WALKING FOR SARAH

FIRST PUBLISHED in The Times of Israel – https://blogs.timesofisrael.com/walking-for-sarah/, as well as in Tribune Juive ( Paris, France) and The Jerusalem Connection Report ( Washington, D.C., the USA)

Soon after the publication of my essay in Israel, France and the USA, I’ve got the message from a good man in Paris who wrote that he will be coming to the demonstration that he knew will be organized — on April 25th — with his son, and that they, the Jews in Paris and France, are ‘feeling so underpowered in this system’. I felt acute pain for the talented, intelligent, hard-working Jewish people of France at that bitter moment, doubly so thinking of all the history of their inherited pain. 

Today, I feel much better, and I know that my French Jewish friends do as well. We all will be marching together in those massive rallies on Sunday, April 25th. There are so many of us for Sarah and her family. 

For the first time during the last four years since the horrific murder of the innocent, nice, kind Jewish teacher in Paris in April 2017, we all would feel a bit of some consolation while fighting in real-time and many real places for her honor and in her memory. 

There were many protests for Sarah Halimi before: after her terrible murder in 2017, after that extremely shameful verdict of the examination litigation body in Paris in January 2020, after that unheard mockery of justice in upholding the verdict after April 14th this year, 2021. 

But never before, in the period of just one week, these protests have been transformed into the global massive movement for decency, real concern for human life, and outright opposing the evil, white on black.  Or as it is on the Marching for Sarah protests, white on blue, with a bit of read. 

This is the main outcome of the committed in cold-blood, arrogance and never-dying anti-Semitic hate capital injustice in France: our all global conscious, active and articulated resistance to that. 

This is what solidarity is about. 

The protests are organized under the united slogan “ Sans justice pas se Républic”, “There is no Republic without justice’. 

All French Jewish organizations, many of the leading synagogues and congregations are united in this unprecedented expression of indignation and solidarity. 

To my serious satisfaction, I saw many messages from Arab people in France who were sending their solidarity with Sarah Halimi’s family. It is a decency that speaks at the moments like that, not race. 

We all will be coming to those rallies on Sunday, April 25th, in Paris, London, Tel-Aviv and elsewhere. Our people and those who have solidarity with us, just did demonstrate our guts, our heart, and our determination to fight the evil and those scoundrels who cover for it. 

In another surreal development, the judge called Anne Ihuellou who has committed that outrageous mockery of justice in the decision not to prosecute Sarah Halimi’s murderer on the ground that he used drugs before committing the crime, has demanded police protection for herself on the ground ‘of hostile attitude towards her from the Jewish community of France’. I am convinced that it is the Jewish community of France who is absolutely entitled of the police and any other possible protection from ‘the judges’ like that.

We now know about so many massive protests to be organized for Sarah Halimi – but for some reason, we have not heard about anything in the place which is geographically much close to Paris than Miami. I mean Brussels, the heart of the European democracy, and the seat of its governing bodies. We also have not heard anything, so far, from the EU, EC, and the European Parliament officials. I have heard that there is even a special high-ranking official whose cosmic salary is paid for her alleged fight against anti-Semitism. Just recently, we’ve heard that a huge budget of 2 billion euros has been allocated to fight anti-Semitism in the European Union. Probably, it all is misinformation – as there is virtually zero in everything which has to be done in real actions and deeds by all those hyper-inflated with officials and their salary bodies — and nothing, ever, done.  It feels that in the case of anti-Semitism, EU authorities responsible for that are placed in somewhere like Amazon jungle without internet and being not informed on anything. Pathetic inadequate mannequins. Poor European tax-payers, too.

When I was writing my previous essay a week ago on April 16th describing the utter shame cause by an unparalleled case of injustice in France, my heart was bleeding. My only consolation during those hours were the photographs from the first protests in Paris which were held just immediately after the scandalous decision of the Court of Cassation, on April 14th and 15th. When I saw how many people came there, and what good faces they had, I was a bit consoled that Sarah is remembered and loved, and that the pain of her family is shared. 

There can not be two more different erevs Shabbat, as it has been in between the previous Shabbat, on April 16th, and the current one, on April 23d. Sarah Halimi rally poster. Credit: B’nai Brit France. With kind permission.

A week ago, we felt deep pain and utter indignation, after hearing on the simply unbelievable insult of justice and common sense, after the French Court of Cassation upheld the previous scandalous decision in the case of the vicious murder of Sarah Halimi, the Jewish French teacher and physician in Paris back in April 2017. According to that surreal decision, the monster who murdered Sarah, now a 31-year-old Islamist from Mali, has been freed of prosecution on the ground that before the premeditated murder he smoked cannabis. This upheld verdict will go to the annals of history staining the reputation of France for good.

Inevitably, such scandal and insult have caused a storming reaction. I was one of those who protested publicly.

Immediately, I started to receive letters, notes, reactions, feedback, questions from all over the world, from Jerusalem and London to New York and San-Paolo. People were not only justly outraged. They wanted to act. Many of them have asked me: “what can be done, additionally to writing the letters of protests to the French judiciary and to the office of the President of France? Would it be the demonstrations in New York? What kind of protest will there be in London? Whom from the officials should we protest? We would like to act”.  

I felt very grateful. And encouraged. I am in constant touch with my French Jewish friends and colleagues who are working like lions and lionesses and who are fighting for Sarah Halimi’s honor and dignity of her poor family as attacked Jews always did, being focused, brave and unstoppable. Because, once and again, if we would not defend ourselves, nobody else will. Nothing has changed with that regard, does not matter what horrors might occur towards the Jews.

I have interconnected my French friends with those many other people worldwide who wanted to act in protesting that screaming injustice that had happened in France towards Sarah Halimi. 

During this past week, French President Macron has reacted in time and better than he did previously, in a more articulated way. Not only he personally expressed his clear concern over the fresh shame of France, but his chancellery has issued a special statement about it, an official document. And I think, president Macron meant what he stated. 

The Israeli authorities were not silent either: the Foreign Ministry of Israel has made a strong statement, the leading media in Israel and in the Jewish world has been quite clear in our all united and severe condemnation. Sarah’s family started to realize that they are supported not only by the united Jewish community of France, but now by the international brethren as well. This is important. 

In an absolutely just move, the family of Sarah Halimi is about to submit the case of the murder of a Jew to Israel’s jurisdiction, as it is prescribed by two articles in the Israeli criminal code. With all my heart, I do hope that the case will be accepted and that the state of Israel will officially request the extradition of the beast who has murdered Sarah Halimi, in accordance with the existing French-Israeli treaty on the matter. I do hope that Sarah Halimi and her family will get justice. It is just impossible that the forces of darkness will celebrate their evil cause on the account of Sarah’s life and her unpunished murderer. 

But today, most of all,  I am thinking about so many people in France and abroad who are preparing to march in protest of that colossal injustice the coming Sunday. One week ago sharp, we were discussing with my brave French friends two demonstrations on the coming Sunday, April 25th, in Paris and in Israel. 

Today, just in the matter of a week, we know about ten massive protests all over France, in all of the country’s big cities, as well as three major rallies in the USA, and also in London and Tel-Aviv. Sara Halimi international rallies. Credit (C) Alan Skorsky. With kind permission.

My heart is pumping when I am reading the information and seeing the posters for the forthcoming protest marches: Paris, Bordeaux, Lille, Lyon, Marseille, Nice, Strasbourg, Toulouse, Deauville, Montpellier in France, most of them at the same day and the same time, April 25th, Sunday, at 14.00, at the main squares of all those cities, and next to the courts, as well. In New York and Los Angeles, the rallies went on Thursday, April 22nd. In Miami, London and Tel-Aviv, they will be organized on the same day and time as Paris.

 

This is what solidarity is about. 

The protests are organized under the united slogan “ Sans justice pas se Républic”, “There is no Republic without justice’. 

All French Jewish organizations, many of the leading synagogues and congregations are united in this unprecedented expression of indignation and solidarity. 

To my serious satisfaction, I saw many messages from Arab people in France who were sending their solidarity with Sarah Halimi’s family. It is a decency that speaks at the moments like that, not race. 

We all will be coming to those rallies on Sunday, April 25th, in Paris, London, Tel-Aviv and elsewhere. Our people and those who have solidarity with us, just did demonstrate our guts, our heart, and our determination to fight the evil and those scoundrels who cover for it. 

In another surreal development, the judge called Anne Ihuellou who has committed that outrageous mockery of justice in the decision not to prosecute Sarah Halimi’s murderer on the ground that he used drugs before committing the crime, has demanded police protection for herself on the ground ‘of hostile attitude towards her from the Jewish community of France’. I am convinced that it is the Jewish community of France who is absolutely entitled of the police and any other possible protection from ‘the judges’ like that.

We now know about so many massive protests to be organized for Sarah Halimi – but for some reason, we have not heard about anything in the place which is geographically much close to Paris than Miami. I mean Brussels, the heart of the European democracy, and the seat of its governing bodies. We also have not heard anything, so far, from the EU, EC, and the European Parliament officials. I have heard that there is even a special high-ranking official whose cosmic salary is paid for her alleged fight against anti-Semitism. Just recently, we’ve heard that a huge budget of 2 billion euros has been allocated to fight anti-Semitism in the European Union. Probably, it all is misinformation – as there is virtually zero in everything which has to be done in real actions and deeds by all those hyper-inflated with officials and their salary bodies — and nothing, ever, done.  It feels that in the case of anti-Semitism, EU authorities responsible for that are placed in somewhere like Amazon jungle without internet and being not informed on anything. Pathetic inadequate mannequins. Poor European tax-payers, too.

When I was writing my previous essay a week ago on April 16th describing the utter shame cause by an unparalleled case of injustice in France, my heart was bleeding. My only consolation during those hours were the photographs from the first protests in Paris which were held just immediately after the scandalous decision of the Court of Cassation, on April 14th and 15th. When I saw how many people came there, and what good faces they had, I was a bit consoled that Sarah is remembered and loved, and that the pain of her family is shared. 

The Dreyfus Legacy of France

First published in The Times of Israel – https://blogs.timesofisrael.com/the-dreyfus-legacy-of-france/, as well as in Tribune Juive ( Paris, France), and the Jerusalem Connection Report ( Washington, D.C., the USA)

The mockery of justice in the case of neglected murder of Sarah Halimi   Sarah Halimi murdered by Islamist fanatic in Paris in April 2017. Commons Images Library.

First, the disclaimer to make: I do like France very much. Its culture, its landscapes, its distinct style and charm.  I grew up with admiration of France’s intellectual and cultural might, and it is an integral part of who I am. 

I also have a family connection to France, and it places me on the inner level of appreciation. 

Additionally, we have many wonderful family-like friends in France who are an organic part of my husband’s and mine lives. 

And then comes the part of history. As sorry as I am to say it, the fact is that the history of France is nasty all the way, from the early settlements on the banks of Seine to the shocking news of the mockery of justice that we are stunned to see today. 

The more one studies the history of France, the more chilled one is. I will not provide the full catalog of it because the list would be too long, and because the subject of this essay is not the observation of France’s shortcomings from a historical perspective. 

The subject of this essay is boiling indignation. 

In April 2017, a wild 27-year old monster from Mali intruded via balcony into the apartment of 65-year old teacher Sarah Halimi, the mother of three children, widow of a well-known psychologist, renowned for her kind and widely appreciated work in her school. Nice, kind, quiet, very likable woman. 

The intruding monster attacks the woman who is three times older than him. He beats her severely leaving twenty-two — twenty-two — fractures in her small body. He screams ‘Allahu Akbar!’ attacking his defenseless victim. Then he throws her from the high Paris third floor balcony, to her death. He screams “ I killed the Shaitan!’. 

As it has been chronicled in multiple, including official sources, the police did not appear in time despite many repeated emergency calls from many alarmed people. When the police appeared, they did not storm the apartment. They were waiting for the enforcement, they have explained later. 

What happened next is too well-known to the Jewish people in France — and it is stunning to the outside world. Many of the French media were reluctant to report the crime as it was. Three months passed before a word ‘anti-Semitic’ was added, extremely reluctantly, to the qualification of the crime, after enormous pressure by the Sarah Halimi’s family, the Jewish community of France and many intellectuals, all Jewish, who just could not allow themselves to be silent. 

The killer, who had a long criminal record, was put in a mental clinic, and was posed as ‘unfitted to be tried’. Did he have a history of mental disorders? He did not. 

Two years passed before the next juridical move had had a place, after a very pale one-phrase comment by President Macron saying that ‘even if him ( the killer) would be seen by the judge as unfitting for a trial, the trial, a judicial proceeding has to have a place’. Not the tone we used to hear from the Presidents of the French Republics. Not the tone which we used to hear from this very President, as a rule. 

In 2019, the examining magistrate made its

verdict: the killer was not criminally responsible. The reason? Because “ before the killing, he smoked cannabis”. Black on white, in the decision made in July 2019. 

Half a year later, in December 2019, this utterly scandalous decision was upheld by the Paris Court Appeal.  

Naturally, Sarah Halimi’s family appealed after that insult of common sense.  Their appeal took two years to have proceeded. 

Now, in April 2021, two years after the appeal, and four years after the horrific killing, the Court of the Cassation, the highest instance of the French legal system, has upheld the initial verdict. The animal who killed an innocent woman has been verified as having no criminal responsibility for wild murder just because he smoked cannabis before attacking his victim. 

Certainly, with this action, France has contributed to the world practices of litigation in the most shocking way possible. 

When back in 2019, responding, very reluctantly, to the mounting pressure of justified outrage over the intent negligence of the French police and then legal authorities to this unspeakable crime,  President Macron extremely cautiously uttered that just one carefully constructed phrase on the necessity of some legal proceeding of the case of murder,  some of those in charge, namely the case prosecutor Francois Molins and judge Chantal Arens from the Court of Cassation, supported by the top French judge, the head of the Union of the main judges of France Katia Dubreuil, unleashed a fountaining reprimand against him. How dared the President to interfere into the sacred independence of the French court system? Oh yeah. 

I have had a personal experience with this decision-making at the French courts and that omerta of silence all over it when I was publicly defending my distinguished colleague, internationally renowned French historian George Bensoussan. Today George along with his colleagues, including many of our personal friends, is fighting for the dignity of Sarah Halimi and against the cruel absurdity of this unique French legal system which has proven, once and again, on its high selectiveness, from the Dreyfus Affair and to this day. 

