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SAMUEL BAK

SAMUEL BAK.

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SAMUEL BAK

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  1. SAMUEL BAK שמואל בק נולד בווילנה שבליטא ב-1933 והתחיל לצייר בגיל צעיר. ציוריו הוצגו בפעם הראשונה בגטו וילנה ב-1943. סביו וסבותיו של בק נרצחו בפונאר, ואביו נרצח ימים ספורים לפני ששחררו הרוסים את וילנה. בתום המלחמה הגיע בק למחנה עקורים לנדסברג בגרמניה. הוא למד ציור במינכן במשך שלוש שנים עד שעלה לארץ ב -1948. המשיך את לימודיו באקדמיה לאמנות בצלאל וזקק את כישוריו אצל האמנים המפורסמים שטיינהרדט, אשהיים וארדון.. אחר כך למד בפריז ומאז גר ועבד ברומא, בישראל, בניו יורק, בפריז ובלוזן עד שהתיישב בבוסטון, ארה"ב. שמואל בק הצייר ואחד מציוריו המוצגים בתערוכה ביד ושם "מסע ומשא: שמואל בק – 60 שנות יצירה"

  2. יצירותיו מתמודדות עם נושא השואה ועם זיכרון השואה בדרך ייחודית משלו. ההסברים בגוף מצגת זו הינם של הצייר ומצוטטים משיח- - גלריה בצורה חפשית ובשפת המקור. Elegy

  3. "המסע והמשא השלובים זה בזה אינם מייחדים את קורותיו של האמן שמואל בָּק", מסבירה יהודית שן-דר אוצרת התערוכה (אוצרת בכירה לאמנות, אגף המוזאונים, יד ושם). "לפנינו פרדיגמה לסיפורם של הניצולים, מי שיצאו למסע החיים לאחר מפגש עם המוות על זוועותיו, ועל כן נושאים בחובם משא שהוא בה בעת אישי מאוד וקיבוצי - סיפור שואת יהודי אירופה. כמו אחיו הניצולים, תחילה התעטף בָּק בשתיקה מתוך רצון להיטמע בהוויה הישראלית עם עלייתו ארצה ב-1948. את מעטה השתיקה הוא משיל מעליו בהדרגה לאורך מסע חובק ארצות ויבשות, עד הרגע שבו הוא חש כי אין הוא יכול עוד לשאת את המשא שבתוכו. כאן מתחיל מסע אחר - מסע לנבכי זהותו שסופו מפגש חזיתי עם המשא והכרה כי המשא הוא-הוא חלק מעצמיותו ועל כן מחויב להיות ציר יצירתו".

  4. Ongoing Journey

  5. בפתיחת התערוכה "מסע ומשא: שמואל בק – 60 שנות יצירה"ביד ושם מתבונן בק בחייו: "האמת היא שאני עדיין המום מהעובדה כי המסע הארוך והמפרך בעקבות אמנותי מסתיים בקו גמר שאין משמעותי ממנו עבורי - פה בתערוכה זו הנערכת ביד ושם [...] אינני יודע אם בעולם כולו קיים מקום הולם יותר להציג את יצירותיי. יצירות אלו היו עבורי בית בפרקים שונים של חיי ושל הווייתי, ואתם חלק בלתי נפרד מהן. אם אין זו שיבה הביתה, איני יודע שיבה הביתה מהי".

  6. From a city that is afloat to a ship made of stones. Here the sky is more luminous. The war may be over; the massive ocean-liner-fortress seems ready for departure, perhaps a departure to a Promised Land. Who inhabits this structure? On its deck are objects that suggest the plight of having survived. A few unearthly tablets, a reminder of God's broken covenant with His people. Two smoking stacks emerge from the ship. I know that they emerge from what lies buried in many a soul.

  7. In order to establish distance I chose to give my paintings an aspect of timelessness. Distance permits one to overcome misgivings, to touch what a reluctant viewer's soul considers untouchable, to speak about the unspeakable.

  8. Smoke, Cemeteries float in the sky. Europe's skies carry the ashes of an assassinated people

  9. Gravestones recall shapes of the tablets of the law.

  10. Here the subject is the breaking God's covenant with Israel. It raises the "question of questions." Where was He? Of course, no art could pretend to give an answer to a question of this kind. It is for the viewer to ponder. The number six stands for the sixth commandment -- "Thou shall not murder" -- and for the six millions.

