Mor Presiado | Bar-Ilan University (original) (raw)
Videos by Mor Presiado
Mooc - Free registration Learn about Jewish Feminist artists and their struggles for equality an... more Mooc - Free registration
Learn about Jewish Feminist artists and their struggles for equality and justice in the art world, general society and in the Jewish community. Discuss their works depicting the experiences of women in history, the Holocaust, and under conditions of migration. (With Dr. Tal Dekel and Dr. David Sperber)
Course site:
https://campus.gov.il/en/course/course-v1-biu-acd-biu-fjart101/
4 views
Papers by Mor Presiado
Arts, Mar 27, 2023
The Holocaust is a living trauma in the individual and collective body. Studies show that this tr... more The Holocaust is a living trauma in the individual and collective body. Studies show that this trauma threatens to be reawakened when a new and traumatic experience, such as illness, emerges. The two traumas bring to the fore the experiences of death, pain, bodily injury, fear of losing control, and social rejection. This article examines the manifestation of this phenomenon in art through the works of three Jewish artists with autobiographical connections to the Holocaust who experienced breast cancer: the late Holocaust survivor Alina Szapocznikow, Israeli artist Anat Massad and English artist Lorna Brunstein, daughters of survivors. All three matured alongside the rise and development of feminist art, and their works address subjects such as femininity and race and tell their stories through their bodies and the traumas of breast cancer and the Holocaust, transmitting memory, working through trauma, and making their voices heard.
https://www.mdpi.com/2076-0752/12/2/65
Nashim: A Journal of Jewish Women's Studies & Gender Issues, 2018
Abstract:Historians and art historians have identified the central place held by the maternal fig... more Abstract:Historians and art historians have identified the central place held by the maternal figure in Holocaust and post-Holocaust art and commemoration. The Jewish mother is shown, alone or with her children, facing the brutal reality of poverty, hunger and war. Her figure serves as the ultimate symbol of victimhood, as well as the embodiment of feminine heroism and the paradigm of appropriate motherly behavior.However this symbol has not remained static. An introspective analysis of a wide corpus of women's art relating to the Holocaust reveals that alongside this canonical figure in Holocaust symbolization, there are other images—mostly contemporary—of the maternal figure that expand and even destroy this traditional image. This transformation is a result of changes in Holocaust consciousness and scholarship, developments in the lives of the survivors, the particular perspectives of the second and third generations, Holocaust memory and post-memory, and feminism.
Holocaust Studies, 2016
ABSTRACT Since the second half of the 1970s, a corpus of studies focusing on the history of women... more ABSTRACT Since the second half of the 1970s, a corpus of studies focusing on the history of women during the Holocaust has been produced. These studies assert that even though Jewish women shared the annihilation threat with the men, Jewish women also underwent unique experiences resulting from their female physiology, their female socialization, and the National Socialist Weltanschauung directed against them. These different experiences were also expressed visually in numerous works of art made by women during the Holocaust era (1939–49). Their art is rife with images of pregnancy, motherhood, feminine crafts such as domestic chores, cooking, female solidarity and mutual assistance, loss of femininity, and sexual violence. This article focuses especially on women’s artistic expression of three of these topics: mutual assistance among women, loss of femininity, and sexual violence, all of which have received little attention in Holocaust art research.
War and Sexual Violence, 2019
This article aims to review this topic and offer insight into the nature of the feminine response... more This article aims to review this topic and offer insight into the nature of the feminine response to this theme as expressed by each generation. I shall offer a new interpretation of already known artworks created immediately after the Holocaust and analyze less well-known contemporary artworks prominently referring to the subject by Holocaust survivors, their daughters, their granddaughters, and Jewish women who have no personal connection to the Holocaust.
This chapter is a part of awakened awareness of the topic of sexual violence during the Holocaust, which has evolved significantly in Holocaust research over just the last decade. The researchers of this problematic area search for new testimonies concerning the sexual vulnerability of women during the Holocaust and reinterpret those that already exist in the light of the new consciousness to the subject.
Brill, 2020
.The present volume provides critical insight into the relationship of art and war. It shows how ... more .The present volume provides critical insight into the relationship of art and war. It shows how artists perceive war and how they depict it, to warn the spectator but to cure their own trauma at the same time.
War causes destruction, loss, and trauma. Many artists have used their art to express feelings and memories related to these losses and their own traumatic experiences. The artwork that came into existence due to such processes reflects on events of our past, but should be considered a warning at the same time. To deal with human suffering means to fully engage with the artist remains of human war experiences. The present volume aims to provide a critical insight into the relationship between art and war, showing how artists dealt with human losses, destruction, and personal trauma.
