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New exhibit about Auschwitz presents the heart-wrenching evidence of loss and destruction—and lets visitors draw their own conclusions

The Royal Ontario Museum’s new exhibition has arrived just in time for the 80th anniversary of the liberation of a concentration camp where 1.1 million men, women and children, were murdered, almost all of them Jews.

Auschwitz. Not Long ago. Not Far Away. features 500 artifacts—including items from pre-war Germany and Poland—as well as video testimony from survivors liberated on Jan. 27, 1945.

Its only Canadian stop will be in Toronto, at a time when knowledge about the Holocaust is fading, and demonstrators have yelled ‘Go back to Europe’ at Jewish people during protests against Israel.

The day before the official opening on Jan. 10, a lone protester marched in front of the ROM, with a sign that read ‘Gaza. Not Long Ago. Not Far Away,’ satirizing the name of the show.

It’s a fraught moment to launch a multi-million-dollar exhibit about the Holocaust, but the museum CEO and director Josh Basseches says the time is right for the exhibit.

The museum surveyed the public before committing to the show and found interest was as high as a blockbuster exhibit on dinosaurs, Basseches said in an interview with The CJN.

“If anything, interest in the show went up after Oct. 7,” he said, referring to the Hamas attacks on Israel in 2023, and the subsequent, ongoing war in Gaza.

“It’s a sobering exhibit. Having the opportunity to understand about an event like this at a place like the ROM, which feels for many as a safe, comfortable place to be, makes it something that people want to do,” he said.

“The treatment is quite sensitive, it avoids sensationalism. It doesn’t have some of the most visceral and disturbing issues, because we wanted to make this an exhibition that could engage people of a wide variety of ages, and from any sort of different background…. As we move further from the Holocaust, whether you are Jewish, or not Jewish, the idea of being a witness, of being aware of an understanding of what happened, feels to me profoundly important.”

Between 325,000 and 350,000 people are expected to visit the Auschwitz exhibit, Basseches said. In 2017, the museum mounted The Evidence Room, an exhibit that, replicated the architecture of Auschwitz to demonstrate that the Nazis deliberately constructed and operated the extermination camp. That show received about 250,000 visitors.

 Auschwitz, which runs until Sept. 1, is housed in the angular Michael Lee-Chin Crystal. The first object visitors encounter in the gallery area is a woman’s red dress shoe, brought by an unknown deportee to the camp. Along the wall are the concrete fence posts, at one time strung with electrified wire, that defined the boundaries of Auschwitz.

A woman’s dress shoe belonging to an unknown deportee to Auschwitz. (Credit: Musealia).

As Basseches promises, the exhibit largely shies away from the most grotesque photos of starving prisoners and piles of corpses.  Instead, the artifacts of deportees and the physical remains of the concentration camp, as well as video testimonies from survivors, explain the story of Auschwitz.

The display winds through the fourth-floor space, starting with the history of the town of Oswiecim, Poland, where Auschwitz was built, and the political and economic instability that led to the rise of the Nazi party in Germany.

Artifacts from the Auschwitz-Birkenau Memorial and Museum and 20 other institutions trace the persecution of Jews, and others, including the disabled, homosexuals and the Roma people, as well as their desperate attempts to find refuge outside Europe.

The show culminates with mass deportations in cattle cars, and ultimately the fate of prisoners sentenced to slave labour in the satellite camps, and death in the gas chambers and crematorium. Suitcases, broken eye glasses and household objects including a cheese grater, brightly painted mugs and spoons, which were all confiscated when people arrived in Auschwitz are displayed. A small, scuffed child’s shoe and sock are placed in their own glass display case.

Photographs of camp commander Rudolf Hoss’ children splashing in a pool outside the camp gates as well as mug shots of prisoners, and drawings of the camps by prisoners line the museum walls. The triple-tier wooden bunk bed, where inmates were crammed into barracks and the pipes used to deliver the deadly Zyklon-B gas to the victims in the gas chambers, disguised as showers, are at the centre of the exhibit.

The exhibit was designed by the Spanish company Musealia, which had previously produced museum shows about the Titanic and the human body, which featured actual corpses.

