WOW Jubilee VI 1-30 June 2020
WOW Jubilee Corona IV – is the 3rd Corona edition
is an intervention in virtual space featuring videoart, netart, soundart & associated interviews
A Virtual Memorial Riga 2012
The month June 2020
is a month for commemorating, two artists admired at their time for their artistic creativity faded away in June, in 2002, the Estonian netartist Tiia Johannson, JavaArtist Award of 2001, who dies much too young on 12 June 2002, and another media artist whose work was dedicated to art and moving images & netart a like, David Crawford, JavaArtist Award 2003 – he died in 2009 – as long as he was living he was one of those artists who gave Wilfried Agricola de Cologne’s curatorial project an essential substance, through his authenticity and artistic innovation, he has to be counted to videoart, as well as netart, additionally and primarily, June is hosting one of the most relevant artistic interventions, at all, realised additionally during his residency at NOASS by Wilfried Agricola de Cologne, re-activated via their documentation – A Virtual Memorial Riga 2012. This festival edition is dedicated especially to these three persons, who encouraged the interventions in Riga – Her Excellency Ms. Hagit Ben Yaakov, Israeli Ambassador in the Baltic countries (2011-2015), Rabbi Menachem Barkahan, founder of Riga Ghetto and Latvian Holocaust Museum, and Dzintarz Zilgalvis, chairman of NOASS, and the artists following the invitation to Riga – making all an unforgettable meeting possible – which was touching Wilfried Agricola de Cologne’s heart like no other event before or afterwards – on the same day, when A Virtual Memorial Riga 2012 was starting – an attack on Wilfried’s physical existence was taking place far away in Cologne, he had to organise his legal reaction from Riga immediately, which was a very strange, but in the end successful challenge, yes, Wilfried is still living! – and congratulations! – WOW Jubilee VI is celebrating 100 videos – Corona video collection and honouring Elizabeth Ross as a curatorial contributor to “Corona! Shut Down?”.
Standing under the Patronage of the European Parliament, A Virtual Memorial Riga 2012 – taking place between 1 and 30 June 2012 – was the 1st manifestation of Shoah Film Collection in the context of AVMCI Interventions, including an artists meeting, a performance, screenings, exhibitions and more.
A Virtual Memorial Riga 2012 – Artists Meeting – 1-2 June
Intervention @ Rumbula Forest 1 June
A Virtual Memorial Riga – Exhibitions 1-30 June
A Virtual Memorial 2012 – Screenings – 1-30 June
1st International Holocaust Conference Riga 4-6 June 2012
A Virtual Memorial Riga 2012 is a media art project by Wilfried Agricola de Cologne, media artist aund curator from Cologne/Germany starting in 2012. It is the physical and virtual manifestation of his project “Draft Title: Shoah featuring Shoah Film Collection”, including the preparations for the physical event during Agricola de Cologne’s residency at NOASS (Riga) 1-31 May 2012, the realisation of the physical event – 1-30 June 2012 including creating the virtual presence, and the post-event era forming the project online to become the virtual memorial including Riga as a place for Jewish life and the manifestation of “A Virtual Memorial”.The project is dedicated to the victims of Riga Ghetto and Rumbula Forest Ghetto and Nazism.
In this way, “A Virtual Memorial Riga 2012” became a common project of all participating artists, the involved hosting instances, the supporters and the audience. Depending on their involvement, each of them has a more or less individual active function, resulting a common media art project, which would not have happened or exist without them. One might speak, they were the tools for creating the physical and virtual art work.
The Floating Art Galleries NOASS & BETANOVUSS
01-30 June 2012
The Academy of Sciences Riga
1st International Conference of Holocaust Museums
04-06 June 2012
a collaboration between – Riga Ghetto & Latvian Holocaust Museum, Culture & Arts Project NOASS Riga &artvideoKOELN international
A Virtual Memorial Riga 2012 – Commemorative Interventions
featuring Shoah Film Collection –1‐8 June 2012 (prolonged until 30 June)
A Virtual Memorial Riga 2012 ‐ a media art project context created by the Cologne based media artist and curator Wilfried Agricola de Cologne for presenting SFC – Shoah Film Collection in the context of complementary interventions – was realized in the framework of the European Cultural Program context “The A Team – Artists for Change” and the associated instances (Transeurope Halles, Engine Room Europe, European Culture program‐ Education & Culture DG, Ministery of Culture Latvia und project partners in Latvia, Sweden, Slovakia and Bulgaria) and in partnership between Riga Ghetto and Latvian Holocaust Museum, the Jewish association SHAMIR Riga, Culture and Arts Project NOASS Riga and artvideoKOELN – the international curatorial initiative “art & moving images” , Cologne, directed by Wilfried Agricola de Cologne.
The presentation of SFC ‐ Shoah Film Collection in Riga is standing under the Patronage of the European Parliament, which is honouring SFC – Shoah Film Collection as a worldwide unique initiative by Wilfried Agricola de Cologne addressed to young artists generations to deal with the topic of Shoah and related fields, like the collective trauma caused by totalitarianism, by using new technologies and contemporary approaches in art in order keep vivid the memory and sensitize and activate the artists, film‐ and videomakers.
For presenting SFC – Shoah Film Collection to an audience, Agricola de Cologne created a special event project ‐ A Virtual Memorial – Commemorative Interventions ‐ which is placing SFC in the context of complementary interventions like lectures, a symposium, workshops, courses, exhibitions, artists talks, discussions and much more, in order to sensitize and activate the audience, as well.
Presenting SFC- Shoah Film Collection in Riga under the Patronage of the European Parliament had four components, i.e. during the main intervention days 1‐3 June 2012 ‐ the screening of the entire collection, the artists presentations including artists talks and discussions on, on 4‐6 June 2012 the presentation of SFC as an initiative on 1st International Conference of Holocaust Museums, organized by Riga Ghetto and Latvian Holocaust Museum, and the exhibition of SFC installed on flat-screen monitors on the floating art gallery NOASS 1‐30 June 2012 (after prolongation).
As a project, A Virtual Memorial Riga 2012 had a kind of pioneer character in most different ways. It is the first of a series of events to take place during the coming months and years at many places around the globe.
As a traditional trading metropole at the Baltic Sea, Riga had in the Past a particular relevance for Jewish life in an exchange between Eastern, Northern und and other parts of Europe, during the Nazi era Riga Ghetto got a very doubtful fame, since most Jews in the ghetto were massacred in Latvia or later in Auschwitz and other death camps, so that at the end of the Holocaust Jewish life was nearly completely erased in Riga and Latvia (in general). After World War II especially after the collapse of the Communist system, Riga became a shelter for Jews from Russia, so that slowly Jewish life is developing again in Riga, and this way also the need for exploring former Jewish life in Latvia.