Journal of Modern Jewish Studies, 2015
This article discusses the late works of two women Holocaust survivors, Esther Nisenthal Krinitz ... more This article discusses the late works of two women Holocaust survivors, Esther Nisenthal Krinitz and Ilana Ravek, as seen through the prism of the artistic reconstructing of a life story. Their life stories are expressed in works depicting their Holocaust experiences together with additional “rehabilitation” works illustrating elements such as their childhood before the Holocaust, their establishment of families afterwards, their experience of parenthood and grandparenthood, their successful resettlement in their new countries and their acquisition of a new national identity. Each of these artists' work represents a different approach to the construction of a life story. Nisenthal Krinitz's art works exemplify a linear narrative approach, displaying a sequence of events arranged chronologically in an interrelated plot at whose centre stands her Holocaust story, wrapped by works depicting her life before and afterwards. Ravek's works, which are not limited to her Holocaust experience and its ramifications, demonstrate the second approach, which requires far more active involvement on the part of the viewer. Both artists' life stories express a conflicted ambivalent consciousness, as tragic depictions coexist side by side with images of rehabilitation. The enfolding of the past in the present assists them in their reconstruction of a consecutive identity that has a past, present, and future and enables them to give meaning to their life after their survival.
Nashim: A Journal of Jewish Women's Studies & Gender Issues, 33, 2018
Historians and art historians have identified the central place held by the maternal figure in Ho... more Historians and art historians have identified the central place held by the
maternal figure in Holocaust and post-Holocaust art and commemoration.
The Jewish mother is shown, alone or with her children, facing the
brutal reality of poverty, hunger and war. Her figure serves as the ultimate
symbol of victimhood, as well as the embodiment of feminine heroism
and the paradigm of appropriate motherly behavior.
However this symbol has not remained static. An introspective analysis
of a wide corpus of women’s art relating to the Holocaust reveals that
alongside this canonical figure in Holocaust symbolization, there are
other images—mostly contemporary—of the maternal figure that expand
and even destroy this traditional image. This transformation is a result of
changes in Holocaust consciousness and scholarship, developments in the
lives of the survivors, the particular perspectives of the second and third
generations, Holocaust memory and post-memory, and feminism.
Mor Presiado and Frank Jacob, Introduction: War and Creativity, in War and Art: The Portrayal of ... more Mor Presiado and Frank Jacob, Introduction: War and Creativity, in War and Art: The Portrayal of Destruction and Mass Violence, eds. idem
סמליות יהודית ומציאות ישראלית ביצירתו של אריה ברמץ. "מאמר מתוך הקטלוג: "אני מאת עצמי
Since the second half of the 1970s, a corpus of studies focusing on the history of women during t... more Since the second half of the 1970s, a corpus of studies focusing on the history of women during the Holocaust has been produced. These studies assert that even though Jewish women shared the annihilation threat with the men, Jewish women also underwent unique experiences resulting from their female physiology, their female socialization, and the National Socialist Weltanschauung directed against them. These different experiences were also expressed visually in numerous works of art made by women during the Holocaust era (1939–49). Their art is rife with images of pregnancy, motherhood, feminine crafts such as domestic chores, cooking, female solidarity and mutual assistance, loss of femininity, and sexual violence. This article focuses especially on women's artistic expression of three of these topics: mutual assistance among women, loss of femininity, and sexual violence, all of which have received little attention in Holocaust art research.
Journal of Modern Jewish Studies
This article discusses the late works of two women Holocaust survivors, Esther Nisenthal Krinitz ... more This article discusses the late works of two women Holocaust survivors, Esther Nisenthal Krinitz and Ilana Ravek, as seen through the prism of the artistic reconstructing of a life story. Their life stories are expressed in works depicting their Holocaust experiences together with additional "rehabilitation" works illustrating elements such as their childhood before the Holocaust, their establishment of families afterwards, their experience of parenthood and grandparenthood, their successful resettlement in their new countries and their acquisition of a new national identity.
Each of these artists' work represents a different approach to the construction of a life story. Nisenthal Krinitz's art works exemplify a linear narrative approach, displaying a sequence of events arranged chronologically in an interrelated plot at whose centre stands her Holocaust story, wrapped by works depicting her life before and afterwards. Ravek's works, which are not limited to her Holocaust experience and its ramifications, demonstrate the second approach, which requires far more active involvement on the part of the viewer. Both artists' life stories express a conflicted ambivalent consciousness, as tragic depictions coexist side by side with images of rehabilitation. The enfolding of the past in the present assists them in their reconstruction of a consecutive identity that has a past, present, and future and enables them to give meaning to their life after their survival.