APR 16, 2021, 7:22 PM

Please note that the posts on The Blogs are contributed by third parties. The opinions, facts and any media content in them are presented solely by the authors, and neither The Times of Israel nor its partners assume any responsibility for them. Please contact us in case of abuse. In case of abuse,
Report this post.

The mockery of justice in the case of neglected murder of Sarah Halimi   Sarah Halimi murdered by Islamist fanatic in Paris in April 2017. Commons Images Library.

First, the disclaimer to make: I do like France very much. Its culture, its landscapes, its distinct style and charm.  I grew up with admiration of France’s intellectual and cultural might, and it is an integral part of who I am. 

I also have a family connection to France, and it places me on the inner level of appreciation. 

Additionally, we have many wonderful family-like friends in France who are an organic part of my husband’s and mine lives. 

And then comes the part of history. As sorry as I am to say it, the fact is that the history of France is nasty all the way, from the early settlements on the banks of Seine to the shocking news of the mockery of justice that we are stunned to see today. 

The more one studies the history of France, the more chilled one is. I will not provide the full catalog of it because the list would be too long, and because the subject of this essay is not the observation of France’s shortcomings from a historical perspective. 

The subject of this essay is boiling indignation. 

In April 2017, a wild 27-year old monster from Mali intruded via balcony into the apartment of 65-year old teacher Sarah Halimi, the mother of three children, widow of a well-known psychologist, renowned for her kind and widely appreciated work in her school. Nice, kind, quiet, very likable woman. 

The intruding monster attacks the woman who is three times older than him. He beats her severely leaving twenty-two — twenty-two — fractures in her small body. He screams ‘Allahu Akbar!’ attacking his defenseless victim. Then he throws her from the high Paris third floor balcony, to her death. He screams “ I killed the Shaitan!’. 

As it has been chronicled in multiple, including official sources, the police did not appear in time despite many repeated emergency calls from many alarmed people. When the police appeared, they did not storm the apartment. They were waiting for the enforcement, they have explained later. 

What happened next is too well-known to the Jewish people in France — and it is stunning to the outside world. Many of the French media were reluctant to report the crime as it was. Three months passed before a word ‘anti-Semitic’ was added, extremely reluctantly, to the qualification of the crime, after enormous pressure by the Sarah Halimi’s family, the Jewish community of France and many intellectuals, all Jewish, who just could not allow themselves to be silent. 

The killer, who had a long criminal record, was put in a mental clinic, and was posed as ‘unfitted to be tried’. Did he have a history of mental disorders? He did not. 

Two years passed before the next juridical move had had a place, after a very pale one-phrase comment by President Macron saying that ‘even if him ( the killer) would be seen by the judge as unfitting for a trial, the trial, a judicial proceeding has to have a place’. Not the tone we used to hear from the Presidents of the French Republics. Not the tone which we used to hear from this very President, as a rule. 

In 2019, the examining magistrate made its verdict: the killer was not criminally responsible. The reason? Because “ before the killing, he smoked cannabis”. Black on white, in the decision made in July 2019. 

Half a year later, in December 2019, this utterly scandalous decision was upheld by the Paris Court Appeal.  

Naturally, Sarah Halimi’s family appealed after that insult of common sense.  Their appeal took two years to have proceeded. 

Now, in April 2021, two years after the appeal, and four years after the horrific killing, the Court of the Cassation, the highest instance of the French legal system, has upheld the initial verdict. The animal who killed an innocent woman has been verified as having no criminal responsibility for wild murder just because he smoked cannabis before attacking his victim. 

Certainly, with this action, France has contributed to the world practices of litigation in the most shocking way possible. 

When back in 2019, responding, very reluctantly, to the mounting pressure of justified outrage over the intent negligence of the French police and then legal authorities to this unspeakable crime,  President Macron extremely cautiously uttered that just one carefully constructed phrase on the necessity of some legal proceeding of the case of murder,  some of those in charge, namely the case prosecutor Francois Molins and judge Chantal Arens from the Court of Cassation, supported by the top French judge, the head of the Union of the main judges of France Katia Dubreuil, unleashed a fountaining reprimand against him. How dared the President to interfere into the sacred independence of the French court system? Oh yeah. 

I have had a personal experience with this decision-making at the French courts and that omerta of silence all over it when I was publicly defending my distinguished colleague, internationally renowned French historian George Bensoussan. Today George along with his colleagues, including many of our personal friends, is fighting for the dignity of Sarah Halimi and against the cruel absurdity of this unique French legal system which has proven, once and again, on its high selectiveness, from the Dreyfus Affair and to this day. Inna Rogatchi in discussion with George Bensoussan. Memorial de la Shoah. Paris. April 2015. Courtesy (C) The Rogatchi Foundation.

In the way, as only real life can teach us, the mockery trial of George Bensoussan which I have called ‘a modern-day Dreyfus Affair’ had happened just three weeks before the horrific murder of Sarah Halimi. 

In the light of Sarah Halimi’s murder that has no criminal responsibility in modern-day France, Bensoussan absurd trial has to be called ‘modern Dreyfus Affair One’, and denial of justice to the victim Sarah Halimi and her family has to be called ‘modern Dreyfus Affair Two’. Congratulations to France with this growing list of shame. 

Exactly as in the case of a distinguished historian who was tried for several years for a quote, I believe that the people who were responsible for all premeditated mockery of policing and law in the attack, torture, and murder of Sarah Halimi, and for the consequent lenience of the investigation and the travesty of courts, should be named, with personal responsibility — moral, yes, at very least — to be bored by every one of them in that outrage that has tarnished the reputation of France for good. 

Those who were late in arriving at the location of the ongoing crime. Those who decided not to storm the apartment. Those who never interrogated the animal who murdered an innocent woman. Those who have authorized his move to the mental clinic. Those who kept him in the mental clinic obediently. Those who did not investigate. Those who were late to investigate. Those who obstructed justice. Those who came out with the verdict of ‘not bearing criminal responsibility’. Those who did upheld this verdict twice. Those who were and are silent in violating their professional duties in the media. Those who were and are ignorant at the National Assembly and the Senate of France. Those who were and are indifferent at the multiplied human rights organizations. 

All above applied to the murder committed independently of a racial element in this tragic story. Double tragic because of how the crime has been treated in France. 

Under the French law, so utterly independent, usage of drugs is an aggravating circumstance of a crime. This way, not the perverted one applied out of blue and against the existing law by the French judges who were ruling on the murder of Sarah Halimi. So what on earth has made them to pervert the law of the country in which they are enjoying their supreme independence? 

Probably, ‘Allahu Akbar!’ screams of the 27-year old Islamist fanatic on drugs torturing and murdering 65-year old teacher? Probably, ‘I killed Shaitan!’ screams of him after throwing her body off the third-floor balcony? Probably, his criminal history as a serial offender? 

To qualify the attack as ‘an anti-Semitic’ took three months and a battle, and it was never established as a racial motivation in the investigation of the case – which is another aggravating circumstance under the existing French law. 

The family of Sarah Halimi is not alone in their nightmare-like four-years battle against the wall of stunning negligence. In France, the Jewish community is fighting consistently against this screaming racial anti-Semitic crime. The French intellectuals are on the right side of this surreal barricade, as well. The Simon Wiesenthal Centre in France is fighting along. Some people from Israel are joining the protests. But there are many more public organizations and institutions in France and outside it which can intervene. 

I have also a revelation to make: one does not need to be Jewish to defend a Jew. Just like Emile Zola did. And many like him. I call those people Shining Souls. Demonstration in Paris after the verdict of the Court of Cassations. Paris. April 2021. Credit: SIPA.

After the original Dreyfus Affair, after the copycat Dreyfus Affair of the trial of George Bensoussan, in face of the third Dreyfus Affair of denying justice to brutally murdered Sarah Halimi, one cannot help but be appalled by the reality of legally verifying a sheer absurdity and institutionalizing it through the legal system upholding it on the top of it. This is the essence of what had happened in the perverted justice applied by the French police and legal system to the case of the murder of Sarah Halimi. When one of the protesters has said that with that verdict Sarah Halimi has been murdered twice, he was dead right. And as outrageous as it is, there are more cases like that in the modern history of France.

The people, with the names and official positions, who all, in a large quantity, neglected two aggravating circumstances of premeditated murder, did not oversee it by chance. They all did it consciously. They all did it on purpose. They all knew exactly what they were doing. 

That’s why I believe that we all who are protesting this yet another Dreyfus Affair, now in the XXI century, ought to know their names. All of them. 

And I also would like to hear, on record, in the public domain, their all, each of them personally, explanation, in their all official capacities, in replying on this one question: “Why did you decide to ignore two aggravation circumstances of premeditated murder of Sarah Halimi on April 4th, 2017?”. I would like to have all those people to give a detailed reply to this one question. I would like to publish their all’ replies next to their photographs, and the official positions they hold. This publication would be France’s other ‘J’Accuse…!’. Obviously, the original one was not enough.

Does somebody still remember, by the way, that the Paris police had never – this is never — investigated the arson at the house of Emile Zola which killed the writer and a great man in September 1902, almost four years after publishing “J’Accuse…!” in the act which preserved which was left of the reputation of France in the Dreyfus Affair? That the coroner has refused to make the existing expert report and has, just one man, declared Zola’s death of natural causes? That nobody ever challenged that verdict of one man at a minor police position in that mighty, huge, and oh-so-frighteningly independent legal system of France in the case of the death of the famous writer known as the conscience of the nation? And this is given the well-known fact that after the publication of  ‘J’Accuse…!” Zola had received numerous death threats due to his honest position and incredible bravery all four years preceding his weird death? Oh well. 

And even when half of a century later, some glimpses of truth had appeared in one modest investigative report in Liberation in 1953, it was orchestrated in the way of a possible personal vendetta of just one too eager anti-Dreyfus zealot. Well, it might be sobering – and timing – to remember that at the time of that fatal arson, Emile Zola has completed his novel Vérité summarising the Colonel Dreyfus case, the shame of the century for France as it was known, completely justified. The second volume of the novel called Justice Emile Zola was unable to complete. He was dead laying on the floor of his Paris apartment desperately trying to reach the window to open it. He suffocated. It is a natural cause as it was seen by the French police and legal system in 1902. 

The same as torturing, causing 22 fractions, terrible beating to death, and throwing a woman from the balcony bears no criminal responsibility as it is seen by the French police and legal system in 2021. 

This phenomenon is called ‘Dreyfus Legacy of France’, and it is absolutely impossible to accept it. 

Two Alexes, a Family Reminscence

First published in The Times of Israel – https://blogs.timesofisrael.com/two-alexes-a-family-reminiscence/, as well as in Tribune Juive ( Paris, France) and The Jerusalem Connection Report ( Washington, D.C., the USA)

The story of two Alexes appeared to me from old photographs, new documents, all kinds of papers, maps, clips, and fact leads of my ongoing art historical research with regard to the art looted by the Nazis during World War II, and on my family history as well. This time, the scene of the events is Paris in the early 1940s, and thereafter, when the war was just over. 

My research has brought me to the heart of the Paris 8th arrondissement, to the street which runs in parallel with Boulevard Hausmann starting from the Place Saint Augustin and ending at the Champs Elysees. It is rue la Boetie, the very heart of central Paris. The street was also very much the heart of the French art life in the last century. Businesses, storages, houses of the leading art dealers were situated there. Wildenstein, Bernheim, Rosenberg, the creme a la creme of the French, Parisian and actually the world art dealers had been living and working on this street which I came to research in close detail. 21, rue la Boetie, former house and business of art dealer Paul Rosenberg. Photo: Inna Rogatchi.

There is more in such kind of research than a topography in its literal meaning. The stones of the buildings on rue la Boetie, as the stones of the buildings at any place, does keep the energy of the people who were living there, and some of it could be felt even decades on. 

Coming out of the dramatic events from 80 years back, the destinies of two Jewish Parisian boys have resurfaced in front of me, in both striking and thoughtful parallel. Two Alexes of the same age and with a similar background, they both were thrown into the fire of the Kurban, as the Holocaust survivors were calling the Catastrophe for many years after it had happened.  Both boys took their stand with a great bravery and determination.

One boy was Alex Rosenberg, the son of the world-famous art dealer who was the principal dealer of Picasso, and a major collector of post-Impressionists. The other was Alex Bujanover, the son of well-known doctor Simcha Bujanover and the second niece of Gustav Mahler, Eleanor Rose. Alex Bujanover was my uncle. Both boys were born in 1921, Alex Rosenberg on March 5th, and Alex Bujanover on September 27th. Both boys started to study in Sorbonne, Alex Rosenberg studied classics, Alex Bujanover medicine. Both Alexs’ university years were cut very short. 

They were both nineteen in 1940. 

Three months before the Nazis marched into Paris, almost all of the Paul Rosenberg family had left the capital. The dealer’s brother was staying ( he died in 1947 after all that he, his family and his brethren went through) , and Paul’s son Alex went to England to fight against the Nazis. He did it bravely, fighting with the French 2nd Armoured Division of the Free French Forces during the all years of the war in  the world’s different locations. 

Doctor Bujanover’s family did not leave Paris. They were in Resistance. Alex’s mother, my great-aunt Eleanor was helping the Resistance in a big way despite mortal danger for herself and the family. The couple’s just 15-year old daughter Eleanor ( the name went down in that family for its women in one generation after the other) was very active in Resistance youth, the same as her a bit older brother. At a certain stage, towards the end of 1942, Alex has become too close to real danger, and he had to escape via the Resistance route to Switzerland. I found the documents about it at the US Holocaust Museum Archive in Washington D.C. 

Shortly after Alex’s run, in December 1942, his aunt, the first cousin of his mother with whom they were very close, the daughter of the legendary concertmaster of the Vienna Opera and Philharmonic Orchestras Arnold RoseAlma was betrayed to the Nazis on her way to freedom. Alma was kept at Drancy for about a year while the family tried desperately to free her from there, in vain. Alma was sent to Auschwitz in 1943.  I wrote about the saga of my family here. 

I have learned that Alex’s run from the Nazis was very daring. It was very uneasy, as he clearly had a Semitic outlook. He managed, and later would prove his bravery under very daring circumstances after the end of the war, with so many tragedies still unfolding years after the pact of the Third Reich’s capitulation.Alexandre Alex Bujanover in Paris. the second part of the 1930s. Courtesy: The Rogatchi Archive.

