Greetings from Jerusalem Avenue: Difference between revisions
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m Malick78 moved page Greetings from Jerusalem Avenues to Greetings from Jerusalem Avenue over redirect: as per the artist's preferred English name for the artwork (the Polish uses a plural 'avenues', the artist prefers singular in English) |
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Revision as of 11:35, 8 December 2022
| Greetings from Jerusalem Avenue | |
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| Year | 12 December 2002 |
| Location | Warsaw, Poland |
| Coordinates | 52°13′54″N 21°01′15″E / 52.2317°N 21.0208°E |
Pozdrowienia z Alej Jerozolimskich (meaning "Greetings from Jerusalem Avenues") is a site-specific artistic construction in the form of a life-size artificial date palm, designed by Polish artist Joanna Rajkowska, and located on the Charles de Gaulle Roundabout (rondo gen. Charles’a de Gaulle’a) in the Polish capital of Warsaw. It was erected on December 12, 2002.
Inspiration
The palm tree was inspired by Joanna Rajkowska's and Artur Żmijewski's visit to Israel in 2001. The initial idea was to construct an espalier of the artificial date palms, but instead of the espalier Joanna Rajkowska chose to construct one palm. The project was intended as a social experiment to expose the void left by the absence of Jews in Poland.[1] Before the Second World War, 30% of Warsaw's population was Jewish (about 370,000 people)[2] in comparison to the current estimated population of 0.125% (less than 2,000 people).[3] Rajkowska conceived Greetings from Jerusalem Avenue as an anti-monument that metaphorically brings the “vanished Jews back into the landscape of contemporary Poland”.[4]
The designer treats her artistic construction as Leftist.[5]
Construction
The palm was made by an American company Soul-utions.Com. The palm was made using synthetic organics and natural materials. The palm has a height of fifteen metres, and is waterproof. The palm's stability is supported by concrete prefabricates.
Critical reception
"Greetings from Jerusalem Avenues" attracted media attention before it was even installed. The earliest articles date back to 2001.[6] Once the installation was unveiled, it received immediate attention from the Polish and foreign press. By 2003, numerous articles had been published, including in Süddeutsche Zeitung, the Los Angeles Times, the Polish edition of Newsweek, and Gazeta Wyborcza, a major Polish newspaper. The coverage focused on the political transformation in Poland, accession to the EU, and the country’s economic development. The Newsweek issue featured an image of Lech Walesa and the Solidarity movement logo in front of the tree.
"Greetings from Jerusalem Avenue" has received attention in academic circles. The first critical text was published six years after the project was completed,[7] yet despite becoming one of the most recognizable sights in Warsaw, scholarship addressing the circumstances or impact of the installation has been scarce. Authors have analysed the installation in the context of colonialism and postcolonialism, Polish-Jewish history, memory after the Holocaust, the Polish-Jewish-Palestinian geopolitical triangle, and the emigration of the Jews from Poland to the United States.[8]
References
- ^ Joanna Rajkowska, Where the Beast is Buried. Winchester, UK & Washington, USA: Zero Books 2013. P268
- ^ Barbara Engelking and Jacek Leociak. Getto warszawskie. Przewodnik po nieistniejącym mieście. Warsaw: Centrum Badań nad Zagładą Żydów 2001
- ^ “Mniejszości narodowe i etniczne. Żydzi.” Serwis Rzeczypospolitej Polskiej
- ^ Uilleam Blacker, Spatial Dialogues and Holocaust Memory in Contemporary Polish Art: Yael Bartana, Rafał Betlejewski and Joanna Rajkowska. The Open Arts Journal 3, 2014. P173.
- ^ "Dlaczego Rajkowska ogołociła palmę? Znamy odpowiedź". Gazeta Wyborcza. Retrieved 4 March 2016.
- ^ Artmuseum.pl
- ^ Przewodnik Krytyki Politycznej, P43.
- '^ Helena Chmielewska-Szlajfer. The Plastic Palm and Memories in the Making: Conceptual Art Work on Warsaw’s Jerusalem Avenue. International Journal of Politics Culture and Society. 23(4) 2010. 201-211; Blacker, Uilleam. Spatial Dialogues and Holocaust Memory in Contemporary Polish Art: Yael Bartana, Rafał Betlejewski and Joanna Rajkowska. The Open Arts Journal 3, 2014. Pp173-187; Justyna Wierzchowska. Polish Colonial Past and Postcolonial Presence in Joanna Rajkowska’s Art. In: In Other Words: Dialogizing Race, Ethnicity and Postcolonialism. E. Luczak, J. Wierzchowska and J. Ziarkowska (eds.). Peter Lang 2011. 231-246; Robert Yerachmiel Sniderman. A Disruptive Desire to Be Where It Stands. 2020.