Mooc - Free registration Learn about Jewish Feminist artists and their struggles for equality an... more Mooc - Free registration
Learn about Jewish Feminist artists and their struggles for equality and justice in the art world, general society and in the Jewish community. Discuss their works depicting the experiences of women in history, the Holocaust, and under conditions of migration. (With Dr. Tal Dekel and Dr. David Sperber)
Course site:
https://campus.gov.il/en/course/course-v1-biu-acd-biu-fjart101/
4 views
Arts, Mar 27, 2023
The Holocaust is a living trauma in the individual and collective body. Studies show that this tr... more The Holocaust is a living trauma in the individual and collective body. Studies show that this trauma threatens to be reawakened when a new and traumatic experience, such as illness, emerges. The two traumas bring to the fore the experiences of death, pain, bodily injury, fear of losing control, and social rejection. This article examines the manifestation of this phenomenon in art through the works of three Jewish artists with autobiographical connections to the Holocaust who experienced breast cancer: the late Holocaust survivor Alina Szapocznikow, Israeli artist Anat Massad and English artist Lorna Brunstein, daughters of survivors. All three matured alongside the rise and development of feminist art, and their works address subjects such as femininity and race and tell their stories through their bodies and the traumas of breast cancer and the Holocaust, transmitting memory, working through trauma, and making their voices heard.
https://www.mdpi.com/2076-0752/12/2/65
Nashim: A Journal of Jewish Women's Studies & Gender Issues, 2018
Abstract:Historians and art historians have identified the central place held by the maternal fig... more Abstract:Historians and art historians have identified the central place held by the maternal figure in Holocaust and post-Holocaust art and commemoration. The Jewish mother is shown, alone or with her children, facing the brutal reality of poverty, hunger and war. Her figure serves as the ultimate symbol of victimhood, as well as the embodiment of feminine heroism and the paradigm of appropriate motherly behavior.However this symbol has not remained static. An introspective analysis of a wide corpus of women's art relating to the Holocaust reveals that alongside this canonical figure in Holocaust symbolization, there are other images—mostly contemporary—of the maternal figure that expand and even destroy this traditional image. This transformation is a result of changes in Holocaust consciousness and scholarship, developments in the lives of the survivors, the particular perspectives of the second and third generations, Holocaust memory and post-memory, and feminism.
Holocaust Studies, 2016
ABSTRACT Since the second half of the 1970s, a corpus of studies focusing on the history of women... more ABSTRACT Since the second half of the 1970s, a corpus of studies focusing on the history of women during the Holocaust has been produced. These studies assert that even though Jewish women shared the annihilation threat with the men, Jewish women also underwent unique experiences resulting from their female physiology, their female socialization, and the National Socialist Weltanschauung directed against them. These different experiences were also expressed visually in numerous works of art made by women during the Holocaust era (1939–49). Their art is rife with images of pregnancy, motherhood, feminine crafts such as domestic chores, cooking, female solidarity and mutual assistance, loss of femininity, and sexual violence. This article focuses especially on women’s artistic expression of three of these topics: mutual assistance among women, loss of femininity, and sexual violence, all of which have received little attention in Holocaust art research.
War and Sexual Violence, 2019
This article aims to review this topic and offer insight into the nature of the feminine response... more This article aims to review this topic and offer insight into the nature of the feminine response to this theme as expressed by each generation. I shall offer a new interpretation of already known artworks created immediately after the Holocaust and analyze less well-known contemporary artworks prominently referring to the subject by Holocaust survivors, their daughters, their granddaughters, and Jewish women who have no personal connection to the Holocaust.
This chapter is a part of awakened awareness of the topic of sexual violence during the Holocaust, which has evolved significantly in Holocaust research over just the last decade. The researchers of this problematic area search for new testimonies concerning the sexual vulnerability of women during the Holocaust and reinterpret those that already exist in the light of the new consciousness to the subject.
Brill, 2020
.The present volume provides critical insight into the relationship of art and war. It shows how ... more .The present volume provides critical insight into the relationship of art and war. It shows how artists perceive war and how they depict it, to warn the spectator but to cure their own trauma at the same time.
War causes destruction, loss, and trauma. Many artists have used their art to express feelings and memories related to these losses and their own traumatic experiences. The artwork that came into existence due to such processes reflects on events of our past, but should be considered a warning at the same time. To deal with human suffering means to fully engage with the artist remains of human war experiences. The present volume aims to provide a critical insight into the relationship between art and war, showing how artists dealt with human losses, destruction, and personal trauma.