In an interview with The CJN, the day before the exhibit opened, curators and historians Paul Salmons, and Robert Jan van Pelt, and Luis Ferreiro, director of Musealia, discussed the exhibit and how it has evolved over the years.

The idea for the show began when Ferreiro read Man’s Search for Meaning, a seminal work by psychotherapist Viktor Frankl, who survived the concentration camps, but whose wife and child were murdered.

“Part of what I learned from Man’s Search for Meaning is that when you do things with your heart, there’s no explanation needed, or no justification. It was born from a moral need to do something after reading that book.”

Inspired to learn more, Ferreiro, contacted Van Pelt, a professor of architecture at the University of Waterloo and an expert on Auschwitz, who had designed The Evidence Room at the ROM.

Ferreiro was willing to wager his family’s business on producing the exhibit, but he admits he was naïve and had much to learn.

Van Pelt sent Ferreiro, who is not Jewish, a reading list of 20 books, and told him to visit Auschwitz and Yad Vashem (the Holocaust memorial in Israel) before they began designing the current exhibit, which had its debut in Madrid in 2017. About 1.25 million people have seen the show so far, with more stops planned.

This particular exhibition is smaller than in other cities—Van Pelt laments that the ROM Crystal’s oddly-shaped walls resulted in less exhibition space—and some artifacts are not on display, including a cattle car which was used to transport prisoners to Auschwitz. The railcar has been displayed outside at other museums, but a secure spot could not be found at the Toronto museum, which is currently in the midst of a renovation.

Van Pelt says he argued for the cattle car to be placed outside but a little further away at Queen’s Park, the site of the provincial legislature. Whatever graffiti the railcar attracted, would have added to the story of the artifact, but since Musealia owned the cattle car and had paid for its restoration, it was not his decision.

The exhibit, however, has added a few pieces from survivors who came to Canada after the war, including a sculpture by Felix Kohn, which has never been displayed before, and two tiny charms crafted by Esther Friedlander, who was working in a slave labour factory and was sheltered by her friends when she was ill.

The ROM was also able to arrange for the loan of an unfinished painting from Amsterdam that had been done by Van Pelt’s great-uncle, who was killed in Auschwitz.

Each curator has an object in the collection that they find especially poignant.

Van Pelt is drawn to a tallit that belonged to Solomon Krieser, who grew up in the town of Oswiecim. It is a complicated object, since the artifact shouldn’t even be on display, he says.

Traditionally, a bar mitzvah boy receives one of these prayer shawls at age of 13 and is buried in it at his death. But in this instance, Krieser fled from Poland to France, where he and his family were arrested and sent to Auschwitz. Before he was deported, he was able to smuggle the tallit to one of his daughters, who survived.

“So the fact that this very artifact exists and that we are able to show it, in some way shows the catastrophe, because it should not exist,” Van Pelt said.

British curator Paul Salmons, who has been involved with the exhibition since the start, points to an exhibit displayed for the first time in Toronto—two silver rings, each with a red heart in the centre, crafted in Auschwitz by Leon Kritzberg for himself and a woman he knew from before the war, Miriam Litman.

The pair found themselves on either side of the wire at Auschwitz and Kritzberg, a member of the Sonderkommando, Jewish prisoners who were forced to work in the gas chambers and crematoria, was able to pass goods to help Litman survive, Salmons says.

The rings are “symbolic as well as emblematic of the entire approach of exhibition, which is telling a story of mass inhumanity and destruction and dehumanization,” he says. “But throughout the exhibition we struggled also to re-humanize those people who were dehumanized, to show them as real, living people, as people who had loves and hopes and dreams and this is a form of resistance and resilience in Auschwitz that we were able to tell here for the first time.”

But even in the face of heartbreaking stories, the curators—who are immersed in Holocaust education—aim to let viewers draw their own lessons from the memory-laden artifacts.

“At no point in the exhibition do we moralize, not a single point, not even at the end, there is no point where we said, ‘Bad, bad Germans’ or ‘Never Again,’ or fight antisemitism, or any kind of direction,” says Van Pelt. “We do not give any direction for people of how to interpret the material, beyond the fact that we want them to pay attention and learn to pay attention.”

