Unveiling the Depths of "122,499 Files" at Yad Vashem: Interview with Ran Slavin

To mark the launch of the new video-art wall installation, "122,499 Files" we sat down with the artist and producer Ran Slavin to explore the inspiration and depths behind his new creation, "122,499 Files." Yad Vashem has previously incorporated multimedia experiences, as illustrated by the "The World That Was" a living landscape mosaic video by the renowned artist Michal Rovner, featuring clips of archival videos showcasing pre-Holocaust Jewish life. These images are the first to greet visitors to the Holocaust History Museum and provide an invaluable glimpse into the diverse life of European Jewry before being decimated by the Holocaust.

This new video-art initiative on the Mount of Remembrance builds on that tradition, aiming to showcase and integrate images of items from Yad Vashem's vast Holocaust-era collections. The 44-minute and 44-second long multimedia experience, curated by Director of Yad Vashem's Archives and Museums Collections Medy Shvide, will bring to light numerous artifacts that would otherwise remain inaccessible and unknown to the public, offering visitors a more comprehensive understanding of this pivotal period in history.

Moments before the inauguration of the new Moshal Shoah Legacy Campus and the David and Fela Shapell Family Collections Center at its heart, we sat down with Ran Slavin.

- Ran, when Yad Vashem first contacted you about creating a permanent video installation, what were your initial thoughts and feelings?

- Yad Vashem approached me over a year ago, and I immediately felt a sense of immense responsibility. The project involved representing thousands of items, documents, and photos from the Holocaust, which brought up questions about national responsibility and representation. Given my personal family connection to the Holocaust, I needed to shed the reverence and sentimentality surrounding the subject to even begin.

- Can you tell us more about your connection to the Holocaust and how it influenced your approach to this project?

- Both sides of my family have deep ties to the Holocaust. My grandparents managed to escape, but many relatives did not. My grandfather, who understood German well, heard Hitler's speeches on the radio and grasped the looming danger. This personal history deeply influenced my work, making it not just a project but a personal mission to honor those lost and those who survived.

- What was it like to have unprecedented access to Yad Vashem's archives?

- It was extraordinary. Being able to handle artifacts from the early 20th century without any filters or interruptions was like traveling through time. Whether it was partisans' guns, Nazi rifles, ghetto prisoner uniforms, or personal items like notebooks and teacups, the aesthetic and historical value of these items was immense. I knew right then that I had to take on this project.

- How did you go about organizing and selecting from the vast amount of material you were given?

- I received hundreds of thousands of files, including documents, photos, and artifacts, without any filters or curation. I began by categorizing them to create a formal working method. This approach helped me reflect the vastness of the collection while staying true to the archival aesthetics. Once I had this structure, I could work more freely and intuitively on the expansive canvas I created.

- What were some of the most striking items you encountered during your research?

- Some items that caught my eye were those demonstrating humanity under inhumane conditions, like handwritten notes in tattered notebooks, a meticulously drawn Monopoly game on cardboard, and hand-drawn playing cards. On the other hand, there were chilling items like Zyklon B canisters and SS badges. The contrast between these items was profound and added depth to the narrative I was building.

- How did you integrate these diverse materials into your video-art installation?

- I aimed to create an audio-visual symphony that told the stories of these items and, by extension, of the people connected to them. The installation, which is 44 minutes and 44 seconds long, is a journey through these materials, displayed on an eight-meter-wide by two-meter-high screen. The goal was not only to bring these original materials to the audience's eyes but to create a new, multi-layered narrative that resonates with today's multi-channel media environment.

- The installation also includes a soundtrack you composed. How does the music complement the visual elements?

- The soundtrack is integral to the installation, enhancing the emotional and immersive experience. It helps convey the gravity and poignancy of the historical materials, guiding viewers through the complex and often overwhelming narrative.

- Can you talk about the message "NEVER AGAIN IS ALWAYS NOW" that appears in your work?

- This message emphasizes the continuous relevance of the Holocaust's lessons. It's a reminder that vigilance against hatred and intolerance is an ongoing necessity. The Holocaust is not just a historical event but a persistent warning that we must heed in the present and future.

- What do you hope visitors will take away from "122,499 Files"?

- I hope visitors leave with a deeper understanding of the Holocaust's immense human impact and a sense of personal connection to the stories behind the artifacts. The installation aims to provide a glimpse into the rich and complex lives that were lost and to ensure that their memories continue to resonate and educate future generations.