“‘Grot’ was a symbolic figure, a leader shrouded in mystery who guided the fate of an entire nation from underground. Those who knew him and who experienced firsthand how he operated were deeply impressed by the rare qualities he possessed which made him a born leader: his big personality and outstanding intellect. (...) He built up an organisation on an unimaginable scale and used fighting tactics that were previously largely unknown...” [Tadeusz Bór-Komorowski, Armia podziemna (The Underground Army)]
“In statements repeatedly issued by the government, which are in accord with the dominant view in the country, the future Poland shall be a democratic state, one that is free of dictatorship and all forms of totalitarianism, both of which are spiritually alien to the Polish nation. (...) Poland shall be a country where internal battles can be fought solely within the framework of the constitution.” [From the Order issued by General “Grot”, no. 54, December 1941]
Mediathek Sorted
Zellenbau
Zellenbau
Zellenbau, Flur, links und rechts Einlässe zu den Zellen.
Zellenbau, Zelle von Rupert Mayer.
Zellenbau
Zellenbau
Zellenbau, Flur, links und rechts Einlässe zu den Zellen.
Zellenbau, Zelle von Rupert Mayer.
Zellenbau
Zellenbau, Gedenktafel mit Namen der polnischen Häftlinge
Zellenbau
Zellenbau, Zelle Nr. 50
Zellenbau
Zellenbau, Gedenktafel mit Namen der polnischen Häftlinge
Zellenbau
Zellenbau, Zelle Nr. 50
Wechselausstellung in der Gedenkstätte und Museum Sachsenhausen
Wechselausstellung in der Gedenkstätte und Museum Sachsenhausen
Teil der Wechselausstellung
Teil der Wechselausstellung
Wechselausstellung in der Gedenkstätte und Museum Sachsenhausen
Wechselausstellung in der Gedenkstätte und Museum Sachsenhausen
Teil der Wechselausstellung
Teil der Wechselausstellung
Teil der Wechselausstellung
Teil der Wechselausstellung
Teil der Wechselausstellung
Wechselausstellung in der Gedenkstätte und Museum Sachsenhausen
Teil der Wechselausstellung
Teil der Wechselausstellung
Teil der Wechselausstellung
Wechselausstellung in der Gedenkstätte und Museum Sachsenhausen
Teil der Wechselausstellung
Teil der Wechselausstellung
Teil der Wechselausstellung
Wechselausstellung in der Gedenkstätte und Museum Sachsenhausen
Teil der Wechselausstellung
Teil der Wechselausstellung
Teil der Wechselausstellung
Wechselausstellung in der Gedenkstätte und Museum Sachsenhausen
Gedenktafel
Teil der Wechselausstellung
Teil der Wechselausstellung
Zellenbau, Umriss des Fundaments
Gedenktafel
Teil der Wechselausstellung
Teil der Wechselausstellung
Zellenbau, Umriss des Fundaments
Denkmal zu Ehren von General Stefan Rowecki „Grot”
Denkmal zu Ehren von General Stefan Rowecki „Grot”
It is known that the general kept a personal notebook and diary, which have sadly been lost. The only records of his time in the camp are the letters to his family mentioned above, the reports written by Volodymyr Stakhiv, a member of the group of Bandera supporters, and the interrogations by senior Gestapo officials. In 1948, Harro Thomsen testified that he regularly visited the general in the “Zellenbau” every four to six weeks. In 1973, he withdrew this testimony, although according to Żenczykowski, he did so “in an unconvincing manner”.[9] In the summer of 1943, the general received a surprise visit from Heinrich Müller, the head of the Gestapo (see above). Rowecki recounted this meeting to Stakhiv and admitted that the subject of this and other meetings was the current political situation, a possible relaxation in German-Polish relations, and the risk of Poland becoming “flooded with Bolshevists”.[10]
I don’t want to die in a foreign land. I want a soldier’s grave with green sward and a field stone.
General Rowecki was murdered in Sachsenhausen, probably at some time during the morning of 2 August 1944. He was court-martialled and then shot. His body was incinerated in the camp crematorium.
The order to execute the general came directly from Reichsführer SS Himmler, probably after he was informed of the outbreak of the Warsaw Uprising.[11]
A first glance nothing about the images is right. They do not convey claustrophobic confinement or a feeling of being closed in, or encirclement, or noise...
“For Solidarność. Behind the Wall” represents just a snapshot of what happened in the divided Berlin, and this snapshot is often poorly lit, out of focus and incomplete.