Franz Weissmann (1911-2005) — Escultor do espaço brasileiro judaico/Escultor del espacio judío-brasileño/Brazilian Jewish Sculptor of Space — “Fuera e adentro”/”Afuera y adentro”/”Outside and Inside”

Franz Weissmann

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Franz Weissman (1911-2005) Escultor, desenhista, pintor e professor. Veio para o Brasil em 1921. No Rio de Janeiro, entre 1939 e 1941, frequenta cursos de arquitetura, escultura, pintura e desenho na Escola Nacional de Belas Artes (Enba). De 1942 a 1944, estudou desenho, escultura, modelagem e fundição com August Zamoyski (1893-1970). Em 1945, muda-se para Belo Horizonte, onde dá aulas particulares de desenho e escultura. Três anos depois, Guignard (1896-1962) o convida a lecionar escultura na Escola do Parque, que mais tarde recebe o nome de Escola Guignard. Inicialmente, desenvolve um trabalho baseado no figurativismo. A partir da década de 1950, vai elaborando gradativamente uma obra de cunho construtivista, valorizando as formas geométricas, submetendo-as a cortes e dobras, utilizando chapas de ferro, fios de aço, alumínio em dintel ou chapa. Ingressou no Grupo Frente, em 1955. No ano seguinte, voltou ao Rio de Janeiro e participou da Mostra Nacional de Arte Concreta, em 1957. Foi um dos fundadores do Grupo Neoconcreto, em 1959. Nesse ano, viajou para a Europa e Extremo Oriente, retornando ao Brasil em 1965. Na década de 1960, expôs a série Amassados, feita na Europa com chapas de zinco ou alumínio trabalhadas com martelo, clava e instrumentos de ponta, aliando-se temporariamente ao informalismo. Depois, volta aos aspectos construtivos. Na década de 1970, recebeu o prêmio de melhor escultor pela Associação Paulista de Críticos de Arte (APCA), participou da Bienal Internacional de Escultura ao Ar Livre, em Antuérpia, na Bélgica, e da Bienal de Veneza. Realiza esculturas monumentais para espaços públicos de várias cidades brasileiras, como a Praça da Sé, em São Paulo, o Parque da Catacumba, no Rio de Janeiro e o Palácio das Artes, em Belo Horizonte.

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Franz Weissmann (1911-2005) Escultor, dibujante, pintor y maestro, llegó a Brasil en 1921. En Río de Janeiro, entre 1939 y 1941, asistió a cursos de arquitectura, escultura, pintura y dibujo en la Escuela Nacional de Bellas Artes ( En BA). De 1942 a 1944 estudió dibujo, escultura, modelado y fundición con August Zamoyski (1893-1970). En 1945 se trasladó a Belo Horizonte, donde impartió clases particulares de dibujo y escultura. Tres años más tarde, Guignard (1896-1962) lo invitó a enseñar escultura en la Escola do Parque, que más tarde recibió el nombre de Escola Guignard. Inicialmente he desarrollado un trabajo basado en el figurativismo. A partir de la década de 1950, poco a poco elaboró ​​una obra de carácter constructivista, valorando las formas geométricas sometiéndolas a cortes y pliegues, utilizando planchas de hierro, alambres de acero, aluminio en dintel o chapa. Ingresó al Grupo Frente, en 1955. Al año siguiente, regresó a Río de Janeiro y participó en la Exposición Nacional de Arte Concreto, en 1957. Fue uno de los fundadores del Grupo Neoconcreto, en 1959. En ese año, viajó a Europa y Extremo Oriente, regresando a Brasil en 1965. En la década de 1960 expone la serie Amassados, realizada en Europa con láminas de zinc o aluminio trabajadas con martillo, maza e instrumentos afilados, alineándose temporalmente con el informalismo. Más tarde, volví al estilo constructivo. En la década de 1970, recibí el premio por mejor escultor de la Asociación de Críticos de Arte de São Paulo (APCA), participó en la Bienal Internacional de Escultura al Aire Libre, en Amberes, Bélgica, y la Bienal de Venecia. Creó esculturas monumentales para espacios públicos en varias ciudades brasileñas, como Praça da Sé, en São Paulo, Parque da Catacumba, en Río de Janeiro y Palácio das Artes, en Belo Horizonte.

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Franz Weissmann (1911-2005) Sculptor, draughtsman, painter and teacher, came to Brazil in 1921. In Rio de Janeiro, between 1939 and 1941, he attended courses in architecture, sculpture, painting and drawing at the National School of Fine Arts (Enba). From 1942 to 1944, he studied drawing, sculpture, modeling and casting with August Zamoyski (1893-1970). In 1945, he moved to Belo Horizonte, where he taught private lessons in drawing and sculpture. Three years later, Guignard (1896-1962) invited him to teach sculpture at Escola do Parque, which later received the name Escola Guignard. Initially, he developed work based on figurativism. From the 1950s onwards, he gradually elaborated a work of a constructivist nature, valuing geometric shapes, submitting them to cuts and folds, using iron plates, steel wires, aluminum in lintel or sheet. He joined Grupo Frente, in 1955. The following year, he returned to Rio de Janeiro and participated in the National Exhibition of Concrete Art, in 1957. He was one of the founders of Grupo Neoconcreto, in 1959. In that year, he traveled to Europe and the Far East, returning to Brazil in 1965. In the 1960s, he exhibited the Amassados ​​series, made in Europe with zinc or aluminum sheets worked with a hammer, club and sharp instruments, temporarily aligning himself with informalism. Later, he came back to the constructive style. In the 1970s, he received the award for best sculptor from the São Paulo Association of Art Critics (APCA), participated in the International Biennial of Outdoor Sculpture, in Antwerp, Belgium, and the Venice Biennale. He created monumental sculptures for public spaces in several Brazilian cities, such as Praça da Sé, in São Paulo, Parque da Catacumba, in Rio de Janeiro and Palácio das Artes, in Belo Horizonte.

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O vazio sempre foi uma grande obsessão minha, o vazio ativo e não o vazio morto. O vazio está activo em relação ao conjunto de elementos de que dispõe [ao conjunto de elementos que ele tem]. Sempre tive a obsessão de não fechar portas, de abrir as janelas para ver, através delas, o mundo. Mesmo nas minhas figuras já trabalhei com o vazio, perfurei as figuras em argila e papel.”

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El vacío fue siempre una gran obsesión mía, el vacío activo y no el vacío muerto. El vacío es activo en relación con el conjunto de elementos que tiene [ao conjunto de elementos que ele tem]. Siempre tuve la obsesión de no cerrar puertas, de abrir las ventanas para ver, a través de ellas, el mundo. Incluso en mis figuras ya trabajé con el vacío, perforé las figuras en arcilla y papel.

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The void was always a great obsession of mine, the active void and not the dead void. The void is active in relation to the set of elements that it has [ao conjunto de elementos que ele tem]. I always had the obsession of not closing doors, of opening the windows to see, through them, the world. Even in my figures I already worked with the void, I pierced the figures in clay and paper.”

Franz Weismann

Renato Rodrigues da Silva (2021) The (neo)concrete sculptures of Franz Weissmann: between heaven and earth, World Art, 11:1, 41-70, DOI: 10.1080/21500894.2020.1737213

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Escultura exterior/Escultura de afuera/Outdoors Sculpture

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Escultura e arte plastica/Escultura y arte visual /Sculpture and Art

Uma escultura em MOMA/A sculpture in MOMA

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Franz Weissmann

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Livros/Books

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Harry Abend (1937-2021)– Un homenaje/An Homage — Escultor, arquitecto y orfebre judío-venezolano/Venezuelan Jewish Sculptor and Architect and Goldsmith– “Lo inesperado”/ “The Unexpected”

Harry Abend. Arquitecto, escultor y orfebre judío-polaco-venezolano. Su obra, se expuso en Caracas, Valencia, Brasil, Londres y Nueva York. Y en ella usó bronce, madera, cemento y otros.Nacido en Yaroslau, Polonia en 1937, llegó a Venezuela a los 11 años de edad. Comenzó a trabajar como escultor a partir de 1958, cuando estudiaba en la Facultad de Arquitectura y Urbanismo de la Universidad Central de Venezuela. Abend inició su actividad expositiva en 1961 y, en 1963, obtuvo el Premio Nacional de Escultura con la obra “Forma”. Un año después trabajó en Caracas junto con el escultor inglés Kenneth Armitage y artistas jóvenes venezolanos. En 1967 egresó de la Facultad de Arquitectura y Urbanismo de la UCV. A finales de esta década realizó relieves que fueron integrados a la arquitectura de varios edificios caraqueños, entre ellos la Sinagoga de la Unión Israelita (1969) y el Hotel Caracas Hilton, hoy Hotel Alba Caracas (1969). También la Sala Plenaria de Parque Central (1974) y la Sinagoga de la Asociación Beth-El (1974-1975). Pero fundamentalmente destacado su trabajo en el Teatro Teresa Carreño (1980-1982). Luego, en 1976, el artista se mudó a Londres donde continuó desarrollando sus trabajos en madera y metal. Allí expuso en galerías como la Roundhouse Gallery y la Hayward Gallery. Pero en la capital británica vivió hasta 1982, cuando volvió a Venezuela. En los últimos años Harry Abend continuó trabajando y exponiendo. En 2019, como parte de la exhibición “Harry Abend: lo inesperado”, de la Sala Mendoza, lanzó un libro retrospectivo de su obra .

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Harry Abend. Polish Venezuelan Jewish architect, sculptor and goldsmith. His work was exhibited in Caracas, Valencia, Brazil, London and New York. And in it he used bronze, wood, cement and others.Born in Yaroslau, Poland in 1937, he came to Venezuela at the age of 11. He began working as a sculptor in 1958, when he was studying at the Faculty of Architecture and Urbanism of the Central University of Venezuela. Abend began his exhibition activity in 1961 and, in 1963, he won the National Sculpture Prize with his work”Forma.” A year later he worked in Caracas together with the English sculptor Kenneth Armitage and young Venezuelan artists. In 1967 he graduated from the UCV Faculty of Architecture and Urbanism. At the end of this decade he made reliefs that were integrated into the architecture of several Caracas buildings, among them the Synagogue of the Israelite Union (1969) and the Hotel Caracas Hilton, today Hotel Alba Caracas (1969). Also the Central Park Plenary Hall (1974) and the Beth-El Association Synagogue (1974-1975). But his work at the Teresa Carreño Theater (1980-1982) was outstanding. Then, in 1976, the artist moved to London where he continued to develop his works in wood and metal. There he exhibited in galleries such as the Roundhouse Gallery and the Hayward Gallery. But he lived in the British capital until 1982. In recent years, Harry Abend continued working and exhibiting. In 2019, as part of the exhibition “Harry Abend: the unexpected” by Sala Mendoza, he launched a retrospective book of his work.

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Arte público/Public art

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Universidad Central de Venezuela

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Escultura /Sculpture

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Arquitectura/Architecture

Sinagoga de la Asociación Beth-El

Interior

Sinagoga de la Unión Israelita

Hotel Alba Caracas, antes el Hilton Caracas

Fachada del Teatro Teresa Carreño

Sala Plenaria del Parque Central

Oficinas corporativas en Caracas

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Livio Abramo (1903-1993)– Gravador e aquerelista judeu-brasileiro-paraguaio/ Grabador y acuerleista judío-brasileiro-paraguayo/Brazilian Paraguayan Jewish Engraver and Watercolorist — Maestro em dois paises/Maestro en dos países/Master Artist in two countries

Livio Abramo

,Livio Abramo foi um desenhista, gravador e aquarelista paraguaio nascido no Brasil. Abramo nasceu em Araraquara, Brasil, filho de pais ítalo-judeus de origem sefardita. Ele descreveu seu pai como um liberal e seu avô paterno como um anarquista. Apesar de ter nascido no Brasil, adotou o Paraguai como nação e foi neste país que produziu grande parte de suas obras. Ele é considerado “um jogador-chave no desenvolvimento da arte moderna paraguaia”. Em seu livro Estágios de um itinerário: grabados, dibujos, acuarelas de Livio Abramo Abramo, Abramo afirmava que suas habilidades artísticas eram totalmente autodidáticas e que muitas de suas criações eram inspiradas em suas visões políticas. Os estudiosos consideram-no influenciado por Oswaldo Goeldi e por expressionistas alemães como Käthe Kollwitz.

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Livio Abramo fue un grabador y acuarelista paraguayo, nacido en Brasil. Abramo nació en Araraquara, Brasil, hijo de judíos italiano de origen sefardí. Describió a su padre como liberal y a su abuelo paterno como anarquista. A pesar de haber nacido no Brasil, adoptó a Paraguay, como nación y en este país produjo gran parte de sus obras. Es considerado “un jugador clave en el desarrollo del arte moderno paraguayo”. En su libro Etapas de un itinerario: grabados, dibujos, acuarelas de Livio Abramo, él afirmó que sus dotes artísticas fueron completamente autodidactas y que muchas de sus creaciones se inspiraron en sus opiniones políticas. Los estudiosos consideran que fue influenciado por Oswaldo Goeldi y por expresionistas alemanes como Käthe Kollwitz.

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Livio Abramo was a Brazilian-born Paraguayan sketcher, engraver, and aquarellist.
Abramo was born in, 1903, in Araraquara, Brazil to Italian-Jewish parents of Sephardic background. He described his father as a liberal and his paternal grandfather as an anarchist. Although born in Brazil, he adopted Paraguay as his nation and it was in this country that he produced much of his work. He is considered to be “a key player in this development of Paraguayan modern art.” In his book Etapas de un itinerario: grabados, dibujos, acuarelas de Livio Abramo ,Abramo claimed that his artistic skills were entirely autodidactic, and that many of his creations were inspired by his political views. Scholars consider him to be influenced by Oswaldo Goeldi and by German expressionists such as Käthe Kollwitz.

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Livio Abramo

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Stella Sidi — Artista visual judío-bulguro-argentina/Bulgarian Argentine Jewish artist– “La vuelta al mundo en 270 días” y otras obras esenciales/”Around the World in 270 Days” and Other Essential Works

Stella Sidi

Stella Sidi nació en Sofía, Bulgaria, junto a sus  padres  iniciaron un éxodo por la persecución nazi,  un largo viaje hasta Buenos Aires. Argentina, donde tenían parientes.

Allí se establecieron. Através de un cuaderno, bitácora de viaje de su mamá se generó una gran muestra sobre la epopeya familiar, en Argentina y en  Bulgaria, auspiciada por la Vice-presidente de su país de nacimiento  (2016/2019)

Estudió en las Escuelas Nacionales de Bellas ARTES obteniendo el título de profesora. Completó sus estudios con diferentes seminarios. Coordina su estudio de enseñanza artística desde el año 1983. Participó en numerosas Ferias Nacionales e Internacionales. Concursó en gran cantidad de Salones Nacionales e Internacionales,  también por Internet. Integró muchas muestras colectivas en el país y el exterior. Obtuvo 20 Premios. Columnista de Artes Plásticas desde 1995. A partir de 1999 dirige y produce  su propio programa dedicado a las Artes Visuales. Actualmente en www.conexionabierta.com.ar, sábados de 4 a 5 pm hora argentina.

Su sitio web es: http://www.stellasidi.com.ar

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Stella Sidi was born in Sofia, Bulgaria, together with her family, made an exodus from Nazi persecution and a long voyage to Buenos Aires. Argentina, where they had relatives.

They settled there. Through a notebook, the travel diary of her mother, a great exhibition was created about the family epic, in Argentina and in Bulgaria, sponsored by the vice president of his country of birth (2016/2019)

She studied at the National Schools of Fine Arts obtaining the title of teacher. She completed her studies with different seminars. Since 1983, She has coordinated her workshop for art study since 1983. She participated in numerous National and International Art Fairs. She participated in a large number of National and International Salons and also online.She joined many group exhibitions in the country and abroad. She obtained 20 Awards.Stella Sidi has been an Arts Columnist since 1995. Since 1999 he directs and produces her own program dedicated to the Visual Arts. Currently at www.conexionabierta.com.ar , Saturdays from 4 to 5 pm Argentine time.

website http://www.stellasidi.com.ar.

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Anuncio/Announcement

 Con motivo del 90 aniversario del establecimiento de relaciones diplomáticas entre Bulgaria y Argentina por invitación del Instituto Estatal de Cultura al Ministro de Relaciones Exteriores Fondo Nacional de Endowion “13 Siglos Bulgaria” presenta la exposición “Tour del Mundo por 270 Días” de Stella Sidi en el Ministerio de Relaciones Exteriores. La exposición forma parte de la colección de NDF “13 Siglos Bulgaria”. Se presenta por primera vez en 2019 bajo el patrocinio de la Sra. Iliana Yotova, Vicepresidenta de la República de Bulgaria, en el Salón “Prof. Dr.Sc.(Econ.) Vasil Gerov” del Fondo.