In his turn, Alex Rosenberg knew that the family’s house on 21, rue la Boetie, was confiscated by the Nazis almost immediately after the fall of Paris, in three days, actually, with everything that Paul Rosenberg did not manage to hide or relocate. He also knew that in their house, where his father used to work for the pride of France and its culture for decades, the Nazis and their local collabos ( the name for the Nazi collaborators in France) has set one of the most outrageous organizations, L’Institut d’Etude des Questions Juives  ( IEQJ) , the nest of the vile anti-Semitism in occupied France. There was a special — and intent — insult added to a standard proceeding of the Nazi robbery, with regard to the Rosenberg family.

Meanwhile, Alex Bujanover was extremely worried for his family who spent the first two years of the occupation in Paris before they managed to relocate to the Bordeaux area.  

During the rest of the war, both Alexs were each fighting against the Nazis and for their families and brethren, Alex Rosenberg as a soldier in the British forces, Alex Bujanover as a doctor. 

More than four years later after running for their lives, Paul Rosenberg’s son Alex was just 23 when he was re-entering Paris with the Allied Forces in August 1944 as a victor and as a lieutenant. Alexandre Alex Rosenberg, with his comrade in arms, at the camp de Delville, 1944. Credit: Free France History. With kind permission.

In one of the most colorful episodes of WWII in France, lieutenant Rosenberg was informed about the Nazi-organised train leaving Paris and heading towards Germany. It was the last train leaving for Germany, and it was full of looted art. The train number was 40 044. 

The train was loaded with about 150 large crates with the art looted by the Nazis in France. In an unbelievable sprint, Alex Rosenberg, who was given a car and soldiers to accompany him, was chasing that train and stopped it north from Paris.

The episode was described accurately in the astonishing book by Rose Valland Le front de l’art published in 1961. Valland, who died in 1980, is a very special person in the history of World War II and the looted art, and her amazing story is a subject of its own. Referring to just one episode,  it was that woman who was personally confronting Göering with her first-hand testimony on him as a banal low-life looter at the Nuremberg Trial. 

After the publication of Rose Valland’s book, Hollywood took interest in lieutenant Rosenberg’s chase of the German train number 40 044 in August 1944. The outcome of it is The Train film released in 1964 with Burt Lancaster in the leading role. Initially, the film should be directed by Arthur Penn. Interestingly, Lancaster who was calling shots at that production succeeded in firing the great director just a few days before the shooting would start. The reason? Penn was really interested in the art-line of the script and the Rosenberg family’s drama. Lancaster wanted action. The result is a rather clumsy film, and a very Hollywoodish tale that is really difficult to watch to the end out of its shallow boringness. 

In real circumstances, not a Hollywood version of life, when Alex started to open the crates loaded in the train, in two of them he saw the artworks which were looking upon him in their family’s apartment and in his father’s gallery as long as he knew himself.Inna Rogatchi (C). Cry of Heaven. In Memory of Six Million. Original drawing. Watercolour, wax pastel, oil pastel, lapice pastel, crayons Luminance on white cotton paper. 60 x 40 cm. 2019.

At the same time, Alex Bujanover has become a doctor at the DPC ( Displaced Persons Camp) after the war. As it comes from my research, it was Biberach camp that was under the French jurisdiction after the end of the war.  The place is in the middle between Munich and Stuttgart. When I was trying to locate the former DP Camp, I learned that the place was demolished in the 1960s. I guess, they were only too eager to erase the place of the former sanatorium in which the camp had been located, instead of preserving it as a memorial and, importantly, educational center. 

 It is well known that medical conditions at the Displaced Persons Camps were extremely challenging, with a widespread of highly contagious diseases. During the first two years after the war, as many as 850 000 people, mostly after the Nazi camps, were living there. In Biberach, there were more than 400 of them on average, with people coming and going for over two years. Biberach DP Camp, in between 1946 and 1947. Credit: Commons Images Open Archive.

Once I have met a nice person in the United States, educated, thoughtful, versed in all kinds of knowledge man. Somehow, his behavior was a bit distinct. Thoughtful a bit too much, shy a bit too much, static a bit too much. I never asked a question, but his wife thought that it would be useful to let me know, at a quiet moment, that her husband was the person who  ‘ was reportedly the first child ever born at the DPC, you know’. I did know. I loved this man. And I remember his rounded face, with his childish eyes, and that shy inner expression, all the years since we met for the first time in Boston, now it is some of them years after his passing, sadly. 

After the end of war, and that famous chase of the train 40 044 from Paris to Germany, Alex Rosenberg joined his family in New York in 1946. Joining and later continuing the business with his father, Alex has become a very senior art dealer himself, the founder of the Art Dealers Association in America. 

In a dramatic turn, Alex Rosenberg died prematurely, being just 66, in 1987. It happened in London, suddenly, during his visit to reunite with his fighting unit during WWII. Seemingly, that meeting, and the circumstances it evoked in his memory, turned out far too emotional and difficult to sustain.

Unlike Alex Rosenberg, Alex Buyanover did not live long enough to see his friends in Resistance for commemorations. As a matter of fact, he did not live long at all. Alex died in 1948, being just 27, of typhus which he had contracted at the DP camp on his doctor position there. His mother never recovered from that tragedy, yet another devastating blow of the Holocaust in our family. The line of very good doctors Bujanovers has come to its abrupt and forced end with the death of my just 27-year old uncle at the Displaced Persons Camp in 1948. Inna Rogatchi (C). Memories. Stop-Cadre II. Watercolour, wax pastel, oil pastel, lapice pastel, encre a l’alcool, perle le blanc on authored original archival print on cotton paper. 50 x 40 cm. 2017-2021.

As we all know, there are things in life which are hardly explicable. In one such phenomenon, I always have those two same-aged, same-named Parisian Jewish boys from families of a similar background to Alexes, together in my head. They were so very much alike. And the destinies of their families, too. 

Despite the French state returning that confiscated house on 21, rue la Boetie to Alex Rosenberg’s father Paul, he could never live there. He just cannot, and I understand him completely. I was always, and still am, terrified to think about the fact that German Nazi officers during the occupation of Ukraine, one of them major, as we know, were living in my paternal grandparents’ apartment in Ukraine. It was the apartment of Alex Bujanover’s uncle, my grandfather Elijah.

Not only the three Nazis were living there for three years, in the Bujanover apartment where my father and his brother grew up, but they also seized all those very special, unique large-size mechanized toys, models of car, ship, and the other things which my talented engineer grandfather created and produced by his able hands for his sons, my father Isaac and uncle Leonid. 

It might sound a bit loony, but I am often thinking about who in Germany, which children in which cities were playing with my father’s car, and ship, and all those marvelous things, some of which I have on the family’s photos after the three Nazis did return to their homes if they did return. Hopefully not.

I cannot get it out of my mind, and I know that it will always be there, in the back of it: which German kids were sitting inside that great car, and ship which were made by the Jewish engineer for his Jewish sons? I really want to know it. 

One more thing. This family reminiscence of two Alexes, two Parisian Jewish boys, had reminded me on how, being so young and inexperienced, they were so brave and so determined. I am looking into their both’ crucial years between 1940 and 1947 with grateful pride. In my head, I am reconstructing the process of sudden, emergency-like development of the character of those two boys. I can almost feel how steeled has become their inner will, which one would not recognize immediately in two well-bred boys from affluent families who had a  serene trouble-free upbringing before the war. 

I am thinking, and thinking again, on how courageous those two Alexes were, despite all the horrors that they were facing so suddenly and so shockingly. How helpful both of them has become to the others, at the time of an ultimate calling. How devoted they proved to be to their families, to our people, to everyone under the attack.

No Hollywood ever would be able to show the subtlety and the power of that dramatic transformation of the inner capacity of goodness inside our Jewish boys into the uncrushable fighting power and determined resistance to evil. This is why we prevailed. 

As sad as I am for not being able to know my uncle Alex who would be as great a doctor, like his father, and over the premature death of Alex Rosenberg who might live well more than 20-plus years unless his heart had been too worn up by the Nazi war, I am very proud of both of them, and of many other Jewish boys with similar destinies.

But most of all, I am limitlessly grateful to that heritage of goodness that defines the best of our people and that makes them victors, even in their premature death. Inna Rogatchi (C). Two Alexes art collage. Watercolour, wax pastel, oil pastel, lapice pastel on authored original archival print on cotton paper. 50 x 50 cm. 2021.

April 2021

Architectural Landscape of Scandinavia Has Been Changed for Good

Exclusive conversation with professor Rainer Mahlamäki

Publication is in Russian. First published at The Art Newspaper Russia – http://www.theartnewspaper.ru/posts/8908/

С возведением небоскребов в Дании, Норвегии, Швеции ландшафт изменится радикально. Новые высотки Trigoni в Хельсинки будут видны через Финский залив даже из Таллина

ИННА РОГАЧИЙ

25.03.2021

Самая высокая в мире башня из дерева Mjosa Tower. Норвегия, 2019. Фото: Metsä Wood/Voll Architect

Самая высокая в мире башня из дерева Mjosa Tower. Норвегия, 2019.Фото: Metsä Wood/Voll Architect

Северная Европа не привыкла к небоскребам. В то время как в Центральной Европе и Британии со второй половины 1990-х нашествие высоток начало диктовать новые стандарты городского ландшафта, скандинавские страны не пытались устремиться в небеса. Близость к природе играет огромную роль в миро­ощущении человека по всей Скандинавии. Поэтому так подчеркнуто здесь ухаживают за здоровьем деревьев и чистотой воды. При таком отношении к природе небоскребы, которые радикально меняют рельеф местности, не были востребованы на севере. Из всех скандинавских стран только в Швеции построили несколько сверхвысоких зданий, но это были буквально единичные случаи. Теперь же небоскребы пришли в Скандинавию практически одновременно.

В 2019 году в Норвегии, в городке Брумунндаль на берегу крупнейшего в стране озера был построен небоскреб-плайскапер (plyscaper, от англ. «фанера» — plywood), самое высокое в мире здание почти полностью из дерева, высотой 85 м. Сейчас в стране намечается строительство еще как минимум трех гигантских объектов: 200-метрового комплекса в Беруме, где должна разместиться штаб-квартира некоммерческой организации REV Ocean, многофункционального комплекса Urban Mountain в Осло и офисной башни Breiavatnet Lanterna в Ставангере.

В Дании, в маленьком городке Бранде, где живет 7 тыс. человек, возводится крупнейший в Европе небоскреб высотой 325 м как центральная часть проекта Tower & Village, который совершенно преобразит низменные виды Ютландии. Одновременно в Орхусе, втором по величине городе Дании, идет строительство 146-метровой жилой башни под названием Lighthouse («Маяк»), которая будет самой высокой постройкой в стране. 

Небоскребы Norra Tornen. Стокгольм, 2013–2020. Фото: Laurian Ghinitoiu/OMA

Небоскребы Norra Tornen. Стокгольм, 2013–2020.Фото: Laurian Ghinitoiu/OMA

В Швеции, в Стокгольме колоссальная вертикаль нагроможденных друг на друга кубов — Norra Tornen («Северные башни») — в 2020 году была отмечена архитектурной премией The International Highrise Award как «лучший в мире небоскреб». Впервые в истории эту престижную международную награду присудили скандинавской стране.

В Финляндии вопросом строительства целого комплекса небоскребов администрация Хельсинки заинтересовалась еще в 2010–2011 годах. В объявленном конкурсе победило архитектурное бюро LMA Architects, предложившее новаторский проект Trigoni. Его автор, знаменитый финский архитектор Райнер Махламяки подходит к своей работе как к художественному процессу и считает важнейшим фактором создание комфортной среды в районе высоток. Возведение группы треугольных высотных зданий начнется на окраине Хельсинки, в Пасиле, в конце 2021 года (его ведет компания YIT). Когда они будут закончены, архитектурный профиль столицы изменится навсегда: небоскребы будут видны через Финский залив из Таллина. Сейчас также обсуждается возможность строительства «мини-Манхэттена» в центре Хельсинки, на берегу моря, где собираются создать искусственный, насыпной полуостров. 


РАЙНЕР МАХЛАМЯКИ: «С ВЫСОТЫ 200-МЕТРОВОЙ БАШНИ Я ДОЛЖЕН СПУСТИТЬСЯ НА УРОВЕНЬ ОЩУЩЕНИЙ ЧЕЛОВЕКА»

Архитектор, совладелец бюро LMA Architects Райнер Махламяки. Фото: Jukka-Savolaine

Архитектор, совладелец бюро LMA Architects Райнер Махламяки.Фото: Jukka-Savolaine

Райнер Махламяки — один из самых востребованных финских архитекторов, совладелец бюро LMA Architects. Он автор здания Музея истории польских евреев «Полин» в Варшаве, а также строящегося мемориального комплекса «Потерянный штетл» в Литве (будет открыт в 2023 году). Проект Махламяки «Реквием» для Музея обороны и блокады Ленинграда в Санкт-Петербурге занял третье место в конкурсе в 2018–2019 годах. На счету этого крупного мастера — проекты мемориалов и музеев в Лондоне и Мюнхене, проект музея современного искусства в Риге, осуществленные здания концертных залов и музеев разных направлений в Финляндии, университеты и библиотеки. Архитектор рассказал нам о Trigoni, первом в Финляндии комплексе небоскребов.

В чем новизна вашего отношения к возведению высотных зданий?

Думаю, что в принципиальном подходе. Я размышлял прежде всего об ощущениях человека, который будет находиться не только внутри башни, но и около нее, в пространстве, которое она формирует. 

Я много ездил и изучал среду в тех странах, где небоскребы являются неотъемлемой частью пространства города: в Америке, Канаде, Мексике, Австралии. Очень часто среда, созданная небоскребами, остается неуютной, странной и неприветливой. 

Если обратить внимание, например, на район высоток, кардинально изменивший облик Лондона, — что мы прежде всего чувствуем? Там неуютно и холодно — в первую очередь в метафорическом смысле, но и в буквальном, кстати, тоже, из-за очень сильных ветров, дующих теперь в этом районе. Всего этого мы стремились избежать в нашем проекте Trigoni. Если вы создаете такое ультрапространство, то прежде всего должны задуматься над тем, как сделать, чтобы в этом районе человеку было тепло, уютно и комфортно.

Предварительный набросок идеи проекта Trigoni. Фото: LMA Architects/YIT

Предварительный набросок идеи проекта Trigoni.Фото: LMA Architects/YIT

Как же сделать ультраурбанистическое вертикальное пространство уютным?

Избегать прямых линий, давящих прямоугольников, думать о том, как замкнуть пространство между башнями. Как архитектор, я должен размышлять не только над формой, уходящей ввысь от уровня нормального человеческого взгляда, но и над тем, что человек видит и ощущает вокруг себя. С высоты 200-метровой башни я должен спуститься на уровень ощущений человека и создать для него защищенную среду.

