Inaugurado en 1941 bajo el nombre Nidje Israel, ahora Sinagoga Justo Sierra fue construido por los primeros inmigrantes ashkenazim. Esta comunidad, integrada por judíos provenientes de Europa del Este, se asentó en la antigua Merced.y eligió este edificio para hacer sus oraciones y eventos sociales. De estilo neocolonial, el lugar tiene una fachada interna y otra que da a Justo Sierra. El esplendor de la sinagoga no siempre fue como ahora. Luego de que los ashkenazim se mudaran a otros barrios de la ciudad, el lugar quedó en desuso por varias décadas. En 2010 fue restaurado y se abrieron sus puertas al público con el objetivo de dar a conocer la cultura judía a curiosos y extraños. Actualmente se ofrecen visitas guiadas. También se permite la entrada a quien quiera disfrutar el espacio en solitario. En la planta baja del edificio principal hay fotografías de las fiestas que se ofrecían en la década de los cuarenta y hasta una réplica del menú, que deja ver el sincretismo de una comunidad que integró sus raíces al país anfitrión. Es en el segundo nivel donde está el espacio de oración para ser apreciado.
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Inaugurated in 1941, und the name Nijde Israel, now Justo Sierra Synagogue, was constructed by the first Ashkenazi immigrants. This community, made up of Jews from Eastern Europe, is located in the old Merced neighborhood. They chose this building for saying their prayers and for social events. Of Neo-Colonial style, the synagogue has an internal facade and one that faces Justo Sierra Street. The splendor of the synagogue was not always as it is today. After the Ashlenazim moved to other neighborhoods of the city, the place was left unused for several decades. In 2010, it was restored, and its doors were open to the public with the objective of making Jewish culture known to the curious and the foreign. Currently, guided visits are available. Also, entrance is permitted to anyone who wants to enjoy the space alone. On the ground floor of the principle building, there a photographs of the parties that were held in the forties and even a replica of the menu, that makes clear the syncretism of a community that integrated its roots in its host country,. On the second level is the where place of prayer can be seen and appreciated.
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Welcome to the Historic Synagogue Justo Sierra 71 – a corner of Eastern Europe in the heart of the Center Mexico CityCome in to get to know its detailsEl interior/InsideEl techo/The ceiling
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Programación del baile y de la música/Programming of Dance and Music
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Programación educativa/Educacional Programming
Dr. Aneet Poier spoke about: Sukkot, the holiday fo booths: Redefining the concept of happiness What is the meaning of Simchat Torah?Happy Sukkot:! Hebrew calligraphy with Chinese brush strokes
Alguien se casa y estamos invitados a la fiesta. Es un casamiento judío, pero no importa; basta con no contarlo en el colegio. Después de la ceremonia nupcial nos hallamos sentados ante largas mesas esperando la comida. A mí me han ubicado junto a grupo de señoritas muy vestidas y maquilladas. Tengo mis alusiones de que más tarde alguien me invite a bailar, cosa que no sucede. Como es de noche de primavera he venido sin medias (sin los infamantes zoquetes). Mis vecinas de mesa hablan de muchachos, de si los muchachos las han llamado por teléfono o no.
–Che—le dice una boca pintada de rojo coral a una oreja con caro de fantasía—Che, ¿sabes?, me llamó.
–¿Quién?
–Moishe.
Me quedo estupefacta. No comprendo que una chica se entusiasma por alguien que se llama Moishe. Pero ellas no prestan atención. Parece que Moishe se hace el interesante y no ha llamado a esa chica en los últimos ocho días. Ella tampoco lo llama para que él no se crea importante, y la táctica da buen resultado y finalmente Moishe llama y le invita a salir. Siguen hablando de acontecimientos parecidos entre otras chicas y otros muchachos. Parece que es que es gente que pasa la mitad del tiempo durmiendo y la otra mitad llamándose o no llamándose por teléfono.
Al principio, escucho disimuladamente con la mirada fija en mi plato o en alguna botella, pero sin darme cuenta, me voy acercando, y a medida que me intereso directamente en la que hablan, volviendo los ojos de aquí para allá como en un partido de tenis.
–¿Y entonces? – pregunta los labios de color coral.