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On the occasion of the 90th anniversary of the establishment of diplomatic relations between Bulgaria and Argentina at the invitation of the State Institute of Culture to the Minister of Foreign Affairs National Endowion Fund “13 Centuries Bulgaria” presents the exhibition “World Tour for 270 Days” by Stella Sidi in the Ministry of Foreign Relations. The exhibition is part of the NDF collection “13 Centuries Bulgaria”. It is presented for the first time in 2019 under the patronage of Ms Iliana Yotova, Vice President of the Republic of Bulgaria, in the “Prof. Dr.Sc. (Econ.) Vasil Gerov” Hall of the Fund.

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La vuelta al mundo en 270 días/Around the World in 270 Days — Libro de artista/Artist’s Book

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Proyecto de valorización de la memoria vivida y recreada con el presente en forma cinematográfica, mixturando soportes,técnicas, hechos y palabras no lineales. Un cuaderno, bitácora de viaje escrito en francés, del viaje de 9 meses de Sofía (Bulgaria) a Buenos Aires que realicé junto a mis padres en época de crisis causada por la guerra mundial, es el disparador. bordamos países como Turquía, Irán, Irak, India, China Japón, Hawaii, Estados Unidos. Atravesamos desiertos, mares, en barcos colmados de soldados, transcurriendo días en distintos puertos hasta conseguir nuevos destinos, sin pasajes definitivos. El viaje fué concebido a través del océano Pacífico y no del Atlántico. . . Una aventura emprendida con ansias de arribar a un destino seguro y esperanzador. Un reconocimiento al país cobijador,Argentina, y sobre todo revalorizar una epopeya moderna desde un objetivo simple como vivir en paz.

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A project of that valued the lived and recreated memory and with the present in cinematographic form, mixing supports, techniques, words and words in linear format. A notebook, a travel booklet written in French, of a 9-month trip from Sofia, Bulgaria to Buenos Aires, held together by my parents during the crisis caused by the World War, is the trigger. We touch on countries like Turkey, Iran, Irak, India, China Japan, Hawaii, United States. We cross deserts, seas, in the thatched boats of soldiers, spending days in different ports until we reach new destinations, without definitive passages. The journey was conceived across the Pacific Ocean, and not in the Atlantic. . . An adventure undertaken with the desire to arrive at a safe and hopeful destiny. A recognition of the coveted country, Argentina, and above all, giving new value to a modern epic from a simple objective like living in peace.

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Pinturas/Paintings

La nave va. . ./The Ship Leaves. . .50 x 150
Visceral – técnica mixta 30 x 30
Guerra en el mar/War at sea – técnica mixta 40 x 40
Llegada/ Arrival – 100 x 70 técnica mixta.jpg

Libro de artista/Artist’s Book

La vuelta al mundo en 270 días
La vuelta al mundo en 270 días-detalles

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Obras esenciales/Essential Works

Afodita

Afodita-esgrafiado-y-lápiz-sobre-bastidor-100-x-80-980×779

Pandemia

De la serie en pandemia. Tramando -técnica mixta sobre papel- 50 x 70
De la serie Pandemia. Resurgimiento-tinta-lapiz-remolacha-sobre-bastidor-con-fondo-semi-cubierto-con-acrilico-blanco-100-x-70

Costuras y Suturas/Sewing and Sutures

Costuras-y-suturas-técnica-mixta-80-x-100
Costuras-y-suturas–tinta sobre bastidor – 100 x 120
costuras-y-suturas-lápiz sobre papel – 100 x. 80

De varias series/From different series

Besos-brujos/Kiss-Wizards-tinta-50×50
De-la-serie-MACROME/,-Paternidad/Paternity-70-x-100-lápiz-sobre-papel.
De-la-serie-celulas/cells-4-remolacha-te-mate-lapiz-color-acrilico-collage-en-papel-para-acuarela-antiguo-70-x-50
de-la-serie-piel/skin-técnica-mixta-sobre-papel-35-x-70-677×1024

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Tova Schvartzman — Poeta y artista visual judío-argentina/Argentine Jewish Poet and Artist– “De Grietas y Entretantos”/ “Of Fissures and Meanwhiles” — páginas seleccionadas con obras de arte/selected pages with artworks

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Tova Schvartzman

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GRACIELA SHVARTZMAN (TOVA) es Licenciada en Sociología por la Universidad de Buenos Aires y Licenciada en Historia Judía por el Instituto de Ciencias Judías de Buenos Aires. Ha sido profesora universitaria en Psicoanálisis en la Universidad de Buenos Aires, y otras Universidades, Ha ocupado cargos de dirección en la comunidad judía en Argentina, así como en programas nacionales y de Naciones Unidas (PNUD). Ha colaborado activamente en el tratamiento de las víctimas del atentado a la Embajada de Israel en Argentina, y de las víctimas del atentado de Amia en Buenos Aires y ha formado parte de la Comisión de Investigación de la DAIA sobre los judíos desaparecidos durante la dictadura. Ha impartido conferencias en Madrid, Jerusalén, Tel Aviv, etc. y ha escrito artículos sobre cultura y mitos judíos. Ha publicado “De Grietas y Entretantos” (libro de poesía). Ha realizado libros de artista (“En cualquier aquí”, “Evanescencia”) y aún investiga este campo. Ha sido parte de LABA BA desde el principio, enseñando fuentes judías.

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GRACIELA SHVARTZMAN (TOVA) has a degree in Sociology from the University of Buenos Aires, and a degree in Jewish History from the Institute of Jewish Sciences of Buenos Aires. She has been a university teacher in Psychoanalysis in the University of Buenos Aires, and others Universities, She has held positions of direction in the Jewish community in Argentina, as well as in national programs and the United Nations (UNDP). She has actively collaborated in the treatment of the victims of the attack on the Israeli Embassy in Argentina, and of the victims of the Amia attack in Buenos Aires and has been part of the DAIA Commission of Investigation on the disappeared Jews during the dictatorship. She has given conferences in Madrid, Jerusalem, Tel Aviv, etc. and has written articles on Jewish culture and myths. She has published “De Grietas  y Entretantos” (poetry book). She has made artist´s books (“En cualquier aquí”, “Evanescencia”)  and still investigates this field. She has been part of LABA BA from the beginning, teaching Jewish sources.  

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De Grietas y Entretantos/ Of Fissures and Meanwhiles

To My Father

I copy you without knowing it

in my eyes raw

with dampness.

In your painful chest

In your silence.

You see,

that there I copy you poorly.

I let you be alone.

I note down in the calendar

the days for grieving.

So that you can understand me

I write you words

without letters.

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Shiva

I grief for you,

papa,

in the covered mirrors

of my eyes.

In each of the seven days

and the seven nights

of still to come.

I miss you,

papa,

in the echo of your last word

In my daughters.

I grief for you

seated under the warm ashes.

There in Gan Eden

I grieve for you,

papa.

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a

When they gave me birth.

it was carnaval season in Buenos Aires.

They named me first,

And my father

gave my mother

a camelia.

They softly bound me.

The cloth still kept me rigid.

At times I stuck out an arm,

rebelled with a foot.

I raise my head

but the knot stays there

without untying.

My father told me that

in the carnival season in Buenos Aires

there were marionettes

when they gave me birth.

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Mi madre y yo

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b

What did I do with the fire?

I taught it to behave itself

around people,

to conceal the slights,

to sit up straight

I spoke into its ear

quieting it.

I told it:

“Quiet, it’s dangerous.”

Later. After a while.

not now,

slowly.

And the fire paid attention to me.

I domesticated its flames

and I restrained my hands.

What did I do with the fire

when the others lit their torches,

they were experts in fires?

I kept it the same,

small,

with the necessary coal.

And I lost the flames

the true sparks

of love and hate.

Now, with the years

I’m extinguishing myself.

Let the fire do what it wants.

I no longer want to educate it.

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I Walk Home

I walk home

I knew my mother’s moods

and my father’s silences.

I glimpsed hats of rabbis,

neighbor ladies on the block

and shadows of the fig tree.

I walk home

I come upon the agonies of others

and the half open light the of the sexes.

I walk home

I walked

old friends

in piled up letters.

And arriving home

I stumbled over myself.

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Mi bobe/My Grandmother

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Prophet’s scent in the room.

Little kids, sons and daughters, patriarchs.

And in the cup of wine

A delay…

The door is opened

and a vision enters.

(It’s not the same invisible being

which is nothing.)

Let’s see, a place,

a little place!

The visitor is so light

and his burden so heavy.

(It’s not the same to be invisible

as to be nothing.)

Poor Elijah

He becomes undone.

There is someone who doesn’t

believe in prayers.

There is a grandchild

ready for adventure

and a grandfather’ voice

holds him back.

Elijah makes himself comfortable

and arrives in time for the glass of wine.

A breeze in the eyes.

an aroma in the soul.

And for the incredulous,

nothing…

To Jordana

My daughter springs forth from her hair

like an almond-colored

siren.

She gives me a kiss

and I become cotton

to wrap her up in.

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To Lara

A bell to the air.

She is music in my mouth

though I may not call her so.

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c

She spins around,

crouches down to hide.

She places her smile among my fingers;

dances,

complains about her hair

and draws whirlwinds

with her voice.

While I write nonsense,

she invents what is important:

a very serious song,

a question,

a glossy paper

that is lost.

On the rug,

she plays with photos

and laughs about the past

… .still.

Little Lara,

my fruit that didn’t fall from the tree.

… I fear life.

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a

Once I was yours.

You possessed me among the threads

of your spidersweb,

You were a man

dressed in secrets,

that was lost.

who taught me the skin’s wine

that doesn’t deceive.

I could have died

but I didn’t do it.

Life needed me.

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That Mann Moses

I looked for him in Rome

San Pietro in Víncoli empty.

I kneeled down,

Christianly alone.

The furrow of the Law

reached for an instant

a draw with death.

Shemah

I pronounced,

fettered to the cold stone

of the desert.

But he,

looked in another direction.

And then,

I got up and walked

denying miracles.

I don’t know who abandoned whom.

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We Women, Those of Us Now,

Are No Longer the Same

Since December

of nineteen seventy-seven,

the river has carried away

the broken docks,

some of our fathers

and all our adolescences,

The river has brought children

to the new docks,

that, fortunately,

come reaching

the banks.

Our men are those who

built the village.

And the fire is, almost always,

our task,

At times we can predict the storms.

And when they pass,

we count up damages and wounds,

we look over every palmful of earth.

The town doesn’t yet

have a cemetery.

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Ex-Nihilo

July 18, 1994

December 18, 1991

In the end,

those who believe themselves

to be gods

destroyed the heavens

and the earth.

The land was

like the men,

in a reasonable disorder;

And the spirit rested

covering the Eternal Darkness.

And those who believed themselves to be gods said:

That it be Evil,

And it was Evil.

And the night profaned the second day.

And they said:

“Let the abysms rise to the surface

and life die buried.”

And night prepared the altar

on the second day.

And they said:

“That those who see solace

find only remains

among the rubble.”

And night officiated

on the third day.

And they said:

“Let the exhorbitent men

go crazy while waiting.”

And the night

cursed the forth day.

And they continued saying:

“That the name of God

be unpronounceable

among the dead and the ruins.”

And the night

sacrificed the fifth day.

And those who believed themselves to be gods

celebrated the destruction

that they created with their own hands.

And it was the emptiness

the night

the sixth day.

On the seventh day

those who believed themselves to be gods

called the satanic angels to be silent,

And the men

covered the mirrors of their houses

and went out to seek the Day.

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Index

Because the Years Turn

Because the years turn.

In the beginning.

they are ony

drums and noise.

Later on, some soldiers

on foot,

nothing serious.

Later, a cloud of galloping

dust.

Death, with a general’s cap,

There, yes,

one realizes

that they are coming on the attack.

You can stay in the fort

and let panic kill you.

Or go out to mix it up with them.

It’s all an art.

The years don’t come alone.

They are laden with loves,

children,

quick-moving stones.

If one leaves the fort

and is able to hold onto

to what the years bring,

it seems they are destroyed.

Death, with a general’s cap,

then.

He sleeps a little.

And doesn’t go to battle.

One,

only has a life

like a weapon.

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Perla Bajder — Artista visual judío-argentina/Argentine Jewish Artist — “Y mañana serán árboles”/ “Tomorrow, They Will Be Trees” — Obras nuevas de pluma y tinta/New works in pen and ink

Perla Bajder

Perla Bajder’s Website

Perla Bajder es licenciada en las artes visuales y es especialista en la administración cultural.  Estudió en la Escuela Nacional de Bellas Artes y la Universidad de Barcelona. Exhibió su obra y dio clases en Córdoba, Mendoza, Río Negro (Argentina), Barcelona, Biesko Biala, Krackow and Torun (Polonia), Boston, Washington, D.C. (USA), Cappadocia (Turquía), Edinborough, Essex (Reino Unido), Florencia, Urbino (Itaia), Kazakhstan México D.F., La Havana, Quito, Santiago Transylvania (Romania), Y Vilnius (Lituania). Museos en muchos es esos lugares guardan sus obras. En 2018 fue invitada para dar seminario con  producción  en el instituto de Bellas Artes y una exhibición en la galería Meiki Meghara de Tetuán y presentar mi libro Un país de maravillas en la Universidad de Tetuán  en el marco del XIII Encuentro Internacional de escritoras homenaje a Fatima Mernisi. Ese libro fue presentado en el mismo año en el Museo del Libro y de la Lengua por las escritoras Susana Cella Silvia Martinez de Delucchi y el académico Dr Emilio José Burucua.2019 invitada a exhibir “The Other, The Same” en el Museo Grebocin de la ciudad Medieval de Torun, Polonia,Estaba programada la muestra en la galería de la Universidad de Poznan.En 2020 fue seleccionada mi serie “Familia de Bacterias Eróticas Americanas para participar de la exhibición art week organizada por la Universidad de POZNAN y la Universidad de GRANADA. En 2021 envié pequeños trabajos sobre Diversity; y el Small Graphic Bienal para Interart Foundation, Aiud, Rumania. Participaré con ellos en el programa artista en residence August 2021.

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Perla Bajder earned a degree in visual arts and is a specialist in  cultural administration. She studied at the National Schools of Fine Arts and at theUniversity of Barcelona. She exhibited her work and gave classes in Córdoba, Mendoza, Río Negro (Argentina), Barcelona, Biesko Biala, Krackow and Torun (Poland), Boston, Washington, D.C. (USA), Cappadocia (Turkey), Edinborough, Essex (United Kingdom), Florencia, Urbino (Italy), Kazakhstan México City., Havana, Quito, Santiago (Chile), Transylvania (Romania), Y Vilnius (Lithuania). Museums in many of these places show her Works .In 2018 she was invited to give a seminar with production at the Institute of Fine Arts and an exhibition at the Meiki Meghara Gallery in Tetuan and present my book A country of wonders at the University of Tetuan in the framework of the XIII International Meeting of Writers homage to Fatima Mernisi. That book was presented in the same year at the Museum of the Book and Language by the writers Susana Cella Silvia Martinez de Delucchi and the academic Dr Emilio José Burucua. 2019 invited to exhibit “The Other, The Same” at the Grebocin Museum of the Medieval city of Torun, Poland, The exhibition was scheduled in the gallery of the University of Poznan. In 2020 my series “Family of American Erotic Bacteria was selected to participate in the art week exhibition organized by the University of POZNAN and the University of GRANADA.In 2021 I sent small papers on Diversity; and the Small Graphic Biennial for Interart Foundation, Aiud, Romania. I will participate with them in the artist program in residence August 2021.

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Introducción

La Torá dice: El hombre es un árbol del campo. Como el árbol arraigado a la tierra, son las emociones las que expresan nuestra profundidad . Asegurar al igual que los árboles nuestro arraigo en el sustento espiritual depende de nuestra conexión profunda con nuestra esencia. Al igual que el árbol, tenemos  raíces, tronco y frutos. Las raices  no son visibles y están profundamente enterradas, son las que dan vida al arbol.

Tenemos una parte invisible: la fe,  es la que nos sostiene y le da sustento a nuestra vida. El tronco y las ramas son visibles, asi como los frutos que contienen la semillas a través de las cuales el árbol se propaga. El tronco es el intelecto y las emociones y los frutos el producto de nuesra existencia que se propaga después de nuestra desaparición física. Las ramas son ideas y raíces en acción. El que tiene mas sabiduría que acción es como un árbol frondoso que tiene pocas raíces, cualquier viento lo voltea. El que tiene acciones mas que sabiduría es capaz de resistir todos los vientos- Rabino Shemtov  Shoftim

 El tiempo suspendido, en que la incertidumbre y la ansiedad nos envuelven,  los valores del espíritu  son los que pueden darme  respuesta. Mi cuerpo pierde material en la comunicación virtual  y me alejo del corazón de las cosas simples . Se me están cerrando los sentidos . Me siento como un golem ciego a las huellas, como las piedritas que dejaban Hansel y Gretel con la esperanza de ser rescatados en el bosque.

