Lithuania -- video of partly destroyed Pakruojis wooden synagogue

I want to attention readers to the comments below from Lithuania in response to this post -- the picture I had posted earlier was just a random shot, not the synagogue burning. Also, locals say this was the third attempt to torch the synagogue in recent months. Latest reports say about 1/3 not 1/2 of the building was destroyed.

My friend Ilya Lempertas in Vilnius, a Jewish historian and guide, has sent me a link to video on a Lithuanian news site that shows the fire damage Sunday to the historic wooden synagogue in the village of Pakruojis. The link to the video is THIS. But I've tried to embed it below (not totally successfully for some reasons). You may have to watch a brief commercial first, and at least on my computer the video is jerky, but it shows close-ups of the damage. Ilya says that according to reports from the scene, some 88 square meters of the roof as well as parts of the ceiling and walls were destroyed. A real tragedy.

This is the second historic synagogue in Lithuania to suffer destruction or serious damage in the past one and a half years. The so-called "Red Synagogue" in Joniskis collapsed in late December 2007. It had been undergoing fitful restoration (along with its "sister synagogue", the so-called "White Synagogue" standing next door to it), but one wall collapsed without warning.

Lithuania -- Pakruojis wooden synagogue burned down?

Pakruojis synagogue, 2006. Photo (c) Ruth Ellen Gruber

More depressing news. Lithuanian news sources say a possible arson fire has partially destroyed the historic wooden synagogue in the village of Pakruojis!

I have asked for details and will post what I find out.

Meanwhile, Sam Gruber has been in touch with colleagues in Lithuanian who report that:

Anti-Semitism in the country is reaching a "fever pitch" with many repeated articles claiming that Jews (especially George Soros) are wrecking the Lithuanian economy. There is also the "widespread belief that Jews and America prevent the prosecuting of 'Jewish Partisan war criminals.'"

I posted in October about the deteriorating condition of the synagogue, which was built in 1801 and is the oldest surviving wooden synagogue in Lithuania. Click HERE. Whatever the reasons, the destruction of this building would represent a tragic loss of a rare and remarkable Jewish heritage site.

Belaus -- Pictures of Luban Synagogue Being Demolished

Sam Gruber has posted a series of pictures, forwarded by Dovid Katz in Vilnius, showing the actual demolition of the synagogue in Luban, Belarus (which I wrote about in earlier posts). Here is one of them:



Writes Sam:

Can this be a wake-up call for better policies in Belarus and elsewhere? This was not a derelict building. It was not a ruined. It was not a forgotten site. It was sacrificed to the demands of contemporary development pressures where expediency and short term gain (to the public tax rolls or to a local politician's campaign war chest or private account) mean more than protecting history and architecture. No community in the world is immune to these pressures. Nor should every old building be saved. But there needs to be in place - in every community - procedures that allow time for review and reflection, and time for world to get out that a building is imperiled.

Berlin - Jewish Museum

The New York Times runs a devastating critique of the Jewish Museum in Berlin. It contrasts the Museum with the more recent exhibition at the Holocaust Memorial in Berlin.

By EDWARD ROTHSTEIN

Published: May 1, 2009

BERLIN — There may be worse Jewish museums in the world than the Jüdisches Museum Berlin, which opened in 2001. But it is difficult to imagine that any could be as uninspiring and banal, particularly given its pedigree and promise. Has any other Jewish museum been more celebrated or its new building (designed by Daniel Libeskind) so widely hailed? Is any other Jewish museum of more symbolic importance? [. . .]

The resulting strain is almost bipolar, with the building aggressively screaming about apocalypse as its exhibition affirms harmonious universalism, with neither making its case.

The building, for example, proposes that the shattered, fractured world of the Holocaust is best suggested by shattered, fractured space. You enter the exhibition by descending a lobby staircase that leads into a world of skewed geometry. The floors are raked and tilted. Displays are off-kilter. And rather than feeling something profound, you almost expect moving platforms and leaping ghosts, as in an amusement park’s house of horrors.