Getting Riga Ghetto and Latvian Holocaust Museum – and Rabbi Menachem Barkahan – as a most competent partner in this concern, and Culture and Arts Project NOASS – and Dzintarz Zilgalvis – in terms of contemporary art, was very fortunate for realizing this experimental event project, entitled: ” A Virtual Memorial Riga 2012″, because the event, as such, had an initializing effect for keeping vivid the memory of the collective trauma which the Holocaust will represent for all times.
The media art project “A Virtual Memorial Riga 2012” will continue to be an active project due to its status as a public memorial site in Internet, but it is also the conceptual intention to let further, but different physical and virtual manifestations happen.
Agricola de Cologne (Cologne/Germany)
is a multidisciplinary media artist and curator living and working in Cologne/Germany.
He had more than 100 solo exhibitions in cooperation with 80 museums in Europe, South America and USA, he is participating since 2000 in more than 500 media exhibitions and festivals around the globe. His media art works received numerous prizes and awards.
A Virtual Memorial – Commemorative Interventions ‐ RIGA 2012 –
a collaboration between – Riga Ghetto & Latvian Holocaust Museum , association “SHAMIR”, Culture & Arts Project NOASS Riga & artvideoKOELN ‐ curatorial initiative “art & moving images” ‐
is the contextual framework for presenting SFC – Shoah Film Collection ‐ as a media art exhibtion in Riga ‐ and a side event in the framework of the International Conference of Holocaust Museums organised by Riga Ghetto & Latvian Holocaust Museum – 4‐6 June 2012
Concept, organisation & coordination by Wilfried Agricola de Cologne (Germany). Organisation on loacation in Riga by Dzintarz Zilgalvis (NOASS).
A Virtual Memorial Riga 2012
SFC – Shoah Film Collection
are media art project created, developed and coordinated by Wilfried Agricola de Cologne
copyright © 2009-2012 by Wilfried Agricola de Cologne
all videos included © by the artists or owners
Images included in this website © by NOASS, Doron Polak, Eitan Vitkon, Shelley Jordon, Felice Hapetzeder, Wilfried Agricola de Cologne
moderation – Wilfried Agricola de Cologne
Friday, 1 June 2012
12h Opening ceremony – introducing words by Her Excellency Ms. Hagit Ben- Yaakov, Israeli Ambassador in Riga, Dzintarz Zilgalvis (Noass) and an introduction to “Shoah Film Collection” by Wilfried Agricola de Cologne
afterwards privat view of the exhibitions @ the floating galleries NOASS & BETANOVUSS
Mortale by Paolo Bonfiglio (Italy) & Peeling by Eitan Vitkon (Israel)
finalization: performance by >Doron Polak (Israel)
15h intervention @ Riga Ghetto and Latvian Holocaust Museum
guided by Rabbi Menachem Barkahan
19h official opening for the public @ BETANOVUSS
introducing lecture by Wilfried Agricola de Cologne
20h BETANOVUSS: Artist talk with Felice Hapetzeder (Sweden) ‐ afterwards lecture
21h Artist talk with Doron Polak (Israel) afterwards lectures by Doron Polak & Eitan Vitkon (Israel)
22h screening ‐ SFC – Shoah Film Collection, afterwards Panel Discussion, round table
Saturday, 2 June 2012
10h Meeting at the hotel
11h Intervention @ Rumbula Forest by Eitan Vitkon and Doron Polak including the artists participants of SFC Film Collection
16h Artist talk with Shelley Jordon (USA) – afterwards lecture
17h Artist talk and lecture by Cristiano Berti (Italy) ‐ SFC Participant
19h screening SFC – Shoah Film Collection, afterwards panel discussion
Sunday, 3 June 2012
16h Artist talk with Doris Neidl (Austria) & Jay Needham (USA)
17h lecture by Jay Needham (USA) Experience as a collaborator of SHOAH Visual Memory Foundation
18h screening SFC – Shoah Film Collection
20h finalization with panel discussion – round table.
The artists talks are moderated by Agricola de Cologne
Monday, 4 June 2012
Latvian Academy of Sciences –
10h – 1st International Conference of Holocaust Museums
11h – Ambassadors session with the ambassadors from Belarus, Netherlands, Czech Republik, Austria and Agricola de Cologne as the ambassador of the arts
presentation of the project: Shoah Film Collection
Tuesday, 5 June 2012
10h 1st International Conference of Holocaust Museums
1-30 June 2012
The exhibitions at the floating galleries of NOASS & BETANOVUSS
were inaugurated on 1 June 2012 und running until 30 June 2012.
Between 1-8 June, Agricola de Cologne was guiding personally visitors during the exhibitions.
A Virtual Memorial Riga 2012 was finalized as physical event on 30 June 2012,
but is continued as a virtual memorial http://riga2012.a-virtual-memorial.org
1 June 2012
Privat view & public opening
After the official opening speech held by her Excellence, the Ambassador of Israel, Ms. Hagit Ben‐Yaakov, the initiator and curator of A Virtual Memorial Riga 2012 and SFC – Shoah Film Collection, Agricola de Cologne, was explaining in his introduction the concepts of both projects and the realization in Riga, while the ambassadors of Austria, Sweden, Belgium, the Netherlands, representatives of Latvian Ministeries and Riga City Council, as well as local cultural institutions were forming the audience.
to be continued @ Riga Ghetto @ Latvian Holocaust Museum
Due to the support by the embassies of Israel, USA, Sweden and Austria, it was possible to invite in total 8 artists, representing SFC Shoah Film Collection via their personal film contributions, artists talks and discussions, i.e. Doron Polak & Eitan Vitkon (both Israel), Cristiano Berti (Italy), Doris Neidl (Austria), Felice Hapetzeder (Sweden) and Jay Needham, Ben Neufeld and Shelley Jordon (all USA).
Dzintarz Zilgalvis, Agricola de Cologne, attachee at Israeli embassy, Doron Polak @ private private reception, 31 May 2012
It needs to be mentioned, that to the category “interventions” also the “private” reception at the appartment of the Cultural Attaché of Israeli Embassy in Riga was belonging, since not only staff members of the Israeli Embassy were present, but also cultural attachés from divers embassies in Riga, so that one can speak of an inofficial “private view” on 31 May 2012 before the official “private view” on 1 June 2012, 12h a.m.
So, all these circumstances made this “private view” on 1 June 2012, and this way also the entire project, really spectacular, which was taking place at one the most unique locations in Riga, the floating art galleries NOASS and BETANOVUSS situated at the Daugava river in front of the beautiful panorama of Riga.