Un par de ojos grises se clavan en los míos, los correspondientes a la boca color bermellón que debía contestar. Pero en cambio, dirigiéndose a mí, la boca dice en tono desagradable:
–Acercáte nena, así oías mejor.
Me toma tan de sorpresa que estoy a punto de decir:
–Bueno, gracias—Un segundo después su intención burlona llega a mi conciencia. Me arden las mejillas, me saltan las lagrimas. Quiero desaparecer. O estallar como una bomba debajo de la mesa y todas las horribles señoritas salgan volando por el aire.
Después de un rato las espío de reojo. Siguen hablando animadamente; se han olvidado de una mosca que ha espantado unos segundos antes.
Cuando termina la cena, me levanto de la mesa y no me acerco a nadie más, no siento en las sillas que rodean el espacio para bailar. Me quedo parada mirando algún objeto como si me interesara mucho, y al rato me traslado a otro lugar, y me pongo a pensar en otro objeto, por ejemplo, la torta de bodas, que es de cartón, o la gran estrella de David formada por lamparitas eléctricas que cuelgan del techo.
El lunes siguiente cuento en el Colegio que he ido a un casamiento, y me preguntan en qué iglesia fue la ceremonia religiosa.
–No se casaron por la iglesia—contesto–. Son agnósticos.
Someone is getting married, and we are invited to the party. It’s a Jewish wedding, but that doesn’t matter, it’s enough no not to talk about it at hit high school. After the marriage ceremony, we found ourselves facing a long table waiting for dinner. They have placed me next to a group of very well dress and well-made-up young ladies I have my hopes that later on someone would ask me to dance, something that didn’t happen. As it is a Spring evening, I have come without stockings, without shameful socks.) My table mates speak about boys, of whether the boys have called them by telephone or not.
–Che—a coral-red mouth says to an ear with expensive costume jewelry—Che—Che, did you know? He called me.
–Who?
–Moishe.
I am stupefied. I don’t understand how a girl gets excited about someone named Moishe. But they don’t pay attention. It seems that Moishe has tried to attract attention, and he hasn’t called that girl in the last eight days. She doesn’t call him either, so that he won’t consider himself important, and the tactic worked well, and finally Moishe calls and asks her out. The continue talking about similar happenings with other girls and other boys. It seems that these people spend half of their time sleeping and the other half calling each other or not calling each other on the phone.
At first, I pretend to listen with my gaze fixed on my plate or some bottle, but without realizing it, I am drawing near, as I become directly interested what they say, moving my eyes from here to there, like a tennis match.
“And then?” asks the coral colored lips.
A pair of gray eyes fix on mine, the others to the vermillion colored mouth who ought to answer. However, directing itself to me, the mouth says in a disagreeable tone:
“Come closer, little girl, that way, you hear better.
She took me so by surprise that I was about to say “Well, thanks.” A second later, her sarcastic intention reached my consciousness. My cheeks burn, tears come out. I want to disappear. Or explode like a bomb under the table, and all the horrible young ladies leave flying through the air.
After a while, I spy on them through the corner of my eye. They continue speaking animatedly; they have forgotten a fly that had frightened them a few seconds before.
When dinner ends, i get up from the table, and I don’t go near anyone else; I don’t sit on the chairs that surround the dance floor. I remain standing looking at some object or other as if it interested me.
Then I begin to think about another object, for example the wedding cake, which is made of cardboard, or the huge Star of David formed by small electric lamps that hang from the ceiling.
The next Monday, I mention at the high school that I have gone to a wedding, and they asked in which church the religious ceremony took place.
“They weren’t married by the church,” I answer. “They are agnostics.”
Alicia Steimberg, escritora y traductora argentina, combinó su pasión por la literatura con su trabajo como profesora de inglés y, posteriormente, directora de la Sección de Libros en la Secretaría de Cultura Argentina.
Steimberg publicó quince novelas y fue traducida a más de cinco idiomas. A lo largo de su carrera recibió premios como el Konex de Platino en Traducción, el Planeta del Sur y la Beca Fulbright.
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Alicia Steimberg, Argentine Jewish writer and translator, combined her passion for literature with her work as a professor of English, and, later on, Director of the Book Section of the Argentine Ministry of Culture.