Add to this a sheen of pretense. One corridor is called the Axis of Exile, because along it are the personal effects of Jews who fled Germany during the 1930s. Another is named the Axis of the Holocaust, which shows letters and photographs of murdered Jews. And lest it all look too bleak, an Axis of Continuity leads upstairs, where you learn about where all of this fits into 2,000 years of German Jewish history.

Meanwhile, the items on display are so cursorily identified and their owners so obliquely described that they might as well have been anonymous points on an Axis of Victimhood. The space trivializes history rather than revealing it.

Read full article

Rothstein criticizes the architecture, with its axis of exile, etc, but he does not really go into the development of the concept behind them. OK, it may seem (and be) pretentious, at least in hindsight, but during the development phase, in the 1990s, it made bold new statements that touched chords and made them resolate loudly. I remember visiting the partly complete building in something like 1997 and feeling the power of the structure -- indeed, it became a major attraction in itself, both before completion and after completion, before the exhibition was installed. Books were written on it. My friend, the Berlin artist Joachim Seinfeld guided hundreds of tours to the empty building.

The exhibition concept and layout has been problematic since the beginning; at first it was so overcrowded with objects it seemed hard to breathe. These were weeded out, but the difficulty of mounting the installations in the weird space remained a constant. Already in 2003 I was on a panel at the annual meeting of the Association of European Jewish Museums that among other things offers critiques.

I thought I'd take a look at what the Times said in earlier articles about the museum.

Michael Kimmelman, in 2004, was just as critical as Rothstein of the museum, but he put a lot of its problems into more context, focusing in part on how Daniel Libeskind's widely-acclaimed design created difficulties of its own.

The building was opened with nothing in it in 1999. Nearly 350,000 people came to see it before any exhibition was installed. Many writers speculated about whether it might best be left empty, as a Holocaust memorial sculpture, not least because it looked nearly impossible to fill coherently with objects. It has been. Sloping grades, crooked passageways, dead ends, tall voids and other willful spaces were explained by Mr. Libeskind and then by others as architectural metaphors for the fate of Germany's Jews, for their difficult journey through history. [. . . ]

Stories of individual Jews, many of them of women, humanize the exhibition. They are told about different sorts of people, not only about artists and writers; the museum thereby sidesteps the stereotype of Jews as people of culture, which, while flattering, may imply that the life or death of a Jewish banker or street peddler is less worth honoring.

But over all the architecture and the exhibition trivialize and overwhelm history. The museum panders to the sort of audience of middlebrow Germans and tourists who don't know any real, live Jews, watering down and sweetening up the past. Even pared back from the 3,900 objects it had at the opening, the exhibition is a smorgasbord of tidbits. Visitors graze. Here are the philosopher Moses Mendelssohn's glasses next to recipes for kosher food; there is a display about medicine next to one about Jews being burned.

Mr. Libeskind's building posed obvious practical hurdles, but the installation is its own inchoate maze of added nooks and crannies, platforms, stairs and partitions, stuffed with gadgets and gimmicks. You can put on a backpack as heavy as a peddler wore. You can peel open a giant sculpture of a garlic. You can mint a coin. You can participate in computerized straw polls.

At article about its opening, in September 2001, puts the conceptual aspect in the foreground.

But while the museum is devoted to a fine, carefully planned exhibit of the full range of Jewish life here, from the arts to the ordinary, it lives in an extraordinary building, designed by Daniel Libeskind, that is itself a sculpture on the theme of the Holocaust. It is a deconstructed, riven Star of David, full of slashing windows and sharp angles, twisting corridors and tilting floors, rough cement and tall, cold empty voids, that bring to a visitor the dizziness and horror of absence, loss, dislocation and loneliness. [. . . ]

A visitor enters this building from an airy, light hall, but is directed down, along a twisted black metal staircase lined by grills at odd angles.