 Aunque parezca que miro de lejos el sentimiento de orfandad que sintieron Hansel y Gretel me recuerda el tiempo de las noches de verano, cuando la luna iluminaba los fragmentos de mi memoria confundidos al sonido del follaje que respiraban las hojas, los olores frescos , la manzana  que  caía para unirse al suelo, entonces escuchaba  la voz de  mi  madre …no lejos cae la manzana del árbol.  Ahora  en la necesidad  de  volver a conectarme con lo que he dejado allí fabrico paisajes de mar de tinta para poder estar. En esa necesidad de encontrar las huellas  mi relación con el árbol se vueve emocional Contemplarlo,  buscar cobija,inundarme de su esencia para descubrir seres y cosas  y volver a las huellas.

Prof. Perla Bajder/ Lic. en Artes Visuales/ Universidad Nacional de las Artes/ Buenos Aires/Argentina

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Introduction

The Torah says: Man is a tree of the field. Like the tree rooted in the ground, it is our emotions that express our depth. Ensuring like trees our roots in spiritual sustenance depends on our deep connection with our essence. Like the tree, we have roots, trunk and fruits. The roots. They are not visible and are deeply buried, they are what give life to the tree.

We have an invisible part: faith, It is what sustains us and gives sustenance to our life. The trunk and branches are visible, as well as the fruits that contain the seeds through which the tree propagates. The trunk is the intellect and the emotions and the fruits the product of our existence that spreads after our physical disappearance. Branches are ideas and roots in action. He who has more wisdom than action is like a leafy tree that has few roots, any wind will turn it over. He who has actions more than wisdom is able to resist all winds- Rabbi Shemtov Shoftim

The suspended time, in which uncertainty and anxiety surround us, the values ​​of the spirit are the ones who can give me answer. My body loses material in virtual communication and I get away from the heart of the simple things. My senses are closing. I feel like a golem blind to footprints, like the pebbles left by Hansel and Gretel hoping to be rescued in the forest.Although it seems that I look from afar the feeling of orphan that Hansel and Gretel felt reminds me of the time of summer nights, when the moon illuminated the fragments of my memory confused by the sound of the foliage that the leaves breathed, the fresh smells, the apple fell to join the ground, then listened the voice of mother … not far falls the apple from the tree. Now in need; to reconnect with what I have left there, I make landscapes of sea of ​​ink to be able to be. In that need to find the traces, my relationship with the tree becomes emotional Contemplating it, seek shelter, flood myself with its essence to discover beings and things and go back to the tracks.

Prof. Perla Bajder / Graduate in Visual Arts / National University of the Arts / Buenos Aires / Argentina

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DIBUJOS DE TINTA SOBRE PAPEL/ PEN AND INK DRAWINGS

Y mañana serán árboles/And Tomorrow They Will Be Trees

La imagen de mis padres casándose y navegando en un pequeño bote hacia la Argentina/The picture of my parents getting married and travelling in a small boat toward Argentina

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La rebelión de los árboles/The Rebellion of the Trees

Y la mañana grande/And the Great Tomorrow

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Patricia Indij — Artista y curadora judío-argentina/Argentine Jewish Artist and Curator — ” Una experiencia debordante”/ “An Exuberant Experience “

Patricia Indij

Sitio Web de Patricia Indij

Patricia Indij nació en Buenos Aires, Argentina en 1961. Arquitecta, Universidad de Buenos Aires.
Su formación artística fue adquirida en talleres de pintura de los maestros Heriberto Zorrilla, Helena Distéfano y clínica de obra con Marino Santamaría.

Estudió teoría del arte, materias de posgrado de Especialización en curaduría en arte. Trabaja en sus producciones de curaduría, realiza curadurías de arte en instituciones y dicta clases de pintura en su taller en Buenos Aires.

Muestras individuales en Argentina: Colegio Pestalozzi 2019; Universidad UNLam, 2018, Teatro Nacional Cervantes 2016, Multiespacio de arte, Gral Pico, La Pampa 2015, Bolsa de Comercio de Bs As, 2015; Museo del Holocausto 2014, Consejo profesional de Ciencias Económicas 2014, Centro Cultural Borges 2012, Honorable Senado de la Nación 2009, Museo de la mujer 2009, Museo Manzana de las Luces “La noche de los Museos“2009, Museo Municipal de Bellas Artes de Luján 2008, Galería Bonenkamp Revale 2008, Espacio arte Aeropuertos internacional Jorge Newbery, Buenos Aires, Mendoza, Jujuy y Resistencia

Muestras colectivas: Museo Marítimo de Ushuaia 2012, Museo Metropolitano 2010, Bolsa de comercio de Buenos aires 2015, Crucero MS Bs. As, Punta del Este, Río de Janeiro 2009/2010.Galerías de Arte en Buenos Aires, y Uruguay, ferias de arte Eggo 2015, Expotrastiendas 2006/2007/2010.

En el exterior, Muestras individuales: La Maison de l`Amerique Latine 2013, Embajada Argentina en Berlín 2012, Casa Argentina en París Ciudad Internacional Universitaria.

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Patricia Indij was born in Buenos Aires, Argentina in 1961. Architect, Universidad de Buenos Aires.
Her artistic training was acquired in the painting workshops of the masters Heriberto Zorrilla, Helena Distéfano and work clinic with Marino Santamaría.

She studied art theory, postgraduate courses of Specialization in curatorship in art. She works on her curaturial productions, conducts art curatorships in institutions and teaches painting classes in her workshop in Buenos Aires.

Individual Exhibitions in Argentina : Colegio Pestalozzi 2019; UNLam University, 2018, National Cervantes Theater 2016, Multiespacio de arte, Gral Pico, La Pampa 2015, Buenos Aires Stock Exchange, 2015; Holocaust Museum 2014, Professional Council of Economic Sciences 2014, Borges Cultural Center 2012, Honorable Senate of the Nation 2009, Museum of Women 2009, Manzana de las Luces Museum “The Night of Museums” 2009, Municipal Museum of Fine Arts of Luján 2008, Bonenkamp Revale Gallery 2008, Jorge Newbery International Airports Art Space, Buenos Aires, Mendoza, Jujuy and Resistencia

Collective exhibitions : Maritime Museum of Ushuaia 2012, Metropolitan Museum 2010, Buenos Aires Stock Exchange 2015, Cruise ship MS Bs. As, Punta del Este, Rio de Janeiro 2009/2010. Galleries of Art in Buenos Aires, and Uruguay, Eggo art fairs 2015, Expotrastiendas 2006/2007/2010.

Abroad, individual exhibitions : La Maison de l`Amerique Latine 2013, Argentine Embassy in Berlin 2012, Argentine House in Paris International University City.

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El anuncio de esperanza/The Announcement of Hope
Atrapando sueños/Trapping Dreams
Una experiencia desbordante/An Exuberant Experience

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Obras de tinta sobre papel/Works of Ink on paper

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“INOCENCIA EN FUGA…BERLIN Y SUS FANTASMAS”  (selecciones de una exhibición sobre Berlín y el Holocausto)

una sucesión de imágenes que  en cámara lenta hablan  de destrucción, de guerra, de una ciudad inmersa en el humo y los escombros,  en donde  se vislumbran siluetas solitarias, oscuras, quemadas, perdidas, caminando bajo el ensordecedor ruido de aviones rasantes o el crujir de estructuras de rascacielos a punto de caer”.

Irene Jaievsky. ex-curadora Museo del Holocausto.

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“INNOCENCE ON THE RUN … BERLIN AND ITS GHOSTS” (selections from an exhibition on Berlin and the Holocaust)

“A succession of images that in slow motion speak of destruction, of war, of a city immersed in smoke and debris, where lonely, dark, burned, lost silhouettes are glimpsed, walking under the deafening noise of low planes or the creak of skyscraper structures about to fall ”.

Irene Jaievsky, Former Curator of the Holocaust Museum, Buenos Aires

Prófugos de la esperanza/ Fugitives of Hope

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Leonor Coifman — Artista visual judío-argentina/Jewish Argentine Visual Artist — “Arte espiritual judía”/ “Jewish Spiritual Art”

Leonor Coifman

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Leonor Coifman,  ha cursado estudios en las Escuelas Nacionales de Arte Manuel Belgrano y Prilidiano Pueyrredón, estudió Historia del Arte con Córdova Iturburu, Crítica Plástica con Moraña y perfeccionamiento plástico con Juan Muñeza, habiendo realizado labor docente en escuelas de la Municipalidad de la Ciudad de Buenos Aires y en su taller de Libre Expresión para niños.

Ha realizado numerosas exposiciones colectivas e individuales en conocidas instituciones tales como el Fondo Nacional de las Artes, el salón Isidoro Steimberg, Universidad de Belgrano, Ateneo Popular de la Boca, Sociedad de artistas Plásticos, Círculo Hebreo Argentino, Teatro Municipal General San Martín, Manzana de las Luces, Planetario Galileo Galilei, etc.Ha expuesto en las ciudades más importantes del Perú, en la Ciudad española de Vigo, en México (Primera Bienal Iberoamericana de Pintura).

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Leonor Coifman, has studied at the Manuel Belgrano and Prilidiano Pueyrredón National Art Schools, studied Art History with Córdova Iturburu, Art Criticism with Moraña and advanced art with Juan Muñeza, having done teaching work in schools of the Municipality of the City of Buenos Aires and in its Free Expression workshop for children.

He has made numerous collective and individual exhibitions in well-known institutions such as the National Arts Fund, the Isidoro Steimberg room, the University of Belgrano, Ateneo Popular de la Boca, the Society of Plastic Artists, the Argentine Hebrew Circle, the General San Martín Municipal Theater, Manzana. de las Luces, Planetarium Galileo Galilei, etc. He has exhibited in the most important cities of Peru, in the Spanish City of Vigo, in Mexico (First Ibero-American Biennial of Painting.)

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Pinturas, Grabados, Arte Digital/Paintings, Engravings and Digital Art

Grabados con la técnica de Coolagraf/Prints made with Coolagraph techniques

Jai (Vida)
Pintura con base serigráfica/Painting on Serigraph
La entrega de las diez mandamientos IThe giving of the ten commandments
Obra digital sobre originales/Digital works over originals
La zarza ardiente/The Burning Bush Obra digital sobre originales/Digital works over originals
Mandala Judía
Obra digital sobre originales/Digital works over originals
Creación
Obra digital sobre originales/Digital works over originals
Malkut (Princess)
Obra digital sobre originales/Digital works over originals
Al fin/At the end of times — Arte digital
Contacto
Grabado, monocopia intervenido/Print, a monocopy in which the artist employs several techniques
Banderas sobre diversidad/Flags over Diversidad

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Libro Artista: Tema de Luz/ Artist’s Book: Theme of Light

The candle burns in my window/I, Leonor Coifman, about to turn/eighty-one follow it’s dance, hoping that it with/ it’s light dissipate my shadows and illuminate my world/ and the whole world. /And while the story comes to my memory of the Rabbi and his teaching in “While the Candle Burns” life/ there is still time to repair, to reinvent one’s self, to begin again, to return to make mistakes again and/ to get up again, despite the/shadows that accompany us,/While a candle burns in my window, the light shines, I have life. — Leonor Coifman
On Shabbat, Genie lights the additional/candles, in honor of the many grandmothers, that she found to be Jewish/but had never/been able to light the Sabbath candles./On lighting these candles/Genie imagines them/standing at her side/sharing that/sacred moment. — After centuries,/her Jewish condition. — Genie
What appears to be an act of faith/to light the candles to welcome Shabbat/ to thank life, is a gift to the soul./while two doves wait to take off,/ carrying a message of light. — Martha Wolff
What signs are there in the sky,/I can’t decipher from them/what mystery is hidden in my being/that I can’t decipher (find.) I walk in my soul/move blindly looking for signs./figuring out day by day/what I live (or what I dream)/Knowing that the first road/ is for the inside and that later/I will be able fly off through the world. — Leonor Coifman
A candle, lit, chalice of fire,/between the sky that says goodbye to the day,/its clarity dying in order to give itself/ to the penumbra of the night. small among the immensity that surrounds it/is for Shabbat, the little universe./that prays thanking the Divine Light. — Martha Wolff
Bits of Time Lived — Life is not delivered with/an expiration date, and when that date/approaches us, with serenity and fear,/ we look at ita course and like a puzzle, we begin to put together the times live/with pressure and with love. — Leonor Coifman
Questions and Answers — November 19, 2014,/at nightfall, whenever we have the courage/to ask our being what it needs,/dawn will break and on our pillow/will be the answer./Our life cannon be lived by others, life has to be lived with a passion/so intense, that it hurts./To know that it was fought for/cried over, laughed over and that/is the only way that I know about, to know/that I am here, doing it. Deserving of being Alive.
Two candles brighten, two doves/ pairing with the believer and with the Creator/ creating an invisible union of love/ and celebration. — Martha Wolff
Building Dreams — History speaks of our wisdom/ among the nations and it is necessary ro remind then/ again. Everyone of us, will be a/ bastion with a common front against/ discrimination, hatred and ignorance./ Let us be the dignified transmitters of our legacy/ for future generations, so the Miracle of Light is not lost. – Leonor Coifman
I am fertile earth, which has been seeded/ since a time without history, Seeds of Faith./ My soul conserves deep roots from/ immemorial time, of epopeyas/of vast passages which tenuous threads unite/ with infinite skies, whirlwinds of light and darkness,/that populate the spiralled trip/ in lapsus of life and death. — Leonor Coifman

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Identidad y Diversidad: Libro de artist, Segunda Mitad/Identity and Diversity: Artist Book, Second Half/Fusión de poesía y arte judío-latinoamericanos/ Fusión of Latin American Jewish Poetry and Art — Un homenaje a Irene Jaievsky, curadora/An Homage to Irene Jaievsky, curator

 

Primera mitad/First Half

Segunda mitad

Identidad y diversidad: Libro de Artista , cada uno de los catorce artistas visuales judíos latinoamericanos reacciona a través del arte a un poema de cada uno de los catorce poemas de un poeta judío latinoamericano. Ninguno de los artistas simplemente ilustró el poema, sino que utilizó pintura, dibujo, grabado y fotografía para expresar su comprensión de la poesía. Por lo tanto, la poesía y el arte, conectados, crean una sinergia que expande enormemente el poder de ambos. Luego se agregaron las traducciones de los poemas al inglés para que una audiencia más amplia pudiera apreciar el efecto acumulativo de la interacción de la poesía y el arte. Como la de los poetas, la obra de los artistas incorpora los valores judíos con la cultura de su país de nacimiento de adopción: Argentina, Uruguay, México, Brasil, Costa Rica, Cuba, Perú, Bolivia y Venezuela: dos de Argentina se habían asentado en Israel. Los catorce poemas tratan temas centrales de la experiencia judía latinoamericana: la identidad judía, el Holocausto, el sentido de ser o no ser igual a otros ciudadanos en una República latinoamericana, el bombardeo del centro comunitario AMIA en Buenos. Aires en 1994, Israel, Sefarad (España medieval antes de la Expulsión), la Biblia y la Cabalá.

Al crear cada uno de los libros de artista separados, de 17 ”de alto por 11” de ancho, el poema, el arte original y el poema en inglés y las biografías breves de los poetas y las artes se encuadernaron en un gran trozo de cartón pesado doblado; cada combinación, entonces, se convirtió en un libro de artista individual. Los catorce llevan el mismo diseño de portada que unifica al grupo. Este artículo de “América Latina judía” y el que le sigue son entradas del catálogo de una exposición que se exhibió en el Museo Judío de Buenos Aires, la Librería El Péndulo-Polanco de la Ciudad de México y, en Estados Unidos, en el Consulado Argentino en Nueva York, Northeastern University, University of Texas-Austin, University of Denver, Arizona State University, University of Wisconsin-Milwaukee y Emmanuel College en Boston. Permanecen en exhibición permanente en el Centro Schusterman de Estudios Judíos de la Universidad de Texas-Austin.

Los creadores del proyectos son Perla Bajder, Irene Jaievsky y Stephen A. Sadow

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In this collection Identity and Diversity: Artist Book, each of fourteen Latin American Jewish visual artists react through art to one poem by each of fourteen poems by a Latin American Jewish poet. None of the artists simply illustrated the poem, but rather uses painting, drawing, engraving and photography to express their understanding of the poetry. Hence, poetry and art, connected, create a synergy that greatly expands the power of both. The translations of the poems into English were then added so that a broader audience could appreciate the cumulative effect of the interaction of poetry and art. Like that of the poets, the work of the artists incorporates Jewish values with the culture of their country of birth of adoption: Argentina, Uruguay, Mexico, Brazil, Costa Rica, Cuba, Peru, Bolivia and Venezuela: two from Argentina had settled in Israel. The fourteen poems deal with central issues of the Latin American Jewish experience: Jewish identity, The Holocaust, the sense of being or not being an equal to other citizens in a Latin American Republic , the bombing of the AMIA community center in Buenos Aires in 1994, Israel, Sepharad (medieval Spain before the Expulsion,) the Bible and Kabbalah.