Steimberg published fifteen novels, and her work was translated to five languages. Throughout her career, she received prizes such a Konex Platinum Prize for Translation, The Planeta del Sur Prize and a Fulbright Fellowship.
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Algunos libros de Alicia Steimberg/Some Books by Alicia Steimberg
As esculturas em tecido, cheias de charme e em tamanho natural, ganham vida nas exposições cenográficas de Suzy Gheler. No início da década de 80 começava a história da artista plástica que, movida pela sua paixão por bonecas, criou a sua primeira boneca, a Gigi. Gigi cresceu e ganhou novos amigos, juntos, eles já esbaldaram charme em variados espaços cenográficos de Shoppings como Iguatemi, JK, Center Norte, Pátio Higienópolis, Pátio Paulista, entre muito outros; e também aeroportos de todo o Brasil. A artista, falecida em 2014, empenhava-se em detalhar ao máximo suas criações para que as esculturas em tecido fossem quase reais. Através da humanização dos projetos é impossível não se emocionar.As criações tinham uma preocupação constante com a sustentabilidade. Em seus trabalhos a artista inovou reaproveitando todos os itens do cenário, inclusive transformando retalhos em vestidos para seus personagens .A artista deixou um valioso acervo com mais de 30 exposições e 800 personagens.”Em um mundo com excesso de tecnologia e impessoalidade nas relações as pessoas tornaram-se carentes de artesanato de qualidade… Apresentamos uma ferramenta que leva um toque mais humano e sensível ao ambiente.”
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Suzy Gheler’s fabric sculptures, full of charm and life-size, come to life in her exhibitions. In the early 80’s, began the history of the artist who, motivated by his passion for dolls, created her first doll, Gigi. Gigi grew up and gained new friends, together, they had fun in varied scenarios of Malls like Iguatemi, JK, Center North, Patio Higienópolis, Patio Paulista, among many others; and in airports all over Brazil. The artist, who died in 2014, was dedicated to adding all details possible to her creations, so that the fabric sculptures were almost real. The human aspects of her projects are quite moving, With a constant concern with sustainability. the artist innovated by reusing all the items of the scene, including transforming pieces into dresses for her characters. Gheler left a valuable collection with more than 30 exhibitions and 800 characters. “In a world with an excess of ,technology and impersonality in people have miss quality craftsmanship … We present a tool that brings a touch more human and sensitive to the environment.,” Suzy Gheler.
Ricardo Feierstein—poeta, novelista, ensayista y arquitecto—nació en Buenos Aires 1942. Reconocido como “uno de los escritores judío-argentinos más importantes”, él ha publicado tres poemarios, La balada del sol (1969,) Inventadiario (1972,), and Letras en equilibrio (1975) y una antología bilingüe Las edades/The Ages (2004). Fue otorgado un Premio Municipal en Literatura por su triología de novelas Sinfonía inocente (1984). Por muchos años, Feierstein ha sido una fuerza importante en la escena literaria argentina. Sus treinta libros publicados incluyen las narraciones Mestizo (1994), Homicidios tímidos (1996), La logia del umbral (2001),Consorcio Utopía (2007), Cuaderno de un psicoanalista (2010), Las novias perdidas (2011) y El caso del concurso literario (2013). Se tradujeron sus obras al ingles, francés. italiano, alemán y hebreo. Feierstein es redactor de Acervo Cultural Editores.
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Ricardo Feierstein—poet, novelist, essayist and architect—was born in Buenos Aires in 1942. Hailed as “one of the most important Argentine Jewish writers,” he has published three books of poetry, La balada del sol (1969,) Inventadiario (1972,), and Letras en equilibrio (1975) and a bilingual anthology Las edades/The Ages (2004). He was awarded a Municipal Prize in Literature for his trilogy of novels, Sinfonía inocente(1984). He has long been a major force in Argentina’s literary scene. His thirty published works include the narratives Mestizo (1994) Homicidios tímidos (1996,) La logia del umbral (2001,) Consorcio Utopía (2007,) Cuaderno de un psicoanalista (2010,) Las novias perdidas (2011) and El caso del concurso literario (2013.) His works have been translated into English, French, Italian, German and Hebrew. Feierstein is the editor-in-chief of Acervo Cultural Editores.
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