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In autumn 2012, the extraordinary discovery of a genizah in the attic of the synagogue at Dambach-la-Ville in the Bas-Rhin brought to light thousands of documents and objects dating from the 14th to the 19th century, “saved from the skip” by researchers and volunteers. This genizah contained an extraordinary wealth of vestiges, both in their variety and their age.

Sculptures, paintings, visual and acoustic installations, films, concerts... Charlemagne Palestine’s exhibition at the mahJ is the first of its kind in a French museum. Combining past creations and his most recent works, his installation in the former stables takes us into the very heart of his fascinating universe, in which stuffed toys play a leading role.

This exhibition explores the fascinating destiny of the Golem in the visual arts, in painting, drawing, photography, theatre, cinema, literature, comic books and video games. 

Max Wechsler’s donation of works to the mahJ consecrates the long dialogue between the museum and the artist, awarded the Prix Maratier by the Fondation Pro mahJ in 2003.

“A Jewish child encounters hate on his tenth birthday. I was that child.”

Albert Cohen, 1972

“[…] in 2015, I felt the need to reread O Humans, My Brothers, and I was even more powerfully struck by the terrible psychological ordeal of this young boy wandering on the verge of madness, by the message of Albert Cohen’s last testament...”

Luz, 5 February 2016

Monumental bronze sculpture in the courtyard of the Hôtel de Saint-Aignan

The mahJ is showing two cycles of recent works: Glass(es) (2010–11), Morgen (2010–2015) and its extension, Decor: morgen appendix (2015–16). Moshe Ninio’s “forensic” exploration of existing images transform historic relics—an object on display in a museum and a TV show filmed in the early 1960s—into disturbing abstractions.