In creating each of the separate artist books, 17” high by 11” wide, the poem, the original art and the poem in English and short biographies of the poets and arts were bound into a large folded piece of heavy cardboard; each combination, then, became an individual artist’s book. All fourteen bear the same cover design which unifies the group. This post in “Jewish Latin America” and the one that follows it entries from the catalogue of an exhibit that was shown in the Jewish Museum of Buenos Aires, the El Péndulo-Polanco Bookstore in Mexico City, and, in the United States, at the Argentine Consulate in New York, Northeastern University, the University of Texas-Austin, The University of Denver, Arizona State University, the University of Wisconsin-Milwaukee and Emmanuel College in Boston. They remain on permanent exhibition at the Schusterman Center for Jewish Studies at the University of Texas-Austin.

The projects creators are Perla Bajder, Irene Jaievsky y Stephen A. Sadow

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Selecciones del Catálogo de la Exhibición de Identidad y Diversidad — Segunda mitad

Selections from the Catalogue of the Identity and Diversity Exhibit –Second Half

Liana Strasburg, Argentina (1962-)

Perla Bajder, Argentina (1946- )

Raquel Schwartz, Bolivia (1963- )

Ileana Piszk, Costa Rica (1955- )

Lihie Talmor, Venezuela/Israel

Raquel Orzul, Uruguay

Mirta Kupferminc, Argentina (1955- )

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Identidad y Diversidad: Libro de artista, Primera mitad/Identity and Diversity: Artist Book, First Half–Fusión de poesía y arte judío-latinoamericanos/ Fusion of Latin American Jewish Poetry and Art — Un homenaje a Irene Jaievsky, curadura/An Homage to Irene Jaievsky, curator

Segunda mitad/Tercera mitad

Primera mitad

En esta colección Identidad y Diversidad: Libro de Artista, cada uno de los catorce artistas visuales judíos latinoamericanos reacciona a través del arte a un poema de cada uno de los catorce poemas de un poeta judío latinoamericano. Ninguno de los artistas simplemente ilustró el poema, sino que utilizó pintura, dibujo, grabado y fotografía para expresar su comprensión de la poesía. Por lo tanto, la poesía y el arte, conectados, crean una sinergia que expande enormemente el poder de ambos. Luego se agregaron las traducciones de los poemas al inglés para que una audiencia más amplia pudiera apreciar el efecto acumulativo de la interacción de la poesía y el arte. Como la de los poetas, la obra de los artistas incorpora los valores judíos con la cultura de su país de nacimiento de adopción: Argentina, Uruguay, México, Brasil, Costa Rica, Cuba, Perú, Bolivia y Venezuela: dos de Argentina se habían asentado en Israel. Los catorce poemas tratan temas centrales de la experiencia judía latinoamericana: la identidad judía, el Holocausto, el sentido de ser o no ser igual a otros ciudadanos en una República latinoamericana, el bombardeo del centro comunitario AMIA en Buenos. Aires en 1994, Israel, Sefarad (España medieval antes de la Expulsión), la Biblia y la Cabalá.

Al crear cada uno de los libros de artista separados, de 17 ”de alto por 11” de ancho, el poema, el arte original y el poema en inglés y las biografías breves de los poetas y las artes se encuadernaron en un gran trozo de cartón pesado doblado; cada combinación, entonces, se convirtió en un libro de artista individual. Los catorce llevan el mismo diseño de portada que unifica al grupo. Este artículo de “América Latina judía” y el que le sigue son entradas del catálogo de una exposición que se exhibió en el Museo Judío de Buenos Aires, la Librería El Péndulo-Polanco de la Ciudad de México y, en Estados Unidos, en el Consulado Argentino en Nueva York, Northeastern University, University of Texas-Austin, University of Denver, Arizona State University, University of Wisconsin-Milwaukee y Emmanuel College en Boston. Permanecen en exhibición permanente en el Centro Schusterman de Estudios Judíos de la Universidad de Texas-Austin.

Los creadores del proyecto son Perla Bajder, Irene Jaievsky y Stephen A. Sadow

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In this collection Identity and Diversity: Artist Book, each of fourteen Latin American Jewish visual artists react through art to one poem by each of fourteen poems by a Latin American Jewish poet. None of the artists simply illustrated the poem, but rather uses painting, drawing, engraving and photography to express their understanding of the poetry. Hence, poetry and art, connected, create a synergy that greatly expands the power of both. The translations of the poems into English were then added so that a broader audience could appreciate the cumulative effect of the interaction of poetry and art. Like that of the poets, the work of the artists incorporates Jewish values with the culture of their country of birth of adoption: Argentina, Uruguay, Mexico, Brazil, Costa Rica, Cuba, Peru, Bolivia and Venezuela: two from Argentina had settled in Israel. The fourteen poems deal with central issues of the Latin American Jewish experience: Jewish identity, The Holocaust, the sense of being or not being an equal to other citizens in a Latin American Republic , the bombing of the AMIA community center in Buenos Aires in 1994, Israel, Sepharad (medieval Spain before the Expulsion,) the Bible and Kabbalah.

In creating each of the separate artist books, 17” high by 11” wide, the poem, the original art and the poem in English and short biographies of the poets and arts were bound into a large folded piece of heavy cardboard; each combination, then, became an individual artist’s book. All fourteen bear the same cover design which unifies the group. This post in “Jewish Latin America” and the one that follows it entries from the catalogue of an exhibit that was shown in the Jewish Museum of Buenos Aires, the El Péndulo-Polanco Bookstore in Mexico City, and, in the United States, at the Argentine Consulate in New York, Northeastern University, the University of Texas-Austin, The University of Denver, Arizona State University, the University of Wisconsin-Milwaukee and Emmanuel College in Boston. They remain on permanent exhibition at the Schusterman Center for Jewish Studies at the University of Texas-Austin.

The projects creators are Perla Bajder, Irene Jaievsky y Stephen A. Sadow

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Selecciones del Catálogo de la Exhibición de Identidad y Diversidad — Primera mitad

Selections from the Catalogue of the Identity and Diversity Exhibit –First Half.

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Mariana Felcman, Argentina (1976- )

Michal Kirshbaum, Brasil (1978- )

Susana Beibe, Argentina

Hugo Goldgel, Argentina (1950- )

Adrián Levy Memun, Argentina (1960-)

Leonor Coifman, Argentina

Tomás Wengrowicz, Argentina

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José Sacal (1944-2018) Escultor judío-mexicano/Mexican Jewish Sculptor — “Un mexicano universal”/” A Universal Mexican” — Estatuas únicas en bronce/Unique Bronze Statues

José Sacal

José Sacal, mexicano de herencia judía, nació en la ciudad de Cuernavaca, Morelos, en 1944. A temprana edad, asistió a la Escuela de Artes del Instituto Nacional de Bellas Artes de Morelos, donde tuvo su primer encuentro con pintura y modelaje. Luego se mudó a la Ciudad de México, donde asistió a la escuela secundaria y trabajó en el Hospital Psiquiátrico de La Castañeda, proponiendo actividades creativas para la rehabilitación de los reclusos. Más tarde, Sacal ingresó a la UNAM donde comenzó sus estudios en medicina. Allí, sus prácticas en el teatro anatómico se destacaron y le proporcionaron un conocimiento sobresaliente de la anatomía humana. Durante este período, dedicó una gran parte de su tiempo a asistir a clases en la Escuela de Pintura y Escultura de La Esmeralda. A los 24 años, comenzó a trabajar como diseñador de moda y realizó visitas a París, Roma y Nueva York. Finalmente, Sacal decidió enfocarse exclusivamente en el trabajo de escultura, primero con plastilina y finalmente con arcilla, un material que sigue siendo el “receptor moldeable de sus sentimientos”. La calidad del trabajo de Sacal ha sido y sigue siendo aplaudida, causando controversia y anticipación en sus más de 40 exposiciones individuales y docenas de colaboraciones dentro de su propio país y el mundo.Jose Sacal continuó trabajando como escultor hasta que falleció a fines de 2018. El Clinton Center, en Little Rock, Arkansaw, en asociación con el Consulado de México y la Fundación José Sacal Micha, presentó una exposición del trabajo del escultor José Sacal, en celebración del Día de la Independencia de México y el Mes Nacional de la Herencia Hispana.

Adaptado de EnlaceJudío de México y The Clinton Foundation

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José Sacal, a Mexican of Jewish heritage, was born in the city of Cuernavaca, Morelos, in 1944. At an early age, he attended the School of Arts of the National Institute of Fine Arts of Morelos, where he had his first encounter with painting and modeling. He then moved to Mexico City, where he attended high school and worked at the La Castañeda Psychiatric Hospital, proposing creative activities for the rehabilitation of inmates. Later, Sacal entered UNAM where he began his studies in medicine. There, his practices in anatomical theater stood out and provided him with an outstanding knowledge of human anatomy. During this period, he devoted a large part of his time to attending classes at the La Esmeralda School of Painting and Sculpture. At age 24, he began working as a fashion designer and made visits to Paris, Rome, and New York. Finally, Sacal decided to focus exclusively on sculpture work, first with plasticine and finally with clay, a material that continues to be the “moldable receptor of his feelings.” The quality of Sacal’s work has been and continues to be applauded, causing controversy and anticipation in his more than 40 solo exhibitions and dozens of collaborations within his own country and the world. Jose Sacal continued to work as a sculptor until his passing in late 2018. In 2019, The Clinton Center, in Little Rock, Arkansaw, in partnership with the Consulate of Mexico in Little Rock and the José Sacal Micha Foundation, presented an exhibition of sculptor José Sacal’s work, in celebration of Mexican Independence Day and National Hispanic Heritage Month.

Adapted from EnlaceJudío of Mexico City and the Clinton Foundation

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“La inspiración para crear mis obras son mis sentimientos, pensamientos
que pueden ser muchísimos, lo importante es ‘realizarlo’ aunque parezca
una locura, o un sueño, o algo absurdo. — José Sacal”

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“The inspiration to create my works are my feelings, thoughts
that can be many, the important thing is to ‘do it’ even if it seems
crazy, or a dream, or something absurd.” — José Sacal

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Escultura/Sculpture

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Toro/Bull
Equilibrio/Equilibrium
Ballena/Whale
Caballo/Horse
Manos/Manos
Louis Armstrong
Albert Einstein
Movimiento/Movement

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Obras variadas/A variety of works

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La Shoá/The Holocaust

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Arte al aire libre/Outdoor Art

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José Sacal — 1944-2018

Visite el sitio web de Sacal/Visit the Sacal Website

http://josesacal.com/acerca-del-maestro-sacal/

Myra Landau (1926-2018) Artista visual judío-brasileña-mexicana/ Brazilian Mexican Jewish Artist “Arte de ritmo y armonía”/”Art of Rhythm and Harmony”

Myra Landau

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Myra Landau nació el 5 de diciembre de 1926 en Bucarest, Rumania. Después de un extenso viaje por Europa y Estados Unidos, se mudó a Brasil. Landau ha vivido durante un tiempo considerable en otros países ricos en cultura y diversidad social. Estas diversas culturas le han dado a su trabajo una mirada cosmopolita. Por ejemplo, el período que pasó en Brasil donde, en colaboración con el maestro Osvaldo Goeldi, realizó numerosas obras utilizando diversas técnicas gráficas. En México, Myra Landau ayudó a introducir una nueva técnica de grabado en metal, utilizando ácidos, pero impresa desde la superficie, llamada ‘Metal Relief’. Las obras de ‘Metal Relief’ le valieron una mención en la importante revista “El Nuevo arte de los metal”. Myra Landau tuvo su primera exposición individual en México en 1963. No se detuvo en las “artes del grabado”, sino que continuó su investigación en profundidad y finalmente tuvo éxito a través de la expresión del pastel sobre lino crudo. En 1974 comenzó a trabajar como profesora en la Universidad Veracruzana en la facultad de Bellas Artes. En 1975 se convirtió en investigadora a tiempo completo para el Instituto de Estética y Creación Artística de la Universidad Myra Landau. El currículum contiene más de sesenta exposiciones individuales y aproximadamente ciento cincuenta exposiciones colectivas en diferentes países; (México, Francia, Italia, Brasil, Estados Unidos, Perú, Uruguay, España, Costa Rica, Nicaragua, etc.) En 1994 reside en Roma, Italia, para luego trasladarse a Jerusalén, Israel, donde residió durante 6 años. Myra Landau vivió con su familia en Holanda, hasta su muerte en 2018.

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Myra Landau was born December 5, 1926 in Bucharest, Romania. After extensive travel throughout Europe and the United Sates she moved to Brazil.  Landau has lived for a considerable time in other countries rich with culture and social diversity. These diverse cultures have given her work a cosmopolitan outlook. For example, the period she spent in Brazil where, in collaboration with Master Osvaldo Goeldi, she created numerous works using various graphic techniques. In Mexico, Myra Landau helped introduce a new technique of engraving on metal, utilizing acids, but printed from the surface, called ‘Metal Relief.’ The ‘Metal Relief’ works earned her mention in the important magazine “El Nuevo arte de los metal”, Myra Landau had her first individual exhibition in Mexico in 1963. She did not stop with “engraving arts” but continued her in-depth research finally succeeding through the expression of pastel on raw linen. In 1974 she began working as teacher in the Veracruzana University in the faculty of Fine Arts. In 1975 she became a full-time researcher for the Institute of Aesthetics and Artistic Creation at the University Myra Landau’s resume contains more than sixty individual exhibitions and approximately one hundred and fifty collective exhibitions in different countries;(Mexico, France, Italy, Brazil, United State, Peru, Uruguay, Spain, Costa Rica, Nicaragua, etc.).I n 1994, she has been resident in Rome, Italy, later moving to Jerusalem, Israel where she lived for 6 years. Myra Landau lived with her family in Holland, until her death in 2018.

Myra Landau nasceu em 5 de dezembro de 1926 em Bucareste, Romênia. Después de un extenso viaje por Europa y Estados Unidos, se mudó a Brasil. Landau viveu durante um tempo considerável em outros países ricos em cultura e diversidade social. Estas diversas culturas le han dado a su trabajo una mirada cosmopolita. Por ejemplo, o período que passou no Brasil, em colaboração com o maestro Osvaldo Goeldi, realizou numerosas obras utilizando diversas técnicas gráficas. No México, Myra Landau ayudó a introducir una nueva técnica de grabado en metal, utilizando ácidos, pero impresa from la superficie, llamada ‘Metal Relief’. Las obras de ‘Metal Relief’ o valieron uma menção na importante revista “El Nuevo arte de los metal”. Myra Landau tuvo sua primeira exposição individual no México em 1963. No se detuvo nas “artes del grabado”, não se deu continuidade à investigação em profundidade e finalmente alcançou o sucesso a través da expressão pastel sobre lino crudo. Em 1974, começou a trabalhar como profesora na Universidad Veracruzana na faculdade de Bellas Artes. Em 1975, foi convocada para a investigação de um tempo completo para o Instituto de Estética e Criação Artística da Universidad Myra Landau. El currículum contém más de sesenta exposiciones indivíduos y aproximadamente ciento cincuenta exposiciones colectivas em países diferentes; (México, França, Itália, Brasil, Estados Unidos, Peru, Uruguai, Espanha, Costa Rica, Nicarágua, etc.) Em 1994 residir em Roma, Itália, para luego trasladarse a Jerusalén, Israel, donde residió durante 6 años. Myra Landau vivió com sua família em Holanda, hasta su muerte em 2018.

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El arte de Myra Landau/ The art of Myra Landau/ A arte de Myra Landau

Partituras.Music Score, 1963
Untitled, 1983
Untitled, 1979
Ritmo ciudad nueva/New City Rhythm, 1980
Ritmo paranóico/Paranoid Rhythm .1980
Ritmo de ópera /Opera Rhythm, 1984
Untitled, 1980
Ritmo transparente/Transparent Rhythm, 1981
Untitled, 1979
Untitled, 1979
Untitled, 1979
Ritmo transparente,/Transparent Rhythm, 1981
Conversazione/Conversation
Untitled, 1979

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Poetas judío-latinoamericanos sobre Jerusalén/ Poetas latinoamericanos judaicos sobre Jerusalém/Latin American Jewish Poets on Jerusalem

Frente a la Puerta de Damasco, Jerusalén, Horacio Vodovotz. Argentina

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Aída Gelbltrunk, Uruguay
  
 Jerusalem esencial
  
 Jerusalem del amor y los celos,
 de la nieve y la canícula que se acerca como una
 sombra en mayo
 a la hora puntual,
 Jerusalem de la primera aurora,
 del pájaro impúdico y su pareja
 colgando de los cedros y el espacio,
 del muro y de la multitud
 del muro y la soledad,
 Jerusalem del Islam y del Cristo,
 de los soldados sin edad,
 en las calles asimétricas para no recordar el griego,
 Jerusalem de piedra
 de aire duro
 de olivos intrincados
 de la espuma seca del mar del desierto,
 Jerusalem de los altos cementerios,
 con sus muertos hablando 
 a cada paso
 del día rubio y la noche del céfiro azul,
 del día férreo y la noche de plomo en la boca,
 Jerusalem con la luz oblicua de los ojos del
 candelabro,
 del fuego blanco,
 Jerusalem cansada de tanta sacralidad,
 Jerusalem, tan amada,
 a lo lejos.
   
