Zoran Music in Dachau, ordinary barbarism.
Arlea| N° d'inventaire | 22145 |
| Format | 11 x 18 |
| Détails | 212 p., paperback. |
| Publication | Paris, 2018 |
| Etat | Nine |
| ISBN | 9782363081735 |
Plutarch recounts that, of the seven thousand Athenians taken prisoner during the Sicilian Wars, those who escaped forced labor in the latomies, and therefore death, were those who were able to recite a few verses from Euripides to their Greek victors, like them. The Nazis did not apply this ancient clemency to the deportees in the camps. Yet memory—culture—played a major role in the fate of some deportees. In September 1944, the painter Zoran Mušič was deported to Dachau. There, at the risk of his life, he created around a hundred drawings describing what he saw: the hanging scenes, the crematoria, the corpses piled up by the dozen, that is to say, the indescribable. The question this book poses is this: what could memory do against death, art against the unspeakable? not "afterwards", but in the daily life of the camps? And what can it do today?
Plutarch recounts that, of the seven thousand Athenians taken prisoner during the Sicilian Wars, those who escaped forced labor in the latomies, and therefore death, were those who were able to recite a few verses from Euripides to their Greek victors, like them. The Nazis did not apply this ancient clemency to the deportees in the camps. Yet memory—culture—played a major role in the fate of some deportees. In September 1944, the painter Zoran Mušič was deported to Dachau. There, at the risk of his life, he created around a hundred drawings describing what he saw: the hanging scenes, the crematoria, the corpses piled up by the dozen, that is to say, the indescribable. The question this book poses is this: what could memory do against death, art against the unspeakable? not "afterwards", but in the daily life of the camps? And what can it do today?