Расскажите подробнее о своем подходе к форме.

В архитектуре, как и в искусстве вообще, существуют две школы мышления — декоративный подход и подход чистой формы. В отношении небоскребов декоративный подход характерен для восточной школы, которая нагружает здания дополнительными элементами, делая их, на мой взгляд, тяжелыми, иногда неуклюжими, иногда фантасмагорическими. Подход чистой формы, которого придерживаюсь я, является залогом элегантности, а это для меня главный критерий и в жизни, и в искусстве, и в работе. Чистота формы не есть ее простота. Чистота рождается из понимания искусства и линии, которое было у скульпторов Древней Греции и которое развил Роден. Форма не должна быть обычной, она должна быть интересной. Но при этом чистой, элегантной. В архитектуре работа над формой является определяющей: мы создаем пространство на долгие годы. Самая большая награда для архитектора — осознание, что люди полюбили твое здание, что они ощущают себя хорошо и внутри, и рядом с ним. Поэтому, например, я настоял на том, чтобы в группе небоскребов Trigoni, которые возводятся на очень небольшом участке, все башни были разной высоты, от 100 до 200 м.

Визуализация проекта Trigoni. Фото: LMA Architects/YIT

Визуализация проекта Trigoni.Фото: LMA Architects/YIT

Ваши небоскребы будут треугольными и из довольно небанальных материалов. Почему?

Идея треугольного плана была навеяна выдающимся мексиканским архитектором Луисом Барраганом (1902–1988). Я пришел в восторг от его цветных треугольных башен в Мехико. Но, конечно, я работал самостоятельно и создал нечто новое, я надеюсь. Используя треугольную форму, я думал о солнце — чтобы люди, находящиеся внутри башен, могли видеть солнце, когда оно к нам возвращается начиная с весны, и воспринимать свет со всех сторон.

Материал — это еще один принципиальный вопрос в работе архитектора, и я отказался от стекла для проекта Trigoni. Мне представляется, что небоскребы, фасады которых сделаны из стекла, холодны. Из-за больших размеров и площадей фасадов стекло создает дополнительное чувство холода. То, что хорошо работает в Австралии, не будет столь же удачным на севере Европы. И потом, это шаблонно. Шаблонно до такой степени, что у многих людей при слове «небоскреб» мгновенно возникает в воображении здание со стеклянным фасадом. Мы хотели показать, что можно создать запоминающееся высотное здание с использованием других материалов для фасада. И достичь художественного эффекта, например, цветом и его вариациями. Я не думаю, что наши башни будут решены в контрастных тонах. Напротив, мы хотим получить гармоничную композицию близких, но разных цветов наших небоскребов, создав мягкое цветовое пятно в архитектурной линии Большого Хельсинки. 

Finnish Saga About Russian Patrons of Art

The essay is in Russian. First published in The Art Newspaper Russia – http://www.theartnewspaper.ru/posts/8897/

Ровно 100 лет назад Финляндия получила в дар по завещанию коллекцию искусства старых мастеров, собранную купцом Павлом Синебрюховым и его женой Фанни

ИННА РОГАЧИЙ

16.03.2021

Здание Музея Синебрюхова в Хельсинки. Фото: Arno de la Chapelle

Здание Музея Синебрюхова в Хельсинки.Фото: Arno de la Chapelle

Иногда его называют «мини-Эрмитажем»— и любому жителю Хельсинки понятно, что речь о Музее Синебрюхова. Он расположен в центре города и окружен старинным парком. В красивом, превосходно отреставрированном особняке, построенном в 1842 году для купеческой семьи из России, под одной крышей живут произведения Якопо Бассано, Лукаса Кранаха Старшего, Рембрандта, Якоба ван Рёйсдала, Хусепе де Риберы, Джованни Баттисты Тьеполо. Это собрание и столетие спустя удерживает два давних рекорда: оно до сих пор является крупнейшей частной коллекцией старых мастеров в странах Северной Европы, и, кроме того, дар Синебрюховых остается самым значительным частным пожертвованием искусства за всю историю Финляндии.

Павел Павлович Синебрюхов в своем кабинете. 1910-е. Фото: Signe Brander/Museovirasto

Павел Павлович Синебрюхов в своем кабинете. 1910-е.Фото: Signe Brander/Museovirasto

По завещанию Фанни Синебрюховой, основанном на пожелании ее покойного мужа Павла, главным условием при передаче их коллекции государству было то, чтобы все произведения хранились вместе и были бы доступны для публики. С конца 1921 года музей стал функционировать в качестве домашнего. Он размещался в четырех залах — в той же обстановке, что и при Фанни, пережившей мужа на четыре года. Музей, который первоначально находился на попечении Художественного общества Финляндии, был открыт для посещения в первой половине дня лишь для небольших групп — во избежание порчи ценного паркета и по прочим соображениям сохранности.

В 1939 году уникальную коллекцию едва удалось спасти от бомбежек, экспонаты успели спрятать в хранилище буквально в последний момент. Сам же дом в результате бомбардировки получил существенные повреждения. После войны, с 1945 по 1959 год, он сдавался в аренду химической лаборатории Технологического университета Хельсинки; тогда оттуда исчезли исторические двери и ценный паркет. Члены семьи Синебрюховых проводили первую реконструкцию здания за свой счет. После ее окончания в 1959 году коллекция наконец вернулась домой.

Якопо Бассано. «Дева Мария с Иоанном Крестителем и св. Антонием аббатом». 1560–1565. Фото: Hannu Aaltonen/Finnish National Gallery

Якопо Бассано. «Дева Мария с Иоанном Крестителем и св. Антонием аббатом». 1560–1565.Фото: Hannu Aaltonen/Finnish National Gallery

В 1975 году государство выкупило у семьи Синебрюховых исторический особняк, а пять лет спустя было решено присоединить собрание европейской живописи, находившееся прежде в музее Атенеум, к коллекции Синебрюховых. Это объединенное собрание, богатое и разнообразное, обосновалось в Музее Синебрюхова (Sinebrychoffin taidemuseo), который тогда же стал составной частью Национальной художественной галереи Финляндии — наряду с Атенеумом, где представлено финское искусство, и «Киасмой», музеем современного искусства. В 2002–2003 годах была проведена исторически точная, детальная реконструкция здания, благодаря которой его экстерьер и все внутренние пространства обрели прежний вид — каким он был в 1910-е годы.

Иероним Франкен II. «Ценители искусства в галерее». Между 1607 и 1623. Фото: Yehia Eweis/Finnish National Gallery

Иероним Франкен II. «Ценители искусства в галерее». Между 1607 и 1623.Фото: Yehia Eweis/Finnish National Gallery

К нынешнему юбилею руководство музея и концерн Oy Sinebrychoff Ab, который продолжает поддерживать тесные связи с этой культурной институцией, подошли со всем тщанием, стремясь отметить знаменательную дату наилучшим образом — вопреки коронавирусным обстоятельствам. Как рассказали нам директор музея Кирси Эскелинен и куратор юбилейной выставки «Путешествия собирателей» Салла Хейно, первоначально планировалось отпраздновать 100-летие передачи коллекции Синебрюховых в дар финскому народу, показав их коллекцию в соседстве с произведениями из зарубежных собраний, однако в условиях пандемии пришлось изменить концепцию, и сейчас публике представлена версия, основанная на собственных фондах музея.

«Сделав коллекцию Синебрюховых ядром выставки, музей привлек и другие собрания, прежде всего те, что принадлежали когда-то коллекционерам одного круга», — уточнила Салла Хейно. А Кирси Эскелинен добавила, что именно на фигуры коллекционеров искусства устроители выставки обращали главное внимание: «Кто были эти люди? Чем они руководствовались? Какие интересные истории с ними происходили? Что они хотели сказать своими коллекциями и что мы видим в них сегодня?»

Якоб ван Рёйсдал. «Дом на скале». Между 1628 и 1682. Фото: Hannu Aaltonen/Finnish National Gallery

Якоб ван Рёйсдал. «Дом на скале». Между 1628 и 1682.Фото: Hannu Aaltonen/Finnish National Gallery

Выставка будет работать весь юбилейный год — до января 2022-го. В экспозиции представлено 130 работ из коллекций Синебрюховых, Хьялмара Линдера, Яло Сихтолы, Хермана Антелла и других. Прежде всего это живопись — с добавлением выдающейся графики, коллекционного фарфора, редкой мебели, миниатюр. Многие из экспонатов демонстрируются впервые или после долгого пребывания в запаснике. Обращают на себя внимание пейзажи Рёйсдала, не выставлявшийся прежде портрет кисти Элизабетты Сирани «Молодая женщина в тюрбане», графика Арнольда Хаубракена и Рембрандта. Здесь можно встретить превосходные работы Якопо Бассано, Джузеппе Креспи, Шарля-Франсуа Добиньи, ученика Рембрандта Исаака де Йодервиля. Специально к выставке была отреставрирована картина Луки Карлевариса «Средиземноморская гавань».

Зритель словно оказывается в путешествии вместе с теми людьми, ценителями искусства, которые когда-то любили и хорошо знали искусство Европы. А чтобы связать впечатления разных поколений, организаторы дополнили старые собрания двумя современными медиаработами о Риме, которые на свой лад продолжают тему Вечного города.


Коллекция Павла и Фанни Синебрюховых

Павел Синебрюхов и Фанни Гран. 1883. Фото: Johannes Jaeger

Павел Синебрюхов и Фанни Гран. 1883.Фото: Johannes Jaeger

Получивший известность в Финляндии купец, пивопромышленник и меценат Павел Павлович Синебрюхов (1859–1917) в конце XIX — начале XX века собрал и впоследствии передал в дар стране уникальную художественную коллекцию. Внук торговца из Гавриловой слободы во Владимирской губернии и сын купца, чье дело расцвело в Финляндии, он был первым человеком в этой семье, кто получил университетское образование. И женился он на представительнице совсем другого круга: семья популярной в Хельсинки актрисы Шведского театра Фанни Гран (1862–1924) состояла из архитекторов, педагогов, людей искусства. Художественную коллекцию Павел Синебрюхов начал собирать в 1884 году — в период их свадебного путешествия по Европе — и посвятил своему увлечению 30 лет жизни. Жена разделяла с ним эту страсть.

Павла Павловича особенно интересовали шведские портреты и работы старых голландцев, в то время как Фанни с не меньшим азартом собирала фарфор. Оба любили миниатюры и ценили редкую старинную мебель. Эксперты обращают внимание на то, что для бездетной пары приобретаемые ими произведения искусства словно становились их детьми. И действительно, есть трогательные документальные свидетельства именно такого отношения супругов к ряду картин из их коллекции, например к «Портрету мальчика» работы Франца Лёйкста. По воле Павла Синебрюхова, скончавшегося в ноябре 1917 года, его жена завещала их совместную коллекцию финскому народу. Передача собрания в ведение Художественного общества Финляндии состоялась еще при ее жизни, в начале 1921 года.

Something About Racism and Entertainment

Edward and Wallis Simpson meeting Hitler. Germany, 1937.

Missing Part of the Guide for TV Interview Watchers

“Racism drove us out of UK” – a quote from the recently carefully planned and calculated interview by a very fitting each other couple to Oprah. 17 millions Americans watchers, probably more, are in shock and full of sympathy, naturally. 

The Labour MPs in Britain have jumped on the horse and have demanded an official probe into the racism at the Palace. Of course. Racism claims are a hot commodity nowadays.

Perhaps, those sympathisers have to be educated a bit who is the person who has stated the line so somber-like and self-convincingly. That still young man is the person who sixteen years ago was featured all over the UK and in some US media as well, on the front pages. He was going to party, with a Nazi bandage on the sleeve of his white shirt. And it was not an isolated case. There were reports on Heil saluting by the same person, too. So he knows something about racism, it seems. British media covers, 2015. (C) Wiki Commons Image Library.American coverage , New York Post, 2015. (C) Wiki Common Images Library.

To compare the person’s actions and his words in this case and at this time leads to only reaction: it is simply hilarious. Whoever chooses this kind of outfit for a dressing party is declaring who-he-is. Period. And he is somber-like mentoring his family now choosing to shame them world-wide, for the profit, in that utterly hypocritical exercise for dumb and dumbest.

Next to him is a thriving former barmaid, former B-movies participant ( actress is a profession, so it has to be a distinction) who is having a moment of her life and enjoying every millisecond of it. 

The image of the woman on the screen is renewed to the smallest detail: the hair, the dress, every single gesture rehearsed thoroughly. As it happened, it all is a blatant appropriation: the hair, the dress, and gestures too.

Just somebody in a huge Oprah team who was preparing the show, had to read something about the person whose hair, dress and gestures they were appropriated for never-made-it actress on the bench opposite Oprah. Because they have put themselves, their subject, their mighty hostess, and the whole show, actually, in real jeopardy with that choice. Wallis Simpson, 1936. (C) Wiki Common Images Library.

Because – as it was noted in the British press yet before the interview – the copy-catted image was of Wallis Simpson, American socialite who has persuaded Edward VIII to marry her by the price of abdicating. Which was, actually, a blessing for Britain, as it turned out, because having undeterred pro-Nazi sympatizer on the throne at the time of the Second World War would make the job of Winston Churchill much harder. He would prevail anyway, of course. 

It would be highly recommended to consult some historian in order not to put the entire operation in such utter embarrassment for those who were responsible in the Oprah team before reviving the Wallis Simpson image 80 years after many of her notorious public and private statements and her multiplied allying with pro-Nazi figures literally everywhere she went. It would be so obvious to read, to learn, to think, to make this probably seen as unnecessary for them exercises of putting one plus one, before copiously cloning and putting in front of multi-million audience today  a person who produces all these lines and hints on racism being 100% in the appropriated image of disgusting personage of the modern history known as Wallis Simpson. So much meticulous effort of all sorts to revive the image of whom?

Just for Oprah team – and for those among the huge international audience who have no clue about who Wallis Simpson was: she was the person who has publicly stated that ‘France has lost ( to the Germans) because it has been infested inside”; she was the person who did choose as the host for her scandalous wedding with abdicated Edward the Portuguese banker who was known to the MI-6 as devoted Nazi sympatizer, appropriator of looted by Nazi art,  and who was close friend and business partner of dictator Salazar. 