 _____________________________

Essential Jerusalem 

Jerusalem of love and jealousy 
 of the snow and the midsummer heat that closes in lik
shadow in May
 in season,
 Jerusalem of the first dawn,
 of the shameless bird and its mate
 clinging to the cedars and the space,
 of the wall and of the multitude
 of the wall and the solitude,
 Jerusalem of Islam and of Christ,
 of the ageless soldiers,
 in the asymmetrical streets that do not recall the Greek,
 Jerusalem of stone 
 of hard air
 of intricate olive trees
 of the dry surf of the sea of the desert,
 Jerusalem of the high cemeteries,
 with their dead speaking
 at each step
 of the golden day and the night of blue sapphire,
 of the iron day and the night of lead in the mouth
 Jerusalem of the oblique light of the eyes of the
 candelabra,
 of the white fire,
 Jerusalem weary of so much holiness,
 Jerusalem, so loved,
 from far away.
 _____________________________________________________
  
 Marjorie Agosín, Chile/USA
  
 Jerusalén de los silencios
  
 En un silencio traído,
 es un caminar de sombra,
 los judíos de Jerusalén
 avanzan hacia las piedras,
 cabizbajos, descalzos,
 quieren llegar al muro
 de sal y cielo
 encendido de fe,
 alegres,
 incrustan papeles,
 dorados presagios entre las piedras,
 le piden a Dios
 el derecho al aliento,
 al aire,
 rescatar las palabras,
 el principio del verbo,
 la vida
 tras las piedras.
   
___________________________
  
 Jerusalem of the silences
  
 In an exhausted silence,
 is a parade of shadow,
 the Jews of Jerusalem
 advance toward the stones,
 heads bowed, barefort, 
 want to arrive at the wall
 of salt and sky
 afire with faith,
 happy,
 they insert their papers,
 golden portents among the rocks.
 They ask God
 for the right to breathe,
 for the air
 to rescue the words
 the origin of the Verb,
 the life
 behind the stones.
 ________________________________________
  
 Esther Seligson, México
  
 Convocaciones
                                      A Leo y Arza
                                      A Adrián
  
 Jerusalem, tus colinas recuerdan
 la tierra de vientre empapado
 y labios resecos
 ¿cuántos árboles 
 por un hijo muerto?
 tus entrañas son luz
 fuego a los ojos
 la lámpara eterna
 viento
 los años
 vientos y piedras
 piedras de rezo
 ¿por qué sostiene tus cimientos?
 semillas de almendro
 un arpa, un libro
 y manos
 y manos abiertas
 a la Voz de las voces
 ¿dónde se escuchan sus pasos pisar de arenas?
 senderos en el desierto
 que vengo rodando
 guija desprendida
 eslabón tras eslabón
 te me encuentras, Jerusalem
 en el presente
 jalando tus futuros hacia mí
 caravana errante
 nosotros los dispersos
 con el rostro vuelto
 hacia tus murallas
 y el mirar en la nuca.
 ________________________
  
 Convocations
                                      A Leo y Arza
                                      A Adrián
  
 Jerusalem, your hills remember
 the land of bloated belly 
 and parched lips
 how many trees 
 for a dead son?
 your guts are light 
 fire in the eyes
 the eternal lamp
 wind
 years
 winds and stones
 stones of prayer
 why does your foundation stand?
 almond seeds,
 a harp, a book
 and hands 
 and open hands
 and to the Voice of voices
 Where are your steps heard walking on of sands? 
 tracks in the desert
 that I come wandering
 loose pebble
 link after link
 you find me, Jerusalem
 in the present
 dragging your futures toward me
 errant caravan
 we the dispersed
 with face turned
 toward your walls
 and the looking at the nape.
  _________________________________________________
   
 Angelina Muñiz-Huberman, México
  
 Jerusalem en marzo
  
 Arena de mar que no has conocido
 oro de templos enterrados
 vidrio romano en los muros
  
 Calles suben y bajan por los montes
 Pastorcillos rodean rebaños
 hacia laderas de piedra blanca
 Un caballo suelto corre por el campo
 huyendo la carretera
  
 En la madrugada tocan las campanas
 y es la palabra de Dios en el eco
 sonido milenario, escueto,
 cortante sonido de fragua
  
 Ciudad monocromática
 que hay que mirar del cielo arriba
 unidimensional,
 en círculos del tiempo concéntrico
  
 Ciudad pétrea: de estrellas fijas,
 de luna lenta
 Ciudad escalonada:
 sólidos bloques copulados
 Misterio de semen derramado
  
 Sólo por una de las cuatro puertas
 --rosa de los vientos—accederás
 Luego de peregrinar
 Luego de conmiserar
  
 Ciudad en alto,
 ciudad de oro amurallada
 qué llave pides de amor recóndito.
 de huella impresa,
 de suaves pechos de Sulamita,
 de espada en muslo de rey poderoso,
 de palmera
                       de mirra
                       de incienso
 de lecho de amor
 de sábanas de lino
 que enjugan licor primordial
 _______________________________
  
 Jerusalem in March
  
 Sand from the sea that you haven’t known
 gold from buried temples
 Roman glass in the walls
  
 Streets rise and fall through the hills
 Little shepherds round up flocks
 toward  hillsides of white stone
 An unleashed horse runs through the countryside
 fleeing the highway
  
 In the early morning they ring the bells
 and it is God’s word in the echo
 millenary sound, simple,
 sharp sound of forge
  
 Monochromatic city
 that has to be seen from the sky above
 unidimensional 
 in circles of concentric time
  
 Rocky city: of fixed stars,
 of slow moon
 Tiered city:
 solid joined blocks
 Mystery of spilled seed
  
 Only one of the four doors
 ---windrose---will accept
 after making a pilgrimage
 after commiserating
  
 City on high
 walled city of gold
 which key you ask of hidden love
 of printed trace
 of the soft breasts of the Shulamit
 of the sword in the thigh of the powerful king
 of palm
               of myrrh 
               of incense
 of bed of love
 of sheets of linen
 that wipe away primordial liqueur
 ___________________________________________________________  
  
 Daniel Chirom, Argentina
  
 Muro de los lamentos
  
 Un muro de silencio
 cubre puertas doradas.
 Allí, donde reinaba el fervor de la palabra
 Y la esperanza de la anunciación
 Sólo cal de la memoria
 Y sal del desencuentro.
 Digo tus oraciones sin esperar respuesta,
 El puente enjoyado se hizo trizas
 Y de nuestra amor sólo queda el recuerdo
 De un candelabro que arde por siempre en la noche.
 Este fue tu templo  me dicen
 Pero mis ojos no ven más que piedras,
 Fieles testigos de un pacto que fracasó en la sangre.
 ¿Y bajo este cielo amenazador podrán generar
 Las preguntas que te construyan de nuevo?
 No hay eco en el espanto
 Mas presiento en tu alfabeto
 Hollado por la luna
 Una plegaria borrada el tiempo,
 Un ruiseñor cantando desde tus libros sagrados.
 ___________________________
  
 The Wailing Wall
  
 A wall of silence
 covers golden doors.
 There, where the fervor of the word reigned
 and the hope for the annunciation
 only lime of memory
 and salt of not meeting.
 I say your prayers without expecting an answer,
 the bejeweled bridge broken in pieces
 and of our love only the memory remains
 of a candelabra that burns forever in the night.
 This was your temple they tell me
 But my eyes don’t see more than stones,
 loyal witnesses of a pact that failed in blood.
 And under this menacing sky, can the question be asked 
 will build you again?
 There is no echo in the horror
 but I sense in your alphabet
 the moon had stepped on
 a prayer that erased time,
 a nightingale singing from the sacred books                                                                            
 __________________________________________________
 
Rosita Kalina, Costa Rica
  
 Si de ti me olvidaré
  
 Enséñanos a orar bajo la luz
 Ofrécenos tus labios
 para alcanzar la gracia
 Déjanos descansar en la tentación
 de tus colinas.
 No nos liberes jamás de esta pasión
 de tus albas. 
 Y enséñanos a caminar tu paz
 por angostas callejuelas de clavarios
 por plateados domos orientales,
 por la Cruz que de Gólgota refleja.
  
 Acógenos al amor de tu Templo
 tejido con lamentaciones,
 peregrinos, humillamos la sandalia
 ante el clamor de la piedras.
 Inmersa estás en un tiempo
 sin consuelo, doncella mandarina
 del olivo y la azucena.
 Jerusalem. Danos el pan de tus olivos
 presente en la paz que ilumina
 nuestra comunión de sangres.
 Nosotros, los huérfanos de luz.
 Oramos por tus resplandores.
                                        Umbilical cordón del mundo.
 ________________________ 
  
 If I Forget Thee
  
 Teach us to pray under your light
 offer us your lips
 to reach grace
 Let us rest in the temptation
 of your hills 

reflected in Golgotha.
 Don’t ever free us from this passion
 of your dawns
 Teach us to walk your peace
 by narrow paths of the Way of Sorrows 
by silvered oriental domes
by the CrossGlgotha reflects.
  
  
 Accept us to the love of your Temple
 woven with lamentations
 pilgrims, we put to shame the sandal 
 in front of the clamor of the stones
 without solace, tangerine maiden
 of the olive tree and the lily.
 Jerusalem. Give us the bread of your olive trees
 present in the peace that illuminates
 our communion of bloods.
 We, the orphans of light.
 We pray for your brilliance.
                                      Umbilical cord of the world.
  
 ______________________________________________________
  
 Carla Isaak, Argentina
  
 Retazos del derrumbe
  
                                     (Fragmento IV)
  
 “Hace doce años
 me volteó la luna,
 me abrazo de espaldas
 al empujarme contra el muro”.
 Con cuerpo de gruta
 logró rotar
 el ciclo de la vida.
 Jerusalem,
 antifaces que circulan
 una y otra vez,
 doblan apuestas
  
 por una luz oblicua.
 Pasó la mano liviana
 sobre el polvo de la mesa.
 ¡Tanta sal que viene de las rocas
 Y el mar está tan lejos!
  
 ____________________
  
 Fragments of Collapse
  
                                                  (Fragment IV)
  
 “Twelve years ago
 the moon turned me around,
 hugged me from behind
 while pushing me toward the wall.”
 With a body of caverns
 it succeeded in turning
 the cycle of my life.
 Jerusalem,
 masks that circulate
 once and again, 
 double bets
  
 by an oblique light.
 I passed its lightweight hand
 over the dust on the table.
 So much salt that comes from the rocks
 And the sea is so far away!
  
 ___________________________________
  
                                            The poems above were translated by Stephen A. Sadow and J. Kates
 ____________________________________
  
 Manuela Fingueret, Argentina
  
 Jerusalem sin fecha
  
 puerta por Puerta
 mosaico raíz del mosaico
  
 cráter del desierto
  
 herida
 muy vasta
 contra
 costurón que no cierra
 al aire
  
 desde Zippori
 por ejemplo
 la piel
 del dromedario
  
 y la ruina de los templarios
 cuatro esquinas afianzadas
 con sarcófagos de mármol veteado
 de huesos y sesos
 acaso para despreciar
 a los muertos
 en los vivos
  
 de oro iluminada
 vergel
 y a tus pies.
  
____________________________
  
 Jerusalem, Timeless
  
 Door by door
 Mosaic root of mosaic
  
 Desert center
  
 deep
 wound
 attached scab
 that doesn’t close
 in the air
  
 the air
  
 from Zippori
 for example
 the skin 
 of the camel
  
 and the temple’s ruins
 four corners supported
 by streaked marble sarcophagi
 of bones and brains
 perhaps
 to scorn
 the 
 dead
 among the living
  
 illuminated gold
 orchard
 subdued
 at your feet.
  
                                               Translated by Celeste Kostopolos-Cooperman
_________________________________________________________________

Luisa Futuransky

Jerusalem, Una copa de vértigo

Las rosas de Jerusalén son complicadas
Los peregrinos desesperan
El camino de las rosas de la ciudad
es absoluto.

Y me duele/s tanto
_______________________________

Jerusalem, a Whirling Glass

The roses of Jerusalem are complicated
They pilgrims despair
the rose-lined road to truth
is absolute

And you/it hurts me so.

                                                  Translated by Celeste Kostopolos-Cooperman  
_____________________________________________________________________________
  
 Sara Riwka B’raz Erich, Brasil
 
 Jerusalém
  
 Jerusalém criança que renasce a cada dia
 Adolescente iluminada e rebelde
 Mulher, violentada, odiada, amada sempre
 Jerusalem, Mãe viúva, solitária e sofrida
 Poeira mística e o bálsamo que cobre
 Teu corpo retalhado e revelado
 Abrigando e expondo todas as dores, desesperanças, esperanças
 “Salem” do Rei David. Herodiana. Romana. Bizantina
 Bíblica e pré-bíblica
 Teu solo já não suporta mais corpos sacrificados
 Não nasceste para ser cidade-cemitério, cidade-museu
 Ruinas reservadas para os olhos de turistas
  
 Difícil pisar em teu solo, tão dolorida pareces
 Meu corpo é pesado para teu sensível chão
 História da Humanidade
  
 Cruzo e atravesso teus Portões “cujos nomes fazem sonhar”
 Subo ao alto de tuas muralhas, escadarias, recantos
 Em toda parte, cicatrizes, feridas excavadas
 Quem sabe, um dia, talvez, não muito distante
 O alento de tuas Pombas
 Transformará as balas mortíferas que te atacam
 Em leite e mel?
  
 Jerusalém Espíritu 
 As minorias, os que têm fome e sede de justiça
 Oram por ti, Jerusalém
 A Humanidade necessita de ti
 Unicamente em ti poederá ser celebrada
 A Grande Festa Universal
  
 Muro de Lamentações
 Getsemani
 Monte de Oliveiras
 Mar de Galileia
 Haifa, Beer-Sheba
 Jerusalém, Israel
  
 Transcendentes canções nos unem
 Nos reencontramos e a despedida foi e é impossível.
 Nos sabemos desde aquela madrugada tecida de confidências amarelas 
 A beira do deserto.
 Testemunhadas ao longe por beduínos e suas prediletas
 Poços ocultos e estrelas ao alcance de nossas mãos.
   
  __________________________________________

 Jerusalem
  
 Jerusalem a child reborn every day
 A tear-away teen enlightened and rebellious
 A woman, raped, loathed but forever loved
 Jerusalem, widowed mother, solitary sufferer.
 Mystic dust is the balm that soothes
 Your torn and exposed body
 Sheltering and un-shielding all its pains, hopes and despairs.
  
 Shalem of King David. Herodian. Roman, Byzantine.
 Biblical and pre-Biblical
 Your soil cannot bear any more broken bodies
 You were not born to be a burial city, embalmed museum,
 stately ruins reserved for tourists’ eyes.
  
 How difficult to tread on your sacred soil, too painful,
 my body too heavy for your sensitive ground,
 history of all humankind
  
 I enter the gateways whose very name makes one dream
 I climb to the summit of your walls, your steps and hidden nooks
 On every side the scars, the open wounds, the excavations
 Perhaps on a day that can’t be distant now
 The courage of your gray-winged doves
 Will transform the deadly bullets that yet assail you
 Into milk and honey?
  
 Oh spirit of Jerusalem
 The outcasts who hunger and thirst for justice
 Pray for you, Jerusalem
 Humanity needs you
 In you alone can we celebrate
 The great unending universal festival
  
 Wall of lamentations
 Gethsemane
 Mount of Olives
 Sea of Galilee
 Haifa, Beer-Sheva
 Jerusalem, Israel
  
 Transcendent songs unit us all as one
 We meet again and, again, farewell was and is impossible.
 This we have known since the dawn of yellow confidence
 on the edge of the desert
 witnessed in the distance by Bedouins and their favorites
 hidden wells and stars within range of our grasping hands  

 Translated by Auristela Xavier, Sara Riwka B’raz Erlich and J. M. Deisler
__________________________________________________________________________ 

The poems and translations of poems by Manuela Fingueret, Luisa Futuransky and Sara Rifka B'raz Erlich come from Marjorie Agosín, ed. Miriam's Daughters. Santa Fe: Sherman  Asher Publishers, 2001.
Aída Gelbltrunk, Uruguay
  
 Jerusalem esencial
  
 Jerusalem del amor y los celos,
 de la nieve y la canícula que se acerca como una
 sombra en mayo
 a la hora puntual,
 Jerusalem de la primera aurora,
 del pájaro impúdico y su pareja
 colgando de los cedros y el espacio,
 del muro y de la multitud
 del muro y la soledad,
 Jerusalem del Islam y del Cristo,
 de los soldados sin edad,
 en las calles asimétricas para no recordar el griego,
 Jerusalem de piedra
 de aire duro
 de olivos intrincados
 de la espuma seca del mar del desierto,
 Jerusalem de los altos cementerios,
 con sus muertos hablando 
 a cada paso
 del día rubio y la noche del céfiro azul,
 del día férreo y la noche de plomo en la boca,
 Jerusalem con la luz oblicua de los ojos del
 candelabro,
 del fuego blanco,
 Jerusalem cansada de tanta sacralidad,
 Jerusalem, tan amada,
 a lo lejos.
   
