{"id":120,"date":"2023-09-11T18:36:26","date_gmt":"2023-09-11T16:36:26","guid":{"rendered":"https:\/\/dev.web-lab.cz\/?page_id=120"},"modified":"2026-03-08T20:07:43","modified_gmt":"2026-03-08T19:07:43","slug":"jiz-uskutecnene","status":"publish","type":"page","link":"https:\/\/malymehrin.cz\/en\/jiz-uskutecnene\/","title":{"rendered":"Already implemented"},"content":{"rendered":"
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Exhibitions already held<\/h1>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Eyes open, hands ready\n<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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The exhibition, based on the story of T\u0159eb\u00ed\u010d native Arno\u0161t Bene\u0161, will remind not only the existence of one of the fundamental Moravian Jewish communities, but above all the personality of a man gifted with many talents - Arno\u0161t Bene\u0161 was a photographer, painter, filmmaker, cabinetmaker, carver, collector, accountant and sales representative of the Gr\u00fcnberger company.
The visually conceived exhibition will present the Bene\u0161 family in the context of T\u0159eb\u00ed\u010d's history and present. There will be never published artistic photographs and paintings by Arno\u0161t Bene\u0161, excerpts from his silent films from the late 1930s with unique commentary by his grandchildren, complemented by personal objects and documents from the family archive.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Pictures from Terez\u00edn 1942-1943 - Cartoon diary of Gisela Rottonara\n(1873-1943)<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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Immediately after her deportation to the Terez\u00edn ghetto in July 1942, she began
almost 70-year-old Viennese painter Gisela Rottonara to document her
the surroundings in a cartoon diary. On the pages of the notebook she recorded her impressions,
Terez\u00edn's corners and people's faces. After less than six months in the ghetto
he's dying. However, thanks to a fellow inmate, whose diary with drawings
she confided in death, she lives on. Accept our invitation to the exhibition of Gisela's drawings
Rottonara, which will be presented to the Czech audience for the first time. The exhibition
on loan from the Institut f\u00fcr j\u00fcdische Geschichte \u00d6sterreichs.
The opening ceremony took place on Monday 23 September 2O24 in the presence of a delegation
from St. P\u00f6lten, Austria. The exhibition will run until 19 December 2024.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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Places where Moravian Torah scrolls were at home\n1942 - 1964 - 2019<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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The aim of the exhibition is to introduce the public to the unique phenomenon of the transfer of Torah scrolls, originally from Moravian and Czech synagogues to Great Britain, which took place in 1964. The transfer was historically preceded by the efforts of two museum institutions, the Jewish Museum in Prague and the Jewish Central Museum for Moravia-Silesia in Mikulov. The Torah, a black flame on a white flame, represents a sacred text that has provided continuity, both in values and liturgy, for two and a half thousand years for Jewish communities in the Diaspora, including those that were brutally decimated during the Nazi occupation of Bohemia, Moravia and Silesia. In a brief historical excursion, the complex force field of Nazi institutions and the employees of the Prague Jewish community at their mercy is presented here, when, after the incident with the so-called Mikulov collection, two bulletins were issued, in June and August 1942, ordering the removal of liturgical items, including Torah scrolls, to Prague. The post-war renewal of many Jewish communities became a transitory phenomenon, with all due respect to those who sought to preserve the communities and maintain their activities; the political developments in the country also had their influence.\u00a0<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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OUR houses\n<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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The use of possessive pronouns in modern Czech history
an interesting phenomenon. MY... YOUR... HER... HIS... OUR... YOUR... THEIR... EVERYONE? On the streets of Brno, as we live in them today, stood over seven sethouses officially purchased by the Emigration Fund for Bohemia and Moravia during 1941. The original owners of the houses were forced to sell them on the basis of their official designation as Jews, or they lived in marriages with people so designated without wanting to sell THEIR houses. Not always about eviction
they sought. Some houses were resold by the fund to private individuals or the city
Brno, most of which he kept and rented. After the end of the war, the owners
were changed again, but rarely did the house return to its original owners. V
in the broadest sense of the word, the designation OURS includes all who in THEIR
houses they lived in, worked in, dreamed about... It includes us too,
who we pass by every day and they shape the scenery of OUR own lives.
The exhibition comprehensively introduces the topic of the arialization of immovable property
Emigration Fund in Brno. He works with a map where the addresses of the houses
recorded, archival documents and memories of witnesses and contemporaries.
Eight houses and the fate of THEIR original owners from Masaryk Street,
Hybe\u0161ova, Lipov\u00e1, Dornych, t\u0159\u00edda Kapit\u00e1na Jaro\u0161e, Mu\u010dednick\u00e1, Botanick\u00e1
and from \u017didenice, then he takes a closer look. The presented set of information includes
to the gears of the Holocaust, even though OUR interest does not end there. The stories of individual
home, of course, took different paths after the end of the war. It is
More than likely, they've come into your life as well. As in the case of
houses that are still standing, and those that have disappeared from the city map for good, can be
to believe that it's always better to know than not to know. And that it is possible to grow
the sensitivity of society so that it naturally tries to avoid more blows
to the same place.
Opening on January 4, 2024. The exhibition will run until March 28, 2024<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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Fred Iltis - 100 - South and North of the Border \n\n<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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Fred Iltis (1923 Brno - 2008 San Jose) was born as Willfried Gregor, the first-born son of botanist and mendeologist Hugo Iltis and his wife Anni. He entered the adult world prematurely. At the age of fifteen, he experienced the forced departure of his family to the United States in the face of the threat of Nazi persecution. He spent two and a half years serving in the army in the South Pacific. After the war, he earned a Ph.D. in entomology from the University of California, where he settled and taught in the biology department in San Jose. His own life's journey shaped him into a man very sensitive to minority issues, acts of injustice, and the devastation of nature. He began documenting the activities of the civil rights movement through black and white photographs. He took dozens of pictures of student protests against the war in Vietnam or of farm workers of Mexican origin for better working conditions. Fred Iltis knew how to be funny and kind. At the same time, as time passed, his pessimism grew as a reflection of the experiences that had marked him, and a certain bitterness emerged as the enthusiasm, dreams and illusions born in the 1960s disappeared from society. He developed, printed and carefully archived his photographs himself at home. With a modesty all his own, he rejected his friends' proposals to display them. It was not until 2008 that he gave his consent for the exhibition Fred Iltis - South and North of the Border, which he unfortunately did not live to see in Milan. Symbolically, on the occasion of the 100th anniversary of his birth in Brno, we present the photographic work of Fred Iltis in his hometown, where he wished to return once more. The exhibition closes on 21 December 2023.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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\nTRACES OF LIGHT <\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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The small Mehrin was created to give visitors - on a small scale and in modest proportions - an idea of what the Moravian Jewish Museum will offer when it stands opposite the Grand Hotel.<\/p>