  11. Hebrew letters that spell SHEMA ISRAEL, a proclamation that religious Jews are supposed to cry out at the moment of their death, lie crumbled at the base of a huge heap of tablets

  12. Two Yods as part of a broken key. A key is a tool that opens what is locked, an instrument of interrogation. Metaphorically, it continues to expose the enigma of God's presence, or of His absence. The house is being protected, or crushed by a heavy load

  13. In this second panel the Hebrew Shin of Shadday, God's feminine attribute, re-proposes the same query. Here, where the light is brighter, the broken key forms the shape of a "zero" that might suggest emptiness or abandonment

  14. To me the boy from Warsaw is the Jewish Crucifixion. In the Vilna Ghetto I was his age and I looked exactly like him.

  15. The Family

  16. The Family The Family is a painting that I have dedicated to the memory of the perished members of my family. An explanation of this work would be beyond the limit of my present time, so let me go on with the outline of my biography. During most of my last four decades, I have been indeed a wandering Jew. I have lived and worked in Tel Aviv, Paris, Rome, and Lausanne, and I presently reside in the US, in Boston. I have become a man who is at home everywhere and nowhere, an artist whose real roots are in the ground of his art. As I said earlier, and it may sound trite, I know that what I have been painting comes from a compulsive need to give meaning to the miraculous fact of my survival. It tries to appease a sad sense of bewilderment. It comes from the fear that in a world of unparalleled upheavals, things are never what they seem. My work reveals a reality observed through the eyes of a child who had suddenly aged. Some might call it elaboration of Trauma; I hope that my art is more than that.. 

  17. The recently published monograph on my art, which covers over fifty years of painting, has this image on its jacket. If I had to define my art's language or style, I would situate it in a realm of allegory and metaphor.. Close Up

  18. Devastated landscapes of ancient cities and urban constructions seem to have been made of a child's building blocks.

  19. Figures are half-alive and half-contrived of bizarre prostheses. Abused angels stand helpless.

  20. Chess pieces are involved in games without rules

  21. A revolution has wiped out kings, knights and bishops. It has installed an equality of imperfections

  22. THE FRUIT OF KNOWLEDGE "As a child, I had a feeling that if Adam gave up Paradise in order to taste the fruit that would give knowledge and a capacity to distinguish between good and evil, it must have been a pear. I felt that an apple, which in my childhood memories was usually something very sour, had nothing in common with the sensual, wonderful taste of a pear" The pear thus stands as an alternative symbol of the Fall of Man and all of its ramifications: the expulsion from Paradise into the world of time, the origin of free will, and the capacity to distinguish and choose between good and evil”.

  23. Huge fruit, mostly pears in various stages of reinvention, pears made of stone, pears in the form of hovering planets, pears giving birth to other pears represent a shattered and bewildering world, a universe that offers no explanations. At times one can see in many of these paintings the traces of a human effort to repair.

  24. Enactment

  25. Banishment

  26. The ghetto. Here is an inclined surface with no horizon and no possibility of escape. Indeed, when we were thrown into the ghetto like human garbage, it felt like being in a deep hole. This hole is in the shape of the Star of David, the emblem of the ghetto. Near it lies our badge of identification.

  27. The texture of the painting tries to evoke the stony indifference of the outer world. After the liberation, when I revisited the ghetto, it stood in ruins similar to the ones in the painting

  28. Here the title is "Alone." It is another structure in the form of a Jewish star, an island surrounded by a menacing sea. The painting's sky sheds an ominous light.

  29. למקורות ולמידע נוסף: http://www.puckergallery.com/bakforum.html http://www1.yadvashem.org/new_museum_heb/pavilion.html http://www.puckergallery.com/samuel_bak.html http://he.wikipedia.org/wiki/שמואל_בק http://en.wikipedia.org/wiki/Samuel_Bak http://www.chgs.umn.edu/Visual___Artistic_Resources/Samuel_Bak/samuel_bak.html http://www.chgs.umn.edu/Visual___Artistic_Resources/Samuel_Bak/Chess_in_the_Art_of_Samuel_Bak/chess_in_the_art_of_samuel_bak.html http://www1.yadvashem.org/heb_site/heb_about_yad/whats_new/bak.html עריכה: אסף פלר

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