Konkurs za podizanje Spomenika jevrejskim borcima i žrtvama fašizma na Sefardskom groblju u Beogradu, 1951-1952. godine

Abstract

U želji da očuva sećanje na svoje sunarodnike stradale u Holokaustu, već tokom prvih posleratnih godina jevrejska zajednica u Jugoslaviji je počela da gradi spomenike posvećene stradalim jevrejskim žrtvama i borcima. Među spomenicima podignutim u ovom periodu, svojim umetničkim ali i političkim značajem, isticao se Spomenik jevrejskim borcima i žrtvama fašizma, izgrađen na Sefardskom groblju u Beogradu 1952. godine, koji je bio posvećen svim Jevrejima sa teritorije SR Srbije stradalim u Drugom svetskom ratu. Cilj ovog članka je da kroz analizu konkursa za podizanje tog spomenika, na osnovu građe iz Arhiva Jevrejskog istorijskog muzeja u Beogradu, doprinese proučavanju kulture sećanja na žrtve Holokausta u jugoslovenskom socijalizmu, ali i da prikaže umetnička, društvena i ideološka stremljenja u vremenu kada se Jugoslavija, nakon raskida s Informbiroom, našla na političkoj prekretnici. Proučavanjem simbolike i estetike pomenutog dela, cilj nam je da doprinesemo boljem razumevanju arhitekte Bogdana Bogdanovića na početku njegovog stvaralačkog rada.

In their wish to preserve the memory of the compatriots who lost their lives in the Holocaust, the Jewish community in Yugoslavia started erecting monuments to Jewish civil victims and fallen soldiers as early as the first few post-WWII years. The Monument to the Fallen Jewish Soldiers and Victims of Fascism put up in the Sephardi cemetery in Belgrade in 1952, potent with artistic and political significance, stood out from the rest of the monuments of the period. It was dedicated to all the Jews from the Socialist Republic of Serbia who lost their lives in World War II. The purpose of this article is to analyse the competition for the design of the monument by examining the documents from the Archives of the Jewish Historical Museum in Belgrade, thus making a contribution to the research of the culture of Holocaust remembrance in the Yugoslav Socialism, but also to show artistic, social and ideological aspirations of the time when, after the Cominform schism, Yugoslavia was at political crossroads. By exploring the symbolism and aesthetic values of this work, the research presented in this paper attempts to enhance the understanding of architect Bogdan Bogdanović's early creative efforts.