Agricola de Cologne had the honour to guide her Excellency the Israeli Ambassador through the exhibition “How Memories Survive”, consisting of three individual exhibitions located at different levels of the floating art galleries NOASS and BETANOVUSS., i.e “Mortale”, a selection from 10000 handmade drawings Paolo Bonfiglio (Italy) was creating for his animated film, entitled “Mortale”,
which is part of Shoah Film Collection, exhibited at the lower level on NOASS, while the upper level was presenting experimental photographs by Eitan Vitkon, who was visualizing the performance, the invited Israeli artist Doron Polak was preparing for Riga, the city of his ancestors, and the third exhibition, presenting Shoah Film Collection as an installation.
The final highlight of this private view was the performance by Doron Polak on BETANOVUSS. The conceptual background was his father’s diary from Riga Ghetto, which he survived. The main goal of the exhibitions is to give the visitors background information about the making of the films of Shoah Film Collection and dealing artistically with the Holocaust, and in this way, a better and deeper understanding about the subject matter, as such.
The next “private view” and intervention took place directly afterwards, at 15h, when Rabbi Menachem Barkahan was guiding himself the visiting artists through Riga Ghetto and Latvian Holocaust Museum,
which can currently considered to be a kind of open air museum, while the indoor museum is currently under construction, yet.
The opening day continued on 19h when the exhibitions, the artists’ presentations and talks and the screenings were opened to the public moderated by Agricola de Cologne.
Between 1 and 30 June, there were several exhibitions which were connected with each other at the two floating galleries.
1. Installation and screening of Shoah Film Collection
2. “Peeling” – experimental photography by Eitan Vitkon (Israel)
3. “Mortale” – “the making of” of the animated film by Paolo Bonfiglio (Italy)
4. Special performance for RIGA by Doron Polak (Israel)
5. Interventions by Doron Polak & Eitan Vitkon at the Rumbula Forest
6. “Shoah Film Collection” @ 1st International Conference of Holocaust Museums
The exhibtions were opened during the private view on 1 June 2012 by the Ambassador of the Israel, Her Excellency Ms. Hagit Ben-Yaakov, and were running until 30 June 2012.
Agricola de Cologne had the honour to guide her Excellency the Israeli Ambassador through the exhibition “How Memories Survive”, consisting of three individual exhibitions located at different levels of the floating art galleries NOASS and BETANOVUSS., i.e “Mortale”, a selection from 10000 handmade drawings Paolo Bonfiglio (Italy) was creating for his animated film, entitled “Mortale”, which is part of Shoah Film Collection, exhibited at the lower level on NOASS, while the upper level was presenting experimental photographs by Eitan Vitkon, who was visualizing the performance, the invited Israeli artist Doron Polak was preparing for Riga, the city of his ancestors, and the third exhibition, presenting Shoah Film Collection as an installation. The final highlight of this private view was the performance by Doron Polak on BETANOVUSS. The conceptual background was his father’s diary from Riga Ghetto, which he survived. The main goal of the exhibitions is to give the visitors background information about the making of the films of Shoah Film Collection and dealing artistically with the Holocaust, and in this way, a better and deeper understanding about the subject matter, as such.
Eitan Vitkon /Doron Polak
Peeling – exhibition of experimental photography by Eitan Vitkon. The artitst get involved in the perception processes during the preparations for the performance Doron Polak was preparing gfor Riga, the home-town of his ancestors. Based on the diary of his father, he is re-suffering and re-experienceing the feeling and emotions at the Riga Ghetto. The experimental photographic technic transforms the processes of movement into static images.
Shoah Film Collection
Exhibition of Shoah Film Collection
The videos were presented via the screenings in the evening and during the exhibition @ the floating galleies of NOASS, in the context of the photografic works by Eitan Vitkon in the upper gallery, and the lower gallery in the framework of the Paolo Bonfiglio exhibition. The installation of the videos got a particular relevance through the authenticity of the different kind of spaces.
Performance by Doron Polak@ the bottom of BETANOVUSS on 1 June 2012
Doron Polak’s father’s family is originating from Riga, where he survived the Riga Ghetto by writing a diary, which was forming the basis for Doron Polak’s very intimate nad personal performance recalling the memory of Riga Ghetto and its victims.
Intervention @ Riga’s Rumbula Forest on 2 June 2012
one of the memorial sites of Riga, where during the Holocaust on 30. Nov and 8 Dec. 1941 more than 25 Jews form the Riga Ghetto have been massacred.
Doron Polak, whose father survived Riga Ghetto, made a spacial performing intervention accompanied by some SFC artists participants @ Rubula Forest shot as photo and video by Eitan Vitkon, honoring the memory of his father and the thousand of Jews whose blood was overwhelming the ground of Rumbula Forest.
1st International Conference of Holocaust Museums
@ Latvian Academy of Sciences
One of the next highlights was on 4 June 2012, when SFC – Shoah Film Collection was presented as an initiative on 1st International Conference of Holocaust Museums, organised by Riga Ghetto and Latvian Holocaust Museum.
It was the most spectacular of all conference sessions, consisting of the ambassadors of Austria, The Netherlands, Czech Republik, Belarus and Agricola de Cologne, who started the session by introducing SFC – Shoah Film Collection, followed by a discussion with the ambassadors and their blunt confessions, how the respective nations deal nowadays with the memory of Holocaust.
Academy of Sciences Riga – 1st International Conference of Holocaust Museums –ambassadors’ session – 4 June 2012, (from the left to the right) – ambassador of Belarus, ambassador of Czech Republic, ambassador of the Netherlands, ambassador of Austria, Agricola de Cologne – ambassador of the arts (photo Dzintarz Zilgalvis)
A Virtual Memorial Riga 2012
Artists Meeting – 1-3 June 2012
1. Agricola de Cologne, Doris Neidl, Cristiano Berti
2. Doron Polak, Eitan Vitkon, Felice Hapetzeder
3. Jay Needham, Shelley Jordon, Ben Neufeld
Wilfried Agricola de Cologne
Probably, the most influence taking happened, however, during the artists’ talks and presentations on 1, 2 and 3 June, since there was such an substantial exchange, deep and far reaching discussion about how memory can be transported to the future via art, that all participants were surprised what actually was happening in this rather intimate circle of the project interventions. Each attending artist had sufficient time to present his/her work participating in Shoah Film Collection and talk about the motivations and goals to deal with Shoah as an artistic topic. The atmosphere of these talks and discussion was really unique and cannot described in words or visuals, and it became clear, this event in Riga could represent just a starting point of something really new in the discussions around how art can be a medium for dealing with the collective traumas of mankind.