Holocaust education has been mandated for Ontario high schools since 2023, and many Grade 10 History classes are planning to visit the exhibit. There are valid reasons to study the Holocaust, but it can’t be the cure-all for antisemitism or historical amnesia, Salmons believes.

“It’s the most extensively documented, most intensively researched, best understood example of genocide in human history so far. So if you care at all about how and why mass violence happens and how societies can fall apart, it seems like it’s a good place to start,” he said.

“It seems to me that it’s perfectly reasonable that we would spend at least a few hours, a few lessons, examining that and reflecting upon it. That’s quite different though from using a difficult, traumatic emotionally challenging path to create a space where you tell young people what they should think about the world.”

Van Pelt says the curators did not approach donors and promise that they would create an exhibition that would counter Holocaust denial or diminish antisemitism. Rather, they intended to tell a compelling evidence-based story about Auschwitz.

One of the lessons from the Holocaust is that education by itself can’t prevent mass violence, Salmons points out. “We see that just over 80 years ago, a highly educated society that turned its resources against its neighbours and committed this genocide,” he said.

“If you’re serious about the cry of ‘never again’, then take it seriously and change the way you educate. It shouldn’t just be that when you arrive in a Holocaust lesson this is the first time that you talk about human rights or this is the way you stop prejudice or antisemitism. It can be a contribution, but it’s too big a burden to place on one visit to an exhibition or a few lessons in class.”

The post New exhibit about Auschwitz presents the heart-wrenching evidence of loss and destruction—and lets visitors draw their own conclusions appeared first on The Canadian Jewish News.

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Al Jazeera Hit With Defamation Lawsuit by Syrian Jewish Ex-Refugee

The Al Jazeera Media Network logo is seen on its headquarters building in Doha, Qatar, June 8, 2017. Photo: REUTERS/Naseem Zeitoon

A defamation lawsuit was filed against the Qatar-based Al Jazeera media network on Wednesday by Abraham Hamra, a Syrian pro-Israel advocate and lawyer.

According to the lawsuit, which was filed in the US District Court for the Eastern District of New York, Hamra “is a Jewish refugee from Syria, born in Damascus. He fled Syria with his parents and siblings in 1994 at the age of eight, following the partial lifting of restrictions on Jewish emigration by the Syrian regime under President Hafez al-Assad in 1992.”

The Algemeiner obtained a copy of the complaint, which explains that, on Aug. 25, Al Jazeera posted a video claiming that Hamra was paid by the Israeli government to visit an aid site of the Gaza Humanitarian Foundation (GHF), an Israel- and US-backed program that delivers aid directly to Palestinians, operating independently from UN-backed mechanisms.

“This accusation is false in its entirety. Plaintiff has never received any payment, compensation, or financial incentive from the Israeli government or any affiliated entity for visiting aid sites in Gaza,” the lawsuit claims.

“The visit by Plaintiff related to Israel and Gaza was undertaken independently, in his personal capacity, on his own dime, as an advocate for his community and to bear witness against misinformation,” the suit continues.

The UN and critics of Israel have expressed concerns that the GHF’s approach forces civilians to risk their safety by traveling long distances across active conflict zones to reach one of its four food distribution points, at times creating chaotic scenes where Israeli forces have used gunfire to control the crowd.

However, supporters of the GHF argue that it bypasses the Palestinian terrorist group Hamas, which often steals humanitarian supplies for its own purposes and sells the rest at inflated prices. The GHF has called on the UN to publicly condemn the killing of aid workers in Gaza and to collaborate in order to provide relief to the enclave’s population, accusing the UN of perpetuating a “vast disinformation campaign” aimed at tarnishing the foundation’s image.

The lawsuit notes that the social media post from Al Jazeera, which included the image of Hamra, “cites no sources for the ‘reportedly paid’ claim, and publicly available information about Plaintiff, including his professional bio, social media posts, and known activities, demonstrates he is an independent US attorney with no financial ties to foreign governments.”