She was the person who with her husband ran in 1937 to Germany to meet Herr Adolf and to lick his rare part enthusiastically, forgive me a small slip off the protocol. The Simpson and Edward visit to Germany and their cheerful and cordial  meetings with Hitler are very well documented. Just one of many existing photos of the tour  voila: 

Edward and Wallis Simpson meeting Adolf Hitler in Germany in 1937. (C) Wiki Commons Image Library.

She was the person who has organised the luxury marine tour for her-beloved-self and her husband on a board of an yacht of Alex Wenner-Gren, their good friend and associate and at the same time close personal friend – and business associate of Herr Göring, Hermann Göring. Furious Churchill managed to avert the public disaster with that would be sun-bathing of still Royal couple on the yacht of a pro-Nazi person who was actually banned by the British and American authorities during the WWII for his pro-Nazi activities and dealings with the Third Reich.

Substantial part of these activities were banking manipulations subsidising Nazis via Wallis Simpson’s one of the best and closest friends Wenner-Gren’s bank domesticated  where? In the Bahamas, indeed. In the Bahamas where Simpson’s third husband Edward was put by the British Crown to be the Bahamas governor during 1940-1945. One might wonder why on earth did he step down from that so convenient position on March 16, 1945 when the the Nazi Germany’s utter defeat was imminent? One might, but none of the British historians do not. 

I am not going further into that man’s personal relations and existed – before masterly retrieved by the able British ( and it happened, Kremlin) agent immediately after the end of WWII  – highly incriminating letters between him and Hitler. But it is well-known that they did exist. 

My point with regard to that stunningly mean exercise on the TV screen aired with such publicity is that the guide for this show for massive TV audience, especially in the States, clearly misses the part in which the audience would be reminded on the episode of the Nazi entertainment costume happily picked up by member of the Royal family who is now making such blatant statements on racism which in his words ‘drove him and his family out of his country’, and about the record of the openly and proudly pro-Nazi American socialite whose image has been picked up for appropriation by another American who is a parody even of a socialite. The audience has its right to know about these historical facts, to make their conclusions.

But of course, this kind of missing part of a guide for TV audiences does not generate such dizzy profit. As we know from history, including the modern one, decency hardly does. That’s why throughout long historical records it is regarded as a luxury. Royals or not. 

A Duet of Loving Kindness. Enduring Beauty of a Jewish Family

Spirituality & Modern Life series

First published at Israel National News, February 2021.

Covid pandemic has turned our lives upside down. For observing Jewish families, all spiritual peaks of our traditional year have transformed into something completely new, unexpected, unknown. But it is not only our holidays which we are trying to keep on a surface, with more or less success. In many Jewish lives, such crucial events as bar Mitzvah and bat Mitzvah have been muted into some completely new experience for the second year now. 

Each family adopts to it in its own way. Parents, siblings and relatives are trying their utmost in a frantic effort to make this odd substitutional bar and bat Mitzvahs as celebrating as possible. 

And the children. In big families in particular, being witnessing their older brothers and sisters’ previous bar and bat Mitzvahs celebrated in the way we knew it, the children whose bar and bat Mitzvah are to be celebrated during the pandemic are in such a daring situation. 

All together, it poses a truly tough challenge to every observing Jewish family world-wide. How to handle it? What to do? To create something truly memorable for our children that they would bear it with them all their lives, being proud of it and cherishing it forever. 

As it happens in life, toughest drama can also produce the most powerful overcoming. There are so many various ways for that. In the special cases when people in question possess the richness of our tradition and the depth of their own inner content, this overcoming is getting into all different levels altogether. 

We closely know the family of Rabbi Shmuel Kaminetski, his wife Channah and their children for many years. We love them dearly, as many people do whose lives were and are shined because of who Rabbi Shmuel and Rebbetzin Channah are and what they project to the outside world. 

I once said that Rabbi Shmuel is ‘a diamond of a man’, and the longer I know him, the more I think this way. Being a direct descendant of Rashi on his mother’s side, Rabbi Shmuel projects his genetically rooted intellectual and spiritual brilliance generously, and it is always for sharing. He also can be tougher than tough, if the circumstances require it. As a diamond, indeed. He is witty and deeply cordial. And he shows extraordinary understanding and character amidst the most challenging situations. The best possible Rabbi and an exceptional man. 

His wife Channah who comes from the Baumgarten-Lipsker  Lubavitch Chabbad family of the people who were devoted close assistants of the Rebbe, is a very special person, indeed: brilliant mind, golden heart, beauty and witt, and that ever present youthfulness which is a special and rare gift to those very few who are truly deserve to be mercifully highlighted in the life this way. 

Channah’s grandfather was first ever Chabad Lubavitch shlicha to Argentine, while her grandmother was a close friend from youth with Rabbi Yehuda Krinsky, the closest person to the Rebbe, the man of extraordinary mind and outstanding character. Channah herself in her childhood was lucky to spend many afternoons at the Rebbe’s house with his wife, Rebbetzin Chaya-Mushka, and remembers the Rebbetzin’s many talks with her, then little girl, all her life. Being moulded by such extraordinary people, Channah has told me very recently that ‘as far as I remember myself, I could not understand how to live, under any circumstances, in any place, without giving, whatever I had”. When domineering priority in one’s life is giving, this life is enlighted from within. And it warms up many people around.  

Recently, one of Rabbi and Rebbetzin Kaminetski children, Yossi, has had his bar Mitzvah.  Celebrating it under the harsh realities in the pandemic restrictions, they have decided with assistance of their friends in the Dnepr Jewish community in Ukraine that Kaminetskis lead for over 30 years being sent to the beloved place of his youth by the Rebbe personally, to make a special video to commemorate the date. 

Yossi himself has chosen that so very beautiful Ben Kodesh Lechol song by Shulli Rand and Amir Dadon. There are many Jewish boys today recording musical videos for their altered way of celebrating bar Mitzvah, and the trend will be only growing. But there are videos and videos. The video which has been made for Yossi Kaminetski’s bar Mitzvah with his father Rabbi Shmuel starring with him there, is exceptional. 

One can watch it endlessly because of many reasons. The video presents a very good cinematography  – for which a well-deserved thank you goes to talented, cordial and understanding  Larissa Tremba and her husband Vjacheslav who runs their La Tre studio. It also shows a tasteful symbolism, organically balanced emotions, not too much, and not too little. It brings out surprisingly high quality of singing and musicality by both protagonists, the father and the son – yet more surprising for those who would learn that both are singing publicly for the first time ever. What a fantastic debut.  

But most and foremost of all, this three-and-half minute video captures and produces a simply golden outpour of the best in our people: loving kindness, an accord of aspiration and wisdom, best possible family bond. I just do not know a better living sample of what a Jewish family is about among the thousands of videos available on the theme. Additionally to that, there is also an organic, not boasting, spiritual aspect which shows how this enrooted dialogue of a Jewish believing person with the Creator originates the light of its own. 

I think I know the secret behind this very special effect of Yossi Kaminetski’s bar-Mitzvah musical video. It is the substance of the characters of father and son there, and their relationships which has come so beautifully out from that wonderful singing duet. 

To me and my husband, this video is a gift and a blessing. Every time when we are watching it – which is a lot – the warmth of love and the rare depth of the mighty Jewish character of Rabbi Shmuel outpours from the screen and embraces us in a special enlightening way. I regard this video not as just a good song and nice smiles. There is so much more in it. It is  a very valuable spiritual experience which enriches life by its beauty, its substance, its warmth, its depth and its gentleness.  It is also the best live – and singing – illustration of the term ‘loving kindness’ I’ve seen for a long time. 

And it is a rarity, too – as Rabbi Kaminetski did this incredible recording just for once, for this very occasion of unusual form of the bar-Mitzvah of one of his sons, in a superb way of joining forces with Yossi to celebrate it in a memorable way. 

I am very glad to be able to share this special video, this singing love in between our generations, with the wider audience. 

Being inspired by the talents of our dear friends, I have created  a special series of original artworks Duet of Loving Kindness. Enduring Beauty of Jewish Family which is presented here in the form of a photo-essay, an exclusive art panel to honor the Kaminetski family who live Jewish values as one breathes. This living is truly beautiful, as their singing is. 

Video-link – https://youtu.be/NqrjdufF_PA

 Link to the Inna Rogatch’s Duet of Loving Kindness original artwork series – https://rogatchifilms.org/?page_id=1256

Inna Rogatchi ©

February 2021

Afterlife of The Auschwitz Album: A Personal Story of Us All

Bar-Mitzvah in front of the Auschwitz entrance

And even there, Pat’s works which I presented, were perceived by the people who know every detail of what has happened to the inhabitants of Brehow Ghetto, with deep emotions. Because when someone , 70 years later, re-lives a tragedy on the level of a certain child, a certain mother, a certain boy, with such a passion, asking loudly all those questions which had been answered never, it reverberates in people’s hearts powerfully. 

 Comparison of Pat’s coloured oil works and prints made in 2011-2014 with black-and-white photos from the original album works in a stricken way. Pat’s art is metaphorical – photos are documental. Pat’s works are picking up some one-two-three people from the photos – photos fixes groups as they were. Pat’s works manifesting hyperbolised details, such as a children doll, a girl bow, oversized yellow star on the Rabbi’s coat – photos are not magnifying anything like that, they show us a cold view of a butcher before his methodically applied butchery would start any minute from the stills taken. The contrast is colossal.  It shows the very essence of the Nazi butchery of human beings in uniquely magnifying glass of compassion which becomes conviction. 

Our committee has decided to start to work with good colleagues at Yad Vashem and go on for the publication of a special brochure, publishing all forty Pat’s art works next to their prototypes from the original The Auschwitz Album, with her – and ours – commentaries.

Eight months later, in Nomver 20202, the first brochure in this format has been ready, thanks to focused and devoted work of Dr Shelley R.Neese who took upon herself to implement our ideas, in memory of her great teacher, Pat Mercer Hutchens. In the end of the past, so difficult because of the pandemic year, 2020, 500 catalogues comparing Pat’s artistic interpretation with chilly black-and-white photos from the Auschwitz Album went to the Faculty of Arts at Liberty University for our pilot educational Art & Holocaust course there. We are having plans for expanding the program world-wide. Cover of the Auschwitz Album Re-Visited Catalogue published in November 2020. Credit and permission: Shelley R.Neese, The JerUSAlem Connection.

Forty Personal Stories

I knew Pat well. I felt her as a family member. She was a close friend. She was a fighter, and a straightforward strong American girl from Louisiana, that type of made of steel ( outwardly) Southern American girl with strongest and noble convictions, immense will, and mighty spiritual drive. She was sharp and fair. Inwardly, she was very subtle, finely feeling and subduedly expressing  herself as a gentle soul who knew what a nuance was about in an organic way of implementing it. 

I also knew, being helping her in her last project as its curator, in what hurry she was. The Auschwitz Album has 56 pages with 193 photos on them. Originally there were more, but Lilly Jacobs who found the album in the pocket of the left SS-coat on very chilling day of January 27th, 1945, in one of the Auschwitz barracks, and who kept it in her attic in the US until 1980s , gave some photos to the people who did recognise their family members in that terrifying document of the Shoah. Page from the catalogue with Little Rose of Hungary art work, the artist’s comment, and the corresponding photo from the original Auschwitz Album.

Pat has told me several times how hurried she is. “You see, my dear, there are about 200 photos in the album. I did just a bit of them. I know that I would not be able to do them all, but I am trying to work hard, to do as many as I could”. She was hoping to make seventy of her artistic interpretation  out of 193 in the album. She managed to do 40 of them. Catalogue page with Ben-Aron art work, the artist’s comment and prototype photo from the original Auschwitz Album.

In the recently published art brochure, the catalogue of her last art and humanist project, there is a quote from Pat’s thoughts with regard on that ordeal which she willingly adopted as her last mission in life: “Horrifying as they are, these group photos revealing mass tactics of de-humanisation make it harder to see each person as a suffering individual. My purpose is to zoom in, take two, three or four, and search for a more personal story. It is my prayer that observers will think about each man, woman, and child pictured in the album separately. That was my goal in the heart-wrenching process of painting. Often, I dreamt of trying to bring one of the children back to life. My heart tells me that if I had gone through such an appalling, de-humanising experience, it might bring some small shred of hope to know that perhaps someday, somewhere, someone would know—and let the world know what happened. That is the goal of my life work as an artist; to create monuments of remembrance through art. I am grateful to God for giving me the honour, strength and compassion to paint each precious person”. 

It was written by a mortally-ill over 70-year old woman artist who knew that her days are numbered and who went through an exhausting chemotherapy process at the same time while working on her last project which has been also emotionally powerfully drenching out. Catalogue page with Rabbi Leib Weiss art work, the artist’s comment and photo from the original Auschwitz Album.

Seven years on Pat’s passing, I am thinking of my elder friend ( Pat and Jim are the generation of my parents),  on her selflessness, and her focusing on the tragedy of Jewish children, women, elderly, Rabbis, anyone who has perished in the Shoah. I am thinking of her vision, her approach to see individuals in all those six-plus million victims of the Shoah, with one and a half million children among them. She tried to see and recognise every single person in those 193 photos from the only photographic evidence we have of what was happening inside Auschwitz.

Because only if one would be seeing them individually, they would be recognised and remembered. If we will be looking not on an unidentified child or elderly, but on Little Emma, Ben-Aron, Rabbi Weiss, we would start to comprehend the horror and enormity of that unspeakable crime which has been committed against them and our people. Each of them. Six million and more, individually. With the name. With the place. With the face, if possible. And this is exactly what Pat Mercer Hutchens has done in her last art project which goes far beyond art and gets into the orbit on applied universal humanism, being positioned high there. 

It is very encouraging to me, who was named after my young aunt Minna Chigrinsky who was murdered in the Shoah in October 1941 along with her aunt and uncle being just 18, that many kids in schools in several countries and many students in several American and European Universities would be studying and understanding the Shoah as a personal stories having in front of them the catalogue of the Re-Visiting Auschwitz Album by my dear friend Pat Mercer Hutchens and being able to compare it with the original photos from that horrendous document which is kept at Yad Vashem. I know that this way, people’s understanding of the Shoah will get personal. As it should be. 

* * * * 

The booklet can be ordered hereAll funds from it goes to the Holocaust Educational Fund. 