There are three ''underground roads,'' in Mr. Libeskind's conception. The first and longest leads to the main stairs, which rise to the exhibition floors about Jewish life here since Roman times. The second leads outdoors, to a ''Garden of Exile,'' representing the forced emigration of Germany's Jews, with angled pillars topped by willow oaks and cobbled walkways tilted to produce a kind of nausea.

The third leads, Mr. Libeskind wrote, ''to a dead end -- the Holocaust Void,'' called the Holocaust Tower. Here, a large, forbidding, empty space rises up the full height of the building and ends at an acute angle.

Another void, devoted to memory, has a compelling sculpture by an Israeli, Menashe Kadishman, called ''Fallen Leaves.'' Much of the floor is filled with thousands of rusted steel faces, some large and some tiny, most of them open-mouthed and screaming.

Italy/New York -- Sam Gruber to speak on Venice Jewish history

For those of you in New York, Sam Gruber, the president of the International Survey of Jewish Monuments (ISJM), will be speaking in New York May 7 on the "prehistory" of the Venice Ghetto.

The lecture will be at the Colony Club in New York on Thursday, May 7th, at 6:30 pm, followed by cocktails. Tickets are $40 and must be purchased in advance from Save Venice. Mail checks to 15 East 74th Street, New York, NY 10021.

Its not a talk about the Ghetto per se, but of the social, political and topographical background of Venice in the late 15th and early 16th century that encouraged the Ghetto's creation.

For full information click HERE

Belarus -- More on Luban Synagogue Destruction

On his Jewish arts and monuments blog, Sam Gruber has posted more detailed information about the demolition of the historic former synagogue in Luban, Belarus -- as well as pictures of what he rightly describes as an "impressive vernacular building." The wooden synagogue, built in the 19th century, is being demolished to make way for some sort of commercial development.

Former Luban synagogue, c. 2005 -- photo courtesy of the Jewish Heritage Research Group in Belarus

Sam writes that according to Yuri Dorn of the Jewish Heritage Research Group in Belarus:

the Luban authorities did not inform Belarus Jewish community about planned demolition. He did not speculate why, but presumably they were either ignorant of the need to do so, or of any likely interest in the fate of the building, or they suspected that if word got out that their would be complaint. Based on my long experience in historic preservation I would assume the worst, and that is the reason for the rush to demolish, so that any protest will be too late. In 2004, the Jewish Community of Belarus tried unsuccessfully to include the Luban Synagogue building on the official registry of landmarks, but was unable to do so because of insufficient archival documentation about the building's history. Presumably it was deemed eligible on architectural grounds alone.

Sam also includes a picture of the English/Russian/Hebrew commemorative plaque on the building.

Belarus -- Synagogue destroyed in Luban

The Associated Press reports that a historic synagogue in the Belarus town of Luban, south of Minsk, is being destroyed to make way for a supermarket. Built in the 19th century, the synagogue is that where the influential orthodox rabbi Moshe Feinstein served before fleeing to New York in 1936. A handful of Jews live in the town today. Officials say the building is not protected as a monument.

By YURAS KARMANAU, Associated Press Writer
Fri Apr 24, 4:27 pm ET

LUBAN, Belarus – The roof has been removed and the windows stripped of their frames and glass. Piece by piece, workers are tearing down the former synagogue [. . .]

The synagogue's role in town history was only publicly recognized again in 1996, when a memorial plaque in English, Belarusian and Hebrew was put up on the building, which by then housed a medical clinic. [. . . ]

As the demolition began, the memorial plaque was moved to a nearby building, where it was attached with two crooked, rusty nails. [. . .]

No mention is made of Jews even at the Soviet-era memorial where 785 Jews were shot in November 1941 when the Luban Ghetto was liquidated. The victims are referred to only as "peaceful citizens."

Read full story

Germany -- "Juden" streets exhibit

Here's a head's up for an upcoming exhibit -- OK, it's in San Francisco, at the Contemporary Jewish Museum, and OK, it doesn't open until June, but it deals with Europe and the Museum web site already has a good interactive preview on line.

