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A new film brings to life ‘the largest single work of art created by a Jew during the Holocaust’
(New York Jewish Week) — While hiding from the Nazis, the German Jewish artist Charlotte Salomon began a series of autobiographical paintings and texts with a painfully simple description of her aunt, and namesake’s, suicide: “Scene 1: 1913. One November day, a young girl named Charlotte Knarre leaves her parents’ home and jumps into the water.”
Intense and memorable, that image is the launching point for “Life? or Theatre?”, a series of hundreds of gouaches Salomon made between 1940 and 1942. Best described as an “autobiographical play,” it features personal stories illustrated with vibrant paintings and cues for music. Salomon, in her 20s when she made the body of work, called it a “singspiel,” a play with music.
And now, a new film directed by French sisters Delphine and Muriel Coulin, delivers a cinematic representation of her best-known work. “Charlotte Salomon: Life and the Maiden” will make its world premiere at Lincoln Center on Weds., January 18 as a centerpiece of the New York Jewish Film Festival.
The film lies somewhere between cinema and art installation: Aside from a brief opening and conclusion, Salomon’s expressive paintings take up most of the screen time. Sound design brings the paintings to life, as does the music Salomon indicated in her original script, along with text read by the actress Vicky Krieps (“Phantom Thread,” “Corsage”), who plays protagonist Charlotte.
“We didn’t want to make a pure documentary of her,” co-director Delphine Coulin told the New York Jewish Week. “What had never been done was to make a true film with the painting, the music and the text, and to imagine what Charlotte was visualizing when she was painting… Because the neighbors said they could hear her singing while she was painting.”
French sisters Muriel Coulin, left, and Delphine Coulin are co-directors of “Charlotte Salomon: Life and the Maiden.” (Richard Schroeder)
These days, Salomon — who died at Auschwitz at age 26 in 1943 — is something of a cult favorite among art lovers and Jewish historians. In a 2017 New Yorker article, writer Toni Bentley notes that “Life? or Theatre?” is “the largest single work of art created by a Jew during the Holocaust.” She is also sometimes compared to Anne Frank. Critics have noted this comparison does neither artist justice, distinguishing between the youthful directness of Frank’s writing as an adolescent in hiding with the more mature, sophisticated representations made by Salomon as a young artist.
Born in Berlin in 1917, Salomon grew up in a cultured German Jewish family. Her mother died when she was 8. She studied at the German capital’s prestigious Academy of Arts until the Nazis’ rise to power made it impossible for her to continue. In 1938, her father spent a brief period in an internment camp — after his release, he sent his daughter to stay with her grandparents in the south of France, where he hoped she’d be safe.
After Salomon’s arrival at Villefranche-sur-Mer in 1939, her grandmother attempted suicide and eventually died. Only then did Salomon learn that her mother had died by suicide as well, and that the women in her family had a history of depression (though it isn’t covered in the film, there is some evidence that her grandfather may have been abusive).
In “Life? or Theatre?” Salomon writes: “My life began when my grandmother ended hers, when I learned that my mother too had ended her life, and that deep down I felt the same predisposition to despair and death. I thought to myself: either I kill myself too, or I create something really crazy and extraordinary.”
For the next two years, Salomon did just that, creating some 1,300 paintings about her life in exile. She accompanied these paintings with text and musical cues that included Bach, Schubert, Mahler and the German anthem “Deutschlandlied,” creating an entire multimedia body of work.
As the Nazi grip tightened in France, Salomon, realizing the danger she faced, brought a box containing all her paintings to a friend, the town’s doctor. The film recounts what she tells him: “Take care of it. This is my whole life.” Just weeks later, Salomon, five months pregnant, was sent to Auschwitz, where she died on Oct. 10, 1943.
While Salomon’s work includes depictions of Nazis, antisemitism and persecution, the majority of “Life? or Theater?” — and therefore the film — is dedicated to the explosive inner life and autobiography of its creator. She explores suicide, Freudian lust, psychological distress, music, philosophy and her own artistic impulses.