January 2021

The scale of the Shoah prevents us from perceiving it in a whole. Human psyche’s self-defence mechanism is evoked, often blocking us from absorbing it in its enitre shocking volume. We know its methodic plan and idea. We also know the incomprehensible outcome of it. It comes as facts of history. But what connects us with our brethren perished in that unspeakable crime is the way of personal identification with real people from those six – and in all likeness, more – million murdered Jews. That’s why many of us randomly  adopt one Jewish person from the Yad Vashem data-base every January 27th, to identify with that Polish girl, or that Hungarian boy, or that Lithuanian woman. My husband and I are doing it annually, and we treasure that somber but also warm and personal moment when a face and a name appears on our screens and we are able to commemorate the taken lives of more than six million souls while identifying with just two of them, each for one of us. Michael Rogatchi (C). Faces of the Shoah. Indian Ink on cotton paper. 50 x 40 cm. 1992. The Rogatchi Art Collection.

Another day, I saw some photos of a nice American Jewish boy whose family has chosen for his bar-Mitzvah a very moving Yad Vashem program in which Jewish boys can conduct their bar-Mitzvah with adopting a Jewish boy murdered in a  Shoah who had no chance for that. There is one thing when a Jewish boy chooses to put his tefilin for the first time in front of the Auschwitz entrance. It is a symbolic and conscious  gesture. 

It gets disarmingly different when the same boy is doing it in the name of a 2-year old Hungarian Jewish boy with a name and surname, knowing the circumstances of his annihilation. I cannot imagine more formatting experience in upbringing of the kids whose families had the heart and thoughtfulness of choosing this kind of bar-Mitzvah for them.  

When the Shoah gets personal, it gets under our skin for good. 

Presence of Little Emma

A year ago, on previous annual commemoration of the International Holocaust Day in January 2020, I penned the story about such a personal journey into the depths of the Shoah by several people in different generations. The story can be read here

I wrote there about dear friend, late American artist Dr Pat Mercer Hutchens who, after learning on contracting cancer at the age of 74, have decided to dedicate the last three years of her life to scrupulous research and the artistic visualisation of the images on terrible photographs from The Auschwitz Album, well-known document. As a matter of fact, the Album which is preserved at Yad Vashem from 1980 onward, is the only existing photographic evidence from inside the largest Nazi factory of death. Inna Rogatchi (C). That Kind of Forest. Watercolour, wax paster, oil pastel, lapice pastel, encre a l’alcool, perle de jaune on authored original archival print on cotton paper. 30 x 40 cm. 2021. Ghetto Waltz series.

I also wrote in that essay a year ago about  several types of interconnections, between the Shoah witnesses and its victims and their families and those passionate souls as Pat’s who were as if translating the emotional trauma of the Shoah for us today; and also about generational interconnections in between the Pat’s students and their children, the way through which the compassion is preserved and alive, thus assuring the memory of the innocent souls murdered,  and also strengthening the personal qualities of all, especially young generations, involved. 

A month after publishing that essay, in early March 2020, I went to the USA in what happened to be my last trip before the pandemic that has grounded us all. Many things during that memorable visit were connected with Pat’s memory, her legacy and how to transfer it to the next generations. We have had a special ceremony of our The Rogatchi Foundation Humanist of the Year 2019 Award in memory of Pat Mercer Hutches for her husband, legendary American hero, Brig. General ( Ret) Jim Hutchens, meetings of the educational committee on Pat’s artistic and historical legacy, collegial encounters at the US National Holocaust Museum and Memorial in Washington D.C., among the other things. 

I was encouraged to see the eyes of young generation, from 10 to 20 year old ones, during the ceremony near Washington D.C. where they were listening to speeches and our re-collections  on how the active, creative, spiritual, passionate memorialising of unknown to her victims of the Shoah has marked the last years of Pat’s life, how she , while battling the cancer, bravery immersed herself into sharing the destinies, actually, the very last hours and minutes of the boys and girls, women and elderly, Rabbis and mothers from the Brehow ghetto in Hungary, which was a collecting point from several towns in the region. How this established American artist, sixty seven years after the collapse of the Hungarian Jewry, decided and carried on re-living the terrible end of their lives with those people. 

It was very quiet in the audience during our ceremony at the speeches part of it when we were recollecting what Pat and Jim did and why. And I would remember the eyes of a few youngsters present there with a hopeful feeling of preservation not only of memory, but the interest towards it. All his life, Elie Wiesel was deeply troubled by the indifference he witnessed first-hand before, during and after the Shoah. Many other survivors would share both publicly and privately the same never answered question and piercing pain on that paralysing, incomprehensible indifference surrounded Shoah and emboldened it in the most desperate way.  

The eyes of those youngsters at our ceremony near Washington D.C. in early March 2020 when we were discussing, remembering and reflecting on the Hutchens family attitude and their life-long efforts to share the tragedy of Jewish victims of the Holocaust in their post-life, were telling to me that these very people would not be indifferent. I do think that it is a vital outcome of the efforts of the people like General Hutchens and his wife artist Pat Mercer Hutchens, their living and growing up legacy. 

Thanks to a generosity and great hearts at the right place of Amy and Bill Zewe who were hosting our ceremony near Washington D.C., it has become a wonderful, warm, meaningful, loving  and memorable event. 

There was one spot in Amy and Bill’s house which was a kind of a magnet to every single person who entered it prior to the ceremony. When I saw it once and again, I decided  to get closer there to find out what makes the place attractive to everyone to stop there, and groups of guests to stay there for a while. When I got close, I was overwhelmed. My favourite artwork of Pat, which is also on our wall as I’ve described it in my previous essay on the topic, Little Emma was there. People were as if being pulled next to that wonderful, and so very special work. Pat Mercer Hutchens (C). Little Emma. Authored original archival print signed by the artist. The Rogatchi Art Collection.

I said: “ It is on mine wall as well”, and was about to continue with “It makes two of us”, meaning Amy and myself, while people staying next to Little Emma started to respond: “ It is on my wall as well” – said Shelley Neese,  historian and writer, President of The JerUSAlem Connection, – “ and on the wall of my in-laws, too”. – “It is on my wall, too” ,  -‘ and mine’ – said both daughters of Pat and Jim Hutchens. – “ It is on my wall, as well”, – said two more guests of the ceremony. ‘So we have a Little Emma club here” – I concluded, being deeply impressed by the choice of all those people, their solidarity, their sentiments which  I would never know about unless we all happened to be at the same time at the same place next to that so special for each of us work of our all dear friend.

I still remember that episode as vividly as it happened right now. And I  remember the eyes of all those smiling women around Pat’s Little Emma, these eyes transmitting deep, non-declarative compassion that little Emma and all of those little Emmas  were devoid of in the awful end of their brutally abrupt lives. 

I also thought of what one artistic work made by a wise heart is capable of, in generations. 

Blue Hills of Virginia

During my last trip before the pandemic, we were travelling through extraordinarily beautiful blue hills of Virginia, a magic place with special people living there, so rich in history from the beginning of the American story 244 years back till today.  We approached a huge campus of Liberty University and were greeted into its giant Faculty of Arts. We have had an important working meeting there, to discuss the further development of the Pat Mercer Hutchens artistic legacy. 

After doing a lot of research and thinking, Pat has decided to donate all 40 originals of her oil on canvas works of her Re-Visiting The Auschwitz Album collection to the Faculty of Arts of Liberty University. She has told me shortly before her passing that it was not her immediate and first decision, neither was it spontaneous one. She realised that those 40 originals are a central part of her legacy, and she wanted to make sure that it will go to the right address, she said. 

With over 70 thousands students attending Liberty University, and many of them taking also different art courses there, with their facilities, and the attention of the Art Faculty’s head,  known sculptor, professor Todd Smith, Pat’s decision seemed to be the right one. 

Pat’s works were presented at the special exhibition at the University Gallery, all forty of them, in a spacious, professionally lit inviting space. While we were there, students and visitors were coming in constantly, chatting and smiling when entering and being completely silent and crying, staying for a long time next to every single of those 40 tragedies on canvas. Pat’s canvases from this collection are not too big, but they are extremely intense, and one needs an extra strength to meet with them, with all those children and women, and elderly, for the first time. Also, there is one thing to see separate prints, and  it is totally different to have that mass of human suffering reflected in deep oil, alive, all around you. Such immersion results in a long-lasting impression, staying with the artist’s message in her dramatic, even desperate canvases, with you for a long time. And yes, nothing can replace a physical seeing the art works, all other experiences are different stories, providing different impressions. Dr Shelley R Neese and prof. Todd Smith at the Auschwitz Re-Visited exhibition of the works by Pat Mercer Hutchens. March 2020. the Art Gallery of Liberty University, Virginia. Photo (C) Inna Rogatchi. The Rogatchi Archive.

During our many-hours meeting at and around Pat’s exhibition, the first one after her passing away in 2014, six years on, we were discussing with Shelley R. Neese and professor Todd Smith how to develop her artistic and historical legacy, how to make it ‘work’ in different ways and forms. 

Since the first moment when I saw the Pat’s works from that heart-rendering collection for the first time back a decade ago, in 2011, I was of an opinion that this kind of art , with the artist’s personal comments, is the one of the best possible ways to teach Holocaust in schools, to bring that element of colours, the accents on humanistic details as adequate and natural for children’s attention. I saw that collection-in-making as the right way to start a conversation on the Shoah with children between 10 and 15, to introduce it  to them in the terms of simple, organic compassion, to make the beginning of the explanation of inexplicable.  I did what I could in that direction, with our Foundation working on several programs and projects of Pat’s The Auschwitz Album Re-Visited in several European countries. 

Now, when our Educational Committee was working on further tasks regarding Pat’s legacy, we thought on the most appropriate way of presenting her works and thoughts to the next level, the university students. I remembered that in many of my lectures on Pat and her re-reading of the Shoah in pictures, I combined her works with corresponding black-and-white originals from the album at Yad Vashem. It always worked, at any audience. I did it in Finland, the UK, Poland, Lithuania, Latvia, Estonia, Ukraine. Especially poignant was my experience in Budapest,  at my presentation at the Holocaust Remembrance Centre, during the international conference on Raoul Wallenberg. There, a big gallery is dedicated to the tragedy of the Brehow Ghetto, with all material from The Auschwitz Album and more available is presented in graphic and extremely saddening detail. The light in that gallery only makes it harder to see all those faces, their homes, their streets, that open wound stilled in time. 

Osip and Nadja, Jewish Heroes of Russian Culture

Cultural Diary

OSIP

January 15th, 2020 has marked one of the most special commemoration dates in this year’s cultural calendar, the 130th birth anniversary of Osip Mandelstam, Russian poet of Jewish origin, vulnerable and hunted man who has created a cosmic, unparalleled quality of poetry that has become a distinctive mark of literature of the XX century in general. 

This anniversary could well be his 300th or 30th one. He is from the category of eternal lights, and there are so very few of them.Michael Rogatchi (C). OSIP. Portrait of Osip Mandelstam. Oil on canvas. 70 x 50 cm. 1993. The Rogatchi Art collection.

Mandelstam is one of the most brilliant and ever-lasting ‘contributions’ of Russia in world culture. In my lectures, I often call him ‘Mozart of Russian poetry’, to give my students a glimpse of understanding of whom I am talking about. Because to translate his poetry is just impossible, as it is impossible to translate any really good poetry. Even when another genius poet Paul Celan who loved Mandelstam tried to do it, the result was not close to the original. If Celan could not do it, nobody else could. 

There are people who are as if present in our life effortlessly, by definition. Osip, who was actually Joseph, definitely is one of them. It is just impossible to use ‘was’ with regard to Mandelstam because he is always there. His unique talent has formed so many people in a huge country, and many of the others world-wide, bringing us to incredible heights which we would never imagine existing, without being immersed into his smashing, ultimate, dizzy talent. With years passing on, one can only be amazed at how really few of such people exist in world culture – and how much did they give to enrich it. 

Mandelstam was like a golden equivalent to the foremost of the Russian poets who lived and created after him, from his close friend and contemporary Anna Akhmatova to his partial ‘re-incarnation’ Nobel laureate Joseph Brodsky who was known in their close circle around Akhmatova as ‘Osja ( shortened from Osip) Jr’. 

I wish Mandelstam would know a bit, smallest bit of his posthumous fame and his meaning for Russian literature, Russian culture and so many people before he met his awful death that occurred in the nasty corner of Gulag in December 1938 when the pride of Russian literature died of typhus and cold and hunger, as so many other prisoners of Gulag, being just 47. Till this day, the place of his burial is unidentified and would not be identified. We only know about a huge ravine in which his body along with thousands of decayed corpses was thrown down seven months after his death. The climate conditions in that part of the Gulag were such, you see, that it was impossible to dig before short summer when earth would give up a bit of its closeness to the eternal freeze. Many decades later, a bit of the soil from that ravine was brought to be entered next to the grave of his heroic wife and widow Nadezhda Mandelstam who died in Moscow in the end of 1980. Michael Rogatchi (C). Kolyma. Indian ink and oil on paper on board. 30 x 20 cm. 1993. The Rogatchi Art Collection. Published for the first time. 

NADJA 

And Nadja, Osip’s heroic wife. Without her, we would not know his eternal poetry and prose. We simply would not. That’s why Akhmatova, Brodsky and many other giants of spirit never separated them. In our common perception, Osip means “known because of Nadja”. And Nadja means Osip, for all of us, in generations. Our debt to Nadezhda Mandelshtam has not even started to be appreciated any close to what it should be, really.Nadezhda Mandelstam. Ca 1920s. Courtesy: Maija Mailis – Inna Rogatchi archive (C).

That vivid Jewish girl whose family lived in Kiev in the beginning of the XX century and who studied art at the Alexandra Ekster studio,  bumped into an already well-known poet, eight years her senior, at one of the popular and crowded cafes when she was 20, in 1919. It was the love from the first sight. But it was more: what happened to Nadja Khazin and Osip Mandelstam, two extraordinary Jewish people, was what is known in the Talmud as ‘the rule of three minutes’: when Jewish man and Jewish woman are destined to each other, they feel love towards each other within first three minutes of their first encounter. 

From a Kabbalist perspective, according to Rabbi Luriah, it can be pondered that in the Jewish world, the souls of its men and women are destined each to another, and often those souls are, in fact, halves of one common soul. When those halves are finding each other, we, mortals, having a sensation of love, that mightiest in the world magnet which we are unable to explain often. It is exactly what happened to Nadja Khazin and Osip Mandelstam in the evening in that cafe in Kiev back in 1919. Their souls found each other, understood each other and were amalgamated into each other to a rare degree. 