 _____________________________

Essential Jerusalem

 Jerusalem of the love and the jealousy,
 of the snow and the midsummer heat that closes in like a
 shadow in May
 at the precise time,
 Jerusalem of the first dawn,
 of the shameless bird and its mate
 clinging to the cedars and the space
 of the wall and of the multitude
 of the wall and the solitude,
 Jerusalem of Islam and of the Christ,
 of the ageless soldiers,
 in the asymmetrical streets not to remember the Greek,
 Jerusalem of stone
 of hard air
 of intricate olive trees
 of the dry surf of the sea of the desert,
 Jerusalem of the high cemeteries,
 with their dead speaking
 at each step
 of the blond day and the night of blue sapphire,
 of the iron day and the night of lead in the mouth
 Jerusalem of the oblique light of the eyes of the
 candelabra,
 of the white fire,
 Jerusalem tired of so much holiness,
 Jerusalem, so loved,
 from far away.
 _____________________________________________________
  
 Marjorie Agosín, Chile/USA
  
 Jerusalén de los silencios
  
 En un silencio traído,
 es un caminar de sombra,
 los judíos de Jerusalén
 avanzan hacia las piedras,
 cabizbajos, descalzos,
 quieren llegar al muro
 de sal y cielo
 encendido de fe,
 alegres,
 incrustan papeles,
 dorados presagios entre las piedras,
 le piden a Dios
 el derecho al aliento,
 al aire,
 rescatar las palabras,
 el principio del verbo,
 la vida
 tras las piedras.
   
___________________________
  
 Jerusalem of the silences
  
 In a worn-out silence,
 is a walk of shadow,
 the Jews of Jerusalem
 advance toward the stones,
 heads down, shoeless, 
 want to arrive at the wall
 of salt and sky
 afire with faith,
 happy,
 they force papers in,
 golden portents among the rocks.
 The ask God
 for the right to breathe,
 to the air
 to rescue the words
 the origin of the Verb,
 They ask God
 for the right to breathe 
 to the air
 the origin of the word/Verb,
 the life
 behind the stones.
 ________________________________________
  
 Esther Seligson, México
  
 Convocaciones
                                      A Leo y Arza
                                      A Adrián
  
 Jerusalem, tus colinas recuerdan
 la tierra de vientre empapado
 y labios resecos
 ¿cuántos árboles 
 por un hijo muerto?
 tus entrañas son luz
 fuego a los ojos
 la lámpara eterna
 viento
 los años
 vientos y piedras
 piedras de rezo
 ¿por qué sostiene tus cimientos?
 semillas de almendro
 un arpa, un libro
 y manos
 y manos abiertas
 a la Voz de las voces
 ¿dónde se escuchan sus pasos pisar de arenas?
 senderos en el desierto
 que vengo rodando
 guija desprendida
 eslabón tras eslabón
 te me encuentras, Jerusalem
 en el presente
 jalando tus futuros hacia mí
 caravana errante
 nosotros los dispersos
 con el rostro vuelto
 hacia tus murallas
 y el mirar en la nuca.
 ________________________
  
 Convocations
                                      A Leo y Arza
                                      A Adrián
  
 Jerusalem, your hills remember
 the land of soaked abdomen 
 and parched lips
 how many trees 
 for a dead son?
 your guts are sun 
 fire at the eyes
 the eternal lamp
 wind
 the years
 winds and stones
 stones of prayer
 why does your foundation stand?
 almond seeds,
 a harp, a book
 and hands 
 and hands open
 to the Voice of voices
 Where are your steps heard walking on of sands? 
 tracks in the desert
 where I come in my wandering 
 you find me, Jerusalem
 in the present tense
 dragging your futures toward me
 stray caravan
 we the scattered
 with our faces turned
 toward your walls
 and our eyes on your neck.
  _________________________________________________
   
 Angelina Muñiz-Huberman, México
  
 Jerusalem en marzo
  
 Arena de mar que no has conocido
 oro de templos enterrados
 vidrio romano en los muros
  
 Calles suben y bajan por los montes
 Pastorcillos rodean rebaños
 hacia laderas de piedra blanca
 Un caballo suelto corre por el campo
 huyendo la carretera
  
 En la madrugada tocan las campanas
 y es la palabra de Dios en el eco
 sonido milenario, escueto,
 cortante sonido de fragua
  
 Ciudad monocromática
 que hay que mirar del cielo arriba
 unidimensional,
 en círculos del tiempo concéntrico
  
 Ciudad pétrea: de estrellas fijas,
 de luna lenta
 Ciudad escalonada:
 sólidos bloques copulados
 Misterio de semen derramado
  
 Sólo por una de las cuatro puertas
 --rosa de los vientos—accederás
 Luego de peregrinar
 Luego de conmiserar
  
 Ciudad en alto,
 ciudad de oro amurallada
 qué llave pides de amor recóndito.
 de huella impresa,
 de suaves pechos de Sulamita,
 de espada en muslo de rey poderoso,
 de palmera
                       de mirra
                       de incienso
 de lecho de amor
 de sábanas de lino
 que enjugan licor primordial
 _______________________________
  
 Jerusalem in March
  
 Sand from the sea that you haven’t known
 gold from buried temples
 Roman glass in the walls
  
 Streets rise and fall through the hills
 Little shepherds round up flocks
 toward  hillsides of white stone
 An unleashed horse runs through the countryside
 fleeing the highway
  
 In the early morning they ring the bells
 and it is God’s word in the echo
 millenary sound, simple,
 sharp sound of forge
  
 Monochromatic city
 that has to be seen from the sky above
 unidimensional 
 in circles of concentric time
  
 Rocky city: of fixed stars,
 of slow moon
 Tiered city:
 solid copulated blocks
 Mystery of spilled semen
  
 Only one of the four doors
 --rose of the winds/compass—you will accept
 after making a pilgrimage
 after commiserating
  
 City on high
 walled city of gold
 which key you ask of hidden love
 of printed trace
 of the soft breasts of Shulamit
 of the sword in the thigh of the powerful king
 of palm
               of myrrh 
               of incense
 of bed of love
 of sheets of linen
 that wipe away primordial liqueur
 ___________________________________________________________  
  
 Daniel Chirom, Argentina
  
 Muro de los lamentos
  
 Un muro de silencio
 cubre puertas doradas.
 Allí, donde reinaba el fervor de la palabra
 Y la esperanza de la anunciación
 Sólo cal de la memoria
 Y sal del desencuentro.
 Digo tus oraciones sin esperar respuesta,
 El puente enjoyado se hizo trizas
 Y de nuestra amor sólo queda el recuerdo
 De un candelabro que arde por siempre en la noche.
 Este fue tu templo  me dicen
 Pero mis ojos no ven más que piedras,
 Fieles testigos de un pacto que fracasó en la sangre.
 ¿Y bajo este cielo amenazador podrán generar
 Las preguntas que te construyan de nuevo?
 No hay eco en el espanto
 Mas presiento en tu alfabeto
 Hollado por la luna
 Una plegaria borrada el tiempo,
 Un ruiseñor cantando desde tus libros sagrados.
 ___________________________
  
 The Wailing Wall
  
 A wall of silence
 covers golden doors.
 There, where the fervor of the word reigned
 and the hope for the annunciation
 only lime of memory
 and salt of not meeting.
 I say your prayers without expecting an answer,
 the bejeweled bridge broken in pieces
 and of our love remains only the memory remains
 of a candelabra that burns forever in the night.
 This was your temple they tell me
 But my eyes don’t see more than stones,
 loyal witnesses of a pact that failed in blood.
And below this menacing sky, will it be possible to generate the questions that would build you again?
 There is no echo in the horror
 but I sense in your alphabet
 tread on by the moon
 a prayer that erased time,
 a nightingale singing from the sacred books.                                                                            
 __________________________________________________
 
Rosita Kalina, Costa Rica
  
 Si de ti me olvidaré
  
 Enséñanos a orar bajo la luz
 Ofrécenos tus labios
 para alcanzar la gracia
 Déjanos descansar en la tentación
 de tus colinas.
 No nos liberes jamás de esta pasión
 de tus albas. 
 Y enséñanos a caminar tu paz
 por angostas callejuelas de clavarios
 por plateados domos orientales,
 por la Cruz que de Gólgota refleja.
  
 Acógenos al amor de tu Templo
 tejido con lamentaciones,
 peregrinos, humillamos la sandalia
 ante el clamor de la piedras.
 Inmersa estás en un tiempo
 sin consuelo, doncella mandarina
 del olivo y la azucena.
 Jerusalem. Danos el pan de tus olivos
 presente en la paz que ilumina
 nuestra comunión de sangres.
 Nosotros, los huérfanos de luz.
 Oramos por tus resplandores.
                                        Umbilical cordón del mundo.
 ________________________ 
  
 If I Forget Thee
  
 Teach us to pray under your light
 offer us your lips
 to reach grace
 Let us rest in the temptation
 of your hills
 Neve free us from this passion
 of your dawns
 Teach us to walk your peace
 by narrow passageways of calvaries
 by silvered oriental domes
 by the Cross that Golgotha reflects.

 Welcome  us to the love of your Temple
 woven with lamentations
 pilgrims, we put off the sandal from our foot
 before the clamor of the stones
You
 without solace, tangerine maiden
 of the olive tree and the lily.
 Jerusalem. Give us the bread of your olive trees
 present in the peace that illuminates
 our communion of bloods.
 We, the orphans of light.
 We pray for your brilliance.
                                      Umbilical cord of the world.
  
 ______________________________________________________
  
 Carla Isaak, Argentina
  
 Retazos del derrumbe
  
                                     (Fragmento IV)
  
 “Hace doce años
 me volteó la luna,
 me abrazo de espaldas
 al empujarme contra el muro”.
 Con cuerpo de gruta
 logró rotar
 el ciclo de la vida.
 Jerusalem,
 antifaces que circulan
 una y otra vez,
 doblan apuestas
  
 por una luz oblicua.
 Pasó la mano liviana
 sobre el polvo de la mesa.
 ¡Tanta sal que viene de las rocas
 Y el mar está tan lejos!
  
 ____________________
  
 Fragments of Collapse
  
                                                  (Fragment IV)
  
 “Twelve years ago
 the moon turned me around,
 hugged me from behind
 while pushing me toward the wall.”
 With a body of caverns
 it succeeded in turning
 the cycle of my life.
 Jerusalem,
 masks that circulate
 once and again, 
 double bets
  
 by an oblique light.
 I passed its lightweight hand
 over the dust on the table.
 So much salt that comes from the rocks
 And the sea is so far away!
  
 ________________________________

These poems were translated by Stephen A. Sadow and J. Kates
 ____________________________________
  
 Manuela Fingueret, Argentina
  
 Jerusalem sin fecha
  
 puerta por Puerta
 mosaico raíz del mosaico
  
 cráter del desierto
  
 herida
 muy vasta
 contra
 costurón que no cierra
 al aire
  
 desde Zippori
 por ejemplo
 la piel
 del dromedario
  
 y la ruina de los templarios
 cuatro esquinas afianzadas
 con sarcófagos de mármol veteado
 de huesos y sesos
 acaso para despreciar
 a los muertos
 en los vivos
  
 de oro iluminada
 vergel
 y a tus pies.
  
____________________________
  
 Jerusalem, Timeless
  
 Door by door
 Mosaic root of mosaic
  
 Desert center
  
 deep
 wound
 attached scab
 that doesn’t close
 in the air
  
 the air
  
 from Zippori
 for example
 the skin 
 of the camel
  
 and the temple’s ruins
 four corners supported
 by streaked marble sarcophagi
 of bones and brains
 perhaps
 to scorn
 the 
 dead
 among the living
  
 illuminated gold
 orchard
 subdued
 at your feet.
  
                                               Translated by Celeste Kostopolos-Cooperman
_________________________________________________________________

Luisa Futuransky

Jerusalem, Una copa de vértigo

Las rosas de Jerusalén son complicadas
Los peregrinos desesperan
El camino de las rosas de la ciudad
es absoluto.

Y me duele/s tanto
_______________________________

Jerusalem, a Whirling Glass

The roses of Jerusalem are complicated
They pilgrims despair
the rose-lined road to truth
is absolute

And you/it hurts me so.

                                                  Translated by Celeste Kostopolos-Cooperman  
_____________________________________________________________________________
  
 Sara Riwka B’raz Erich, Brasil
 
 Jerusalém
  
 Jerusalém criança que renasce a cada dia
 Adolescente iluminada e rebelde
 Mulher, violentada, odiada, amada sempre
 Jerusalem, Mãe viúva, solitária e sofrida
 Poeira mística e o bálsamo que cobre
 Teu corpo retalhado e revelado
 Abrigando e expondo todas as dores, desesperanças, esperanças
 “Salem” do Rei David. Herodiana. Romana. Bizantina
 Bíblica e pré-bíblica
 Teu solo já não suporta mais corpos sacrificados
 Não nasceste para ser cidade-cemitério, cidade-museu
 Ruinas reservadas para os olhos de turistas
  
 Difícil pisar em teu solo, tão dolorida pareces
 Meu corpo é pesado para teu sensível chão
 História da Humanidade
  
 Cruzo e atravesso teus Portões “cujos nomes fazem sonhar”
 Subo ao alto de tuas muralhas, escadarias, recantos
 Em toda parte, cicatrizes, feridas excavadas
 Quem sabe, um dia, talvez, não muito distante
 O alento de tuas Pombas
 Transformará as balas mortíferas que te atacam
 Em leite e mel?
  
 Jerusalém Espíritu 
 As minorias, os que têm fome e sede de justiça
 Oram por ti, Jerusalém
 A Humanidade necessita de ti
 Unicamente em ti poederá ser celebrada
 A Grande Festa Universal
  
 Muro de Lamentações
 Getsemani
 Monte de Oliveiras
 Mar de Galileia
 Haifa, Beer-Sheba
 Jerusalém, Israel
  
 Transcendentes canções nos unem
 Nos reencontramos e a despedida foi e é impossível.
 Nos sabemos desde aquela madrugada tecida de confidências amarelas 
 A beira do deserto.
 Testemunhadas ao longe por beduínos e suas prediletas
 Poços ocultos e estrelas ao alcance de nossas mãos.
   
  __________________________________________

 Jerusalem
  
 Jerusalem a child reborn every day
 A tear-away teen enlightened and rebellious
 A woman, raped, loathed but forever loved
 Jerusalem, widowed mother, solitary sufferer.
 Mystic dust is the balm that soothes
 Your torn and exposed body
 Sheltering and un-shielding all its pains, hopes and despairs.
  
 Shalem of King David. Herodian. Roman, Byzantine.
 Biblical and pre-Biblical
 Your soil cannot bear any more broken bodies
 You were not born to be a burial city, embalmed museum,
 stately ruins reserved for tourists’ eyes.
  
 How difficult to tread on your sacred soil, too painful,
 my body too heavy for your sensitive ground,
 history of all humankind
  
 I enter the gateways whose very name makes one dream
 I climb to the summit of your walls, your steps and hidden nooks
 On every side the scars, the open wounds, the excavations
 Perhaps on a day that can’t be distant now
 The courage of your gray-winged doves
 Will transform the deadly bullets that yet assail you
 Into milk and honey?
  
 Oh spirit of Jerusalem
 The outcasts who hunger and thirst for justice
 Pray for you, Jerusalem
 Humanity needs you
 In you alone can we celebrate
 The great unending universal festival
  
 Wall of lamentations
 Gethsemane
 Mount of Olives
 Sea of Galilee
 Haifa, Beer-Sheva
 Jerusalem, Israel
  
 Transcendent songs unit us all as one
 We meet again and, again, farewell was and is impossible.
 This we have known since the dawn of yellow confidence
 on the edge of the desert
 witnessed in the distance by Bedouins and their favorites
 hidden wells and stars within range of our grasping hands  

 Translated by Auristela Xavier, Sara Riwka B’raz Erlich and J. M Tesser
_____________________
Poems  by Manuela Finguiret, Luisa Futuransky and Sara Rifka B'raz Erlich come from Marjorie Agosín, ed. Miriam's Daughters. Santa Fe: Sherman Asher Publishers, 2001.