The exhibit is called The J. Street Project, by photographer/artist Susan Hiller. Hiller became fascinated by the number of streets in Germany referred to Jews and set out to track them down. Explains the Museum press release:

Artist Susan Hiller's chance encounter with a Berlin street called Judenstrasse (Jews Street) in 2002 was the unexpected experience that set into motion an arduous three year journey to find and photograph every street in Germany with the prefix Juden (Jews) in its name - a surprising 303 sites in all. Hiller was initially shocked, but mostly confused by this strangely ambiguous commemoration of people who had been exterminated not so long ago. "The Jews are gone," she says, "but the street names remain as ghosts of the past, haunting the present."

The J.Street Project, an evocative exhibition that includes Hiller's photographs and a film, is the result of her long and fascinating look at this ambiguity. It is on view at the Contemporary Jewish Museum June 18 through October 6, 2009. A limited edition companion book is also available in the Museum's gift store.

At the heart of the exhibition are the more than 300 color photographs of busy boulevards, quiet country alleys and run-of-the-mill suburban streets. Pigment printed in an almost painterly fashion on watercolor paper and identically sized and framed, the images are hung in a seven-foot grid - a silent procession of thoroughfares and the signs that mark them. The mood of each image is distinct as the season, time of day and location change, but in each there is a sense of the unresolved nature of the historical status of these places. A snowy country lane lying along the railroad tracks, while charming, attests to a long and bleak legacy of discrimination and segregation when Jews were not allowed to use main roads and were restricted to paths on the outskirts of villages and towns. Some streets mark ancient Jewish settlements from as early as the 11th Century indicating the historical depth of Jewish life in Germany. A narrow city alley is a testament to how cramped and oppressive ghetto streets were.

And while most of the images are devoid of people, Hiller's camera captures many incidental and transient details - weather, buildings, cows, cars, a few children. "It's their everyday matter-of-fact-ness that makes the photographs unsettling," she says. "They convey an uncanny resonance by revealing connections between some very ordinary contemporary locations, history and remembrance, as the street signs repeatedly name what's missing from all these places."

The exhibition also features Hiller's 67-minute single-channel video that further interrogates the ordinariness surrounding the 303 street signs, which appear to be entirely overlooked by the current residents. Traffic stops at a light, an old man's hat blows off his head, birds flit by, people chat. But these banal moments exist in an uneasy tension with scenes that seem rife with a darker meaning - under a sign that reads Judengasse, another sign points the way to the train station. In the background, trains regularly appear and rush off. Hiller's footage, coolly shifting from emptiness to weightiness, makes no conclusion, but does make the appeal that the traces of history in our surroundings merit interpretation.

Displayed alongside the video and the photographs is a large-scale map of Germany with each location listed and pinpointed. "The multiplicity of these places over the entire country is very special," she says. "And it opens a very different picture of what happened during the Holocaust. Somehow my image had always been of people being rounded up in Berlin and taken away ... But thinking about what happened in a tiny rural village on an old street next to the church, where there had been a Jewish community for generations, evokes a very different picture."

Read more

Poland -- Photos of Synagogues

I came across this link to a public Picasa web gallery of photographs of Polish synagogues. Click HERE to see it.

Poland -- Some new Jewish travel resources

I'm doing a little updating on Jewish Heritage Travel, for inclusion in the Hungarian edition of the book that is currently undergoing translation, and in doing so I have come across various new (or newish) web sites that are useful for Jewish heritage travelers. Some have downloadable maps and recommendations for accommodation and dining.

Here are a few of them -- I'll be posting more:

Poland Jewish Heritage Tours -- a new program launched by the Taube Foundation

Jewish Krakow -- I'm not sure who runs this new English language site

Jewish Lublin (with a downloadable map) -- English language site of the Lublin branch of the Warsaw Jewish Community