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, or stuffy air or dirt, nor do they convey any dangers or horrors lying in wait at every turn. All the vanquished manifest characteristics of the nine circles of Hell, whose earthly aura created this place in the collective consciousness, are missing. Even the horror is not here, at least not the immediately eye-catching horror. It can only be found in the details, in the isolated objects, in our imagination. The photos convey peace and quiet, almost a reverence, and a reticent, objective restraint by the photographer. Most of all, they are dominated by space.
Mediathek Sorted
Tower “A” – Entrance to Sachsenhausen concentration camp
Panorama of the concentration camp
Muster ground I
Area with outlines of barracks
Tower “A” – Entrance to Sachsenhausen concentration camp
Panorama of the concentration camp
Muster ground I
Area with outlines of barracks
Area with outlines of barracks
Barracks 39 and 38 – Concentration Camp Museum
Barrack 38 – Dormitory for 250 prisoners
Barrack 38 – Washroom
Area with outlines of barracks
Barracks 39 and 38 – Concentration Camp Museum
Barrack 38 – Dormitory for 250 prisoners
Barrack 38 – Washroom
Barrack 38 – “Toilets”
Electric fence
Execution trenches
Execution trenches
Barrack 38 – “Toilets”
Electric fence
Execution trenches
Execution trenches
Crematorium – bronze sculpture by Waldemar Grzimek
Remains of the crematorium
Concentration camp grounds looking towards the infirmaries
Medicine and crime
Crematorium – bronze sculpture by Waldemar Grzimek
Remains of the crematorium
Concentration camp grounds looking towards the infirmaries
Medicine and crime
Medicine and crime
Cell construction
Cell construction
Memorial to the memory of the Polish General Stefan Rowecki “GROT”
Medicine and crime
Cell construction
Cell construction
Memorial to the memory of the Polish General Stefan Rowecki “GROT”
One of the places housing the ashes of those murdered in the concentration camp
Burial ground with the ashes of those murdered in the concentration camp
Commemorative plaques
Watch tower "E"
One of the places housing the ashes of those murdered in the concentration camp
Burial ground with the ashes of those murdered in the concentration camp
Commemorative plaques
Watch tower "E"
Concentration camp special camp/Zone II
Central memorial to the murdered prisoners
Mass grave for the concentration camp victims
Concentration camp special camp/Zone II
Central memorial to the murdered prisoners
Mass grave for the concentration camp victims
Moments of what we call history and moments of what we call memory
We and you. You us – we you. A matrix of mutual relationships and simple abstractions, which is seemingly embedded in the history from which it draws its legitimacy, whilst it actually encounters it in the form of a timeless myth that drives the mechanism of further quotations, repetitions and reconstructions. A useful tool, especially for developing the identity and the solidarity of one’s own group, admittedly at the expense of the overall perspective. We you – You us. A permanently open account - in the third, fourth and every future generation. You the evil ones – We the good ones. This form of memory has a long tradition, has existed forever really, even when the memory related to the experience of the horrors of totalitarianism in the 20th century. The more we remove ourselves from the events, the more this memory takes the upper hand in the official narrative that we are happy to feed. There is a certain inevitably therein. The generation of direct witnesses was very strongly influenced by the sensitisation for war experiences as a tragic and traumatic destruction of humanity, by its self-awareness and by the myths and illusions about progress, humanity and moral development. The horrors of war were a defeat and an obligation for each of these people. The perspectives that went beyond the boundaries of the tribal identities could no longer be so easily denied. Today, where almost all of the witnesses have died and the memory is less the product of one's own experiences and more an intellectual construct, the climate has changed. Military themes dominate the litany of officially requested designs. Fighting for the sake of fighting, torn from the military, political and social context completely, becomes the most noble manifestation of patriotism and it is once again sweet to die for the Fatherland. The war as such, or more accurately collective organised violence, is no longer an expression of the tragic regression of mankind, but instead becomes an openly discussed legitimate policy instrument and turns into the pursuit of common interests which are, of course, morally justified. But then are there any others at all? And isn’t this shift of emphasis clearly and symbolically demonstrated when the current Director of the Danzig Museum of the Second World War (Muzeum II Wojny Światowej), in a debate about a new exhibition formula, asks that the “positive aspects of war” be included in the didactic programme? Signum temporis.
Of course, this narrative does not contain the positive aspects of the concentration camps or the camp experiences, but in the face of the apparent enemy the latter are often and willingly exploited in the sense of ad-hoc policy and to establish discipline and social identity; the narrative is channelled and adjusted to the tribal schemes. And now I read reports in pro-government media about the visit of our country’s incumbent President to Sachsenhausen where he laid flowers on the commemorative plaque for Polish academics imprisoned here in the context of the so-called “Sonderaktion Krakau”. If the summaries are to be believed, the narrative of the address held to commemorate this occasion did not go beyond the national categories mentioned.
Marian Stefanowski, Tower “A” – Entrance to Sachsenhausen concentration camp, 14 November 2019
“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.
In 2006, six years after his death, the former villa of the SS “inspector” Theodor Eicke in the Sachsenhausen concentration camp, now a young people’s meeting place, was renamed the Andrzej Szczypiors...