Para leer más de la obra de estos poetas, vaya a:/To read more of the work of these poets go to:

Marjorie Agosín: https://wordpress.com/post/jewishlatinamerica.wordpress.com/8190

Daniel Chirom, Argentina: https://wordpress.com/post/jewishlatinamerica.wordpress.com/806

Sara Riwka B’raz Erlich, Brasil: https://jewishlatinamerica.wordpress.com/2018/03/28/sara-riwka-braz-erlich/

Kalina, Rosita, Costa Rica:

https://jewishlatinamerica.wordpress.com/2018/04/16/rosita-kalina-poeta-jud-poet/

https://wordpress.com/post/jewishlatinamerica.wordpress.com/8996

Muñiz-Huberman, Angelina

https://wordpress.com/post/jewishlatinamerica.wordpress.com/686

https://jewishlatinamerica.wordpress.com/2018/11/07/angelina-muniz-huberman-escritora-y-poeta-judio-mexicana-mexican-jewish-writer-and-poet

https://jewishlatinamerica.wordpress.com/2019/09/25/angelina-muniz-huberman-novelista-judio-mexicana-mexican-jewish-novelist-los-esperandos-fragmento-de-la-novel-sobre-piratas-judios/

Esther Seligson, México:https://wordpress.com/post/jewishlatinamerica.wordpress.com/4075

___________________________________________

_________________________________________________________________________________

Eva Olivetti (1924-2013) — Artista visual judío-alemán-uruguayo/ German Uruguayan Jewish Artist–“Vistas de Montevideo y el campo”/Views of Montevideo and the Countryside”

Eva Olivetti

____________________________________

Eva Olivetti nace en Berlín, Alemania en 1924, hija de Karl Brager y Kähte Jacobsohn. Pintora. En 1939, a los quince años se radicó en Uruguay con su familia judía como parte de la oleada inmigratoria que escapó al nazismo. En 1948 se casó con Mario Olivetti. Entre 1949 y 1956 cursó la Licenciatura en Letras en la Facultad de Humanidades y Ciencias de la Universidad de la República. Entre 1956 y 1959 integró el taller del ceramista catalán Josep Collell. Entre 1959 y 1963 se incorporó al Taller Torres García siendo alumna de José Gurvich. Su obra gira en torno al paisaje, en obras de mediano y pequeño formato.Se caracteriza por lograr una atmósfera íntima, su sensibilidad se volcó en una pincelada leve, un trazo lineal casi ingrávido, una escala tonal de dorados y marrones apaciguados, donde lo material parece volatilizarse. Expuso individualmente en Uruguay desde 1960. El listado de muestras personales y participaciones colectivas es muy numeroso, habiendo realizado más de ochenta exposiciones.En 2003 le fue otorgado el Premio a la Trayectoria en el 38º Salón Municipal de Montevideo. Sus trabajos forman parte de colecciones particulares de América y Europa. Sus pinturas integran los acervos de museos de arte en Milán, París, Londres, Frankfurt, Viena, San Pablo, Buenos Aires y en el Museo Nacional de Artes Visuales en Montevideo, Uruguay. Fallece en Montevideo en 2013.

Adaptado de: http://museos.gub.uy/arteactivo/item/olivetti-eva.html

_____________________________________________________________________

Eva Olivetti was born in Berlin, Germany in 1924, daughter of Karl Brager and Kähte Jacobsohn. Painter. In 1939, at the age of fifteen, he settled in Uruguay with his family as part of the wave of immigration that escaped Nazism. In 1948, she married Mario Olivetti. Between 1949 and 1956, she completed a Bachelor of Arts at the Faculty of Humanities and Sciences of the University of the Republic. Between 1956 and 1959 she joined the workshop of the Catalan ceramist Josep Collell. Between 1959 and 1963 she joined the Torres García Workshop as a student of José Gurvich. Her work revolves around the landscape, in works of medium and small format. It is characterized by achieving an intimate atmosphere, his sensitivity is overturned in a slight brushstroke, an almost weightless linear stroke, a tone scale of calmed golds and browns, where he material appears to volatilize. She exhibited individually in Uruguay since 1960. The list of personal exhibitions and collective participations is very numerous, including more than eighty exhibitions. In 2003, she was awarded the Lifetime Achievement Award at the 38th Montevideo Municipal Hall. Her works are part of private collections in America and Europe. Her paintings are part of the collections of art museums in Milan, Paris, London, Frankfurt, Vienna, São Paulo, Buenos Aires and in the National Museum of Visual Arts in Montevideo, Uruguay. She died in Montevideo in 2013.

Adapted from: http://museos.gub.uy/arteactivo/item/olivetti-eva.html

____________________________________________________________

Pinturas de Eva Olivetti/ Paintings by Eva Olivetti

Esquina con árbol. óleo sobre cartón, 1970
Fachada de ciudad vieja, óleo sobre cartón, 1969
La nuez y el ángel
Paisaje, óleo sobre cartón, 1966
Día de pesca, óleo sobre cartón, 1978
Jarrón de flores, óleo sobre cartón, 1967
Pintura, óleo sobre madera, 1990
Texturas de una noche: Vista de Tacuarembó
De un catálogo de una exhibición en Chile
Figuras, óleo sobre cartón, s. f.
Naturalezas muertas, óleo sobre madera, s. f.
Escena de ciudad, óleo sobre madera, 1965
Árbol, óleo sobre papel pegado en fibra, s. f.,
Ciudad, óleo sobre madera, s. f.
Obra ampliada sin título
Otra mirada de Montevideo, óleo sobre cartón, 1965

_____________________________________________________

Eva Olivetti

Liza Schneiderman — Artista visual judío-peruana/Peruvian Jewish Artist — “Obras judaicas y sensuales” /”Jewish and Sensual Works”

Lisa Schneiderman

_________________________________________

Liza Schneiderman nace y vive en Lima. Perú. Estudió en la escuela Leõn Pinelo, una escuela judía, y luego en la Escuela de Bellas Artes de Lima. Ha tenido muchas exhibiciones individuales y grupales en Perú, Ecuador, España y en Nueva York, EEUU.

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Liza Schneiderman was born and lives in Lima. Peru. She studied at the Leõn Pinelo school, a Jewish school, and then at the School of Fine Arts in Lima. She has had many individual and group exhibitions in Peru, Ecuador, Spain and in New York, USA.

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Gunther Gerzso (1915-2000) — Artista, escultor y escenógrafo judío-mexicano — Mexican Jewish Artist, Sculptor and Scene Designer — El arte sorprendente/Surprising Art

Gunther Gerzso

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Gunther Gerzso nació en la ciudad de México en 1915. A los doce años se traslada a Suiza en donde realiza parte de sus estudios. En 1931 regresa a México. Tres años después conoce a Fernando Wagner, actor, productor y director de teatro, quien utiliza los diseños de Gerzso en el montaje de obras de Moliere, Shakespeare y Lope de Vega. De 1935 a 1940 reside en Estados Unidos. Estudió en el Cleveland Playhouse en donde, gracias a la ayuda de Sol Cornberg, director técnico, se convierte en poco tiempo en el escenógrafo de teatro. A partir de 1940 comienza su trayectoria como pintor autodidacta. Su primera obra, “Dos Mujeres”, tiene una marcada influencia del pintor mexicano Carlos Orozco Romero. Durante los siguientes veinte años, Gerzso diseña la escenografía de aproximadamente 250 películas. Trabaja con muchos directores, entre ellos Luis Buñuel, John Ford e Yves Allegret. Sus constantes viajes por la República Mexicana, debidos a su trabajo en el rodaje de las películas, despiertan en él un gran interés por el arte precolombino. En 1994 conoce al grupo de surrealistas refugiados en México: Benjamín Péret, Leonora Carrington, Remedios Varo y Wolfgang Paalen. Debido a la influencia de este grupo de artistas, su pintura se vuelve más surrealista. En 1950 realiza su primera exposición individual en la Galería de Arte Mexicano. Durante las siguientes cinco décadas, Gerzso presenta alrededor de 30 exposiciones individuales y participa en más de cien muestras colectivas en México, Estados Unidos, Colombia, Brasil, Argentina, Venezuela, Puerto Rico, Francia, Italia, Inglaterra, España, Alemania, Japón e Israel. De las exposiciones individuales organizadas por museos destacan la retrospectiva en el Museo Nacional de Arte Moderno de la Ciudad de México (1963); Twenty years of Gunther Gerzso, Phoenix Art Museum, Arizona (1970); Museo de Arte Moderno de la Ciudad de México (1970 y 1977); An evening with Gunther Gerszo, Mexican Museum of San Francisco (1988). Gunther Gerzso falleció en 2000.

Adaptado de la Galería Quiroga, Ciudad México

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Gunther Gerzso was born in Mexico City in 1915. At the age of twelve he moved to Switzerland where he carried out part of his studies. In 1931 he returned to Mexico. Three years later he met Fernando Wagner, actor, producer and theater director, who used Gerzso’s designs in the montage of works by Moliere, Shakespeare and Lope de Vega. From 1935 to 1940 he lived in the United States. He studied at the Cleveland Playhouse where, thanks to the help of Sol Cornberg, technical director, he quickly became the theater set designer. From 1940 he began his career as a self-taught painter. His first work, “Dos Mujeres”, is strongly influenced by the Mexican painter Carlos Orozco Romero. Over the next twenty years, Gerzso designed the scenery for approximately 250 films. He works with many directors, including Luis Buñuel, John Ford, and Yves Allegret. His constant travels through the Mexican Republic, due to his work in the filming of films, aroused in him a great interest in pre-Columbian art. In 1994 he met the group of surrealist refugees in Mexico: Benjamín Péret, Leonora Carrington, Remedios Varo and Wolfgang Paalen. Due to the influence of this group of artists, his painting becomes more surreal. In 1950 he held his first solo exhibition at the Galería de Arte Mexicano. Over the next five decades, Gerzso presented around 30 individual exhibitions and participated in more than one hundred group shows in Mexico, the United States, Colombia, Brazil, Argentina, Venezuela, Puerto Rico, France, Italy, England, Spain, Germany, Japan and Israel. Of the individual exhibitions organized by museums, the retrospective at the National Museum of Modern Art in Mexico City (1963) stands out; Twenty years of Gunther Gerzso, Phoenix Art Museum, Arizona (1970); Museum of Modern Art of Mexico City (1970 and 1977); An evening with Gunther Gerzso, Mexican Museum of San Francisco (1988). Gunther Gerzso passed away in 2000.

Adaptado from Galería Quiroga, Ciudad México

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Pinturas de Gunther Gerzso/Paintings by Gunther Gerzso

  Personaje en Rojo y Azul, 1964, oil on canvas
VERDE – AZUL – GERZSO – III – 78″ on the reverse
oil on masonite
, 1978
1
Amarillo-Verde-Rojo-Azul, 1975
oil on masonite
Tres Formas: Ancient Forms,, oil on Masonite, 1984
Estela Blanca, 1950

La Ciudad Perdida (The Lost City), Oil on hardboard, 1948

“Jemez”, Litografía. 1974
Autorretrato/Self-Portrait
Autorretrato/Self-Portrait
Los días de la calle de Gabino Barreda (1944)
El nacimiento de los pájaros, 1940

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Escultura por Gunther Gerzso/Sculpture by Gunther Gerzso

Bronze Abstract Sculpture on Marble Base
Brutalist Bronze Sculpture
Silvered Cast Abstract Sculpture,, 1978
Marble Statue

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Gunther Grezso

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Ángel Contín Cresto– Artista judío-venezolano/Venezuelan Jewish Artist — “Homenaje a los Víctimas del Holocausto”/ “Homage to the Victims of the Holocaust”

Ángel Contín Cresto

Ángel “Tuyo” Contín Cresto, artista nacido en 1951 en la ciudad de Coro. Desde finales del siglo pasado, lo suyo es una sola obsesión. Una tragedia universal, un genocidio sistemático. Para Contín es irrelevante que este episodio histórico cuya brutalidad lo impulsó, tras una larga meditación personal, a emprender una cruda interpretación a través de su arte, ocurriera mucho tiempo atrás, entre 1939 y 1945, en la etapa apocalíptica del llamado Tercer Reich. “Siempre pensé que no podía terminar el siglo XX sin que le rindiera un homenaje a estos seres humanos que vivieron el horror de un extermino sin precedentes en la historia”, confiesa el artista. Las primeras historias del Holocausto causaron una impresión indeleble en Contín en primer lugar de una forma visual, a través de desgarradoras imágenes recopiladas en varias publicaciones, un elemento que está claramente incorporado en varias piezas de esta colección. “Me impactaron mucho las fotografías reales del Holocausto, donde se puede observar las condiciones infrahumanas que sufrieron estas personas, un trato repugnante al ser humano”, explica. Una preocupación en particular lo impulsó para contribuir a mantener viva la memoria del exterminio judío: los llamados negadores del Holocausto,”la mayor y más persistente mentira de la historia”, subrayó Contín también quedó cautivado por las historias de artistas que se convirtieron en prisioneros del horror de la campaña de extermino nazi, a quienes particularmente dirige su homenaje. Por ejemplo, la historia del polaco Simon Pullmann, un extraordinario conductor de orquestas que quedó atrapado cuando visitaba el Gueto de Varsovia momentos antes que los alemanes invadieran Polonia, a fines de 1939. Se convirtió en el director de la Orquesta Sinfónica del Gueto hasta que murió, junto a todos sus compañeros músicos, entre ellos el joven violinista Ludwik Holcman, en el campo de concentración de Treblinka en 1944. También le impactaron las historias de Marysia Afzensztat, conocida como el “Ruiseñor del Gueto”, hija del director de la coral de la Sinagoga de Varsovia, asesinada durante el extermino nazi; la del director de Coro Infantil Israel Fajwiszys, ejecutado en el campo de concentración de Poniatowa, en Polonia; y la del artista plástico Félix Frydman, ejecutado en Treblinka, también  Contín dedicó una de las obras más simbólicas a otra notable víctima judía del Holocausto: La diarista alemana Ana Frank. “Ana Frank nos enriquece, nos enseña, nos lleva a la purificación del alma. Contín registra el testimonio de Helga Deen, una diarista alemana como Ana Frank que murió en el campo de concentración de Sobibor, Polonia. Deen dejó estas palabras: “Me siento tan única. Cada día vemos la libertad detrás de los alambres de espinos. Es demasiado. No puedo más y mañana, de nuevo. Pero quiero poder, quiero, porque si mi voluntad muere, muero también”.

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Ángel Contín Cresto, artist born in 1951 in the city of Coro. Since the end of the last century, hers has been a single obsession. A universal tragedy, a systematic genocide. For Contín, it is irrelevant that this historical episode whose brutality prompted him, after a long personal meditation, to undertake a crude interpretation through his art, occurred a long time ago, between 1939 and 1945, in the apocalyptic stage of the so-called Third Reich. “I always thought that the 20th century could not end without paying homage to these human beings who lived through the horror of an extermination without precedent in history”, confesses the artist. The early Holocaust stories made an indelible impression on Contín in the first place in a visual way, through harrowing images collected in various publications, an element that is clearly incorporated in several pieces of this collection, through heartbreaking images collected in various publications, an element that is clearly incorporated in several pieces of this collection. ZZZZZ subhuman conditions that these people suffered, a disgusting treatment of human beings, ”he explains. One concern in particular prompted him to help keep the memory of Jewish extermination alive: the so-called Holocaust deniers, “the biggest and most persistent lie in history,” Contín stressed. He was also captivated by the stories of artists who became prisoners. of the horror of the Nazi extermination campaign, to whom he particularly addresses his tribute. For example, the story of the Polish conductor Simon Pullmann, an extraordinary conductor of orchestras who was trapped when visiting the Warsaw Ghetto just before the Germans invaded Poland in late 1939. He became the conductor of the Ghetto Symphony Orchestra until He died, along with all his fellow musicians, including the young violinist Ludwik Holcman, in the Treblinka concentration camp in 1944. He was also struck by the stories of Marysia Afzensztat, known as the “Nightingale of the Ghetto”, daughter of the director of the Warsaw Synagogue choir, murdered during the Nazi extermination; that of the director of the Israel Fajwiszys Children’s Choir, executed in the Poniatowa concentration camp, in Poland; and that of the plastic artist Félix Frydman, executed in Treblinka, Contín also dedicated one of the most symbolic works to another notable Jewish victim of the Holocaust: the German diarist Anne Frank. “Anne Frank enriches us, teaches us, leads us to purification of the soul. Contín records the testimony of Helga Deen, a German diarist like Anne Frank who died in the Sobibor concentration camp, Poland. Deen left these words: “I feel so unique. Every day we see freedom behind barbed wire. It’s too much. I can’t take it anymore and tomorrow again. But I want power, I want to, because if my will dies, I die too ”.

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“Homenaje a los víctimas del Holocausto”/ “Homage to the Victims of the Holocaust”

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Las obras de arte estãn en Miami y están disponible para exhibir. Contacte a este blog./The artworks are in Miami and are available to be exhibited. Contact this blog.