Nadja Mandelstam has proven it during her long life which was lived for only purpose: to make Osip’s legacy remembered and lived on. She over-lived her murdered husband for 42 years, with only the last fifteen years of which she had a home of her own, a tiny apartment far off Moscow down-town. Before that, after her trials with Osip to their common first exile in 1934, after his arrest and perishing in 1937-1938, throughout the Second World War and years after that, that small woman was a wanderer, literally. Nadia was moving from city to city – mid-Russia – Uzbekistan – Ural region – mid-Russia, very often, avoiding authorities, trying to survive, having no possessions of her own ever, and – memorising the poetry and prose of Osip daily and nightly. Waiting for the time and opportunity to put it on paper and to publish it, somehow, somewhere, anyhow, anywhere. A person has to be made of steel to lead such a life for so many years and decades. But she did it. 

During the political ‘thaw’ in the mid-1960s, friends helped her to return to Moscow, to get that small apartment, and to send the Osip priceless archive to Princeton, for free, obviously. She also wrote her legendary memoir which was published in the USA in Russian in the 1970s, with two followed volumed later on. This memoir is one of the most important books on the history of the USSR in a period between the 1930s and 1960s. 

Nadja was not an angel, far from it – and who would be under the circumstances of her life? Just one detail: her only dream – people with a disciplined brain were not much of dreamers in that country – was ‘to die in my own bed’. Which she did, with my friend Vera Lashkova being next to her. Vera is a well-known Soviet dissident, very special and devoted person who did help the others completely selflessly all her life. She was very close with Nadja, and spent days and nights next to her during the last period of her life. Not only Nadja slept away in her own bed, she was taken loving care of, and was looked after by a real friend. Luxury, in her understanding.  

I always felt a special attachment to that tragic and unique couple of two Jewish people, two halves of evidently one Jewish soul who has become the pride and the heroes of Russian literature and culture. What was and still be amazing about them is that both Osip and Nadja Mandelstam, despite all the persecutions, hunting and crushing of them, were always strong and free. This message of their extraordinary characters and lives is not less important than Osip’s genius poetry and Nadja’s great prose. Not for a bit. 

One Teacher, One Book 

These days, I am commemorating my own Mandelstam connected anniversary, as well. It is half of a century this year while I am living with his presence in my life. Some things in one’s life are remembered surprisingly graphically, and this one, with Mandelstam entering my life, is one of them. 

I was a 13-year old bookish Jewish girl who loved literature and poetry greatly being raised this way by my mom who was a legendary teacher of it, and who treated great writers and poets with trepidation.  My appetite for reading was both selective and insatiable. I was not interested in reading ‘all of it’, but only the best of it, and all of the best, naturally. After I completed reading through our big home library, my mom realised that I needed to extend beyond it. Public libraries were not an option for me at the time. I was not the type.  My mom was also a brave person who could allow herself a bold move every now and then. Especially in the name of culture, the sacred name for her. 

The one of such moves was to send me on my own, as an under-aged cultural apprentice, so to say, to one of her close friends, also famous teacher of literature Maija Mailis, a legend in our large enough Soviet Ukrainian intelligenzia circles. Maija was a legend because she was a very brave political dissident who was a close associate of the widow of famous Russian poet Maximilian Voloshin Maria and belonged to the inner Voloshin circle of Russian intelligentsia – this meaning families of the most important writers and poets, including Tsvetajev sisters, and many others, all with utterly tragic destinies. 

Maija gave me a quick look during my first visit to her small apartment which was all in books, magazines and manuscripts from ceiling to  floor, on tables, chairs, floor, anywhere, and immediately started to teach me the real history, culture, literature and poetry, most of which had been forbidden in the USSR. I was a very grateful sponge, and visited Maija several times a week. Very soon, I have become her willing and enthusiastic assistant who was helping her to produce those small and priceless home-made samizdat books of genius poetry which I was only over-happy to print on my mom’s type-writer at home, bringing all five exemplars of tiny paper to Maija, who would show me how to produce ‘almost a real book’ from my sheets. All that was done at her kitchen during the long hours every day. She always knew whom she would give those precious gifts of real, beautiful, great – and heavily forbidden – poetry, from hand to hand. Precious as they were, the only window to the world of real culture and literature for us, they posed the certain danger, too, to everybody participating, but most of all, to the initiator and informal head of the circle of people who dared to read what they would like to, not what has been prescribed. 

Remarkably, not anyone from hundreds of people, her pupils and their friends whom she gifted with those pearls of the best of Russian literature, ever gave her in to the KGB authorities. She was regularly summoned to ‘the conversations’ there after her returns from Voloshin house where she would be going as often as she could, several times a year, but as she claimed her absolute innocence and total immersion in literature matters only, and there was no hard evidence on political activities against her, she managed to teach for years. 

There were several searches in her small apartments in my memory, with tens of newly produced small volumes of poetry confiscated. As there were no political manifestos, but literature creations, she was allowed to continue to work for a while, after which she was sacked, eventually. My family and some of her friends were supporting her to the end, with my mom employing Maija on her first opportunity to do it, during the rest of Maija’s life. Those people never went to retirement, all of them, they regarded it as  a drama, failure, and pitifulness, to put it mildly. They all did strive to work to the end. Such was their understanding of usefulness of  life. 

Maija was my teacher not only in literature and poetry, but in freedom of thinking and dictated by that attitude to life, from quite an early age. She provided me with knowledge and books from which I learned not to follow the mass. She widened my horizon of knowledge from its outset, for which I am still grateful to that extremely knowledgeable and freely spirited Jewish teacher all my life. 

Maija noticed very early that of many Russian poets about whom she did teach me,  Osip Mandelstam was my favourite, indisputably. It was a love from a first glance, indeed. That’s why I was given a special task to type, namely Mandelstam’s poetry on my mom’s personal type-writer that I did so diligently and so happily for a few years. 

 One day, Maija showed me a huge foliant. She took it from her shelf, not from its front row, but from some hiding place behind it, and put it on the table in front of me ceremonially, with a special expression on her face. 

What’s that? – I asked.  I was spoiled by Maija by the endless gems of her treasury by now. Maja was smiling as if expecting something really delicious to share.  – Well, this is such a kind of book that you have never seen before – she said, at last.  – What do you mean, dear Maija? But you are providing me with so many wonderful books – which was true, every time I visited my teacher, I left with several volumes to read at home.  – No, my dear girl, I can guarantee you that this kind of book you never hold in your hands – Maija was smiling wider and wider. 

The exceedingly heavy foliant of 740 pages was the Anthology of the Russian poetry  of XX century published in Moscow in 1925, with all important poets of the first quarter of that tumultuous century presented by their best poems, their biographies, bibliography of their published works, everything. Cover of the rare Anthology of Russian Poetry of the XX century. Moscow, 1925. Inna Rogatchi archive.

The book was a huge liability. From the early 1930s until mid-1980s, it was listed among the books which had to be hidden in what was known in the Soviet reality as spetzhran, heavily controlled books and other printed materials and manuscripts depositories sealing those materials off Soviet public. The book was also the only Anthology of the Russian poetry  of the XX century ever published in the USSR until the end of it. Today, the original edition of it has become a gem at the rare books auctions.

Forty eight year ago, I brought it home being absolutely happy. I can physically remember that happiness still now. That blossom of poetry has become my favourite book ever. I knew that I should return it to Maija who did treasure it extremely highly, as I was doing with all the books and magazine borrowed from her, and as it my habit ever. There are people who return books and there are those who don’t. I belong to the first category emphatically.

But that book was an exception, the only one in my life, as it happened. Every now and then, I would ask her: 

-Maja dear, can I please still have Anthology for a while? She always smiled and always said: – Yes, my dear, you can. 

That dialogue was going for years. I felt guilty, but I just could not depart with that very book. I finished school, started to study at the university, and it was still the same. When I was going away from home for a substantial period of time, to the student camp, and alike,  and was unable to take such a heavy volume with me, I was missing it distinctly. 

Then I got married to a young man whom I knew – without any other elaboration , but with that firm inner knowledge  – that I would marry very soon after we met. 

Maija decided that as a part of her present to me for my wedding, I should not return Anthology to her. I was absolutely happy and so very grateful. That heavy volume travelled with us to St Petersburg where we moved soon, but because of its rarity, it was impossible to take it with us across the border in our further journeys. We left my treasure with good friends. At least I know that it is at the family-like home. I still miss it, tell you the truth. 

Portraying Memory 

The young man who has got that rare wedding present from Maija together with me, has become a very able artist. At the beginning of his artistic journey, Michael was deeply connected to the literature with which we grew up and to his preceding work at theatre. He was very sensitive to the historical storms which have formed us, our families, the writers whom we read and the poets whom we loved. Michael also knew that I am missing that Anthology volume which always crowned my working table at our previous homes. 

Without discussion or hinting on what he was working, he created a very special artwork, his early portrait of Osip Mandelstam, as the present for my birthday. Almost thirty years have passed since that moment of that total and overwhelming surprise to me, but I can tell that this is one of the most dear to me presents, and one of the most dear and special of my possessions. For many years, ‘my Osip’ painted by my Michael was hanging on the wall in all my  studies being a reflection and source of empathy to me. 

Later on, I have created a few works to commemorate Mandelstam’s huge talent and his absolutely tragic destiny in my projects on Jewish heritage and our living memory which is not only paying a bit of our debts to the people who has formed us by their talent, but also continuation of some of their ideas, having them as ‘a golden equivalent’ of the level and the quality of what we do while we creating ourselves.

It is also about keeping their spirit alive. The most important – and actually, the only thing – that we could do for them, for their memory. The one of the musical video-essay presenting such project, Horizon Beyond Horizon:Celebration of  Jewish Talent , can be watched hereInna Rogatchi (C). Osip Winds. Homage to Osip Mandelstam. Horizon Beyond Horizon project. Authored original print of pearl paper. 50 x 70 cm. 2011-2012.

Osip Mandelstam has become much better known and much more justly appreciated in his country after his death than during his short life. It happened so very often in the XX century, due to the demons which were unleashed from the beginning of it and through three quarters of it. 

In commemoration of his 130th birth anniversary, a truly special memorial plaque was unveiled in Ekaterinburg, Russia’s main city in the Urals. On the plaque created by Russian artist Nikolay Peredein, and crowd-funded by people from all over Russia, Osip and Nadja are depicted together, as two  birds, hunted but strong and determined, living by the huge resources of their both’ extraordinary souls.Nikolay Peredein. Memorial plaque to Osip and Nadezhda Mandelshtam. Ekaterinburg, Russia. Unveiled on January 14, 2021, in commemoration of Osip Mandelstam 130th birthday. Credits: Roman Liberov, with kind permission.

Or that one soul which I believe was in the case of Mandelstams, Osip and Nadja, Jewish heroes of Russian culture. 

January 15-17, 2021.

When Kitsch Gets Dangerous

Modern History Perspectives series

“Jewish tradition commands us to tell the truth to the power” – Elie Wiesel to President Reagan at the public ceremony in the White House, April 19, 1985. 

A Nazi for the Office. Or rather not

Just over a decade ago, which is not that long a time by the standards of political development, I was very busy. In my capacity of a senior foreign affairs adviser for the members of the European Parliament, including the EU-the UK- the US- and Israel public diplomacy, I did initiate the process examining the possibility of expelling from the EP the one of its new members, British open Nazi who, among his other public racist activities, was bragging openly of having two Rottweiler dogs, ‘one named Anne and the other Frank’. During the several months’ process, I was often wondering: why on earth nobody else bothered to try to block that bastard’s membership at the European Parliament? Why on earth it was considered as acceptable to have an open and active Nazi as the member of the highest political pan-European body? Democracy had nothing to do with it. Ineptness had. 

We did everything possible under the legal realities of the European Parliament at the time, including issuing a special inner-EP memorandum protesting the situation and signed by a number of MEPs. That document which although had no decisive legislative power to expel the Nazi from the European Parliament in the XXI century, did raise the question of moral unacceptability of the openly pro-Nazi personalities as the members of the European Parliament as such, with all legally possible points following our claim, including appeal against the owner of two  Rottweilers’ membership in any EP committee. 

As we found out, at the time, during the seventh term of the European Parliament (2009-2014), the EP lacked necessary legal instruments to unseat a member selected by a member-country although everyone at all the levels of the giant pan-European institution had completely agreed with us and with the justification of our demand. As a result, the humanoid in question was not made a member of any important committee, and contrary to all his steroid-energetic efforts, was listed as a member of just one the EU delegation to the non-EU member country of the least importance. 

Because of our articulated stand, the open Nazi was effectively muted since the day one of his term at the EP for all five years there. After his hanging around in Brussels, he was expelled even from his own racist party back home in the dispute of financial matters. 

During my involvement in that important process, I was threatened seriously and multiple times. Those people breeding the Rottweilers with such names, are real bandits and are connected with professionals in the field. My husband was also contacted, repeatedly, with strong recommendations to convince his wife ‘to retreat from her annoying activities, or else’. ‘What is she gaining personally in this campaign?’ – was one of the arguments of the people who pressured us persistently. I gather that their question might be even genuine. How could they understand, really? 

At a certain stage, a close friend, one of the Queen barristers, got so worried for my safety, based on his own information, that he demanded that the corresponding security authorities would be briefed on the escalating situation. The situation was taken under scrutiny and tight control. And I was wondering again: how on earth it was I who needed protection from the Nazi and his trained dogs, metaphorically too, almost 65 years after the ultimate defeat of Nazi Germany worldwide? I still wonder. 

Praising Hitler next to the Capitol

I remembered that decade-back episode vividly now, watching the painful unfolding of that unbelievable-but-true last turn of events preceding the change of the US Administration in Washington D.C.

Just next to the Capitol where I am visiting regularly and so very often during last three decades, a newly elected Congresswoman from Illinois with no trace of intelligence on her face whatsoever was screaming in that typical abrasive provinciality manner addressing the huge crowd that we saw a bit later in their incredibly stupid and clearly criminal action, indoctrinating them that ‘Hitler was right…’. As  it is known and recorded, her full phrase was ‘Hitler was right on one thing: who has the youth, has the future’.   But I am not interested in anything that this moronic creature pronounced after the beginning of her phrase in her capacity of an elected Member of the US Congress, “Hitler was right…”  in front of the US Capitol. Neither do I interested in her apology, as stupid and as provincial as her speech at the rally on December 6th, 2021 was. I am convinced that a creature like that shall be dismissed from the Congress, and that there is existing legislation that allows it. Plus there has to be bipartisan demand of her to resign. Now. 

