Bühnenbilder

Doi: https://doi.org/10.47659/m3.040.3.pro

Andrea Palašti is a visual artist, independent curator and lecturer, based in Novi Sad, Serbia. Andrea holds a bachelor’s and a master’s degree in Photography from the Academy of Art, University of Novi Sad. In 2015, she graduated with a PhD in Art and Media Theory from the University of Arts in Belgrade. She is active in the field of research and exhibition practice that experiments with archives, methodologies and contextual aspects of art, which emphasizes issues of cultural geography and the everyday life. She has recently been appointed as lecturer in Visual Communications at the Department for New media at the Academy of Art in Novi Sad. Since 2006, she has been exhibiting and collaborating with different artists, art collectives and initiatives. www.andreapalasti.com

Andrea Palašti is a visual artist, independent curator and lecturer, based in Novi Sad, Serbia. Andrea holds a bachelor’s and a master’s degree in Photography from the Academy of Art, University of Novi Sad. In 2015, she graduated with a PhD in Art and Media Theory from the University of Arts in Belgrade. She is active in the field of research and exhibition practice that experiments with archives, methodologies and contextual aspects of art, which emphasizes issues of cultural geography and the everyday life. She has recently been appointed as lecturer in Visual Communications at the Department for New media at the Academy of Art in Novi Sad. Since 2006, she has been exhibiting and collaborating with different artists, art collectives and initiatives. www.andreapalasti.com

The photographic series Bühnenbilder explores private photographs that were taken during World War II by Jewish individuals or families who went into hiding, often as tourists abroad. Through false documents, they were buying themselves an apparent safety, a temporary mise-en-scène (‘bühnenbild’) on which they needed to act. When applied to the cinema, mise-en-scène refers to everything that appears before the camera and its arrangement – composition, sets, props, actors, costumes and lighting. Defined as a “placing on stage” and a physical behaviour of the actors on a stage, the photographs that are emerging in these specific dramatic conditions are just that – staged realities. These photographs were often made as snapshots or holiday photos, landscape or cityscape shots, but only when we find out the context of the image, the contrast between the actual truth and the played out truth increases. Bühnenbilder is an ongoing research project conducted in the archives of the Jewish Historical Museum, Belgrade, Serbia; USHMM, Washington (D.C.), USA.

Andreia Palašti: Bühnenbilder.
Andreia Palašti: Bühnenbilder.
Andreia Palašti: Bühnenbilder.
Andrea Palašti: Bühnenbilder.
Andreia Palašti: Bühnenbilder.
Andrea Palašti: Bühnenbilder.
Family Sekelj in Bakonyszentlászló, Hungary; Date: 1942/44. Photo Credit: Jewish Historical Museum (Portraits and memories), Belgrade, Serbia, courtesy of Andrija Sekelj.
Family Sekelj in Bakonyszentlászló, Hungary; Date: 1942/44. Photo Credit: Jewish Historical Museum (Portraits and memories), Belgrade, Serbia, courtesy of Andrija Sekelj.
Andreia Palašti: Bühnenbilder.
Andrea Palašti: Bühnenbilder.
Andreia Palašti: Bühnenbilder.
Andrea Palašti: Bühnenbilder.
Tibor Adam in Budapest, Hungary; Date: 1942/44. Courtesy of Mirko Adam.
Tibor Adam in Budapest, Hungary; Date: 1942/44. Courtesy of Mirko Adam.
Vera Kovač (in the middle) with her friends at Margitsziget, Budapest, Hungary; Date: 1942/44. Photo Credit: Jewish Historical Museum (Portraits and memories), Belgrade, Serbia, courtesy of Vera Kovač.
Vera Kovač (in the middle) with her friends at Margitsziget, Budapest, Hungary; Date: 1942/44. Photo Credit: Jewish Historical Museum (Portraits and memories), Belgrade, Serbia, courtesy of Vera Kovač.
A postcard for Metreger Anna from Mátrafüred, Hungary; Date: 1943. Courtesy of Igor Kronaveter. Text on the postcard: My dear! 19 / VIII / 943 Everything is beautiful and the air is lovely, it’s just terrible expense all. There are no air raids – now it would be really good to be a millionaire and stay here until the war is over. I hope you are well. We embrace you and love you. Kato
A postcard for Metreger Anna from Mátrafüred, Hungary; Date: 1943. Courtesy of Igor Kronaveter.
Text on the postcard:
19 / VIII / 943
My dear!
Everything is beautiful and the air is lovely, it’s just terrible expense all. There are no air raids – now it would be really good to be a millionaire and stay here until the war is over. I hope you are well. We embrace you and love you. Kato
A postcard for Metreger Anna from Mátrafüred, Hungary; Date: 1943. Courtesy of Igor Kronaveter. Text on the postcard: My dear! 19 / VIII / 943 Everything is beautiful and the air is lovely, it’s just terrible expense all. There are no air raids – now it would be really good to be a millionaire and stay here until the war is over. I hope you are well. We embrace you and love you. Kato
A postcard for Metreger Anna from Mátrafüred, Hungary; Date: 1943. Courtesy of Igor Kronaveter.
Text on the postcard:
19 / VIII / 943
My dear! Everything is beautiful and the air is lovely, it’s just terrible expense all. There are no air raids – now it would be really good to be a millionaire and stay here until the war is over. I hope you are well. We embrace you and love you. Kato
A company of French singers and dancers poses in front of the Brandenburg Gate while on a performance tour in Germany. Sadie Rigal, who is actually a Jew in hiding, is pictured in the centre. Date: 1943. (On the far left is her dance partner, Frederic Apcar. Edith Piaf is show third from the right.) Photo Credit: United States Holocaust Memorial Museum, courtesy of Sadie Rigal Waren.
A company of French singers and dancers poses in front of the Brandenburg Gate while on a performance tour in Germany. Sadie Rigal, who is actually a Jew in hiding, is pictured in the centre. Date: 1943. (On the far left is her dance partner, Frederic Apcar. Edith Piaf is show third from the right.) Photo Credit: United States Holocaust Memorial Museum, courtesy of Sadie Rigal Waren.
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When applied to the cinema, mise-en-scène refers to everything that appears before the camera and its arrangement – composition, sets, props, actors, costumes and lighting.
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