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3: THE MATERIALITY OF THE BERLIN WALL walk away from the station building I wonder if this was the street Nina rushed through to shake off her stalker and get to the station. Memorials and Museums There are also several memorials and museums in Berlin dedicated to the Berlin Wall, serving a myriad of functions and purposes. They vary from large structures and monuments to small installations or plaques. There are different aims behind many of the sites dedicated to the Wall in Berlin today. Many are aimed to accommodate the remembrance of the Wall itself as well as the period and the people that were affected by its presence. In the Documentation Centre by Bernauer Straβe I find the names of the confirmed 70 people that were killed trying to cross the border area, at Strelizer Straβe I find plaques commemorating the tunnel that was built in 1962 bringing 59 people over whilst 1 was killed and by Tempelhof Airport I encounter the Berlin airlift monument. Near the Reichstag building the memorial Weisse Kreuze, White Crosses, has been installed to commemorate some of the people that died trying to cross the border. Other sites are have more of an art character such as the Parlament der Bäume, Parliament of Trees, and these often reuse the material of the wall itself as part of its fabric. Figure 12: A reconstructed section of the Berlin Wall at Bernauer Strasse Memorial at the Documentation Centre. Photo: Anna McWilliams. 63
AN ARCHAEOLOGY OF THE IRON CURTAIN Many sites also aim to inform visitors and the younger generation that never experienced the wall themselves about the period, the political circumstances and the border itself. There are two main museums: the Documentation Centre at Bernauer Straβe which is Berlin’s official museum of the Berlin Wall and the Haus am Checkpoint Charlie, which is a private museum. The stories told in the different places range between factual information about the wall itself and personal stories of people affected by the wall. The Documentation Centre, where research is also carried out, has a more academic background whilst the Haus am Checkpoint Charlie is based more on commercial grounds. Although some of the stories told at the different museums are based on the same facts the different approaches makes for two very different museums. At the Documentation Centre we find an exhibition where the visitors are allowed a lot of their own space and thoughts in order to process the information provided through information boards, photos and films. The reconstructed sections of Berlin Wall in their original place also help make the wall seem more real here (Figure 12). The site appeals to both people who have personal memories of the wall as well as visitors. “Sometimes I go to Bernauerstrasse just to remind myself of how it really was” I was told by one woman from the former GDR at the site. But others are critical to the reconstruction here. Axel Klausmeier, the director of the Documentation Centre, explains how people have such different experiences of the wall that it is difficult to create a memorial that will please everyone. He also says that for many people in East Berlin the wall was so inaccessible to people during its time as a divider that memorials connected to the wall itself does not really hold much importance to them (Klausmeier, 2009, pers. comm. 16 th February). At the Haus am Checkpoint Charlie the emphasis lies on the experience of your visit (Figure 13). The stories here may be sold to you in a more sensationalistic way but the impressions you get here stay with you. This aim of providing an “experience” of the Berlin Wall may not always consider complete authenticity, especially in the exhibited material, but is more aimed at selling the stories to the visitors. As I walk through the Haus am Checkpoint Charlie I suddenly find myself amongst a group of American teenagers, probably around 14–15 years old. They move through the museum at a quicker pace than me and I decide to tag along, curious of their conversations as they experience the wall history. They are preoccupied with the exhibition and take no notice of me, in fact it is quite interesting to see how much the exhibition catches their interest. As they move along they pick up information from the different boards but in particular they look at the large scales photos of people escaping, or failing to do so, across the Berlin Wall. As we go along, 64
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An Archaeology of the Iron Curtain
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An Archaeology of the Iron Curtain
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Contents Acknowledgements 11 CHAPTE
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The end of a journey 212 Sammanfatt
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Page 30 and 31: 1: INTRODUCTION World War II dividi
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Page 36 and 37: 2: A PHYSICAL METAPHOR The changing
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AN ARCHAEOLOGY OF THE IRON CURTAIN
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CHAPTER 5 Case Study 2 The Czech/Au
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5: CASE STUDY 2: THE CZECH/AUSTRIAN
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Figure 55: Bunker near the crossing
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Figure 59: Military map from 1980 o
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CHAPTER 6 An archaeology of the Iro
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6: AN ARCHAEOLOGY OF THE IRON CURTA
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Sammanfattning (Summary in Swedish)
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SAMMANFATTNING En fysisk metafor I
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SAMMANFATTNING komst och kunskapsf
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SAMMANFATTNING Fältstudier av läm
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SAMMANFATTNING som försöker ta si
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SAMMANFATTNING mets dilemma”. Han
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Södertörn Doctoral Dissertations
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33. Sofie Bedford, Islamic activism
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67. Anne Kaun, Civic Experiences an
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Stockholm Studies in Archaeology Se
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29. LINDGREN, Christina. 2004. Män
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The Iron Curtain was seen as the di
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