Yet “Life? or Theatre?” is unmistakably a product of its time, and as such the film includes historical images of Hitler’s rise. Though the French filmmakers don’t identify as Jewish themselves, Delphine said that she and her sister have some Jewish family, and she noted the film’s content is more relevant than ever. “Antisemitism never did end, but now in France and in Europe, it is stronger and stronger than ever, since 1945,” she said. “We really see it and we talk to it nearly each day. We can’t ignore it.”
“With all these strange times we’re living in, Charlotte gives you strength, because she really crossed the times with a strong belief in art and love,” she added.
The film ends with astonishing footage from the early 1960s of Salomon’s father and stepmother, who survived hiding in the Netherlands, looking through their daughter’s paintings as they are interviewed about her. “I was surprised when I discovered her work,” says her father Albert Salomon. He had known nothing of his late daughter’s project until the couple visited Villefranche-sur-Mer after the war, hoping to find some traces of Charlotte’s life.
“The work is very, very vivid — very expressive of life in all its aspects,” said Delphine of Salomon’s art — and the Coulin sisters, in turn, were inspired to bring the work to a broader audience. In 2019, Muriel directed her first theater piece, “Charlotte,” a rendition of Salomon’s work for the stage that played in Paris at the Théâtre du Rond Point. When the COVID-19 pandemic shut down the production, the Coulins transposed their medium to film.
Delphine added that they were also drawn to what she called the “poignant story” of Salomon’s brief life, now immortalized by her singular creative impulse in the face of adversity.
“In difficult times — and her times were probably the most difficult times ever — she really believed in art,” she said. “How art makes you survive. How it can give you a piece of eternity. We wouldn’t speak about her this way if she had not been able to make this wonderful work.”
“Charlotte Salomon: Life and the Maiden” will screen on Weds., January 18 at 12:00 p.m. and 6:00 p.m. at the Walter Reade Theater at 165 West 65th St. For additional information on the New York Jewish Film Festival, which runs through Monday, January 23, click here.
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Chair of Britain’s largest arts center to step down amid antisemitism scrutiny
(JTA) — The chair of the United Kingdom’s largest arts institution will step down this fall following months of controversy over allegations of antisemitism and his social media activity related to Israel.
Misan Harriman, 48, the chair of the publicly funded Southbank Centre in central London that hosts millions of visitors per year, publicly stated earlier this week that he would not seek another term.
In a since-deleted social media post, Harriman stated on Monday that his departure had long been planned. “It’s semi-public knowledge that my term is coming to an end anyway,” he said, according to The Guardian. “I had decided way before this madness that I was going to do two terms.” He added, “I came on just after Covid, two terms, then handing the baton to whoever the next chairman will be. We will find out in due course, and of course, I am going to support that.”
The Southbank Centre said that it had been informed earlier in the year of Harriman’s decision.
In May, more than 64 MPs and peers wrote to Culture Secretary Lisa Nandy asking the government to open an investigation into Harriman’s behavior, expressing concern that his public comments “have not been treated with sufficient scrutiny, particularly given their implications for public trust and community confidence,” in a publicly funded institution.
Nandy later confirmed that the Charity Commission and Arts Council England were examining complaints, alongside an internal review by the Southbank Centre.
Harriman, a photographer and self-described social activist, came to prominence in 2020, photographing a Black Lives Matter protest in London. He has overseen the Southbank Centre since 2021, but it’s only in recent months that he has faced increasing scrutiny over his public and social media comments, including referring to Israel as an “occupying power” and accusing the country of genocide.
In April, when two Jewish men were stabbed in the heavily Orthodox Jewish neighborhood of Golders Green in London, Harriman posted on social media about an alleged third victim who was Muslim. He wrote, “Wait, so there was a 3rd victim on the SAME DAY who was Muslim?! And our press isn’t reporting it? Even the Met Police didn’t mention the Muslim victim in its X post?! What is going on @metpolice_uk ?”
