The Construction of the National Holocaust Memorial in Berlin

At the beginning of 1998 the final round of the 1997 Memorial for the Murdered Jews of Europe artists’ competition was taking place in Berlin. As an artist whose work is inspired and realized in direct relation to sites, I became interested in and began to investigate the site designated for the Memorial. I discovered, that the Memorial organizers, comprised of the Federal Government of Germany, the State of Berlin and the “Citizens Association Memorial for the Murdered Jews of Europe” (Förderkreis Denkmal für die ermordeten Juden Europas), had omitted any reference to the history of the site, and subsequently misrepresented its contemporary condition and status.To what extent does deceit play a role in the construction of the Memorial to the Murdered Jews of Europe? What bearing does it have on the completed artwork?Taking the site as a starting point, I decided to investigate the above by observing and documenting the actual stages of construction from direct first hand observation as an eye witness. This included the management and promotion of the memorial.The official ten-years long debate (1989-1999) about the memorial ostensibly represented a thorough analysis of the undertaking. But what would take place in the actual practice of constructing the national Holocaust Memorial in the new capital of reunited Germany? What would the intervention, editing and promotion of the object during the years of construction, reflect about the intentions of the German people (the Memorial organizers, the media and the public), and the intended function of the object? How would the German people receive the memorial and what would their response indicate?This research would initially take place prior to construction, as well as during construction, at a time when the realization of the actual memorial was somewhat in jeopardy. Most sections of the thesis would be written immediately following the events that took place.My research did not stop with the inauguration of the memorial, and I was thus able to observe the completed memorial’s existence and address the evident final question. Why does the resulting memorial fail to elicit an appropriate respectful response from the public? In what ways did the management, promotion and editing of, as well as activities on and around the site of the memorial, contribute to this failure?Procedures followed:Prior to formally undertaking the PhD, my investigative procedures were those of an artist and someone outside of the official discussion (without the privileges of the press, an organized lobby group or any officially recognized status) attempting to glean insight, understanding and information, as available to any member of the general public (albeit, as a foreigner). This included weekly visits to the site and photographic documentation and observation of both the allotted terrain and vicinity. Embarking on the formal PhD, the procedure is solidified by a methodical investigation and review of the press in consultation with historical sources and unpublished documents. Parallel to the investigation, I develop an exhibition of artwork that is consequential to the research. I attempt to make the work public through an exhibition in a central state museum in Berlin.General results obtained:A written account, addressing the period of construction of the memorial from 1998 to 2005 and the subsequent reception and life of the completed object, post inauguration. The thesis reconstructs and documents the stages of construction as well as the final outcome of the memorial. A body of artworks comprising sculpture, photography, video and installation has been produced out of the research.Major conclusions reached:An appraisal of the completed memorial’s reception has raised new questions about the finished object two years on from its inauguration. It presents a critical analysis of the completed memorial’s failure in an atmosphere of post World Cup euphoric indifference.A solo exhibition at the only museum in Berlin dedicated in part to a Jewish artist, as well as the opportunity to realize an artwork with a historical building in the central business district of Berlin, which is still in a state of ruin following its bombing at the end of WWII.To my knowledge, this is the only thesis on the memorial, which addresses thefindings of Nazi ruins on site in 1998, their subsequent removal and the quasisecrecy surrounding it, as well as the level of deceit in the construction process and its effects on the resulting memorial. It is the only thesis, which acknowledges and addresses the outright failure of the memorial to elicit a respectful commemoration of the Holocaust