That is why we want to alternate exhibitions focused strictly on Jewish history with art exhibitions that are somehow related to the topic.<\/p>

The first of these is an exhibition of the sculptor, artist and author of a number of realisations in public space Werner Malle, who was born in 1955 in Karlovy Vary but has lived in Germany (formerly the German Democratic Republic) since 1966.<\/p>

In the premises on V\u00edde\u0148sk\u00e1 Street, which we have adapted for the exhibition, we offer a cross-section of the artist's work, so you can find wooden sculptures, a conceptual set of paper cut-outs and scale models of public installations. Among them, the most famous is the travelling Restlicht (Residual Light), whose two-ton real-life form we offered to our colleagues from the Meeting Brno festival. They accepted the offer, and so Restlicht will stand on Svoboda Square for the duration of the exhibition.<\/p>

A fifteen-minute film showing how Restlicht was made and in which Werner Mally explains the inspiration for the work can also be seen at the Wiener Kunst. It was the book Hungermarsch (Hunger March) by Friedrich Krale, Werner's wife's Jewish grandfather, who survived three concentration camps and wrote his memoirs of the death march immediately after the war.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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Carriers of Memory - Martin \u0160mok<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Exhibition opening the museum with the subtitle\u00a0Moravian Jews and their life stories.<\/i><\/p>

Human Fates Told Through Authentic Objects and Film Testimonies of Witnesses from the USC Shoah Foundation Archive, prepared by documentary filmmaker Martin \u0160mok using collection items belonging to OpenEye, z. s.<\/p>

The upcoming exhibition will present the modern history of the Jewish presence in Moravia in a way that will help to disrupt the \"big history\" burdened with prejudices and stereotypes. We will bring visitors closer to the past as the sum of individually lived human lives. The exhibited objects and most of the testimonies of witnesses will be presented to the public for the first time.\u00a0<\/p>

