“Even before the concentration camps, I felt it was my duty to my ancestors to preserve a world which might cease to exist.”

—  Roman Vishniac

Testament to a Lost People

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Roman Vishniac photo
Roman Vishniac 11
American photographer 1897–1990

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“My friends assured me that Hitler’s talk was sheer bombast,” Vishniac said in 1955. “But I replied that he would not hesitate to exterminate those people when he got around to it. And who was there to defend them? I knew I could be of little help, but I decided that, as a Jew, it was my duty to my ancestors, who grew up among the very people who were being threatened, to preserve — in pictures, at least — a world that might soon cease to exist.”

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“For the future I cease, Death approaches with little delay,
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“People are very shortsighted when they argue that way, when they say: Beuys makes everything with felt, so he's trying to say something about the concentration camps [of the German Nazi regime]. Nobody bothers to ask whether I might not be more interested in evoking a very colorful world as an anti-image inside people with the help of this element, felt. So it's a matter of evoking a lucid world, a clear, lucid, perhaps transcendentally spiritual world through something which looks quite different, through an anti-image.”

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“My mother was 14 when she was in the concentration camps of Nazi Germany. My mother’s alive and well, but only because of America. Without America’s military, the world would be in deep… fill-in-the-blank. I’m forever grateful for that.”

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“The Memorabilia was there, and it was given to them by duty to preserve, and preserve it they would if the darkness in the world lasted ten more centuries, or even ten thousand years…”

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Context: The monks of the earliest days had not counted on the human ability to generate a new cultural inheritance in a couple of generations if an old one is utterly destroyed, to generate it by virtue of lawgivers and prophets, geniuses or maniacs; through a Moses, or through a Hitler, or an ignorant but tyrannical grandfather, a cultural inheritance may be acquired between dusk and dawn, and many have been so acquired. But the new "culture" was an inheritance of darkness, wherein "simpleton" meant the same thing as "citizen" meant the same thing as "slave." The monks waited. It mattered not at all to them that the knowledge they saved was useless, that much of it was not really knowledge now, was as inscrutable to the monks in some instances as it would be to an illiterate wild-boy from the hills; this knowledge was empty of content, its subject matter long since gone. Still, such knowledge had a symbolic structure that was peculiar to itself, and at least the symbol-interplay could be observed. To observe the way a knowledge-system is knit together is to learn at least a minimum knowledge-of-knowledge, until someday — someday, or some century — an Integrator would come, and things would be fitted together again. So time mattered not at all. The Memorabilia was there, and it was given to them by duty to preserve, and preserve it they would if the darkness in the world lasted ten more centuries, or even ten thousand years...

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