Al Jazeera also “failed to conduct even basic fact-checking, such as contacting Plaintiff for comment or verifying the allegation, despite their status as a major media network with resources to do so,” according to the lawsuit.

Al Jazeera did not respond to a request for comment from The Algemeiner.

The lawsuit argues why the allegedly false claim rises to the level of libel, saying it “constitutes libel per se under New York law because it accuses Plaintiff of committing a serious crime, namely, violating FARA [the Foreign Agents Registration Act] by acting as an unregistered foreign agent for Israel, and tends to injure him in his profession as a lawyer.”

“FARA requires individuals acting as agents of foreign principals to register with the US Department of Justice, and failure to do so is a federal offense punishable by fines and imprisonment,” the suit says. “By falsely alleging Plaintiff was paid by a foreign government to promote its interests, the statement implies criminal conduct and undermines his professional integrity.”

Consequently, Hamra is seeking payment for damages of at least $1,00,000 and requesting a trial by jury.

Read the lawsuit here: Hamra v Al Jazeera ECF No. 1 Complaint

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US Lawmakers Launch Investigation Into Wikipedia Over Claims of Systemic Anti-Israel Bias

Nancy Mace (R-SC) (Source: Reuters)

US Rep. Nancy Mace (R-SC). Photo: Reuters

The US House Committee on Oversight and Government Reform has opened an investigation into the nonprofit that operates the Wikipedia website, demanding answers over concerns that hostile foreign actors are exploiting the popular online encyclopedia to spread anti-Israel propaganda and antisemitic narratives.

Republican Reps James Comer (KY), who chairs the committee, and Nancy Mace (SC), who chairs the panel’s subcommittee on cybersecurity, information technology, and government innovation, on Wednesday sent a letter to Maryana Iskander, chief executive of the Wikimedia Foundation, asking the nonprofit to turn over records showing how the platform polices disinformation campaigns that target articles related to Israel and the Middle East.

The lawmakers cited studies showing that pro-Russia networks and other state-backed operations have sought to manipulate Wikipedia entries on conflicts involving Israel, often by inserting anti-Israel or antisemitic framing designed to sway Western audiences. The Anti-Defamation League (ADL), for example, published a report earlier this year arguing that “malicious” Wikipedia editors have inserted anti-Israel bias onto the site, oftentimes violating the organization’s neutrality policies in the process.

Meanwhile, a report from the Atlantic Council’s Digital Forensic Research Lab found evidence of Russian-linked attempts to shape narratives used to train AI chatbots by twisting information about Israel.

“The Committee on Oversight and Government Reform is investigating the efforts of foreign operations and individuals at academic institutions subsidized by US taxpayer dollars to influence US public opinion,” Comer and Mace wrote. They emphasized the importance of stopping organized attempts to “inject bias into important and sensitive topics.”

Specifically, the committee is demanding records on possible coordination by nation-states or academic institutions to influence Wikipedia pages, internal arbitration files documenting how the site has handled editor misconduct, identifying data for accounts flagged for suspicious activity, and any analysis showing patterns of manipulation tied to antisemitism or the Israeli-Palestinian conflict. The letter also requests details of Wikipedia’s editorial policies to ensure neutrality and prevent the spread of bias.

Although the committee acknowledged that most online platforms face disinformation threats, the letter stressed that Wikipedia’s outsized influence as one of the most visited websites in the world and a key training source for artificial intelligence systems makes it especially important to prevent anti-Israel narratives from taking root unchecked.

The Wikimedia Foundation has previously stated that it takes action against volunteer editors who violate neutrality rules, but lawmakers say further transparency is needed to guarantee accountability.

However, a detailed investigation by Pirate Wires in October 2024 revealed that a powerful group of roughly 40 Wikipedia editors coordinated to “delegitimize Israel, present radical Islamist groups in a favorable light, and reshape the narrative around Israel with alarming influence,” particularly after the Hamas-led Oct. 7, 2023, massacre across southern Israel. Notably, one editor removed mention of Hamas’s 1988 charter, which calls for the killing of Jews and the destruction of Israel, from the Hamas article just six weeks after the attack. The group also reportedly sought to suppress documented human-rights abuses by Iran, and a related effort by a Discord-based collective known as “Tech For Palestine” coordinated mass editing of articles related to the Israeli-Palestinian conflict.