This was an unpardonable precedent which has to be addressed further than it has been done by now, with all the just storm risen in the media and by many Jewish organisations, both Americans and international ones. That Congresswoman’s escapade has nothing to do with the First Amendment, or democracy , or anything else from the category of applied American domestic policies. It has everything to do with sheer racism and unwarranted Nazi glorification and thus has to be cut off instantly. That message, its phrasing, and more importantly what is behind it, is a menace. There are  consequences of such statements, always.  

And – in the first place, really – the outgoing US President, or anyone else, for that matter, from any side of the US political spectrum – should not have this kind of humanoids as their supporters, not to speak as the representative of their party at the highest US legislation body. It is always screamingly counter-productive, to say the very least. 

Many of us know from history about both awful and shameful pro-Nazi rally in February 1939 in New York when 20 000 people gathered at the Madison Square in support of the Nazis – this is after the Kristallnacht, mind you. It is also sobering to remember how The New York Times covered the Holocaust, with its unimaginable 6 mentioning of Jews as the primary victims of the Shoah in just 24 front-page articles dedicated to the theme during all six years of the Second World War, from September 1, 1939 until September 2, 1945. It stands in history as the one of the most shameful phenomenon of the public response to the ultimate global tragedy and the crime of unheard scale by the leading American media. 

One could expect that with having all terrible Holocaust-related data available in so many ways and forms nowadays, those who are seeking to become a statesman or stateswoman, would know what is permissible to state publicly and what is not. But as we are seeing it, they do not care.  What is also important and worrisome, they are not dismissed or rebuked by the leaders at whose rallies they are rallying. Rallying for what? – we all have the right to ask. For applying some of Hitler lessons? Seriously? 

I firmly disagree with followed regular laments that the Hitler-praising Congresswoman ‘needs more and better Holocaust education’, and alike. Give me a break. This kind of creatures are immune to any education on Holocaust, and the other topics of humanity. It is simply naive to lull oneself with this kind of suggestion. This kind of person should never be accepted to run a party ticket to any office. And the core of the problem is in the fact that she and alike were accepted and then promoted at the huge rallies.  There are highly problematic representatives of the Democratic party as well, as we all know and fighting against it for years by now. But this ‘Hitler was right…’ bomb-shell was dropped by the fresh Republican representative.

That Hitler admirer farmer-turned-Congresswoman was not rebuked by none of the top bosses of the Republican party. More, the Republican Jewish Coalition leadership ‘ thanked her for her ( apologising) statement’, with not an inch of anything beyond it. Great. And telling. 

Out of my long personal active experience in international public diplomacy, I have to say that such a muted reaction would be absolutely impossible under any previous US Administration from the end of WWII onward. And this fact alone is disturbing, to say the least. 

Leaders and their Legacies 

The breeder of the Rottweiler dogs that he called Anne and Frank, was from the country which was the earliest, selflessly brave and decisively anti-Nazi fighter during the six devastating years of the Second World War. Prior to the war, from the end of the 1920s and until mid-1930s, in that country, the United Kingdom, there were also quite strong pro-German sentiments among the certain part of the British establishment, and enough pro-fascists movements and small parties, none of which came to power, however. 

That country – and the entire world, as it happened – was extremely lucky with having a leader at the most daring hour of the XX century history whose brilliant mind was combined with ultimately and unwavering strong will, and who did bring the honour to that country and relief to mankind, becoming the first and the principal opposer, global-wise, to the evil of Nazism.  If not for  Sir Winston Churchill, the entire course and the ultimate result of the Second World War could be tragically different. One should always remember that.  

Sir Churchill hated Nazism unequivocally. He did it being not only an extremely well-educated person with genuine strategic thinking and broad vision, but also because he had a highly developed sense of decency as a prerequisite for anything else in the vast array of his activities. Decency is not only one of life-saving vitamins. It is a vital component of the  preserving legacy,  especially if it is a legacy of a politician or public figure. 

In the wake of  the recent outrage at the US Capitol conducted by a delirious rabble of jerks, there are some important aspects, out of many,  that I think is necessary to emphasise. It is astonishing to unparalleled degree that a statesman, not to say the president of a country, can allow himself to exercise such utter irresponsibility as to call people ‘to walk down to the Capitol’, not to mention him saying to the multi-thousand rally that “I will be going with you’ having a zero intention to do so. For the record: political affiliation has nothing to do with this. Personal qualities and choice of behaviour do.

It is pathetic – although expected – that the president of the leading country in the world does not bother to get the basic legal proceedings of his country, to allow to himself to pressurise and bully, all publicly, his own Vice President and senior figures of his party whom he repeatedly and publicly calls ‘weak ones’, instigating the chain of escalating public bullying them, already after the amok at the Capitol Hill,  by the same rabble of the same delirious jerks, with ‘Hang Mike Pence’ hashtags that Twitter allows, incomprehensibly, and with  mass threatening senior  politicians in public places days on after the assault of the Capitol.

As if directly from a third-rate movie, the  Vice-President of the USA with his family had had to hide in a protected bunker while hearing the mad crowd screaming ‘Hang Mike Pence!’, in that idiotic inciting hateful ‘lock-em’up’ motion, with Number One not bothering to check on how safe is his Vice-President. To revoke personally the access to the White House to the Vice-President Chief of the Cabinet? What scheme is this? Where this came from? From  a fourth-rate movie? The world being totally dumbfounded is watching how that wilder-than-wild scenario unfolds. And there is seemingly no limit to this show of disgraceful incompetence. 

In a sharp contrast, it was Vice-President Pence who did demonstrate to his country and the world that there are leaders in the USA today who know what decency is and who live by that. I have a honour to know Mike Pence for over 20 years, and can attest to his honourable and very able conduct, on any of many of his governing positions and in various situations  always. To attack this man and to instigate the marginalised mob to do it in their wild way is indecent. 

But most disturbingly, to me, is the utterly disappointing fact of harbouring all those lowlives whom we all saw on our TV and other screens on December 6th, 2021 at the Capitol vulgar, stupid, and cheap assault, and incorporating them verbally, in a repeated motion,  into the range of ‘great American patriots’. 

Is that scumbag in Camp Auschwitz hoodie ‘a great American patriot’? So many people are indignant about that hoodie, but for some reason, not many have mentioned that the black hoodie has its back, and that there is one more sign on that back, namely ‘Staff’. Nazi supporter during the assault of the US Capitol, Washington D.C., January 6, 2021. Open Internet Library.

Does it differ from an owner of Anne and Frank  Rottweiler dogs? Not, it does not. Does it differ from ‘Hitler was right..’ screams earlier the same day at the nearby place? No, it does not. Is it acceptable? Absolutely not. Should it be overseen, let it go, written it off for ‘wing-off’ ones? Those who are accepting such positions in their understanding of loyalty are self-deluding themselves badly. They are shielding themselves from common sense and from both intellectual honesty and human integrity.  

The same as it is absolutely unacceptable to incorporate into the rank of supporters all those whom the world had a shock to see in that show of imbeciles ramming the Capitol: the Nazis, the QAnon, Proud Boys, all those wacky ultras of various breeds. How on earth these kinds of creatures have become acceptable by the president of the United States and those of his advisers who gave their go-ahead of usage of these kinds of organisations and creatures who are its members?  

Telling the Truth to the Power

When watching that third-rate real-life movie from the US Capitol during its assault on January 6th, 2021, I was thinking about our dear friend and teacher Elie Wiesel. I know that his son Elisha and his entire family which is very small, because of the Shoah, were in-tuned, as well, in an emotional way. I was thinking that thanks to Heaven that Elie does not see Camp Auschwitz moron and other alike roaming the US Capitol. I simply cannot imagine what Elie Wiesel would feel at such a moment.

And I also remembered how in the spring 1985, Elie, without thinking on political surviving code and maneuvering, has decided to come to to see and to speak directly with President Reagan to discuss with him face to face the very troubling decision of Reagan who gave into the pressure of German Chancellor Kohl to visit the military Bitsburg cemetery of German soldiers, including some Waffen-SS members,  during his official visit to Germany to commemorate the 40th anniversary of the end of the Second World War in May 1985. The truth is that the Reagan Administration was not told by the German side initially that there were members of Waffen-SS buried at the Bitsburg cemetery. Reagan agreed to visit. Then the truth unfolded, to the horror of many. But there was the only one who did confront the president of the USA directly and openly about it, Elie Wiesel. 

Only Wiesel’s family and close friends know quite turbulent events around that his meeting  with President Reagan. We know that Elie was seriously thinking about ignoring, rejecting  the ceremony at the White House honouring him with the Golden Medal of the US Congress in the protest against a planned Reagan visit to Germany with that outrageous symbolic visit to the German military cemetery ahead. I also remember how Elie did recall in our conversations that in the end, he decided to go to the ceremony at the White House  – primarily for the opportunity for him to speak with President Reagan face to face before accepting the medal.  It was not an easy decision for him, I know that first-hand. 

I also heard the insights on that episode from inside the Reagan team, among whom I have many good friends and colleagues.  The Reagan Administration, as any US Presidential Administration, was divided on many things, including the inflammatory episode with the visit to Germany in May 1985 and with regard to Elie Wiesel’s lonely, I emphasise, and brave stand on that. Some of the Reagan White House team petty apparatchiks  were trying to cut planned Elie’s speech to an insulting mini-version of it. They were overcome with normal people in a higher positions within the Administration. Then the ceremony was moved from the planned big hall with capacity of accommodating 300 people to the smallest possible room in the White House with capacity of accommodating 40 people maximum, in a pitiful understanding of  ‘a possible damage-control’ preventive measures. 

Elie did not care how many people would attend the ceremony honouring him at the White House. As I know it from him personally, all he cared about was an opportunity to speak with President Reagan one to one, to see him in the eye, as Elie has put it. 

Their meeting lasted about a half an hour which is a lot by the White House protocol and which was three times longer than planned. 

Elie Wiesel was unable to change the very wrong visit of President Reagan’s visit to the German military cemetery in Bitsburg. But he succeeded in amending the President’s agenda for his commemorative visit to Germany with Reagan visiting the site of Bergen-Belsen first, prior to his visit to the cemetery that Chancellor Kohl was so extraordinary pushy about visiting it along with the US President. That Reagan’s unplanned – for some reason, let me put it this way – visit to Bergen-Belsen prior to the German military cemetery has put a proper balance in place, at least. 

I know that Elie wanted very much and tried very hard to convince President Reagan to visit the Bergen-Belsen site only. Reagan excused himself for his inability to do so after he gave his personal word to Chancellor Kohl. Elie Wiesel speaking at the White House ceremony in presence of President Ronald Reagan and Vice-President George Bush Sr. April 19, 1985. Credits: White House Television Office. The Reagan Library. The Rogatchi Archive.

Importantly, Elie Wiesel did see President Reagan in the eye. And yet more importantly, President Ronald Reagan saw in the eye of Elie Wiesel too – which I do think, and always was thinking this way since the time I heard about it from Elie just five years after the event – was a very healthy thing to do. 

During that eye to eye conversation, Elie Wiesel was simple in his phraseology, as he always was. I remember some of it: “ Mr President, the issue here is not politics, but good and evil. And we must never confuse them. For I have seen the SS at work. And I have seen their victims. They were my friends. They were my family.”  

And during his short speech during the public ceremony in overcrowded very small room, Elie Wiesel did remind to President Reagan, Vice-President Bush Sr and everybody else present that ‘Jewish tradition commands us to tell truth to the power’. Exactly so.

It was an unforgettable lesson of humanity to politics. I know that Ronald Reagan did remember it until the end of his life. And so shall anyone else who would like to leave the legacy of decency. 

This is another important point, the legacy. While watching that impotent cheap show at the Capitol, I was thinking that with these vulgar scenes of trashed chaos, the legacy of the 45th President of the USA will be sealed for good. And there is nothing that can be done about it. Surely enough, the following issue of The Economist appeared in a day or two exactly with this verdict on its cover. The cover of The Economist magazine. January 9-15, 2021

As far as I can see it, the President and those who had assisted him in such an ill way, has caused irreparable damage by overseeing the inclusion of these surreal elements into the rank of his supporters.   Irreparable damage that has crossed, to the large extent, some of his serious achievements both domestically and internationally. 

One does not deal with Nazis. One does not rely on the support of a Staffer at Camp Auschwitz. One does not support scums praising Hitler. How grotesque it is to be  in necessity to state the obvious.  At this level, in this context. How terrible it all is for all decent conservatives who are terrified on what unfolds in front of our eyes. 

In the Talmud, there are two leaders of the Jewish nations regarded as the most important and the best ones, Moses and David. Why? Because both of them, according to the great Baal Haturim, ‘were faithful shepherds who put the fate of the people before their own, and therefore the people had faith in them” (Baal Haturim Chumash, Shemot, The ArtScroll Series, 2000 ).  

Leadership is not about personal success. It is about one’s country, one’s people. It is the social mutual pact with society conducted with mutual respect. Leadership is not about slogans. It is about the ability to convince – not to push, to convince the majority or necessary qualified number of people in the society to follow your agenda wilfully and consciously. To be able to convince a qualifying amount of society, one has to be able to respect.  It is about sharing, not imposing.  It is not an intuition for a deal. It is very difficult, and often quite ungratifying work. It is not about ‘I’, it is about ‘you’. Some people might be surprised, and some maybe even laughing, but it is also about modesty. And decency. And dignity. What a fantasy list.

The only glimpse of some hope in the outcome of the disgrace at the Capitol lays in a prospect that after that shocking show, some leaders world-wide would think more carefully on what their legacy would become like. 

Escalating Damage

The damage that has been done by the real-life drama on the top of the US power at the moment of the transition of power in the beginning of 2021 will be the long-lasting one, sadly. This damage is multilateral, dangerously. The Republican party is damaged very seriously, with the prospect of debilitating schism inside the party being quite real. The conservatism movement in general in the world that traditionally relied on the might of the US Republican party is damaged powerfully, as well. Conservatism as a world-view is undermined, even if briefly so, having a blow of stupidity and irresponsibility into its face, with  people with conservative views being marred by association, so to say, both consciously and gaining on purpose by the opposers, or even subconsciously, or automatically, as a way of associative thinking. 

The status of the American state, the leading country in the world, is changed now, being diminished seriously, with years in need for recovering it. 

The ugly demonstration of jerks storming the seat of power has become a precedent instantly – thus, the damage has a potency to become an international one. 

Incomprehensible, but true. Depressing, but real. Unacceptable, but done. This is what happens when kitsch gets dangerous.