A special site related intervention took place, when Doron Polak and Eitan Vitkon were realising during the morning of 2 June 2012 their particular contribution to A Virtual Memorial Riga 2012 at the memorial site of Rumbula forest (near Riga), the filmic and photographic shooting of Doron Polak’s tribute to his fathers roots in Riga which was including the attending artists in person, a symbolical action of an intense artistic power.
Interventions @ Rumbula Forest
Rumbula Forest Memorial – photo by Agricola de Cologne
The four artists participating in the interventions – photo by the 5th artist Agricola de Cologne
experimental photo from Rumbula forest by Eitan Vitkon
experimental photo from Ruibula Forest by Eitan Vitkon
Polak – Stages of Memory
experimental documentary video by Wilfried Agricola de Cologne, based on the interventions at Rumbula Forst 2012 and Vilnius 2013
A Virtual Memorial Riga 2012
was hosted by Culture and Arts Project NOASS Riga & Riga Ghetto and Latvian Holocaust Museum and part of 1st International Conference of Holocaust Museums 4-5 June 2012 at Academy of Sciences Riga
and realised in collaboration with artvideoKOELN international, directed by Wilfried Agricola de Cologne in the context of “The A-Team – Artists for Change” and Agricola de Cologne’s residency @ NOASS supported through the Patronage by The European Parliament
see special project documentation
A Virtual Memorial Riga 2012was organised by Culture & Arts Porject NOASS, directed by Dzintarz Zilgalvis – and Wilfried Agricola de Cologne, media artist and director of artvideoKOELN international
– the international curatorial initiative “art & moving images”
Founded in 2010 by Agricola de Cologne as the operations platform for his curatorial activitiesw in the field of “art & moving images”, artvideoKOELN is running the film and video art activities like
CologneOFF – Cologne International Videoart Festival and the associated platforms like VideoCHANNEL, VIP – VideoCHANNEL Interview Project, VAD – Video Art Database and Draft Title: Shoah
SHAMIR & International conference “Holocaust museums and memorial places in post-communist countries – challenges and opportunities”
Riga Ghetto & Latvian Holocaust Museum
A Virtual Memorial Riga 2012
is a media art project created, developed and coordinated by Wilfried Agricola de Cologne
copyright © 2012 by Wilfried Agricola de Cologne
SFC – Shoah Film Collection
is a media art project by Wilfried Agricola de Cologne
copyright © 2009 by Wilfried Agricola de Cologne
all videos included © by the artists or owner
“Culture and Arts Project NOASS” is a creative intelligence association that is in the fourteenth year of its operating existence and is one of the oldest non-governmental arts and culture organizations in Latvia. NOASS’ goal is to participate in the formation of the Latvian and European cultural environment.
In the main, we support the realization of contemporary arts projects in an urban environment, making art part of the daily lives of residents of Riga and visitors to the city. Furthermore, for several years now we have participated in the planning and programming of the contemporary arts forum, “White Night”, the annual “Riga City Festival” and the “International Museums Night”, as well as realizing a range of individual projects.
In recent years, the Culture and Arts Project NOASS actively are involved in international projects, one of our main tasks is Latvian contemporary cultural promotion at the European level. NOASS is one of the most active Trans Europe Halles – TEH (European Network of Independent Cultural Centres) members, also we are active in ENCC – European Network of Cultural Centres. Actively involved in the volunteer work, regularly sending candidates from Latvia to gain experience in other countries.
NOASS first activities in Andrejsala were launched in 2006, when Naive Art Museum of Latvia was created. Museum’s main objective is to collect information about naive artists and naive art works, their conservation, research and promotion. The museums mission is to save Latvia’s naive art’s inheritance of cultural history for next generations and use it for educational work.
NOASS – Riga/Lativia
is a multi-facetted cultural organisation & institution, organising, among other, the Latvian Videoart Archives, as well as the annual Waterpieces Contemporary and Video Art Festival.
NOASS was not only contributing a selection of young Latvian videoart to CologneOFF 2011 – videoart in a global context, but is hosting also in September 2011 – a presentation of CologneOFF 2011 in the framework of the Waterpieces Festival (8-10 Sptember 2011)
Culture and Arts Project NOASS” is a creative intelligence association that is in the eleventh year of its operating existence and is one of the oldest non-governmental arts and culture organizations in Latvia. NOASS’ goal is to participate in the formation of the Latvian and European cultural environment.
In the main, we support the realization of contemporary arts projects in an urban environment, making art part of the daily lives of residents of Riga and visitors to the city. We nurture the creativity of society and individuals. Furthermore, for several years now we have participated in the planning and programming of the contemporary arts forum, “White Night”, the annual “Riga City Festival” and the “International Museums Night”, as well as realizing a range of individual projects.
Prior to now, we have produced arts events linked to moving images as part of international cultural events like the “French Spring” (2007) and the “German Culture Month” (2008).
One of the most attractive projects we have been involved with is the “Garden of Light” which was created in 2008 with the support of the AB Foundation and Riga City Council and featured the participation of artists from Germany and Latvia. This art project proved to be extremely popular with viewers.
The partnership between NOASS and the New Riga Development Company resulted in the establishment of the Naive Art Museum of Latvia on Andrejsala in the autumn of 2006. This has provided the general public with an introduction to the work of masters of Naïve art in the context of modern art.
“Waterpieces” Contemporary Arts and Video Festival
The “Waterpieces” festival dates back to 2001. It’s an annual festival of video and contemporary art which consists of a competition for video works, as well as screenings of international programs thus providing a comprehensive insight into the latest works of contemporary art linked to the moving image. more >>
Noass Video Art Archive
The Latvian Video Art Archive has been created as the only national video art database. It is available for free and covers the entire history of Latvian video art from the late 1980′s through to the present day. The platform for the Latvian Video Art Archive Database is the videoteque which has been established and built up over a number of years by Culture and Arts Project NOASS. Among the works to be found in the videoteque are:
• Latvian-French video art festival (1989-1995) archive (from the collection of art historian, Laima Slava); • Artists’ video works collated by exhibition; • Artists’ video works submitted individually from personal collections (1985 – 2009); • Selections of works compiled from the competition archives of “Waterpieces” international video and contemporary art festivals (2001- 2008).
To ensure that the collation of information is as complete as possible, materials are also drawn from other Latvian video art festivals (“2ANNAS”, “Ahūns”), diploma works and course works by students from Jānis Rozentāls Art High School, video works by students from the Latvian Art Academy, as well as a collection of those created by Culture Academy students. All of the works submitted have been reviewed by a group of experts. If the works are deemed to be good enough for inclusion in the archive, they are then systematized and archived. go to the archive >>>
Naive art museum of Latvia
The Museum operates during the summer season (from May until October).
