Anne Frank exhibition at Red Deer Museum + Art Gallery
From Red Deer Museum + Art Gallery (MAG)
Anne Frank: A History for Today opening at Red Deer MAG
The travelling exhibition Anne Frank – A History for Today, a travelling exhibition from the Anne Frank House (Amsterdam, The Netherlands), will be on display at the Red Deer Museum + Art Gallery (MAG) January 12 to March 22, 2020. This exhibit aims to bring Anne’s life story to the attention of people all over the world to encourage them to reflect on the dangers of anti-Semitism, racism and discrimination and the importance of freedom, equal rights and democracy. As part of this exhibit the MAG will be showing artworks created by Red Deer high school students in response to the Anne Frank story.
This exhibition tells the story of Anne Frank set against the background of the Holocaust. The exhibition makes use of images from the Frank family and quotations from the Diary of Anne Frank. Each panel displays information about the most important developments of that time: the rise of National Socialism, the Second World War and the persecution of the Jews. This exhibition has three artefacts that visitors will be able to see: a replica of the Diary of Anne Frank, a Yellow Star of David, a 3D model of the Anne Frank House and a Nazi program from 1935-1936.
“We are pleased to present this exhibition during the 75th anniversary of the Liberation of Holland from Nazi occupation,” says Lorna Johnson, Executive Director. “The Diary of Anne Frank continues to be a moving testament to the optimism of youth in the most trying situations. The Anne Frank House Museum in Amsterdam has made a commitment to work with youth all over the world to eliminate racism and discrimination. We are pleased to bring their message to Red Deer and we would like to thank the teachers and students of Red Deer’s high schools who have embraced the project and created artworks for display, and who have volunteered to be tour guides in the exhibition.”
Aims of the exhibition
- To increase knowledge of youth and public on the historical events of the second world war, the Holocaust and the life of Anne Frank
- To foster dialogue between attendees on topics such as the dangers of discrimination and the importance of tolerance and the human rights
- To increase the knowledge of local /national / international history through various activities in conjunction with the exhibition
- To invite youth to live a learning experience of exchange and dialogue.
Opening Reception: Join the Red Deer Museum + Art Gallery at 2pm on Sunday, January 26, 2020 for the joint opening reception of Anne Frank: A History for Today and the MAG’s in-house exhibit Sacrifice, Hope, Friendship: Canada and the Liberation of Holland.
In many countries Anne Frank has become the symbol of the mass murder of Jews during the Second World War.
Anne Frank was born on 12th June, 1929 in Frankfurt, Germany. She was the daughter of Otto and Edith Frank and had a three year old sister, Margot. Just like many other Jews, the Frank family fled Germany after Hitler and his National-Socialist party came to power in 1933. The Jews who stayed in Germany were step by step excluded from society. The Frank family went to the Netherlands where father Otto started a company.
In May 1940 the Nazis occupied the Netherlands and soon anti-Jewish measures were introduced. In July 1942 large-scale deportations of Jews took place. The Frank family went into hiding along with four others. They hid in the annex of Otto Frank’s office building on the Prinsengracht in Amsterdam, right in the heart of the city. During their time in hiding, Anne Frank kept a diary. In August 1944 the hiding place was betrayed and the eight people were taken to different concentration camps. Anne Frank eventually died in the camp Bergen-Belsen. Only Otto Frank survived the war. In 1947 the diary of Anne Frank was first published. By now it is translated into sixty languages and has become one of the best known documents about the Holocaust. The building where the Frank family hid is now a museum.
For more details regarding the exhibition Anne Frank: A History for Today contact Kim Verrier, Exhibitions Coordinator at [email protected], 403-309-8440.
The Negation of Reality in Roald Dahl’s Literary Classic
From the Brownstone Institute
Last weekend it was reported how books by the popular children’s book author, Roald Dahl, are now being republished after significant changes to the texts. According to The Guardian, the changes are only about removing “offensive language” from his books. The Roald Dahl Story Company says the changes are minor and only about making the text more accessible and “inclusive“ to modern readers.
Gerald Posner covered the issue on February 19th, citing a few examples of changes, which are certainly not minor; entire paragraphs are removed or altered beyond recognition. There are hundreds of changes, Posner says, agreeing with writer Salman Rushdie who has called these changes “absurd censorship.”
Nick Dixon has published a short piece on the matter in the Daily Skeptic, pointing out how some of the changes make Dahl’s text lifeless and flat and how all humour is carefully removed. Example from Matilda: “Your daughter Vanessa, judging by what she’s learnt this term, has no hearing organs at all” becomes “Judging by what your daughter Vanessa has learnt this term, this fact alone is more interesting than anything I have taught in the classroom.”
In other cases, the meaning simply disappears: “It nearly killed Ashton as well. Half the skin came away from his scalp” becomes “It didn’t do Ashton much good.” Some of the changes are outright absurdly silly, considering when the original text was written. One example Dixon takes: “Even if she is working as a cashier in a supermarket or typing letters for a businessman” becomes “Even if she is working as a top scientist or running a business.”
