Notes from Berlin

Whenever I pass though Liverpool Street Station on the eastern side of London, I always take a moment to pause beside “Kindertransport – the arrival” sculptures by Frank Meisler.   They show Jewish refugee children arriving in Britain with their small amounts of luggage, fleeing from Nazi persecution.   In this age of fear and distrust of migration, they remind me that these fluxes are nothing new, and remind me that we need to show generosity towards the helpless and dispossessed.  As I walked past Friedrichstrasse station during a visit to Berlin last week I saw a companion piece to the Liverpool Street sculptures.  However, the statue at Friedrichstrasse (“Züge in das leben, Züge in den tod, 1938 – 1945” – literally: “trains to life, trains to death”, also by Frank Meisler) differs in one important respect: the German children at the start of their journey are facing in two directions: some are awaiting the Kindertransports to the west but two are heading towards the death camps.

Züge in das leben, Züge in den tod, 1938 – 1945.  Bronze sculpture by Frank Meisler at Freidrichstrasse station, Berlin (photo taken in low light – apologies!).  The photograph at the top shows “Kindertransport – the arrival, also by Frank Meisler, at Liverpool Street Station, London.

Berlin does not flinch at confronting its recent past.   I spent the hour or so between the end of my meeting and my trip out to the airport at “Topographie des Terrors” – a museum on the site of the former Gestapo and SS Headquarters.  It was a reminder of what the children depicted in Meisler’s sculptures were fleeing from.  After a gruelling hour, I was ready for a change of atmosphere and turned towards the Martin Gropius Bau – one of Berlin’s best galleries, just a short distance away.  By coincidence, one of the exhibitions was a series of etchings by Lucien Freud, himself a Jewish refugee (though not part of the Kindertransport).   Freud’s portraits have an intensity that can be unsettling to a viewer; however, seen immediately after my immersion in Nazi atrocities, they had the opposite effect.  I was left wondering how my reactions would have differed had I seen the exhibition before, rather than after, Topographie des Terrors.  The irony of a Jewish refugee’s art being exhibited so close to the former headquarters of the powers that forced him to flee in the first place did not escape me either.

A year ago, I was here on the night that Donald Trump was elected president of the USA (see “Remembrance in Berlin”).   This time, my visit started just a day after the AfD (“Alternative for Germany”) won 74 seats in the Bundestag at the federal elections, becoming the third largest party.   Anger at Germany’s own tolerant policy to refugees was one of the reasons that they did so well, particularly in the former eastern states.   As I write, I am not sure how this meshes with my statement about Berlin’s ability to confront the less savoury aspects of its past.  There is a willingness to do this within the Federal government, and the middle-class, well-educated Germans I meet share a desire to look back objectively.  The rise of AfD is worrying partly because it has happened in a country that has tried so hard to learn from its past.   Let’s hope that Germany does not forget to remember ….

The Martin Gropius Bau rising above a section of the Berlin wall.  Topographies des Terrors is behind the wall.  The right hand image shows the row of cobblestones marking the path of the wall in places where it is no longer standing.