Thanks to the partnership between Noass and the New Riga Development Company, the Naive Art Museum of Latvia opened on Andrejsala in the autumn of 2006.
The Naive Art Museum of Latvia has defined its operating goal as being the collection of works of naïve art, as well as their preservation, study and promotion. The Museum’s task is to preserve the cultural and historical heritage of naïve art for future generations and to use it to educate the general public. The Museum devotes particular attention to the identification and preservation of works by contemporary Latvian naïve artists including painters and sculptors and the establishment of core exposition of works at the Museum.
Based on the material that has been collected and researched, the Museum is implementing a wide ranging complex of educational measures. Since 2007, the Museum has focused on promoting works by Latvian naïve artists abroad (Fest Naive 2007, Fest Naive 2010 – Moscow). In 2007, the Museum was awarded the status of a State accredited museum. In February 2009, “Culture and Arts Project NOASS” was accepted into the Ministry of Culture’s Association of Professional Culture Organization which gives us the chance to apply for State grants to ensure public access to the Museum’s collection. more about museum >>
Noass and Betanovuss
In 2008, NOASS celebrated the 10th anniversary of its launch. We marked this anniversary with the reconstruction of the BETANOVUSS floating gallery. With support from the construction company, “RE&RE” in 2008 NOASS has continued to establish a non-commercial contemporary culture centre whose centre of activity is based at two river boat platforms, “BETANOVUSS” and “NOASS”.
“BETANOVUSS” is a 197 m2 large floating stage with a 57 m2 amphitheatre where residents of Riga can see “small form” theatre exhibitions and contemporary dance performances and where various art genres freely interact.
A.Residence – Artist – In – Residence
In recent years, NOASS has expanded the locale of its activity to the former Port of Riga territory at Andrejsala. Since 2006, this has been the home of the Latvian Museum of Naïve Art and in the spring of 2009, we started work to create a residency house in this wonderful district which has become the heart of alternative culture in Riga. Andrejsala provides a vibrant environment where various exhibition openings, concerts and happenings take place. It’s a place where one can easily make friends among the local artists.
The residency’s goal is to provide artists with the chance to discover Riga, one of region’s most beautiful cities and its eclectic cultural life, thus inspiring them to create new works in the realm of visual arts, art criticism and literature. We also hope to develop the residency centre as an international meeting place where art professionals will have the chance to get to know one another, exchange ideas and create new joint art projects. Leveraging Riga’s geographical advantages, it is hoped to give artists the chance to discover the other Baltic States and their cultural life (Riga is sandwiched in the middle between Tallinn in Estonia and Vilnius in Lithuania).
• Duration: A week to several months.
• Founded: 2009
• Discipline: Visual Arts , Curating/Research, Media Art, Video art, Photography, Performance arts, Literature, Culture operators.
• Target group: International, National
• Deadline: 2 months before the start of the expected Residency. Applications can be sent all year long.
more about Residencies >>>http://livepage.apple.com/
Until now, “Culture and Arts Project NOASS” has primarily focussed on supporting contemporary culture environment and experimental projects in Latvia, but for its goal in 2009, it has defined its goal as the integration of Latvian culture into the overall European cultural events cycle.
Since 2007, “Culture and Arts Project NOASS” has operated within the TEH- Trans Europe Halles – European Network of Independent Culture Centres. TEH supports a range of creative initiatives in the European Union and has a membership comprised of 50 culture and arts organizations from 26 countries.
Since 2008, “Culture and Arts Project NOASS” has functioned as a EVS – European Volunteer Services sending and hosting organization, thus promoting the mobility of young people who are interested in cultural and arts events among various public organizations. Also, NOASS is registered in PADOR database which is managed by EuropeAid. PADOR or “Potential Applicants Data Online Registration” is a recent applicant processing system introduced by European Commissions through EuropeAid to understand and maintain extensive information about NGOs requesting funds from it for collaboration projects with worldwide organizations.
Culture and Art’s Project NOASS
11.Novembra krastmala 35, Riga, LV-1050, Latvia
Phone/Fax: + 371 67703240
Home page: www.noass.lv
1 June 2012
Riga Ghetto & Latvian Holocaust Museum
Riga Ghetto and Latvian Holocaust Museum exposition has been launched on September 21st, 2010.
More than 70 000 local Jews and nearly 20 000 Jews deported from Western Europe were executed in Latvia in the World War II.
Riga Ghetto Museum is located in the historical part of the city near the borders of former ghetto. Riga ghetto territory itself is almost unique in Europe in terms of the absence of any significant architectural changes within past 60 years.
The opening of the first line of exposition should be considered as the first indeed significant step to the further development of Riga Ghetto Museum. There are stands with the names of more than 70 000 Latvian Jews who faced the Holocaust exposed at the museum area, covered by the stones from the streets of Riga Ghetto. The museum has also opened the photo exhibition, dedicated to anti-Semitism propaganda, Holocaust in Latvia, the Resistance and the Righteous Among the Nations.
This is impossible to commemorate the Holocaust without the consideration of the history of Latvian Jewry that counts 450 years. Therefore, a part of the overall exposition is dedicated to the past that was lost by Latvia and worldwide after the Catastrophe.
Riga Ghetto Museum is not just a museum. I do hope that it will become the significant memento of the dreadful events that occurred in the history of Latvia and should never ever be repeated again. The Museum is becoming a center of culture and education, a source of tolerance and mutual respect. I do truly believe that anyone who is aware of and close to these themes will make one’s own contribution to the development of Riga Ghetto Museum.
Sincerely, Rabbi Menachem Barkahan
4-6 June 2012
International conference “Holocaust museums and memorial places in post-communist countries – challenges and opportunities”
International conference “Holocaust museums and memorial places in post-communist countries challenges and opportunities” takes place on June 04-05, 2012 in Riga. The conference emphasizes importance of the Holocaust remembrance in small European countries with overlapping memories. It will also focus on hidden resources for Holocaust remembrance and research in these countries, on the peculiarities of the Holocaust education and unknown pages of Resistance movement and heroism in ghettos and concentration camps. Session on informal Jewish education as a part of museums’ activities held by Melamedia International center is also included to the program.
Professor Elie Wiesel (USA) is invited to be an honorary guest of the event. We also are pleased to inform that specialists of Yad Vashem Center, Tel-Aviv University, Moscow Holocaust Center, The Latrun memorial for the fallen soldiers of the Armored Corps, European Holocaust museums, as well as Latvian and European scholars and public figures have proved their participation in the conference.
