Page 28 - EXPOTIME!Sept2017

Museums in Eastern Europe

Metamorphosis“, “The Trial"or “The Castle"had to be near sensitively in the imaginary interpretations in which Kaf-
to to the border of a psychedelic land, real places con- ka‘s tales hijack us and interlace the facts, history and
nected to a fantasy land. These places are places of literature into these spaces at the borderline between
dream and imagination instead of real topography – their (dark) dreams and reality. To exhaust this experience, it
topography fits into a psychological map. But, as this mu- is the best to get familiar with essential elements of Kaf-
seum section demonstrates in an excellent manner, the ka‘s life and work.
reader or visitor can recognize the pattern: the cathedral
in “The Trial"reminds of St. Vitus cathedral in Prague. His father, Hermann Kafka (1852–1931), was a prosperous
self-made businessman. Kafka grew up in a family that
The museum debates: “Kafka carries out a more difficult was half-assimilated, half-germanized, vaguely tradition-
operation: he turns Prague into an imaginary topography alist, and more conformist than religious. Hermann Kaf-
which transcends the fallacy of realism. Kafka’s phantas- ka was represented by Kafka as “a true Kafka in strength,
mal architecture has other ends. Rather than a particular health, appetite, loudness of voice, eloquence, self-sat-
house, school, office, church, prison or castle being im- isfaction, worldly dominance, endurance, presence of
portant, it is what these constructions reveal when they mind, [and] knowledge of human nature”. 6
act as topological metaphors or allegorical places. What
surprises does this transfigured Prague hold in store? Just Kafka’s father was a source of frustration. His father was
how far can the metamorphosis of a city take us?" 4 domineering, a powerful, robust, imposing man, success-
ful in his business, who considered his son a weakling and
The exhibition rooms are darkened and consist of plenty unfit for life. His childhood and youth were clouded by
first-class originals: Almost all first editions of Kafka‘s this conflict with his father, whom he admired, feared and
works; letters, diaries, manuscripts, photographs and subconsciously hated. Kafka later transformed this total
drawings which belonged to Kafka and / or were made lack of communication into the relationship between
by himself. These originals are integrated intp 3D instal- God-Father and man in his literary production. Until he
lations, audiovisuals and a special soundtrack. died, Kafka did not solve the conflict with his father. 7

To give an impression of the mood Kafka imparts in his Kafka’s mother, Julie Löwy (1856-1934), was born into a
tales and novels is extremely difficult for a museum. Mauro bourgeois Jewish family and the daughter of Jakob Löwy,
Nervi writes: “Each of his works bears the marks of a man a prosperous brewer. She was better educated than her
suffering in spirit and body, searching desperately, but al- husband.
ways inwardly, for meaning, security, self-worth, and a
sense of purpose. Kafka himself looked upon his writing Kafka was the eldest of six children. He had two younger
and the creative act it signified as a means of “redemp- brothers who died at the ages of 15 months and 6 months,
tion,"as a “form of prayer"through which he might be rec- respectively, before Kafka was 6, and three younger sis-
onciled to the world or might transcend his negative expe- ters, Gabriele (“Elli”) (1889–1941), Valerie (“Valli”)
rience of it. The lucidly described but inexplicable dark- (1890–1942), and Ottilie (“Ottla”) (1892–1943).
ness of his works reveal Kafka’s own frustrated personal
struggles, but through his powerless characters and the Kafka’s parents wanted their children, especially their eld-
strange incidents that befall them the author achieved a est son, to enjoy the middle-class security and social posi-
compelling symbolism that more broadly signifies the anx- tion that they themselves had lacked. Thus, though strong-
iety and alienation of the 20th century world itself." 5 ly attached to their Jewish origins, they transmitted a
bloodless Judaism, devoid of substance and meaning.
This means for a museum: to exhibit information from
and about Kafka “just"as historical and literary facts Emotional breakdowns had a great impact on his life. He
would spoil the essence of Kafka‘s symbolism of aliena- suffered from clinical depression and social anxiety
tion as well as the attempt to copy his compelling sym- throughout his entire life. He also suffered from migraines,
bolism which would in the worst case end in a “Prague insomnia, constipation, boils, and other ailments, all usu-
Depression Disney World“. The Franz Kafka Museum ally brought on by excessive stress and strains. He at-
solves this problem in outstanding manner. For example, tempted to counteract all of this by a regimen of naturo-
oversized monocrome pictures of the women playing an pathic treatments, such as a vegetarian diet.
important role in Kafka’s life are put in open black boxes
which hang from the roof. The old factory building with In his last period, Kafka conceived his tuberculosis as
slants and wooden beams without decoration put in dim salvation. He could regress from the demands of the
light gives an atmosphere of purity as well as mystery. bourgeois adult life and turn away responsibility to oth-
ers: The disease released him from the office job which
Kafka‘s life he hated. And the outbreak of the “bloody coughing"de-
cided what Kafka did not manage to decide: the break-
Visitors encounter at the Franz Kafka Museum a world off with his fiancee.
different from their daily life. The exhibition introduces

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EXPOTIME!, issue August/September 2017