Journal of Modern Jewish Studies, 2015
This article discusses the late works of two women Holocaust survivors, Esther Nisenthal Krinitz ... more This article discusses the late works of two women Holocaust survivors, Esther Nisenthal Krinitz and Ilana Ravek, as seen through the prism of the artistic reconstructing of a life story. Their life stories are expressed in works depicting their Holocaust experiences together with additional “rehabilitation” works illustrating elements such as their childhood before the Holocaust, their establishment of families afterwards, their experience of parenthood and grandparenthood, their successful resettlement in their new countries and their acquisition of a new national identity. Each of these artists' work represents a different approach to the construction of a life story. Nisenthal Krinitz's art works exemplify a linear narrative approach, displaying a sequence of events arranged chronologically in an interrelated plot at whose centre stands her Holocaust story, wrapped by works depicting her life before and afterwards. Ravek's works, which are not limited to her Holocaust experience and its ramifications, demonstrate the second approach, which requires far more active involvement on the part of the viewer. Both artists' life stories express a conflicted ambivalent consciousness, as tragic depictions coexist side by side with images of rehabilitation. The enfolding of the past in the present assists them in their reconstruction of a consecutive identity that has a past, present, and future and enables them to give meaning to their life after their survival.
Nashim: A Journal of Jewish Women's Studies & Gender Issues, 33, 2018
Historians and art historians have identified the central place held by the maternal figure in Ho... more Historians and art historians have identified the central place held by the
maternal figure in Holocaust and post-Holocaust art and commemoration.
The Jewish mother is shown, alone or with her children, facing the
brutal reality of poverty, hunger and war. Her figure serves as the ultimate
symbol of victimhood, as well as the embodiment of feminine heroism
and the paradigm of appropriate motherly behavior.
However this symbol has not remained static. An introspective analysis
of a wide corpus of women’s art relating to the Holocaust reveals that
alongside this canonical figure in Holocaust symbolization, there are
other images—mostly contemporary—of the maternal figure that expand
and even destroy this traditional image. This transformation is a result of
changes in Holocaust consciousness and scholarship, developments in the
lives of the survivors, the particular perspectives of the second and third
generations, Holocaust memory and post-memory, and feminism.
Mor Presiado and Frank Jacob, Introduction: War and Creativity, in War and Art: The Portrayal of ... more Mor Presiado and Frank Jacob, Introduction: War and Creativity, in War and Art: The Portrayal of Destruction and Mass Violence, eds. idem
סמליות יהודית ומציאות ישראלית ביצירתו של אריה ברמץ. "מאמר מתוך הקטלוג: "אני מאת עצמי
Since the second half of the 1970s, a corpus of studies focusing on the history of women during t... more Since the second half of the 1970s, a corpus of studies focusing on the history of women during the Holocaust has been produced. These studies assert that even though Jewish women shared the annihilation threat with the men, Jewish women also underwent unique experiences resulting from their female physiology, their female socialization, and the National Socialist Weltanschauung directed against them. These different experiences were also expressed visually in numerous works of art made by women during the Holocaust era (1939–49). Their art is rife with images of pregnancy, motherhood, feminine crafts such as domestic chores, cooking, female solidarity and mutual assistance, loss of femininity, and sexual violence. This article focuses especially on women's artistic expression of three of these topics: mutual assistance among women, loss of femininity, and sexual violence, all of which have received little attention in Holocaust art research.
Journal of Modern Jewish Studies
This article discusses the late works of two women Holocaust survivors, Esther Nisenthal Krinitz ... more This article discusses the late works of two women Holocaust survivors, Esther Nisenthal Krinitz and Ilana Ravek, as seen through the prism of the artistic reconstructing of a life story. Their life stories are expressed in works depicting their Holocaust experiences together with additional "rehabilitation" works illustrating elements such as their childhood before the Holocaust, their establishment of families afterwards, their experience of parenthood and grandparenthood, their successful resettlement in their new countries and their acquisition of a new national identity.
Each of these artists' work represents a different approach to the construction of a life story. Nisenthal Krinitz's art works exemplify a linear narrative approach, displaying a sequence of events arranged chronologically in an interrelated plot at whose centre stands her Holocaust story, wrapped by works depicting her life before and afterwards. Ravek's works, which are not limited to her Holocaust experience and its ramifications, demonstrate the second approach, which requires far more active involvement on the part of the viewer. Both artists' life stories express a conflicted ambivalent consciousness, as tragic depictions coexist side by side with images of rehabilitation. The enfolding of the past in the present assists them in their reconstruction of a consecutive identity that has a past, present, and future and enables them to give meaning to their life after their survival.