4 June 2012
1st International Holocaust Conference
2nd International Holocaust Conference 2013
AGRICOLA_2nd.conference.of.holocaust.museums – 2013
Riga Forum 2019 – 6th International Holocaust Conference 2019
Riga/Latvia – 21-22 May 2019
WOW.23 / Latvia
The d/i/light Memorial featuring The Sonic Memorial
presented by Wilfried Agricola de Cologne
The d/i/light Memorial
Artists commemorate the victims of the Holocaust
Artists against Intolerance, Racism & Anti-Semitism
The Sonic Memorial – collective trauma, identity & sonic art
created, developed and curated by Wilfried Agricola de Cologne
As a platform for significant initiatives, The d/i/light Memorial is representing primarily a contribution to an essential question of mankind, how can the memory of the Holocaust, respectively memory of the millions of individual victims, be kept vivid for future generations after the last Holocaust surviver died and nobody is left to give personal and authentic report about the human and emotional dimension of the Holocaust. While historical memorial sites preserve archeological artefacts and statistics remain widely anonymous and inhuman, for its initiator, the Cologne based media artist and curator, Wilfried Agricola de Cologne, only art has this potential to touch people at the bottom of their heart and motivate them to reflect, and this way, his artistic memorial project is giving a concrete answer, when he was launching „Shoah Film Collection“ in 2010 encouraging young artists generations to reflect this human dimension by using the new audiovisual media allowing to express processes, ideas and emotions in a kind of contemporary language people living nowadays understand and be willing to accept.
d/i/light – is standing for Darkness Into Light – referring to the process of keeping actively vivid the memory of the Holocaust, the artists commemorating the Holocaust show face against Intolerance, Racism and Antisemitism and this ways they do not turn only the memory from the darkness, but also the „darkness“, as such, (The Holocaust), into the light.
While The d/i/light Memorial is based on audiovisual media manifested in art films and videos created by 100 artists from 35 countries, ranging from documentary to videoart and experimental film, The Sonic Memorial, launched in 2015, is dedicated to the non-visual medium – sonic art, using sound as a tool for artistic creations offering another essential sensual approach to memory.
Since 2018, both memorial sites belong to – The 7 Memorials for Humanity – http://7mfh.a-virtual-memorial.org
Wilfried Agricola de Cologne is director and curator of artvideoKOELN – the international platform for audiovisual art & The New Museum of Networked Art, as well as the creator of the memorial sites of „The 7 Memorials for Humanity“ – initiated, developed and curated between 2009 and 2019.
In 2020 a couple of anniversaries will be celebrated, 10 years „The d/i/light Memorial“ aka The Shoah Film Collection, 15 years artvideoKoeln & 20 years The New Museum of Networked Art.
My primary thanks go to the Israeli Ambassador in the Baltic countries, Her Excellency Ms. Hagit Ben Yaakov (left). Without her personal engagement in Riga 2012 und Vilnius 2013, the projects wouldn’t have been realised, at all.
My sincere thanks go to NOASS and the artists residency “A-Team Artists for Change”, particularly to Dzintarz Zilgalvis (left), chairman of NOASS, who, himself an artist, took the risk in realising this extraordinary experimental project, and , of course to Alise, Kate & Zanda (below) – the good souls behind NOASS
In this way, another particular thank go to Rabbi Menachem Barkahan (right), Chairman of Riga Ghetto and Latvian Holocaust Museum, whose was, at first very skeptical about “A Virtual Memorial Riga 2012, but his good heart gave him the good advice to dare the partnership in realising the project in Riga.
Thanks also to all instances which were supporting the attending artists, and make the success of the artists
So, finally thanks to all artists, who made “A Virtual Memorial Riga 2012” possible only.
Thanks to all!!
One artist was standing in the focus – Doron Polak – since Riga is the home of his ancestors, and visiting RIGA for the first time was being confronted with the history of his family and the diary of his father written during the Riga Ghetto. The Ghetto and the connected massacres did not only become vivid before his very eyes, but this life story, like also all unknown life stories ending in Riga during the Holocaust, became part of “A Virtual Memorial Riga 2012, and in this way the victims, whether killed or surviving, will never be forgotten. So thanks to Doron for sharing this father’s story.
Impressions of a visit to Riga – June 2012
by Doron Polak
As a result of an invitation from the artist Wilfried Agricola de Cologne who initiated the Holocaust Film Festival, to come to Riga and attend a special conference on this topic, the photographer Eitan Vitkon and myself arrived in the city. For me, this was a unique chance to return to Riga, the city where my father was born and spent the war – the city where he lost part of his family.
First, I must say that the initiative to continue to work towards an artistic presence that commemorates this darkest period in human history, is of utmost importance. It is significant that the Holocaust Museum, the Shamir Organization, the NOASS Gallery and the embassies, enabled the Holocaust Film Festival to combine forces with the conference and that they found it suitable to support artists and creators from around the world in exhibiting their work dealing with this topic.
The inclusion of young contemporary artists contributed to finding a visual creative expression in photography, painting and video art – a representation of real, honest, intensive and current work dealing with the Holocaust. Each participant presented in his or her own artistic language, painful and personal interpretations of this topic. In addition, this was an exciting meeting between artists, each with their own real and personal story that influenced them – until deciding to deal with the subject of the Holocaust. It is important to remember that actually creating around the subject of the Holocaust has aspects that are relevant for today, in addition to those that focus again and again on what happened. Regrettably, the topic of control, the journeys of death and humiliation, the destruction of nations and oppression of peoples, are still day to day topics that can be found in different parts of the world. The advancement and development of culture has not been able to stop the inherent catastrophe in man’s behaviour towards fellow man.
The meeting of artist in the NOASS Gallery in Riga around the topic of art dealing with the Holocaust, presented a series of formidable achievements that are an enlightened example of high-quality creativity connected to every-day realities whose educational goals are no less important or evident than their artistic ones. The mere holding of such a meeting in the place where the Riga Ghetto used to stand while allowing to visit the sites, especially the Holocaust Museum – the place that is today reconstructing that period – this alone created a unique and stunning experience. For me personally, as I said, it was the experience of a lifetime to recognise the names of my grandmother, uncle and most of his family that perished here, on the plaque of names of the Holocaust victims of Riga.
