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WORKS 1946-1998
Buchenwald Memorial | 99427 Weimar-Buchenwald
Nov 13, 1998 through May 10, 1999
Poster +++ Views +++ Reviews +++ Catalog book

Boris Lurie show, Buchenwald poster
Posterdesign: Sybille Wittmann, Stuttgart
Photo: Clayton Patterson, New York

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Lurie, Kirves and Patterson at Buchenwald Memorial 1998
view #1view #2view #2
view #4Boris Lurie in the show
click on image to enlarge

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ANDY WARHOL'S POOR BROTHER | Review by Rudij Bergmann | in: Thüringer Allgemeine, Weimar, on Dezcember 1998 | ... For example: Saturation Paintings (Buchenwald), photographs and newspaper clippings by Lurie formally collaged on canvas. In the center is a photograph showing Buchenwald prisoners at the barbed wire, presumably waiting to be liberated, faces reflecting tragedy and hope, life expectancy and brokenness. Framing this photo are those of a pinup girl in explicit poses and promises. This, too, is the freedom that awaits those who have had to forgo diverse life for so long under murderous conditions. Boris Lurie has brought the beautiful and the naked, the forgotten and the images of saints to the painful and pleasurable denominator of life. Works of art against forgetting, but also works of art that neither want to be appropriated nor legitimize looking away. Boris Lurie has artistically manifested the simultaneity of events more radically than anyone else in this century. The horror paired with the impact, the pleasure with the horror.. ... more

WITH THE RAGE OF DESPAIR | Review by Rudij Bergmann | in: Frankfurter Rundschau on January 9, 1999 | In the Weimar Capital of Culture Year 1999, the exhibition of Boris Lurie, who was born in Leningrad in 1924 and grew up in Riga, is an artistic-political counter-attack that does not care about aesthetic subtleties, as the location of the art action, the memorial site of the Buchenwald concentration camp located above Weimar, would hardly allow. The real horrors of the place and his own experienced banned in art, that is what the concentration camp inmate Lurie as an artist in two whitewashed oppressively low basement rooms of the former disinfection building spreads. And much of what he created from the 1950s to 1998, which memorial director Volkhard Knigge brought from the U.S. to Weimar, not only tramples on the nerves of the squeamish in the art business, it will also cause those whose fate is the subject of art here. But not in the usual dignified to ritualized manner of commemoration, but in the field of tension between voyeuristic pleasure and sheer horror. ... more

BORIS LURIE WORKS 1946 — 1998 | Review by Matthias Reichelt | in: Kunstforum, Band 145, Cologne, May-June 1999 | . . . The Buchenwald Memorial, under the direction of Dr. Volkhard Knigge and the curator Dr. Sonja Staar, has come up with a special contribution for the European Capital of Culture Weimar 1999. In the basement of the former disinfection facility, i.e. below the permanent collection with works by former prisoners and contemporary international artists, an exhibition with the New York artist Boris Lurie . . . Long before the topic of Auschwitz was domesticated for art, that is, long before the consternation of "There is no business like Shoahbusiness" (Eike Geisel), Boris Lurie already worked on it aggressively in the 1950s and has not let go of this topos since. The biographical closeness to this topic was provided to him by the German fascists together with Latvian collaborators. . . . more

NO!art in Concentration Camp | Review by Klaus Fabricius | Gedichtigtes/Geschriebigtes | December 1999 | in: Boris Lurie, Geschriebigtes — Gedichtigtes, Stuttgart 2003 | To NO!art to Buchenwald concentration camp in winter, that was a proposal I was soon to decide. I was never there, it flew through my head, never in the concentration camp. Nor go there alone and should sleep in the warm. And as it turned out later in a side speech by the NO!art artist Boris Lurie, who was now showing his work there and who had been locked up there in the 1940s: Yes, he said, he had also slept worse than in this very shitty place, namely later once on a ferry. Was it from Reykjavik to ... ? Well, I slept well. But those were only short hours. Not that the storm and the rain outside my room prevented me, no, because my room was good. The others too, at least the renovated ones and the ones in the lee . . . more

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Catalog Book: NO!art in BUCHENWALD
Volkhard Knigge [Weimar], Eckhart Holzboog [Stuttgart]
Dietmar Kirves [Berlin]
BOOK [in German language]: 470 p | 135 b/w pictures | 21.5 x 26.5 cm
Eckhart Holzboog Verlag | Stuttgart 2003 | ISBN 3-9807794-0-8

read Boris Lurie's text in German

Catalog Book with poems, images, and commentaries in German. Compiled by Boris Lurie and Dietmar Kirves on the occasion of the show "Boris Lurie: Werke 1946-1998" at Memorial Weimar-Buchenwald 1998/99.

With contributions by his friends Enrico Baj, Paolo Baratella, Herb Brown, Ronaldo Brunet, Günter Brus, Erro, Klaus Fabricius, Charles Gatewood, Paul Georges, Jochen Gerz, Esther Morgenstern Gilman, Amikam Goldman, Leon Golub, Sam Goodman, Blalla W. Hallmann, Allan Kaprow, Dietmar Kirves, Yayoi Kusama, Konstantin K. Kuzminsky, Jean-Jacques Lebel, Martin Levitt, Suzanne Long, Clayton Patterson, Bernard Rancillac, Francis Salles, Naomi T. Salmon, Michelle Stuart, Aldo Tambellini, Klaus Theuerkauf, Seth Tobocman, Jean Toche, Toyo Tsuchiya, Wolf Vostell, Mathilda Wolf.

 click on artist name to see published work

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ABOUT: Buchenwald Memorial is, today, a place of historical understanding, international dialogue, and progress toward reconciliation. The history embodied by this site calls upon us to recognize that goodness is not self-evident. Freedom, justice, tolerance and human dignity can only be preserved when we — both individually and collectively — defend these values and assume responsibility for their realisation. It is through coming to terms with the history of Buchenwald that we are guided toward a deeper understanding of this underlying truth, as well as the fundamental role our own actions play in upholding it. more

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