Examining women Holocaust survivors' art reveals that one of the themes that surfaces repeatedly ... more Examining women Holocaust survivors' art reveals that one of the themes that surfaces repeatedly is that of sexual violence. This topic has not yet been thoroughly discussed in Holocaust art research despite already appearing in paintings created immediately after the Holocaust.
The aim of the lecture is twofold: to introduce the topic of sexual violence during the Holocaust as represented in paintings made by women survivors; and to discuss their paintings as a case study for using art as a testimony tool, revealing interpretations arising from the non-verbal language.
The lecture discusses the late works of Holocaust survivors as seen through the prism of the arti... more The lecture discusses the late works of Holocaust survivors as seen through the prism of the artistic reconstructing of a 'life story'. The time that has passed since the events enabled numerous survivors artists to relate their Holocaust experience as just a part of their life. Survivors' life stories are expressed in works that enfold the past in the present depicting their Holocaust experiences together with additional "rehabilitation" works illustrating elements such as their childhood before the Holocaust, their establishment of families afterward, their Jewish Identity, their experience of parenthood and grandparenthood, their successful resettlement in their new countries, and their acquisition of a new national identity. The perception of personal stories of the Holocaust as part of the continuum of life is anchored in the field of 'life story' research, which lies in disciplines of literature and psychology. The lecture discusses the use of the analysis methods of these disciplines in Jewish art and explores the uniqueness of reconstructing a life story in art as a communication tool of the highest order and as a therapeutic tool enabling the survivors to self-process their story and re-narrate it as a story of rehabilitation, leading to completion and meaningfulness in their life after the Holocaust.
https://www.youtube.com/watch?v=HGmkar_1BfQ
סטודיו משלה: נשים ומגדר באמנות יהודית וישראלית הסמינר המחלקתי | סמסטר א' תשע״ח, 2017 — 2018
"מתקנת עולם": זהות יהודית ופמיניסטית ביצירה הכוללת של ג'ודי שיקאגו
כנס "נשים ומגדר באמנויות בישראל" הכנס יתקיים בימים ד-ה, 1-2.2.177, בבנין מכסיקו באוניברסיטת תל-אב... more כנס "נשים ומגדר באמנויות בישראל"
הכנס יתקיים בימים ד-ה, 1-2.2.177, בבנין מכסיקו באוניברסיטת תל-אביב,
הכנס עוסק בנושאים שנזנחו בעשור האחרון בתכניות השונות ללימודי מגדר, כגון אמנות פלסטית, קולנוע, תיאטרון, מיצג ומופע, ומטרתו לעורר מחדש את המחקר על נשים יוצרות ואת המחקר בנושאי מגדר באמנויות בדגש על אמנויות בישראל.
הכנס מתקיים בשיתוף בין העמותה לחקר אמנות נשים ומגדר בישראל, החוג לתולדות האמנות, הקרן לחקר אמנות ישראליתתTIAF והארכיון לתיעוד ולחקר האמנות בישראל, הפקולטה לאמנויות ע"ש יולנדה ודוד כץ, אוניברסיטת תל אביב.
אנחנו שמחות להכריז: קול-קורא לקבלת הצעות להרצאות בכנס העמותה, אשר יתקיים בפברואר 2019 באוניברסיט... more אנחנו שמחות להכריז:
קול-קורא לקבלת הצעות להרצאות בכנס העמותה, אשר יתקיים בפברואר 2019 באוניברסיטת תל אביב,
The experience of war often creates an unbearable trauma. The trauma of war not only present in d... more The experience of war often creates an unbearable trauma. The trauma of war not only present in direct victims, but in greater society, as a community's perception of an atrocious event leaves lasting scars upon their group consciousness. The arts are a powerful vehicle for expression, reflection and witness on human experience, including war. Thus, signs of trauma of war are highly visible within the conventional boundaries of visual art, i.e.: paintings, sculptures, sketches, cartoons, graffiti, installations and performances. The creation of art on war enable cathartic processing of trauma and modeling its remembrance. Especially the two World Wars were impacting the creation of numerous individual art works that were able to create a wider perception of its cruelties; and later influencing artists to response on local wars and confrontations. Artists and spectators alike were entering the war experience again through the object itself. We would like to highlight this interrelationship between warfare and modern and contemporary art and therefore ask scholars in history, art history and all related fields to send in proposals.
co-ed. with Mor Presiado Mor Presiado and Frank Jacob, eds. War and Art: The Portrayal of Destruc... more co-ed. with Mor Presiado
Mor Presiado and Frank Jacob, eds. War and Art: The Portrayal of Destruction and Mass Violence (Paderborn: Schöningh/Brill).