During the meeting, the artist Eitan Vitkon and myself had the chance to participate in three creative areas. The first was to present a very emotional exhibition of photographs in the NOASS Gallery that summarized an ongoing process of examining and coming to terms with memories of the Holocaust. My project is concerned with real feelings towards memories and the reaction of the body itself to these memories. I have been lucky to be able to work with such a special and talented artist as EitanVitkon, who was able to translate our intimate and border-less meetings from the studio in Israel, to such an empathetic and emotional series of photographs. The project did not deal with the image of the Holocaust survivor. It was aimed at showing the day-to-day ways that a second-generation, son of a survivor, actually deals with this topic – an artistic creation that is inspired and is related to the horrible trauma of life every moment of the day. It was especially emotional to see the reaction of the crowd to the exhibition that was shown together with artistic videos dealing with this topic playing continuously in a loop.
The second project was a piece of live performance art that took place in the gallery space during the opening of the conference. It was important for me to bring the the daily, current moments of life and so I used local newspapers in combination with some I brought from Israel. In addition, I used a real prayer shawl – a Talit – on which I attached family photographs. At the beginning of the performance I asked the audience to write their ID number on white sterile shirts, which I combined into the performance itself. Each member of the audience personally participated with his or her ID number – which hinted at the fact that this colossal tragedy can happen to each and everyone of us today. The warm response and tears in the audience’s eyes was for me the most suitable reaction I could ever hope for.
The third work allowed me to conduct a live performance in the Rumbula forest where tens of thousands of people were buried alive, which was photographed and documented by the attending artists. This stunning piece of work allowed for the live physical collaboration with some of the artists participating in the meeting and was an experience I will never forget. Creating here and now, in a place of real feelings towards what happened, turned into a single, photographed moment that managed to take the deep spiritual power of the creative process to other places.
The journey and meeting that was initiated by Wilfried Agricola de Cologne in Riga was for me an example of a unique project whose artistic qualities are connected to and accompany life itself, and are an example of a project with meaningful educational and historical achievements. The personal experience becomes a model for dealing with the Holocaust among second and third generation survivors and its cultural power is used as a tool for expressing memories of this terrible traumatic event in a strong, dramatic visual way that will never be forgotten.
Doron Polak, artist
The d/i/light Memorial
1-30 June 2012
Shoah Film Collection – version Riga 2012
As attending artists individually featured
12 screening programs – in total together the entire Shoah Film Collection in the version of 1 June 2012 – 8 hours streaming
Boris Sribar (Serbia) – I love you so much, I would kill for you, 2009, 3:50
Yochai Avrahami & Karin Eliyahu (IL) – “From the Middle to the Start”, 2009, 5:00
Alicia Felberbaum (UK) – Undressing Room, 2009, 4:30
Antti Savela (SWE) – Matka, 2009, 3:33
Sean Burn (UK) – Turn the Book Around, 2009, 1:42
Tammy Mike Laufer (IL) – Memory of the Holocaust is not dead!, 2009, 7:05
Anetta Kapon (USA) – My German Vocabulary, 2007, 2:09
Lukas Matejka (Slovakia) – E-A = sEx and wAr, 2009. 3:04
Jenna Feldman (USA) – Holocaust Girls, 2008, 13:00
Cezary Ostrowski (Poland) – The Place, 2009, 5:08
Brian Delevie (USA) – Haggadah, 2007, 13:03
Branko Miliskovic (Serbia) – Detention Paradise, 2009, 7:40
Jens Salander (SWE) – The Colossus by the Sea, 2005, 10.00 –
Grace Graupe Pillard (USA) – Nowhere to Go, 2009, 7:00
Nathania Rubin I (USA) – My Girl Burn, 2009, 2:54 –
Nathania Rubin II (USA) – Anne on Hades, 2009, 4:10 –
Bebe Beard (USA) – Capacity, 2009, 6:05
Todd Herman (USA) – I Cannot Speak Without Shaking, 2007, 5:00
Isobel Blank (Italy) – If a spot of human lasts, 2009, 3:57
Maja Schweizer (Germany) – Passing Down, Frame One, 2007, 10:30
Miri Nishri (IL) – Troubled Water, 2007, 12:00
David R. Burns (USA) – Zikaron, 2010, 1:45
Agricola de Cologne – http://sfcip.engad.org/?page_id=2
Sean Burn – http://sfcip.engad.org/?page_id=24
Dova Cahan – http://sfcip.engad.org/?page_id=38
Grace Graupe-Pillard – http://sfcip.engad.org/?page_id=42
Felice Hapetzeder – http://sfcip.engad.org/?page_id=60
Shelley Jordon – http://sfcip.engad.org/?page_id=17
The d/i/light Memorial
100 artists commemorate the Holocaust
artists against Anti-Semitism, Racism & Intolerance
d/i/light is standing for – Darkness Into Light
The Memorial site is incorporating two commemorative media art contexts – the first one, entitled – A Living Memorial Spaces of Art 1995-198 – Memorial Project against the Forgetting, Racism, Xenophobia and ant-Semitism, initiated and realized by Agricola de Cologne as an individual artist – premiered in 1995 in Cologne and installed afterwards in 42 venues in Poland, Czech Republik, Belgium and Germany.
The darkness is not only related to the Holocaust and the light to the victims who enter the light via commemorating, but also to the fact, that Agricola de Cologne’s first project juxtaposing the historical Holocaust with the history of Nazism and Neo-Fascism was destroyed in a politically rightwing motivated attack (vandalism) in autumn 1998. The remnants of the destruction became a memorial for itself, also for destroyed illusions. The artist and his artwork – now the victims of own artistic aims – had become late victims of the Holocaust. The light is that after a coma lasting many months, the artist re-emerged, and in the year 2000 began a new life as an artist and as a human without the burden of memory.
The second project – another attempt to search and research for new ways for commemorating the Holocaust and the millions of victims via artistic concepts – was launched 15 years later, on 27 January 2010, based on the meanwhile renown “Shoah Film Collection, which differently than the first project is realized in the social context of a community, when the artist is simultaneously also a curator and a mediator in different ways – incorporating more 100 art films and videos – artists from 30 countries commemorate the Holocaust and show face against Anti-Semitism, Racism & Intolerance.
The d/i/light Memorial is unthinkable without the European history dominated by the German Nazi (1933-1945), but also without another part of German history, the erection (1961) and the fall of the Berlin Wall (1989), The German “Re-Unification (1990) and the collapse of the Communist system afterwards – it was the latter, however which was motivating Agricola de Cologne to do the first steps of researching for his coming mobile Memorial ” A Living Memorial Spaces of Art”, and only through its destruction 1998, 15 years later “Shoah Film Collection” had been possible as an initiative addressed to young artists generations in order to become the basis of The d/i/light Memorial. So, the history of the memorial is deeply rooted in the history of the 20th and early 21st century, and is therefore representing a memorial site in a classical sense.