Here is a small sample:<\/p>

Decree of the City of Olomouc, 1940<\/b><\/p>

Given the importance of anti-Jewish incitement in Nazi propaganda, the occupying power did not hesitate to enforce anti-Jewish regulations, decrees and laws. The law clearly defined who was to be considered a Jew, no matter who the person in question considered himself to be. The various degrees of miscegenation were also defined in purely racist terms. The prohibitions were constantly increasing, their aim being consistent social separation, confiscation of property and isolation. The law forbade sexual intercourse and mixed marriages between the races, decrees gradually stripped persons identified as Jews of any personal property, their businesses were handed over to racially compliant administrators, the Aryanizers. The word Aryan then referred to non-Jews, i.e. racially compliant Protectorate nationals. In order to be immediately recognizable, Jews were required to wear a yellow star visibly on their clothing. Grammar was also affected: Jews, as a foreign nation and race, were now to be capitalized exclusively.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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The exhibition based on the story of Arno\u0161t Bene\u0161, a native of T\u0159eb\u00ed\u010d, will remind us not only of the existence of one of the fundamental Moravian Jewish communities, but above all of the personality of a man gifted with many talents - Arno\u0161t Bene\u0161 was a photographer, painter, filmmaker, woodworker, carver, collector, accountant and sales representative of the Gr\u00fcnberger company.The visually conceived exhibition will present the Bene\u0161 family in the context of T\u0159eb\u00ed\u010d's history and present. There will be never published artistic photographs and paintings by Arno\u0161t Bene\u0161, excerpts from his silent films from the late 1930s with unique commentary by his grandchildren, complemented by personal objects and documents from the family archive. Pictures from Terez\u00edn 1942-1943 - The Cartoon Diary of Gisela Rottonara (1873-1943) Immediately after her deportation to the Terez\u00edn ghetto in July 1942, seventy-year-old Viennese painter Gisela Rottonara began to document her surroundings in a cartoon diary. On the pages of her notebook she recorded her impressions, the corners of Terez\u00edn and the faces of the people. After less than six months in the ghetto, she died. However, the diary with the drawings lives on thanks to a fellow prisoner, to whom she entrusted it before her death. We invite you to an exhibition of GiselaRottonar's drawings, which will be presented to the Czech public for the first time. The exhibition is on loan from the Institut f\u00fcr j\u00fcdische Geschichte \u00d6sterreichs.The opening took place on Monday 23 September 2O24 in the presence of a delegation from St. P\u00f6lten, Austria. The exhibition will run until 19 December 2024. The places where the Moravian Torah scrolls were at home 1942 - 1964 - 2019 The aim of the exhibition is to present to the public the unique phenomenon of the transfer of Torah scrolls, originally from Moravian and Czech synagogues to Great Britain, which took place in 1964. The transfer was historically preceded by the efforts of two museum institutions, the Jewish Museum in Prague and the Jewish Central Museum for Moravia-Silesia in Mikulov. The Torah, a black flame on a white flame, represents a sacred text that has provided continuity, both in values and liturgy, for two and a half thousand years for Jewish communities in the Diaspora, including those that were brutally decimated during the Nazi occupation of Bohemia, Moravia and Silesia. In a brief historical excursion, the complex force field of Nazi institutions and the employees of the Prague Jewish community at their mercy is presented here, when, after the incident with the so-called Mikulov collection, two bulletins were issued, in June and August 1942, ordering the removal of liturgical items, including Torah scrolls, to Prague. The post-war renewal of many Jewish communities became a transitory phenomenon, with all due respect to those who sought to preserve the communities and maintain their activities; the political developments in the country also had their influence. The use of possessive pronouns is an interesting phenomenon in modern Czech history. MY... YOUR... HER... HIS... OUR... YOUR... THEIR... ALL? On the streets of Brno, as we live in them today, there were over seven hundred houses officially purchased by the Emigration Fund for Bohemia and Moravia during 1941. The original owners of the houses were forced to sell them on the basis of their official designation as Jews, or they lived in marriages with people so designated without wanting to sell THEIR houses. They did not always seek eviction. Some houses were resold by the Fund to private individuals or to the city of Brno, most were retained and rented out. After the end of the war, the owners changed hands again, but only rarely did a house return to the hands of the original ones. In the broadest sense of the word, the designation OURS