The Muslim victim did in fact receive coverage, and the focus on the Jewish victims stemmed from the alleged attacker’s anti-Jewish animus.
Then, following Reform UK’s gains in the May 7 local elections, Harriman shared a post that critics said compared the party’s success to the events that led to the Holocaust.
The post prompted Reform MP Robert Jenrick to respond on X, “Comparing the millions who voted Reform on Thursday to the Nazis is disgusting.”
Harriman received support from many prominent activists and artists who signed a petition in May organized by The Good Law Project. The petition accused right-wing media of running a smear campaign against Harriman.
Those who signed included activist Greta Thunberg, actors Aimee Lou Wood, Mark Ruffalo, and Susan Sarandon, director Yorgos Lanthimos and journalist Mehdi Hassan.
Following Harriman’s announcement, the Campaign Against Antisemitism praised the decision, posting on X, “Mr Harriman’s decision to step down – supposedly always his intention – is welcome. This saga has exposed a rot in the arts world. We hope that his successor will be more worthy of the post.”
This article originally appeared on JTA.org.
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Mamdani touts ‘Babies not Bombs’ messaging after flexing political muscle in the New York primaries
(New York Jewish Week) — New York City Mayor Zohran Mamdani celebrated the victories of the progressive candidates he endorsed in New York’s Democratic primaries describing their success as a “shift in the balance of power.”
Speaking to reporters on Wednesday, the morning after the primaries, Mamdani touted the triumphs as a shift in the balance of power between “working people” and “special interests.”
Mamdani-endorsed candidates Brad Lander, Darializa Avila Chevalier and Claire Valdez won Democratic nominations for Congress. During the press conference, the mayor repeatedly highlighted their calls to restrict U.S. military aid to Israel and redirect federal funding to domestic priorities.
Following Mamdani’s election night sweep in New York, President Donald Trump posted on Truth Social that “America the Beautiful will NEVER be a Communist Country!!!”
The victories offered an early demonstration of Mamdani’s political influence beyond City Hall, as several Democratic Socialist candidates he backed, including Chevalier, defeated established Democratic incumbents in their districts.
“The working person is struggling in our city to afford basic needs,” Mamdani said, adding that Avila Chevalier’s oft-repeated slogan of investing in “Babies not Bombs,” is “the kind of conscience, the kind of clarity, the kind of conviction that has been missing in our politics for far too long.”
Mamdani responded to the president’s post on Wednesday, telling a reporter who asked whether his goal is to make America a “socialist” country that his “goal is to make America a place that every American can afford.”
When asked about federal policies that could be affected by Mamdani’s endorsed candidates, the mayor cited Valdez’s support for “foreign policy that understands human rights for all” and Lander’s commitment to co-sponsoring the Block the Bombs Act, which prohibits the sale of certain U.S.-made offensive weapons to Israel.
Mamdani also dismissed a question about whether he was concerned about how the victories would play out in November as Democrats try to win back the House.
“Every time the fight for working people takes a step forward, you will hear Republicans say that this is actually going to jeopardize the existence of that very fight,” he said.
When asked whether the election of Chevalier, who has faced scrutiny for past social media posts attacking Democrats and her appearance at an Oct. 8, 2023, pro-Palestinian rally in Times Square, could “complicate campaigns for Democrats as a whole,” Mamdani replied “No.”
“[Chevalier] often speaks about a politics of life. She speaks about ‘Babies not bombs,’” Mamdani continued. “What could be a better example of what the people of the district want to see versus what the people of the district have been forced to experience, which is tens of billions of dollars being spent at a national level to bomb children overseas, while children in our own districts are struggling.”
The post Mamdani touts ‘Babies not Bombs’ messaging after flexing political muscle in the New York primaries appeared first on The Forward.
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Jewish anti-Zionist David Orkin defeats incumbent in NY Assembly primary
(New York Jewish Week) — David Orkin, a Jewish anti-Zionist attorney and democratic socialist, defeated incumbent New York State Assemblymember Jenifer Rajkumar in Tuesday’s Democratic primary. Orkin won State Assembly District 38, which includes parts of Queens.
