Workshop: Transgenerational Corpographies of Memory

As part of the Images of History in Contemporary Art research project funded by the Swiss National Science Foundation (SNSF) in Bern, the workshop Transgenerational Corpographies of Memory will take place:

November 18, 2021, 2:30–6:30 pm
November 19, 2021, 9:00 am–5:00 pm

Location
Leibniz Centre for Contemporary History Potsdam (ZZF)
Am Neuen Markt 9d
14467 Potsdam

 

Transgenerational Corpographies of Memory is a visual art and history workshop that uses two audio-visual artistic works as a departure point to explore the dimensions and trajectories of transgenerational memory within the medium of artistic film. The workshop consists of two parts: the film screenings and the discursive program. The underlying works stage female biographies of the 20th and early 21st century based on two women’s self-narrated memories. The workshop structure is triadic, meaning that the works will be analyzed from an artistic, art historical and historical perspective in a complementary way. The aim of this transdisciplinary investigation is to explore transgenerational cultural memory work in contemporary art via pictorial “close readings.” The central questions are: How can we grasp the connection between history, transgenerational memories and artistic images of history?

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Quelle: https://visual-history.de/2021/11/10/workshop-transgenerational-corpographies-of-memory/

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Ankündigung: Re/präsentation: Visuelle Überlieferung sowjetischer Kriegsgefangenschaft und Zwangsarbeit

Sowjetische Kriegsgefangene im Stalag 326, Fotograf Dr. Hugo Lill, LWL-Medienzentrum

Der fünfte Workshop zur Geschichte, Überlieferung und Nachwirkung des Stalag 326 (VI K) Senne widmet sich dem Bereich der Visual History. Während des Zweiten Weltkriegs gab es eine fotografische Praxis der sowjetischen Kriegsgefangenschaft und Zwangsarbeit. Diese Abbildungen sind auch Ausdruck der asymmetrischen Machtverhältnisse innerhalb der fotografischen Handlung. Welche Potenziale und Herausforderungen gibt es im Umgang mit den Fotografien als historische Quellen im Gedenkstättenkontext?

Der Workshop diskutiert am Beispiel des Stalag 326 über Perspektiven, Potenziale und Fallstricke im Umgang mit historischer Fotografie. Abbildungen haben laut dem Historiker Gerhard Paul immer einen Doppelcharakter. Zum einen sind sie ein Abbild einer Realität, die durch die Handlung der Fotografie festgehalten wird.

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Quelle: https://visual-history.de/2021/11/08/ankuendigung-re-praesentation/

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“Juden unter sich”

“Juden unter sich”

One of the most influential anti-Semitic propaganda actions produced in the Third Reich in the years 1939-1941 was based on images and reports from various ghettos in occupied Poland. Large portion of the raw material required for the anti-Semitic propaganda was collected and delivered by the Propagandakompanien (PK) of the Wehrmacht.[1] In order to analyze and understand the significance of this contribution, it is necessary to look not only at the propaganda materials, but also at the historical contexts in which they were produced. This includes organizational aspects, local conditions, general propaganda strategies and the given general and local war situation.

This article will examine the contribution of the Wehrmacht to the anti-Semitic propaganda of the “Third Reich” during three periods: The invasion of Poland, the establishment of a new order in the occupied Polish territories and the months preceding “Operation Barbarossa” in 1941. It will focus on the way PK materials were used mainly in the visual media in order to support the propaganda strategies and their subsequent goals set by the Nazi leadership.

 

General remarks regarding the propaganda organization of the “Third Reich”



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Quelle: https://visual-history.de/2020/04/20/propaganda-companies-and-the-jewish-ghettos-in-occupied-poland/?utm_source=rss&utm_medium=rss&utm_campaign=propaganda-companies-and-the-jewish-ghettos-in-occupied-poland

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