sotto l'alto patrocinio del Parlamento europeo e con il patrocinio di presentano LA SHOAH DELL ARTE Project by Vittorio Pavoncello

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1 sotto l'alto patrocinio del Parlamento europeo e con il patrocinio di presentano LA SHOAH DELL ARTE Project by Vittorio Pavoncello

2 The Shoah of art takes place at the same time on January 27th, International Holocaust Remembrance Day, in some museums, galleries in Italy and Europe. In Italy also in some theatres. It is a museological and theatrical project based on exhibitions, conferences and independent or interdependent shows. For one day, the Shoah also becomes the center of the artistic life of the country. Through our project, which supports the importance of the memory of the Shoah and what has happened, we want to give voice to new witnesses, who will replace the surviving witnesses when they are physiologically no longer there: the new witnesses will be the works of art. The works of persecuted artists or victims of the Holocaust extermination plans are filled with a double memory: an aesthetic memory and a historical memory. Story from which the artist and his creations have managed to survive. The purpose of the museum activity is to preserve what has survived or to help some works survive. Those that are part of the Shoah also have the value of witnessing. Our project aims to highlight those works of art that are part of the public collections, making them a step ahead of the other works, and with special cards explaining that they are living witnesses and contemporaries, during the International Holocaust Remembrance Day. The association ECAD engaged for years in research, experimentation, deepening and dissemination of memory promotes the project. A narrow knot holds together the Shoah of the people and the Shoah of culture. "Who burns books sooner or later burns men," warns Primo Levi, starting from the thought of the German poet Heinrich Heine. Notwithstanding that, nothing is even more important than a single human life, it seems right to reflect again on the countless losses caused by the Nazi-fascist ideology of the cities, the landscape and the heritage of history and culture. The point is even more about art. "Did you make this horror?" It is the question that in the 1940, in the Nazi-occupied Paris, a German soldier, turned to Pablo Picasso in front of Guernica. "No, you did it," Picasso said. The artist saw in the canvas the manifesto of the fight against the Nazi-fascist invader and, in a broad sense, against all kinds of brutality. The episode seizes the point. Since the 1933, the Nazis applied the adjective entartete literally: degenerate to any form of art considered extraneous to their critical parameters. The result was condemnation and often the destruction of works related to the most diverse currents, from Expressionism to Dada, from surrealism to geometric abstractionism. And people were considered degenerate. Whether because they were considered a social or political danger, simply because they were Jews or catalogued into racial tables. So many artists were subject to censorship or intimidation, discriminated against, repressed, expelled, sentenced, imprisoned, interned, submerged or finally rescued. Moreover, their testimonies through art are still a warning to humanity today. Art in all its forms is the center of the project. The Shoah inspires the art contrasted by Nazism, the art of the Witnesses of the Shoah, finally, the contemporary art that reflects on the Shoah or that. Vittorio Pavoncello

3 Objectives and Tools The project envisions that every Museum or Institutional Gallery on January 27, exposes a work, of its collection, pointing out that if the artist was killed for reasons, racial, political, religious, sexual, social, the work would not be possible to admire it. The main goal is to allow Memory Day to make the most of its potential. The project envisages that every Museum or Institutional Gallery on January 27th will exhibit an opera of its collection, which can meet the following requirements: - Historically, the work belonged to degenerate art. Part of the artistic movements banded by Nazism such as: Expressionism, Dadaism, Surrealism and other qualified as Degenerated Art. - The artist was struck by the various racial laws operating in Europe during the Nazi-fascist period. - The work was performed at any time in his life by an artist discriminated against racially or persecuted for political, religious, sexual and social reasons during the Nazi-fascist period. - The work was performed by an artist who opposed in any form to Nazism and fascism. In the future it is also conceivable an exhibition that on the same day provides for the exhibition of a single artist present in the various museums, creating another simultaneous phenomenon of location and globalization of the exhibition.

4 Final results What products or services will be generated by the project? The Shoah of art in addition to the diffusion and valorization of works and artists will allow museums to be able to fully respond to the directives of the day of memory with its own patrimony of works and spaces, or to increase it. It will also allow making known to a wide audience the history of works and artists that are part of the collections of the museum. Through a facilitated path that will allow to highlight historical data of artists and their art. It can also be a useful tool for researchers in art history, for further analysis as well as providing explanations for the public. Small conference on the relationship between art (so-called) degenerated as a matrix of contemporary art can be formed around the work or the artist.

5 ECAD works in the field of cultures, creating conventions, exhibitions, performances, concerts, and especially dialogue. For some years with the "Memory of Others" ECAD was a reference point on International Holocaust Remembrance Day. Among other activities, the Association has collaborated with the major institutional institutions. ECAD promotes two theatrical dramaturgy competitions: the theatre and the Shoah and theatre and disability. He created the project Ormete: the Italian theatrical memory from the years 1960 to the Among the conventions stipuleted by ECAD: ICBSA, Piccolo Teatro di Milano, Teatro di Roma, CeRSE Università di Tor Vergata, Museo dell attore Genova, Galleria Nazionale. In the editions of "The Memory of the others" ECAD had as a sponsor: Ministero della Salute, Regione Lazio, Provincia di Roma, RAI Segretariato Sociale, Deutsche Bank, SIXTY, Comune di Roma, Comunità Ebraica di Roma, Consulta Cittadina Permanente per l Handicap, Arcigay, Circolo Mario Mieli, Qube, Radio Rock, Radio Rock Italia, Fun week, Cherubini, Fondazione Museo della Shoah, Confronti.

6 Ufficio Stampa: Agenzia Comunica Rapporti con la stampa Carla Romana Antolini Mobile Giovanna Nicolai Mobile ECAD Viale delle Mura Gianicolensi Roma tel