Orkin, an immigrant workers’ rights attorney and union organizer, received 58.8% of the vote, while Rajkumar, who has represented the district since 2021 and is the first South Asian woman ever elected to office in the state, received 40.9%. The district covers a swath of Queens, including parts of Ridgewood, Glendale, Ozone Park, Woodhaven and Richmond Hill.
“Pro-Palestine candidates are sweeping in NYC tonight,” Jewish Voice for Peace Action wrote in a post on Instagram celebrating Orkin’s win Tuesday. “Palestine was on the ballot — and won. David will be a champion for Palestinian freedom in Albany.”
The post from JVP Action echoed a message Orkin had highlighted throughout his campaign.
“It’s so incredibly meaningful to me to be running this race as an anti-Zionist Jew, to be one of the few anti-Zionist Jewish voices that is in an elected seat in the state government,” Orkin said in an Instagram reel posted by Jewish Voice for Peace Action earlier this month.
He added that, if elected, he would be able to go in front of the state legislature and assert that “criticizing Israel for genocide, demanding an end to the occupation, demanding an end to funding war abroad is not antisemitic.”
Orkin’s victory came amid a strong night for democratic socialist candidates across New York City, including left-wing congressional candidates Brad Lander, Darializa Avila Chevalier and Claire Valdez, who also defeated establishment-backed opponents in their primaries.
While Orkin was not endorsed by New York City Mayor Zohran Mamdani, whose winning endorsements of Lander, Chevalier and Valdez signaled a pro-Palestinian lurch for the party in the city with the world’s largest Jewish population outside of Israel. Nonetheless, his victory elevated a self-described anti-Zionist to the ranks of New York’s elected officials at a time when debates over Israel have become increasingly prominent within Democratic politics.
While Israel-related issues were not listed on Orkin’s platform, which centered on affordability and immigration, he repeatedly expressed his support for a “free Palestine” and attacked Rajkumar’s record of support for the Jewish state during his campaign.
“In the past several years my opponent AM Rajkumar has walked in the Israel day parade but has said NOTHING against the war in Gaza, occupation of Palestine, or Islamophobic attacks faced by the people of New York,” Orkin wrote in a May post on X.
Rajkumar, who was a close political ally of former New York City Mayor Eric Adams, in her campaign platform vowed to combat antisemitism.
After establishing a Jewish Voice for Peace chapter in Tucson, Arizona, in 2014, Orkin remained involved in pro-Palestinian activism as a member of the anti-Zionist activist group.
“I’ve been involved in the Jewish Palestine Solidarity Movement for 12, 13 years,” Orkin told Democratic Left last month. “I’ve dedicated part [of my] life to making sure that Jewish people are creating religious spaces outside of Zionism, and to making more space for Palestinian organizing to have an impact.”
On the campaign trail, Orkin received a host of endorsements from prominent progressive groups and lawmakers, including Vermont independent Sen. Bernie Sanders, Democratic New York Rep. Alexandria Ocasio-Cortez, Jews for Racial and Economic Justice, JVP Action and NYC Democratic Socialists for America.
Rajkumar was endorsed by ActJew, the new nonprofit focused on combatting antisemitism, as well as the Queens Jewish Alliance and Assemblymembers Sam Berger, Kalman Yeger and Chuck Lavine.
Orkin received over $290,000 in campaign contributions for the election cycle, including over $156,000 from the office of the state comptroller, while Rajkumar received over $270,000, including $9,000 from health care executive Daniel Lowy.
“I have dedicated my life fighting for immigrants and workers, I am proud to have earned their support in this election, and I look forward to spending the rest of my life winning the beautiful and joyous lives we deserve,” Orkin said in a statement, according to QNS.
The post Jewish anti-Zionist David Orkin defeats incumbent in NY Assembly primary appeared first on The Forward.
