Der Jüdische Friedhof (Old Jewish Cemetery), Grosse Hamburger Strasse
In the past, I’ve often felt guilty for taking photographs at a cemetery, as if the act of opening and closing the camera’s shutter somehow “exposes and steals” the essence of people who are laid to rest. Only in the last few years have I overcome these feelings, as I now see cemeteries as beautiful places to visit and to witness frozen snapshots to individual lives over time. On this late-autumn afternoon, I stood in the middle of the garden, transported to a different place and a different time, surrounded by tranquility and living memories.
Große Hamburger Straße (or Greater Hamburg Street) was the key central road in what was once the Spandauer Vorstadt, which was the suburb or town at the foot of the former Berlin city gates. The road allowed for trade and movement from Berlin in the direction towards the nearby town of Spandau.
According to berlin.de, the area developed around the Hackesche Market and Courtyards:
Historically, development of the Höfe went hand in hand with the growth of Berlin as a thriving urban centre. The expansion started around 1700 from an outer suburb known as Spandauer Vorstadt, located outside the Spandau City gate which already had its own church, the Sophienkirche as early as 1712. Friedrich Wilhelm I built a new city wall here and the former suburb became a new urban district belonging to Berlin. Today’s Hackescher Markt takes its name from the market built here by a Spandau city officer, Count von Hacke.The influx of Jewish migrants and the exiled French Huguenots gave the district the cosmopolitan diversity which it never lost. The first synagogue was built in this area and the first Jewish cemetery established on the Grosse Hamburger Strasse. Another name for the area, the Scheunenviertel (barn district) is associated today with up and coming art galleries and the more bohemian side of Berlin. The largest synagogue in Germany was built in nearby Oranienburger Strasse in 1866.
In use from 1672 to 1827, this is Berlin’s oldest cemetery for the Jewish community. Buried here is Moses Mendelssohn (1729-1786), philosopher, a founding father of the Jewish Enlightenment, and grandfather to the great composer Felix Mendelssohn. During the last stages of fighting in the Second World War, 2425 dead were buried here in 16 mass graves. With no clear boundaries separating those buried in the past from those buried during the war, the new memorial garden was constructed and restored in 2007-08 with all of the buried left undisturbed as they were.
The present location was also the site of the first nursing home in 1844 for the Jewish community in Berlin. The Gestapo transformed the home in 1942 to a collection and staging point for prisoners, and ordered the destruction of the entire site in 1943. 55000 Berlin Jews from infants to the elderly were deported and murdered in the concentration camps at Auschwitz and Theresienstadt.
Since 2004, the Festival of Lights have lit up various buildings and attractions throughout Berlin. The 2012 version saw 12 consecutive October evenings of another grand lighting display in the German capital city.
Above: Photo, 23 Jun 2025 (X70).
The Jüdisches Museum (Jewish Museum) in Berlin’s Kreuzberg district is one of the most visited museums in the German capital. Millions from around the world have visited the museum since its opening in late-2001. With the unique architectural vision and building design by Daniel Libeskind, the museum does not set aside the history of the Jewish community within Germany as being separate from the history of the country as a whole. Instead, there is conscious effort by Libeskind and the Museum to have visitors consider how the historical, cultural, art, literature, music, intellectual, scientific, and economic contributions from the Jewish community are tied inextricably with the history of Germany over the span of two millennia. These very issues and questions are now also driving discussions about the present state and evolution of the Turkish and other expatriate communities within Germany.
One sculpture in the museum is both poignant and disturbing.
A desolate former coal-mining industrial region isn’t a usual candidate for a place to visit. However, the Zollverein coal mine in Essen, Germany provided the impetus to seek out aspects of industrial photography. There’s something special about the way light strikes metal which brings out various aspects of shape, form, and texture.
I’m beginning to understand the historical significance of coal-mining to the people and to the economy in the Ruhrgebiet (Ruhr river region). Over decades, a cloud of “grey” hung over the region, as air- and water-pollution took its toll, and the economic influence of coal began to diminish.
To mark its importance to the modern industrial development and history of the region, the Zollverein Coal Mine Industrial Complex was listed as a UNESCO World Heritage Site in 2001. The entire refurbished complex now houses space for art, design, and cultural exhibitions, and is also home to the Ruhr Museum, shedding light on the industrial history of the Ruhrgebiet, providing historical accounts of the economic importance of coal mining and its consequent decline, as well as descriptions of existing and future economic redevelopment plans for the Ruhr region.
Essen was designated as one of three European Capital Cities of Culture for 2010; a number of projects, sites, and monuments throughout the Ruhrgebiet were on display, including the Zollverein.
In this post, I wrote about how I discovered the statue called “Der Rufer” (The Crier) in Berlin’s Tiergarten:
The statue in the foreground is called “Der Rufer” (The Caller or The Crier). Created by Gerhard Marcks in 1966, a cast of the bronze statue was purchased and erected here in place in the former West Berlin in May 1989. The statue was placed deliberately so that the “caller” faced East Berlin. At the sculpture’s base is a quote by Italian poet Francesco Petrarch (1304-1374): “Ich gehe durch die Welt, und rufe ‘Friede Friede Friede'” | “I wander through the world, and cry ‘Peace, Peace, Peace.'”
On 12 September 2012, some 18 months after making the above photo, I discovered the same statue by accident at the Cultural Centre in Northbridge, Perth, Australia.
The Crier (Perth)
Sculptor Gerhard Marcks (1889-1981) did not intend to convey a specific message or meaning to his piece of work. However, the version of the sculpture in Berlin was dedicated to a call for peace, whereas the casting in Perth was dedicated to the victims of torture.
I made the photos shown above with a Canon EOS450D: the first (Berlin shot) with EF-S 18-55mm f/3.5-5.6 IS kit-lens, and the second (Perth shot) with the 50mm f/1.4 prime-lens. This post appears on Fotoeins Fotopress at fotoeins.com as http://wp.me/p1BIdT-2og.
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