According to a report by the Jewish Journal, Wikipedia’s arbitration committee (ArbCom)  permanently banned two editors outright for engaging in off-platform coordination tied to the “Tech for Palestine” Discord campaign, citing violations of policies. Additionally, the committee imposed indefinite topic bans on eight editors in the Israeli-Palestinian area for disruptive behavior such as non-neutral editing, personal insults, and misrepresentation of sources. In December 2024, ArbCom permanently banned two anti-Israel editors and placed restrictions on three others for violation of site policies in the Israeli-Palestinian topic area.

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Tunisian Brothers to Face Trial for Cutting Down Olive Tree Honoring Murdered Jew Ilan Halimi in France

A crowd gathers at the Jardin Ilan Halimi in Paris on Feb. 14, 2021, to commemorate the 15th anniversary of Halimi’s kidnapping and murder. Photo: Reuters/Xose Bouzas/Hans Lucas

Two Tunisian twin brothers have been arrested in France after allegedly cutting down an olive tree that had been planted to honor Ilan Halimi, a young French Jewish man tortured to death nearly a decade ago.

According to the Bobigny prosecutor’s office, two 19-year-old undocumented men with prior convictions for theft and violence were arrested for vandalizing Halimi’s memorial in the northern Paris suburb of Épinay-sur-Seine.

Both brothers appeared in criminal court on Wednesday and were remanded in custody pending their trial, scheduled for Oct. 22.

They will face trial on charges of “aggravated destruction of property” and “desecration of a monument dedicated to the memory of the dead on the basis of race, ethnicity, nationality, or religion,” offenses that, according to prosecutors, carry a sentence of up to two years in prison.

Both suspects were taken into custody around noon on Monday while returning to the crime scene, French media reported.

Investigators tracked them down after discovering two slices of watermelon left by the perpetrators at the base of the olive tree, which contained their DNA.

Halimi was abducted, held captive, and tortured in January 2006 by a gang of about 20 people in a low-income housing estate in the Paris suburb of Bagneux.

Three weeks later, Halimi was found in Essonne, south of Paris, naked, gagged, and handcuffed, with clear signs of torture and burns. The 23-year-old died on the way to the hospital.

In 2011, an olive tree was planted in Halimi’s memory. Earlier this month, the memorial was found felled — probably with a chainsaw — in the northern Paris suburb of Epinay-sur-Seine.

Halimi’s memory has faced attacks before, with two other trees planted in his honor vandalized in 2019 in Essonne, where he was found dying near a railway track.

Hervé Chevreau, the mayor of Épinay, announced that a new memorial tree will be planted in the second half of September.

After the attack, French President Emmanuel Macron condemned the incident, vowing that the perpetrators would be brought to justice.

“Felling the tree in honor of Ilan Halimi is a second attempt on his life,” the French leader said in a post on X.

Halimi’s sister, Anne-Laure Abitbol, also condemned the incident, warning that public denunciations are no longer enough and calling for concrete action.

“In France, we are no longer safe, neither alive nor dead,” Abitbol told RTL in an interview.

“I feel less safe in France,” she said. “By recognizing a Palestinian state, Macron is encouraging antisemitism and failing to take action against antisemitic attacks in the country.”

Last month, Macron announced that France will recognize a Palestinian state at the United Nations General Assembly in September as part of its “commitment to a just and lasting peace in the Middle East.”

Israeli officials have criticized the move, which was followed by several other Western countries, calling it a “reward for terrorism.”

France’s Jewish community has faced a troubling surge in antisemitic incidents and anti-Israel sentiment since the Hamas-led invasion of and massacre across southern Israel on Oct. 7, 2023.

Jewish leaders have consistently called on authorities to take swift action against the rising wave of targeted attacks and anti-Jewish hate crimes they continue to face.

According to the French Interior Ministry, 646 antisemitic incidents were recorded from January to June this year — a drop from the previous year’s first-half record high but a 112.5 percent increase compared with the same period in 2023, when 304 incidents were reported.

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