Look between the glass towers, street cafes and cosmopolitan lifestyle, just below the surface, the whole of Berlin is a living breathing memorial. It is a memorial to 2000 years of German history, language, culture, literature and learning. Its neo classical architecture is memorial to the illusions of grandeur and failed empires. Its knowing buildings and shady streets are memorials to shame faced Nazi’s and skulking communists, who no longer prowl the wide boulevards or occupy the shadows using their power, fearing their prey. The Brandenburg gate is memorial to a divided city and to a city which overcame two dictatorships in as many generations. Checkpoint Charlie, is memorial to the heroes who ran the line. And at the centre of memory’s jungle is the void of Berlin’s missing Jews. Entirely present and so obviously absent.
On Orianburger Strasse the golden cupola of the great synagogue defines the skyline - bright, opulent, its Middle Eastern curves breaking the square blocks of the tutonic architecture that surrounds it. This once decaying remnant of a great Jewish past, which had languished in the Eastern part of the city is now fully restored, standing proud on a bustling street of cafes. After dark it plays host to American college students, a babble of tourist speaking French, Spanish, Japanese and occasionally German too, prostitutes chattering idly under the Star of David. Berlin never lived in the past, nor does it now. Jewish memory and Berlin’s future go hand in uneasy hand.
Away from the crowds of Oranienburger Strasse, Daniel Libeskind’s much hailed Jewish museum building attracts a long and steady line of visitors. The silver-grey box with its angular slit windows creates a striking pose, especially juxtapositioned with the main traditional Jewish community building it stands next to. There are flashes of brilliance in his concept. Otherwise, it is a work of architectural self glorification - a memorial to Libeskind rather than the Jews of Europe. His architecture does not carry their memory, but rather drowns out their sense of life. It is cold, angular, a great garden shed with misplaced windows, over conceptualised, over rated. Not that rating comes into it. It is simply just not fit for purpose. In and amongst the sharp lines and obscure spaces, the building's author overshadows his subject and the point of the memorial is lost. I derived little sense of memory, loss, pathos and developed no new sense of empathy or insight from the museum.
There was some relief in the monotony of odd angles. The garden of exile, as its name suggests is outside. Tall slightly slanting columns of concrete tower six metres high, like giant grey plant pots. As visitors look up from ‘exile’, they see the canopy of green above you, while remaining lost in the dark world of crooked concrete below. It is architetural art at its best - deeply touching too. So too is the Holocaust tower. Fifteen metres of concrete towers above visitors standing in the triangular dark box, light flooding in from a tiny shaft ten metres up - the only way out and yet totally impossible to reach. Its light is hopeful. Hopeless too.
The museum states categorically that it is not a Holocaust memorial museum, but a Jewish museum. This is patently untrue or a theoretical delusion of the management team. The museum only exist to explain the Holocaust, how can it do otherwise in a city that played host to the planning and exectution of the continent's Jews? Of course the histor of the Jews must not be subsumed by the Holocaust. It does try to tell the story of the history of the Jews in Germany, but the architecture, the spaces, and the narrative are all seeking to explain the absence of the Jews, not their presence or continuity.
The story of the Holocaust is purposefully omitted from Berlin’s Jewish museum. I am told it is because the Holocaust is not representable. If that is the case, why does every girder and bolt of the building try to represent it? These mixed messages have lead to a confused narrative which reflects rather than redefines Germany’s narrative. The permanent exhibition avoids the Holocaust, but then there is no anchor point to the history of the Jews, so instead it weaves its way around Libeskind’s accute angles and fails to deliver any story at all. The place is soaked in memory, with no clear narrative to hold it together.
I was excited to be in Berlin to learn about the Jews of Germany, to piece together complex and diverse history, to feel the ebb and flow, the highs and lows of its turbulent history. I wanted to know who the Jews of Germany were, where they had come from, where they were going, up to the Holocaust and beyond. I read the panels carefully, participated in the interactive displays and observed the many artefacts – but I did not find what I was looking for. The building overshadows the exhibit, the exhibit overshadows the Holocaust, the Jews are neither present nor absent, they have no real beginning or end.
I have been to Berlin’s Jewish Museum. I am not uplifted. I am not devastated. I am unmoved.
Back across town the Topograpie des Terrors tells the story of the SS and their influence on the structure of terror that was created. Unlike the edifice of the Jewish museum, currently there is no building there at all. The outdoor exhibition hangs on the open air wall of the former cellar of the SS headquarters occupied and run by Heinrich Himmler. There was supposed to be a building with a new exhibit by now, but the senate overruled the spending of public money on fanciful architecture. The EU 75m project was abandoned. An exhibition building at a quarter of the original price is in construction now. This institution is not pretending to interpret anything, but rather present the facts about State sponsored torture, persecution and genocide, delivered by the office of SS Reichs Fuehrer Himmler. It is objective, fact laden - to the point of tedium - but at the same time deeply troubling because there was so much detail. The new exhibit will not act as a memorial to anything – especially the SS . It opens in 2010.
Not far away, in the shadow of the Brandenberg Gate, thousands of tourists line up to have their photo taken flanked o either side with a model dressed as an American GI and another dressed in the colours of Soviet Union. Not more than 200m away, the Berlin Holocaust Memorial creates a staccato sea of coffin tops clearly visible right at the heart of the city. The memorial is a disappointment. The rows of grey concrete towers are faceless, nameless, and uninformed. A guide explains to his teenage American high school kids that when they go into the memorial, that there is no eating, no running, no hide and seek and no ‘camping’ among the blocks. Moments later the very same students were all engaged in a group hide-and-seek-cum-tag game among the five metre high concrete blocks. It makes the heart sink. How could the Germans get it so wrong?
At one end of the memorial is the badly named ‘information centre’. It does provide ‘information’, but the name implies a kind of glorified tourist kiosk. It is far from that. This is where the real memorial lies. The subterranean museum tells the story of the Holocaust. It tells it briefly and very well. Solid historical fact, complimented by beautifully constructed family stories, 9,000 personal biographies which are read out on a loop, and a set of audio visual presentations documenting 250 sites of persecution and killing, are the main features of this compact exhibition. In a tiny space the museum delivers accurate content in depth and empathy like the Germans are rarely capable of displaying in public. Visitors leave without any doubt about the fate of the Jews.
Berlin has finally created a little corner where 500,000 people a year can touch and be touched by what the Holocaust really meant.
Perhaps no single institution in Berlin can take the serious enquirer through the good times and into the bad. They are all inadequate in their own way. This is not because the Holocaust cannot be represented. It is not so sacred that it cannot be touched – even in Berlin. There is no one way to tell the story of the Jews of Germany. They lived there for two millennia, we know that. They died an ignominious death, we know that too. Their past will be represented in different ways, The past, the present, the future, they all have to be there in equal measure, because Jews have been there from the outset and despite the best efforts of the Nazis, they will be there for a long time yet.