judenplatz. wien.

[erfigh]

Museum Judenplatz. #museumjudenplatz #judenplatz #judenplatzwien #judenplatzvienna #viena #vienna #vienna_city #wien #viena2019 #wien2019 #viennachristmasmarket #vienna2019 #austria #osterreich #osterreich🇦🇹 #austria🇦🇹 #holocaustmuseum #holocaustmemorial (en Museum Judenplatz) https://www.instagram.com/p/B6DBaNCqhW3/?igshid=rokdn6fts7ir

[pictoturo]

Vienna! #vienna #vienna🇦🇹 #austria #wien #sights #sightseeing #church #architecture #pictoturo #judenplatz

[gagosiangallery]

Rachel Whiteread at Gagosian Grosvenor Hill, London

March 8, 2021

RACHEL WHITEREAD Internal Objects

April 12–June 5, 2021 20 Grosvenor Hill, London __________ As an artist you create a language, you create depth to a language, you change the language. —Rachel Whiteread Gagosian is pleased to present Internal Objects, an exhibition of new work by Rachel Whiteread. Whiteread employs the formal language of Minimalism, taking cues from its emphasis on geometric seriality, yet adds a quietly emotive aspect, maintaining an acute sensitivity to objects’ minor details and subtle markers of use and human irregularity. Over the past four decades, she has used the method of casting on both “low” materials such as concrete, resin, rubber, and plaster, as well as more traditional sculptural materials, such as bronze. Whether they take the form of monumental public installations or small, intimate objects, Whiteread’s forms imply hidden narratives and secret histories. She employs existing artifacts and spaces—including domestic objects like chairs and mattresses, interiors of rooms, and even, famously, an entire terraced house—to evoke and explore corporeal presence. Notably, her deft use of negative space can imply a thing that’s gone and been reincarnated. In this exhibition, this suggestion of haunting, or ghostliness, is manifested in a different way. In Detached 1, Detached 2, and Detached 3 (all 2012), which she installed at Gagosian London in 2013, Whiteread rendered the empty interiors of three garden sheds in concrete and steel. Now, in Internal Objects, she has again created cabin-like structures but has, for the first time, eschewed casting existing objects in favor of building original ones. Poltergeist (2020) and Döppelganger (2020–21), which will occupy the two main rooms of the Grosvenor Hill gallery, are made of found wood and metal that has been meticulously overpainted in white household paint.

While Whiteread’s sheds of a decade ago were closed, the new sculptures are open, inverting the formal system of their predecessors. They suggest that something catastrophic has occurred, allowing nature to take over. Whiteread was inspired by her reading of John Steinbeck, and by her experience of driving through the Mojave Desert and Death Valley in California after installing two sculptures in Joshua Tree National Park in 2017. Although the new works represent a departure from her established sculptural process, they continue her overall project in considering the intimate haptic qualities of the spaces that surround us. The exhibition will also feature a new body of sculptures in resin and new works on paper, as well as recent cast sculptures in bronze, similar to works in bronze Whiteread made in 2000–10, and exhibited at a major retrospective at Tate Britain in 2017. A fully illustrated catalogue, including a short story by John Steinbeck and an essay by Richard Calvocoressi, will be published to accompany the exhibition. Rachel Whiteread was born in 1963 in London, where she lives and works. Collections include Tate, London; National Galleries of Scotland, Edinburgh; Centre Pompidou, Paris; Metropolitan Museum of Art, New York; and Museum of Modern Art, New York. Exhibitions include Serpentine Gallery, London (2001); Transient Spaces, Deutsche Guggenheim, Berlin (2001); Walls, Doors, Floors and Stairs, Kunsthaus Bregenz, Austria (2005); Museo d’Arte Contemporanea Donnaregina, Naples (2007); Drawings, Hammer Museum, Los Angeles (2010); and Tate Britain, London (2017–18, traveled to Belvedere 21, Vienna; National Gallery of Art, Washington, DC; and Saint Louis Art Museum, through 2019). Public commissions include House (London, 1993), Water Tower (New York, 1998), Judenplatz Holocaust Memorial (Vienna, 2000), Monument (Trafalgar Square, London, 2001), US Embassy (Flat pack house) (2013–15, installed at the US Embassy, London, in 2018), and Cabin (Discovery Hill, Governors Island, New York, 2016). She is the recipient of the 1993 Turner Prize, among other awards. _____ Rachel Whiteread, Poltergeist, 2020 (detail), corrugated iron, beech, pine, oak, household paint, and mixed media, 120 1/8 × 110 1/4 × 149 5/8 inches (305 × 280 × 380 cm) © Rachel Whiteread. Photo: Prudence Cuming Associates

[theworldthroughmycamerassc]

Judenplatz - Vienna, Austria

[doodlebette]

Concrete: Art History Assignment 2

The Nameless Library (also known as the Judenplatz Holocaust Memorial) was built in 1988 by Rachel Whiteread. It was created to honour Austrian victims of the Holocaust and is located in Vienna.

Whiteread wanted to show how the victims were people with vast knowledge and skills. Their deaths led to a cultural genocide, with stories and traditions being lost, entire communities killed. The walls of the memorial are cast concrete books, facing outwards, so you cannot see what the titles are. This is to make it more universal, but also to represent how the knowledge has been lost. During the Holocaust, many books and religious texts were destroyed.

Similarly, the doors of the library have no handles, so you can’t get inside to retrieve the information.

The use of concrete is very effective here, as it has been cast and poured into precise shapes. Whiteread speaks about this memorial and says how it was never meant to be beautiful, it was meant to hurt, and the bleakness of the concrete helps portray that. The construction of the memorial itself is very intricate, but there is no ornamentation or frills.

The only carved details are small engravings on the base of the memorial, listing the names of the concentration camps at which the victims were killed. On the concrete below the locked doors is the estimated number of Austrian victims. In the centre, there is a Star of David.

Image via: Wikipedia