“Mother” becomes “parent,” “man” becomes “person,” and “men” become “people.” “We eat little boys and girls” becomes “We eat little children.” Boys and girls have no right to exist anymore, no more than mothers or fathers; biological sex is prohibited. But the censors, sarcastically called Inclusive Minds, don’t seem to be bothered by the practice of eating children.
References to authors currently banned for unfashionable beliefs are removed or changed. Joseph Conrad becomes Jane Austen. Rudyard Kipling becomes John Steinbeck.
Nothing is mild enough to escape the watchful eyes of the censors, Dixon says, noting how “Shut up, you nut!” becomes “Ssshhh!” and “turning white” becomes “turning quite pale.” To the “inclusive,“ “white“ is a forbidden word of course.
Suzanne Nossel, president of the American branch of the PEN writers’ organization, expresses her dismay in an interview with the Washington Post. “Literature is meant to be surprising and provocative,” Nossel says, explaining how attempts at purging texts of words that might offend someone “dilute the power of storytelling.”
Roald Dahl is by no means uncontroversial. But his stories are the actual stories he wrote. The watered down and sanitised texts of the censors are simply no longer the author’s stories.
Or, as Posner concludes: “Words matter. The problem is that the Dahl sensitivity censorship sets a template for other hugely successful author franchises. Readers should know that the words they read are no longer the words the author wrote.”
The destruction of Roald Dahl’s books is yet another sign of the all-pervasive negation of reality we now face. We see this negation all around us, in literature, history, politics, economics, even in the sciences. Objective reality gives way to subjective experience, emotions, or preferences in place of what is true.
It gives way, in fact, to radical subjectivism, which might just be the logical, yet contradictory conclusion of the victorious march of individualism in the West over the past few decades. It gives way, until all our common points of reference are gone, until our common sense has all but disappeared; until, atomised, lonely, incapable of meaningful communication, we no longer share a society. What takes its place will surely be no fairy tale.
And what better example of this negation of reality than the Guardian’s headline, whereby the total destruction of the work of a beloved author becomes “removing offensive language” in a few places?
Republished from the author’s Substack
Visitors can see famed Florence baptistry’s mosaics up close
By Francesco Sportelli in Florence
FLORENCE, Italy (AP) — Visitors to one of Florence’s most iconic monuments — the Baptistry of San Giovanni, opposite the city’s Duomo — are getting a once-in-a-lifetime chance to see its ceiling mosaics up close thanks to an innovative approach to a planned restoration effort.
Rather than limit the public’s access during the six-year cleaning of the vault, officials built a scaffolding platform for the art restorers that will also allow small numbers of visitors to see the ceiling mosaics at eye level.
“We had to turn this occasion into an opportunity to make it even more accessible and usable by the public through special routes that would bring visitors into direct contact with the mosaics,” Samuele Caciagli, the architect in charge of the restoration site, said.
In an interview with The Associated Press, Caciagli called the new scaffolding tour of the baptistry vault “a unique opportunity that is unlikely to be repeated in the coming decades.”
The scaffolding platform sprouts like a mushroom from the floor of the baptistry and reaches a height of 32 meters (105 feet) from the ground. Visits are set to start Feb. 24 and must be reserved in advance.
The octagonal-shaped baptistry is one of the most visible monuments of Florence. Its exterior features an alternating geometric pattern of white Carrara and green Prato marble and three great bronze doors depicting biblical scenes.
Inside, however, are spectacular mosaic scenes of The Last Judgment and John the Baptist dating from the 13th century and created using some 10 million pieces of stone and glass over 1,000 square meters of dome and wall.
The six-year restoration project is the first in over a century. It initially involves conducting studies on the current state of the mosaics to determine what needs to be done. The expected work includes addressing any water damage to the mortar , removing decades of grime and reaffixing the stones to prevent them from detaching.
“(This first phase) is a bit like the diagnosis of a patient: a whole series of diagnostic investigations are carried out to understand what pathologies of degradation are present on the mosaic material but also on the whole attachment package that holds this mosaic material to the structure behind it,” Beatrice Agostini, who is in charge of the restoration work, said.
The Baptistry of San Giovanni and its mosaics have undergone previous restorations over the centuries, many of them inefficient or even damaging to the structure. During one botched effort in 1819, an entire section of mosaics detached. Persistent water damage from roof leaks did not get resolved until 2014-2015.
Roberto Nardi, director of the Archaeological Conservation Center, the private company managing the restoration, said the planned work wouldn’t introduce any material that is foreign to the original types of stone and mortar used centuries ago.
“It is a mix of science, technology, experience and tradition,” he said.
The origins of the baptistry are something of a mystery. Some believe it was once a pagan temple, though the current structure dates from the 4th or 5th centuries.
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