includes all those who have ever lived in THEIR houses, worked in them, dreamed of something... It also includes us, who pass by them every day, and they thus form the backdrop of OUR own lives.The exhibition comprehensively presents the topic of the privatisation of immovable property by the Displaced Persons Fund in Brno. It works with a map, where the addresses of the houses are recorded, archival documents and memories of both witnesses and contemporaries.Eight houses and the fate of their original owners from Masarykova, Hybe\u0161ova, Lipov\u00e1, Dornych, t\u0159\u00edda Kapit\u00e1na Jaro\u0161e, Mu\u010dednick\u00e1, Botanick\u00e1 and \u017didenice streets are then examined in more detail. The presented set of information belongs to the Holocaust, although OUR interest does not end there. The stories of the individual houses, of course, took different paths after the end of the war. It is more than likely that they entered your life as well. Both in the case of the houses that are still standing and those that have disappeared from the map of the city for good, it is always better to know than not to know. And that it is possible to cultivate a society's sensitivity so that it naturally tries to avoid more wounds in the same place.Opening on 4 January 2024. Exhibition runs until 28 March 2024 Fred Iltis - 100 - South and North of the Border Fred Iltis (1923 Brno - 2008 San Jose) was born Willfried Gregor, the first-born son of botanist and mendeologist Hugo Iltis and his wife Anni. He entered the adult world prematurely. At the age of fifteen, he experienced the forced departure of his family to the United States in the face of the threat of Nazi persecution. He spent two and a half years serving in the army in the South Pacific. After the war, he earned a Ph.D. in entomology from the University of California, where he settled and taught in the biology department in San Jose. His own life's journey shaped him into a man very sensitive to minority issues, acts of injustice, and the devastation of nature. He began documenting the activities of the civil rights movement through black and white photographs. He took dozens of pictures of student protests against the war in Vietnam or of farm workers of Mexican origin for better working conditions. Fred Iltis could be funny and kind. As time went on, he simultaneously grew more pessimistic, reflecting the experiences that had marked him, and a certain bitterness as the enthusiasm, dreams and illusions born in the 1960s faded from society. He developed, printed and carefully archived his photographs himself at home. With a modesty all his own, he rejected his friends' proposals to display them. It was not until 2008 that he gave his consent for the exhibition Fred Iltis - South and North of the Border, which unfortunately did not live to see its opening in Milan. Symbolically, on the occasion of the 100th anniversary of his birth, we present the photographic work of Fred Iltis in his hometown, where he wished to return once more. The exhibition closes on 21 December 2023. FOOTPRINTS OF LIGHT Werner Mally The Little Mehrin was created to give visitors - on a small scale and in modest proportions - an idea of what the Moravian Jewish Museum will offer when it stands opposite the Grand Hotel. This is also why we want to alternate exhibitions focused strictly on Jewish history with art exhibitions that are somehow related to the topic. The first of these is an exhibition of the sculptor, artist and author of a number of realisations in public space Werner Malle, who was born in 1955 in Karlovy Vary but has lived in Germany (formerly the German Democratic Republic) since 1966. In the premises on V\u00edde\u0148sk\u00e1 Street, which we have adapted for the purposes of the exhibition, we are offering a cross-section of the artist's work, so you will find wooden sculptures, a conceptual set of paper cut-outs and scale models of public installations. Among them, the most famous is the travelling Restlicht (Residual Light), whose two-ton real-life form we offered to our colleagues from the Meeting Brno festival. They accepted the offer, and so Restlicht will be after<\/p>","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"elementor_header_footer","meta":{"_acf_changed":false,"footnotes":""},"class_list":["post-120","page","type-page","status-publish","hentry"],"acf":[],"_links":{"self":[{"href":"https:\/\/malymehrin.cz\/en\/wp-json\/wp\/v2\/pages\/120","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/malymehrin.cz\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/malymehrin.cz\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/malymehrin.cz\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/malymehrin.cz\/en\/wp-json\/wp\/v2\/comments?post=120"}],"version-history":[{"count":62,"href":"https:\/\/malymehrin.cz\/en\/wp-json\/wp\/v2\/pages\/120\/revisions"}],"predecessor-version":[{"id":3872,"href":"https:\/\/malymehrin.cz\/en\/wp-json\/wp\/v2\/pages\/120\/revisions\/3872"}],"wp:attachment":[{"href":"https:\/\/malymehrin.cz\/en\/wp-json\/wp\/v2\/media?parent=120"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}