Germany implemented the persecution in stages. Following Adolf Hitler’s appointment as Chancellor on 30 January 1933, the regime built a network of concentration camps in Germany for political opponents and those deemed “undesirable”, starting with Dachau on 22 March 1933. After the passing of the Enabling Act on 24 March, which gave Hitler plenary powers, the government began isolating Jews from civil society, which included a boycott of Jewish businesses in April 1933, and enacting the Nuremberg Laws in September 1935. On 9–10 November 1938, eight months after Germany annexed Austria, Jewish businesses and other buildings were ransacked, smashed or set on fire throughout Germany and Austria during what became known as Kristallnacht (the “Night of Broken Glass”). After Germany invaded Poland in September 1939, triggering World War II, the regime set up ghettos to segregate Jews from the rest of the population. Eventually thousands of camps and other detention sites were established across German-occupied Europe.
The segregation of Jews in ghettos culminated in the policy of extermination the Nazis called the “Final Solution to the Jewish Question”, discussed by senior Nazi officials at the Wannsee Conference in Berlin in January 1942. As German forces captured territories in the East, all anti-Jewish measures were radicalized. Under the coordination of the SS, with directions from the highest leadership of the Nazi Party, killings were committed within Germany itself, throughout occupied Europe, and within territories controlled by Germany’s allies. Paramilitary death squads called Einsatzgruppen, in cooperation with the German Army and local collaborators, murdered around 1.3 million Jews in mass shootings and pogroms between 1941 and 1945. By mid-1942, victims were being deported from ghettos across Europe in sealed freight trains to extermination camps where, if they survived the journey, they were worked to death or gassed. The killing continued until the end of World War II in Europe in May 1945.
The European Jews were targeted for extermination as part of a larger event during the Holocaust era, usually defined as beginning in January 1933, in which Germany and its collaborators persecuted and murdered other groups, including Slavs (chiefly ethnic Poles, Soviet citizens, and Soviet prisoners of war), the Roma, the “incurably sick”, political and religious dissenters, and gay men.[d] The death toll of these groups is thought to rise to 11 million.
Draft Title: SHOAH – featuring „Shoah Film Collection“
On the symbolical date of 27 January 2010, the 65th return of the Liberation of the Concentration Camp of Auschwitz – the internationally renown media artist and curator Wilfried Agricola de Cologne launched SFC -Shoah Film Collection – an independent art project and international initiative addressed to young generations of artists and filmmakers to deal with the topic of Shoah (Holocaust) and collective trauma caused by totalitarianism by using new technologies and contemporary approaches in order to keep vivid the memory of humanity through sensitizing via art. Meanwhile an outstanding collection of experimental and documentary art film & videos contributed by more than 60 artists from 14 countries was raising.
It is not the first time that Agricola de Cologne was dealing with the Holocaust. When he started after the fall of the Wall in Berlin (1989) his first mobile memorial project “A Living Memorial Spaces of Art” to be launched in 1995 on occasion of the 50th return of the end of World War II as his personal contribution for the reconciliation between Germans & Jews and German & Polish people, the time of the technology and media development was not yet mature enough for realizing his ideas for incorporating movement in this contemporary art project. Standing under the Patronage of the late President of Central Jewish Council of Germany, Ignatz Bubis, this mobile memorial was installed until 1998 43 times in Poland, Czech Republic & Germany.
While young generations are not affected directly any more 70 years after the historical Holocaust, they are confronted currently instead of this with the global wide phenomena of terror, violence, persecution and expulsion which have their roots in the same kind of insane ideology causing the Holocaust. Understanding them these days means understanding the Holocaust 70 years ago.
But the Holocaust is not only standing as a symbol for death and destruction, but also as the victory of humanity. So, keeping vivid the memory of the Holocaust means always to keep vivid the memory of humanity for future generations. The Holocaust must not happen again, neither in Rwanda, nor Middle East, nor Latin America nor elsewhere in the world. Never more!
From the beginning of mankind, art has been used as a medium for transporting individual and collective memory from the Past to the Present and Future. In these terms, especially since 2000, the new media technologies allow advanced forms of artistic expressions by involving the people, viewers or users more directly via audio-visual media and interactivity.
In 2012, SFC – Shoah Film Collection became the starting point for the expanded initiative CTF – Collective Trauma Film Collections dealing with collective trauma caused by totalitarianism worldwide, incorporating later in 2012 the collection of documentaries by young Cambodian film makers – Cambodia 1975-1979 – focussing on the genocide in Cambodia and the post genocide era until these days, a collaboration with Royal University of Phnom Penh, MetaHouse Phnom Penh, GIZ (Germany) and artvideoKOELN.
In order to make the Shoah Film Collection available to a wider audience, Wilfried Agricola de Cologne created an experimental event context, entitled: A Virtual Memorial – Commemorative Interventions which is placing SFC –Shoah Film Collection in the context of complementary interventions, such as lectures, exhibitions, a symposium, artists presentations, screenings performances of different kind and much more in order to start a discussion on many levels and activate the artists, as well as the audience.
After the first pilot project „ A Virtual Memorial Riga2012“ – a collaboration between Riga Ghetto and Latvian Holocaust Museum and NOASS – The Latvian Video Art Archives and artvideoKOELN/Wilfried Agricola de Cologne, and the second one,„A Virtual Memorial Vilnius 2013“ a collaboration between The Jewish Cultural Center Vilnius and State Gaon Jewish Museum Vilnius and artvideoKOELN/Wilfried Agricola de Cologne.
A Virtual Memorial Foundation & artvideoKOELN international – are cultural projects directed by Wilfried Agricola de Cologne.
Since 2012, manifestations of SFC have been taken place in Riga, Vilnius, Warsaw and Milan under the Patronage of the “European Parliament”, and additional manifestations 2011 in St. Petersburg (Russia), Szeczin (Poland), Arad (Romania) and Mexico City (Mexico), 2012 in Phnom, Penh (Cambodia) & Warsaw (Poland), 2014 in Tel-Aviv (Israel), Timisoara (Romania) and Moscow Russia).
Details on ” A Virtual Memorial – International Center for Commemorative Interventions”
In 2017, Shoah Film Collection has been completed after reaching the number of 100 incorporated audiovisual works. The collection and initiative had ben transformed to “d/i/light Memorial” as a relevant contribution to keep vividd the memory of the Holocaust and a dynamic context to presented in physical space, as well, again and again.
in 2018, “d/l/light Memorial” became corporate part of the media art context “The 7 Memorial for Humanity” – http://7mfh.a-virtual-memorial.org