Poster Competition 2011 resultsKeeping The Memory Alive- Children in the Holocaust
LIZ ELSBY (Israel)- One can outline the sitters in a photograph using a see-through overlay, numbering and naming each person in thepicture, and thus creating a record of their names and faces. But what would the viewer know or understand if he found only the outline-overlay of the sitters without the accompanying photograph or names? As we enter the time when Holocaust survivors- those vital links tothe past - will know longer be with us, I fear that the memory of those who were murdered will fade away to a mere outline, and than tonothing…
YAEL BOVERMAN (Israel) - Keeping the memory alive:In this poster I chose to emphasize the intimate aspect of objects and memories in the Shoah. The object that a survivor carries throughout alifetime enables him or her to keep their memory alive. The closet symbolizes a collective closet, reflecting the repressed memories of theJewish people as a whole. For every survivor, the memory is forever present under the thin veil of everyday functioning, represented by thenew shirts, but at the bottom of the stack, there always lies the shirt kept from a different time – the persisting memory of a past that refusesto be abandoned.
OHAD ZLOTNICK (Israel) - Since I was a child, I remember myself learning and hearing stories about the Holocaust, there were always lotsof numbers involved, numbers that were beyond my young comprehension. The purpose of this poster is to examine cold data and give it aninfo-graphic meaning that will arouse emotion and foster understanding.
MALKI SWIEGER (Israel) - The importance of memory: With the phenomenon of Holocaust Denial on the increase, in this work I chose tofocus upon major claims made by some of the most notorious holocaust deniers, who have attempted to wipe out the existence and memoryof the Shoah by claiming that it is a complex conspiracy.
ROTEM COHEN (Israel) - My poster deals with the Memory of the Holocaust. Using one of the most familiar images of children in theHolocaust, I ponder on the fact that throughout the generations the collective memory of the Holocaust is damaged, and the nextgenerations will probably remember and understand the Holocaust differently.
AUDE BENHAÏM (Israel) - In this poster I have used a picture of Bernard Goldstein, I found this picture in French Children of the Holocaust:A Memorial by Serge Klarsfeld. Bernard Goldstein was a Jewish child who was deported on 31 July 1944 by the last train that left Drancy toAuschwitz. This child is full of life and the photograph shows a moment of happiness. This happy instant is in contrast to the horror of theJewish genocide. This child is looking at the audience and is asking not to forget him. I chose one person because of his uniqueness: in thatway the slaughtered people are human beings again. Typography allows the child to appear: by the words and knowledge, the past doesn’tdisappear.
SECOND PRIZEBORIS GRZESZCZAK ((France) - ASK THE ONES WHO NEVER FORGET. Here, there is a misunderstanding between historic time and natural time. Therings of the tree always hold the memory of the past, and I noticed that often, former concentration and extermination camps are located in forests. Toquote an old Jewish wise man “we don’t cut the tree to have a fruit”. The poster is paradoxical since there is a reflection on the fruits which will lead to ajust memory. On the outside, the tree’s years, emotions, and tragedies disappear. All that is permanent resides in the fact that cutting a tree represses theechoing of the irreparable crimes of the Nazis. The Hebrew writing in the center of the trunk tells the story of Golem in which Rabbi Loew writes emeth(truth), so that it could give him life. In order to take life away from him, he only deleted the aleph, leaving meth which signifies death. Aleph (the letter ofcontinuity) is found within the trunk, where the memory is inscribed. The truth resides in the act of remembering and above all, never forgetting thesedramatic events. The big notch in the trunk (which also gives the appearance of a clock) portrays for us the unique character of the Holocaust, a truerupture in history, a radical break, a unique event which took away part of man’s humanity. This notch also directs us to the Hebrew word written at thecenter which signifies death.
ELLINA BERLIOZ (France) - MADE FOR TARGETThe book is a symbol of humanity: it is written, it is handled, it is read. The picture transcribes the violence with which the Nazis targeted theJews during the second World War. Indeed, the target (the want to exterminate and make disappear) is drawn on a prayer book : it evokesthe wish for independence and freedom of the Jewish people. Target (shaped by two Menorah) is made by linocut, like an indelible mark, isanti-Semitism still present?
MARTIN PASQUIER (France) - This poster is a decomposition of a text by Georges Perec, an extract from his book “La Disparition”. In thisbook, he never uses the letter “e”. This is to emphasize the memory of his mother who was lost during holocaust. I chose to deleteprogressively every vowel, every character like “t”, “p”, “q”, “d”, “g”, “h”, “j”, “k”, “l”, and “b” and finally, every letter. There is finally onlypunctuation left as the text becomes illegible. This accentuates the unspeakable impact onall humanity, even those who didn’t lose anything.
ISABEL HAHN (Czech Republic) - The illustration allegorizes the loss of a parent. This tragic moment is intensified by the intimacy of bothcharacters. The scene shows a loving father and his little daughter. Ingenuously and insouciantly she is up heaved by him. Filled with joy, shesmiles at him dearly. Determined to catch his daughter, the father rises his hands in the air, but his legs have turned into ashes. Unable tokeep steady on the ground, his daughteris not going to find stability either.
THIRD PRIZEMARTINA CEJPOVÁ (Czech Republic) - I tried to capture the feelings of children who were present in the Holocaust. They didn´t knowwhat was happening, but it was all around them, even when they played.
ONDŘEJ JIRÁSKA (Czech Republic) - The poster humans/Jews draws attention to the Nuremberg Laws degrading the Jewish citizens into acaste of inferior people. The overwritten sign refers to derogatory marking of Jewish shops and enterprises. It is relevant to remember thatall persons of Jewish origin were ordered to wear a clearly visible cloth badge in the form of Davids star. The poster does not concentrateon secretly committed atrocities out of the sight of most people. It concentrates in publicly applied discrimination, which was seen, buttolerated, by the majority population in their everyday lives.
FIRST PRIZEVERONIKA NOVÁKOVÁ (Czech Republic) - Poster with handwriting is a school punishment for a non-jewish student that should make himforget he liked some Jew. It reminds the fact that the adults made children to do unnatural things for adult‘s absurd reasons.
PETER CHMELA (Czech Republic) - This poster wants to show the impotence of Jewish children against the Nazi soldiers. I tried to illustrateit with big contrast between soldier and child.
PETR NEHERA (Czech Republic) - My working on the theme Children and holocaust was very interesting challenge for me. For firstendeavour to understand and to feel the background of this question and to devolve on my experiences to the formal aspect - poster asfollows. This poster should not just talk about, but should ask the answers as well. This endeavour to get the answers should make us betterand I believe, that this theme will toucheverybody and will become important for all of us.
IVA BOHÁČOVÁ (Czech Republic) - I used a theme of a broken doll, because the toy obviously corresponds with the children topic.. Icombined childlike drawing with the parts of a doll body set up to the „Holocaust“ word. I was inspired by the real drawings which survivedthe concentration camps