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Marjorie Agosín — Poeta y escritora judío-chilena-norteamericana/ Chilean American Jewish Poet and Writer/Samuel Shats — Fotógrafo judío-chileno/Chilean Jewish Photographer — “Memorias trenzadas”/”Braided Memories”

Marjorie Agosín

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. . . Alison Ridley

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. . . Alison Ridley.
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Helene Halpern

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Memorias trenzadas/Braided Memories

Amazon.uk
https://www.amazon.co.uk/Braided-Memories-Marjorie-Agos%C3%ADn/dp/1910146382/ref=sr_1_1?dchild=1&keywords=9781910146385&qid=1592393637&sr=8-1

https://www.bookdepository.com/Braided-Memories-Marjorie-Agosin-Alison-Ridley-Samuel-Shats/9781910146385 – /Entrega por todo el mundo/Delivery Worldwide

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La poeta

Marjorie Agosín nació en Chile en 1955. Comenzó a escribir poesía cuando era niña, y luego de que su familia se mudó a Atenas, Georgia, en 1969, continuó escribiendo poemas en español. Recibió una licenciatura de la Universidad de Georgia y una maestría y un doctorado de la Universidad de Indiana. Agosín es autor de numerosas colecciones de poesía, entre ellas En el umbral de la memoria: poemas nuevos y seleccionados (White Pine Press, 2003); Toward the Splendid City (Prensa Bilingüe / Editorial Bilingüe, 1994), ganadora del Premio de Literatura Latina 1995; y Sargasso (White Pine Press, 1993). Agosín, que escribe principalmente en español, invoca con frecuencia temas de desplazamiento e inmigración en su poesía. En una entrevista con Blackbird, ella dice: “Siento que no pertenezco. Me siento un extraño, lo cual es muy bueno para un poeta, sentirse un extraño”. Agosín es también autor de varias obras en prosa, entre ellas A Cross and a Star: Memoirs of a Jewish Girl in Chile (University of New Mexico Press, 1995) y I Lived on Butterfly Hill (Atheneum Books, 2015), ganadora del premio 2015 Premio Internacional del Libro Latino en ficción para adultos jóvenes.nActivista de derechos humanos, Agosín es conocida por su trabajo en la promoción de la justicia social y el feminismo. En 1998, recibió un Premio al Liderazgo de las Naciones Unidas en Derechos Humanos, y en 2002, el gobierno de Chile le otorgó el Premio Gabriela Mistral por logros en la vida. Galardonado con el prestigioso premio español Letras de Oro. Agosín es profesor de español en Wellesley College. Vive en Wellesley, Massachusetts.

The poet

Marjorie Agosín was born in Chile in 1955. She began writing poetry as a child, and after her family moved to Athens, Georgia in 1969, she continued to write poems in Spanish. He received a BA from the University of Georgia and an MA and Ph.D. from Indiana University.nAgosín is the author of numerous collections of poetry, among them On the Threshold of Memory: New and Selected Poems (White Pine Press, 2003); Toward the Splendid City (Prensa Bilingüe / Editorial Bilingüe, 1994), winner of the 1995 Latin Literature Award; and Sargasso (White Pine Press, 1993). In an interview with Blackbird, she says: “I feel like I don’t belong. I feel like a stranger, which is very good for a poet, to feel like a stranger.” Agosín is also the author of several prose works, including A Cross and a Star: Memoirs of a Jewish Girl in Chile (University of New Mexico Press, 1995) and I Lived on Butterfly Hill (Atheneum Books, 2015), winner of the award 2015 International Latin Book Award in fiction for young adults. A human rights activist, Agosín is known for her work promoting social justice and feminism. In 1998, he received a United Nations Leadership Award in Human Rights, and in 2002, the Chilean government awarded him the Gabriela Mistral Award for achievements in life. Recipient of the prestigious Letras de Oro Spanish award, Agosín is a Spanish professor at Wellesley College. She lives in Wellesley, Massachusetts.

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El fotográfo

Samuel Shats nació en Santiago, Chile y tiene un doctorado en ingeniería de la Universidad de Tel Aviv. Trabajó como docente, investigador y emprendedor antes de dedicarse a la fotografía. Su carrera fotográfica comenzó en 1969 cuando ingresó al Cine Club de Fotografía de Chile, institución que presidió de 1994 a 1996. En 1983 comenzó a desarrollar sus proyectos fotográficos personales. Ha expuesto en más de 17 exposiciones individuales y 30 exposiciones colectivas en Chile, Israel, Argentina, Brasil y Estados Unidos. Además de su actividad creativa ha sido juez, comisario y docente y ha dirigido un taller de creación fotográfica durante años.

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The Photograph

The Photographer

Samuel Shats was born in Santiago, Chile, and holds an Engineering PhD from Tel Aviv University. He worked as a teacher, researcher, and entrepreneur before dedicating himself to photography. His photographic career began in 1969 when he joined the Chilean Photo Cine Club, an institution he chaired from 1994 to 1996. In 1983 he began to develop his personal photographic projects. He has exhibited in more than 17 individual exhibitions and 30 group exhibitions in Chile, Israel, Argentina, Brazil and the United States. In addition to his creative activity he has been a judge, curator and teacher and has directed a photographic creation workshop for years.

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La traductora

Alison Ridley llegó a Hollins University en 1991 después de completar su doctorado.en la Universidad Estatal de Michigan. Los intereses de investigación del profesor Ridley incluyen la picaresca española y el drama español del siglo XX. Ha publicado artículos sobre el dramaturgo español Antonio Buero Vallejo y la novela picaresca Guzmán de Alfarache. También ha presentado ponencias en congresos nacionales e internacionales.

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The translator

Alison Ridley came to Hollins in 1991 after completing her Ph.D. at Michigan State University. Professor Ridley’s research interests include Spanish picaresque and 20th century Spanish drama. He has published articles on the Spanish playwright Antonio Buero Vallejo and the picaresque novel Guzmán de Alfarache. He has also presented papers at national and international conferences.

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Algunos libros de Marjorie Agosín/Some of Marjorie Agosín’s Books

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La presencia judía en Uruguay/ The Jewish Presence in Uruguay

Montevideo

Sinagoga del la Comunidad Israelita del Uruguay
Sinagoga de la Comunidad Sefardí de Uruguay
Instituto Yavne y Sinagoga

Punta del Este

Sinagoga de Punta del Este
Sinagoga Adjut Israel de Punta del Este

Artistas del Uruguay/Artists of Uruguay

José Gurvich

José Gurvich https://wordpress.com/block-editor/post/jewishlatinamerica.wordpress.com/7914

Jaime Kleist

Jaime Kleist https://wordpress.com/block-editor/post/jewishlatinamerica.wordpress.com/2913

Eva Olivetti

Eva Olivetti

Raúl Pavlotsky

Aída Socolovsky

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Escritores del Uruguay/Artists of Uruguay

Julia Galimare https://wordpress.com/block-editor/post/jewishlatinamerica.wordpress.com/1731

Raúl Hecht https://wordpress.com/block-editor/post/jewishlatinamerica.wordpress.com/2151

Exelyn Wertheimer https://wordpress.com/block-editor/post/jewishlatinamerica.wordpress.com/2413

Mauricio Rosencof https://wordpress.com/post/jewishlatinamerica.wordpress.com/9200

Sandra Beraha — Artista y poeta judío-ecuatoriana — Ecuadoran Jewish Artist and Poet

Sandra Beraja

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Entre los pintores latinoamericanos más exitosos, la forma de Sandra Beraha se compara con impresionistas anteriores, pero su uso de medios creativos, que incluyen tinta, pastel, acrílicos, lana, harina, madera, vidrio y especias la distingue. Sandra, quien comenzó su carrera como artista a los cuatro años, es una poeta publicada y líder en el campo de las artes visuales. Un punto culminante de su carrera, “Maravilloso Ecuador” (Ecuador maravilloso), una colección de más de 700 pinturas, muestra la belleza natural de su hogar durante tiempos de incertidumbre política. Los críticos han señalado: “Desde su regreso a Quito inició uno de los viajes más difíciles, el de elegir entre una de las múltiples fases de su personalidad creativa…” Sus colecciones más recientes combinan su pasión por la pintura con la fotografía digital. Las obras de Sandra se han presentado en América del Norte y del Sur.

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Among the most successful Latin American painters, Sandra Beraha’s form draws comparison to earlier impressionists, but her use of creative media, including ink, pastel, acrylics, wool, flour, wood, glass and spices sets her apart . Sandra, who began her career as an artist at age four, is a published poet and leader in the field of visual arts. A highlight of her career, “Marvilloso Ecuador” (Marvelous Ecuador) a collection of over 700 paintings, showcases the natural beauty of her home during politically uncertain times. Critics have noted, “Since her return to Quito she started one of the most difficult journeys –that of choosing among one of the multiple phases of her creative personality…” Her most recent collections combine her passion for painting with digital photography. Sandra’s works has been featured in both North and South America.

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El arte de Sandra Beraja/ The Art of Sandra Beraja

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Autorretrato

La poesía de Sandra Beraja/ The Poetry of Sandra Beraja

EL OLVIDO
 
Olvidé leer,
Olvido de olvidar,
Aquel olvido, así como nunca estar
Olvidaré.
 
FORGETTING
 
I forgot to read,
I forgot to forget.
That forgetting, thus like never being.
I will forget.

EL PASADO
 
¿Qué decir ya del pasado?
Lo que es.
Parte del tiempo que parte, parte.
 
THE PAST
 
Why still speak of the past?
What is.
A part of time that departs, departs.
 
LA DISCULPA
 
La disculpa es la culpa de ser,
Se mantiene en culpa por la disculpa.
 
THE EXCUSE

The excuse is the fault of being
One affirms guilt by the excuse.
 
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THE BATTLE
 
I have fought battles to reach your heart,
With mine naked to the storms.
 
Defeated I am by your thoughts.
So strong they are,
They buried my heart under the stones
That I placed in your yard.
 
There is where I lay,
Under the leaves that feel,
Under the snow that came.
 
Si tu amor fuera para siempre,
Viviría eternamente
En el aliento que respiras.
 
Es allí donde yo siento
Respirando tu aliento.
 
Es el amor
Donde te encuentro,
Como si sudara a borbotones
Las insensatez de la exageración,
 
 
Una producción al por mayor de ilusiones y desilusión
Correteando el cansancio
Me arrastro hacia la luz de mis errores.
 
Dispuesta a vivir a pesar de mí misma,
Dispuesta a descansar en los brazos del riesgo de ser/ imperfecta,
Me preparo a dormir en mi propia soledad.
 
Una vez más desnuda
Ante la falta de razón
Sudando a borbotones
Las ganas de compresión.
 
Nada tengo ya que decir
Y quisiera saber si lo que he dicho de algo ha servido.
 
¿Será que llegaré a silencio,
O que el silencio ha llegado a mí?
What am I thinking about.
 
Recuerdo más que pienso,
Porque no sé si recordar
Es pensar.
 
Los extremos desbordados
                       deformados
                            exagerados
 
huyen los sensatos
 
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THE BATTLE
 
I have fought battles to reach your heart,
With mine naked to the storms.
 
Defeated I am by your thoughts.
So strong they are,
They buried my heart under the stones
That I placed in your yard.
 
There is where I lay,
Under the leaves that feel,
Under the snow that came.
 
If your love was forever
I would live eternally
In the breath your breath,
 
It is there where I feel
Breathing your breath.
The craziness of exaggeration.
 
It is love
Where I meet you,
As if I was sweating at the boiling point.
 
A wholesale production of illusions and disillusion
Chasing weariness
I drag myself toward the light of my errors.
 
Ready to live in spite of myself,
Ready to rest in the arms of the risk of being imperfect.
I prepare to live in my own solitude.
 
Once more naked
Before the lack of reason
Sweating at a boil
The desire for understanding.
 
And I would like to know if what I have said has had/an effect.
Will it be that I arrive at silence
Or that the silence has arrived to me.
 
I recognized them, didn’t I without knowing who they are
I don’t have anything left to say,
What am I thinking about.
 
I remember more than I think,
Because I don’t know it remembering
Is thinking.
 
I always return home.
I always take off my clothes
 
I have wanted to live with you more
I have wanted to love you.
 
He querido.
 
I rarely go anywhere
And much further.
 
I would like to know what I feel.
Perhaps that may be because I feel nothing that I don’t/ know that I feel.
 
I wish to believe what I tell myself
And I tell myself things not to believe in.
The story continues without knowing what I feel.
 
I have spent so much time with me and with my stories,
That now what do I tell myself?
 
The extremes exceeded
                            deformed
                                 exaggerated
 
flee the sensible.

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Adina Worcman — Escultora e artista brasileira-judaica/Escultora y artista judío-brasileña/Brazilian Jewish Sculptor and Artist — “Familia”/”Family”

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Adina Worcman

O site da  internet/Website

Arte Expo

Adina Worcman, naturalizada brasileira, nasceu em Rosenheim (Alemanha), em 1948. Formou- se em Pedagogia, Língua Hebraica e Arte Educação, e desde 1975 está envolvida com as artes plásticas. Lecionou Educação Artística, Língua Hebraica e Artes Plásticas em vários ateliês-escola durante 25 anos. Sua formação inclui cursos e workshops no Liceu de Artes e Ofícios, nas Oficinas Oswald de Andrade, Mube, Pinacoteca do Estado de SP e na Escola Panamericana de Artes. Cursou escultura com os professores Antonio Santos Lopes e Carlos Garcia Aires, e pintura com Renato Pinto. Premiada no Brasil e exterior, cria troféus para várias empresas, e em 2006 recebeu o 9º lugar em escultura na 6ª Bienal de Roma. Além das Artes, Adina se dedica à escrita e faz parte de Antologias Literárias no Brasil e exterior.

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Adina Worcman, brasileña naturalizada, nació en Rosenheim (Alemania), en 1948. Se licenció en Pedagogía, Lengua Hebrea y Educación Artística, y desde 1975 se dedica a las artes plásticas. Enseñó Educación Artística, Lengua Hebrea y Artes Plásticas en varios talleres escolares durante 25 años. Su formación incluye cursos y talleres en el Liceo de Artes y Oficios, en Oswald de Andrade, Mube, Pinacoteca do Estado do SP y en la Escuela Panamericana de Artes. Estudió escultura con los profesores Antonio Santos Lopes y Carlos García Aires, y pintura con Renato Pinto. Premiada en Brasil y en el exterior, crea trofeos para varias empresas, y en 2006 obtuvo el noveno lugar en escultura en la VI Bienal de Roma. Además de las artes, Adina se dedica a la escritura y es parte de Antologías literarias en Brasil y en el exterior.

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Adina Worcman, naturalized Brazilian, was born in Rosenheim (Germany), in 1948. She graduated in Pedagogy, Hebrew Language and Art Education, and since 1975 she has been involved with the plastic arts. He taught Artistic Education, Hebrew Language and Plastic Arts in several school workshops for 25 years. His training includes courses and workshops at the Lyceum of Arts and Crafts, at the Oswald de Andrade, Mube, Pinacoteca do Estado do SP and at the Panamerican School of Arts. He studied sculpture with professors Antonio Santos Lopes and Carlos Garcia Aires, and painting with Renato Pinto. Awarded in Brazil and abroad, she creates trophies for several companies, and in 2006 she received the 9th place in sculpture at the 6th Bienal de Roma. In addition to the Arts, Adina is dedicated to writing and is part of Literary Anthologies in Brazil and abroad.

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Mezuza

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Violinista (Maestro Isaac Karabichesky)

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Intérprete de Shofar

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Familia

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Oh Calcutta

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Can Can

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 Liberdade de ser

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Dançarinas

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Maternidad

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Familia

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Familia

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Rostro

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Escultura en bronce con base de granito

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Linda Kohen — Artista judío-italiano-uruguaya/Italian Uruguayan Jewish Artist — “La cama abierta” y otras pinturas/”The Undone Bed” and Other Paintings

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Linda Kohen

Nacida en 1924 en Milán, Italia, Linda Kohen vive en Montevideo, Uruguay. Huyendo del antisemitismo en vísperas de la Segunda Guerra Mundial, Linda Kohen emigró con su familia a Montevideo a través de Buenos Aires en 1939. Desde entonces, la artista de origen italiano ha vivido y trabajado en la región del Río de la Plata, con un interludio en Brasil (1979-1985). Desde 1949 hasta la desaparición del estudio en 1962, Kohen fue miembro del Taller Torres-García, donde estudió, creó y exhibió su arte. Después de su trabajo en el Taller, llegó a su propio estilo único y personal, creando pinturas íntimas que ofrecen un vistazo a sus momentos, sentimientos y experiencias privadas. Kohen continúa desarrollando su práctica artística desde su casa y estudio en Montevideo.

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Born in 1924 in Milan, Italy, Linda Kohen lives in Montevideo, Uruguay. Fleeing from anti-Semitism on the eve of World War II, Linda Kohen immigrated with her family to Montevideo by way of Buenos Aires in 1939.  Since then, the Italian-born artist has lived and worked in the Río de la Plata region, with an interlude in Brazil (1979-1985). From 1949 until the studio’s demise in 1962, Kohen was a member of the Taller Torres-García, where she studied, created, and exhibited her art.  After her work at the Taller, she arrived at her own uniquely personal style, creating intimate paintings that offer a glimpse into her private moments, feelings, and experiences.  Kohen continues to develop her artistic practice from her home and studio in Montevideo.

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El arte de Linda Kohen/The Art of Linda Kohen

 

 

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Linda Kohen 

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Linda Kohen

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Mamma

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LINDA KOHEND’apres Hilda Lopez (After Hilda Lopez), 1981
Oil on canvas
21⅝ x 18⅛ in. 55 x 46 cm.

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Viajero

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Multitud

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El momento de la escultura

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El momento de la escultura II

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La cama abierta (The bed undone), 2003
Oil and mixed media on canvas
39⅜ x 39⅜ in. 100 x 100 cm.

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El sillón (The armchair), 1999
Oil on canvas
36¼ x 25½ in. 93 x 65 cm.

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Tiempos