Although the following are individual projects undertaken by Another Space, they are connected through common themes and artistic collaborations and share a reciprocal relationship with each other.
Holocaust & Memory Reframed – Parts 3 and 4
Part 4 – Yromem
Miroslaw Balka concluded this project with a powerful installation entitled ‘Yromem’.
The installation “yromem” in 2017 included three pieces. As you entered the gallery, a pencil drawing “Modulor/AF/1944 – 2015” referenced the architect Le Corbusier’s Vitruvian Man. Anda Rottenburg describes how Miroslaw “blew up the original 1943 Modulor drawing to life-size dimensions. He added one small line at the height of 162.5cm, Anne Frank’s height, just before she was deported to Auschwitz”. Anda Rottenburg, Pursuing Meaning, Fleeing Meaning from CROSSOVER/S catalogue, Pirelli Hangar Bicocca, 2017.
mapL projects a video recording of “looking through a camera at a schematic map of Lublin at the museum in Majdanek with, marked on it, places of executions and places of segregation and internment marked in red and black”. Marek Gozdziewski, from Fragment catalogue, Centre for Contemporary Art, Warsaw 2011.
The map was projected onto salt contained within a steel frame. For Miroslaw, salt is a very important material – it’s use reflecting “more globally for European Culture to the area around the Dead Sea in Israel” and by referencing it to “dry tears”.
A second drawing Concentration Camp was made using charcoal in the second half of the 1970s. This was produced after Miroslaw’s first visit to the remains of the concentration camp, Majdanek near Lublin whilst he was at primary school. It contains the iconic images that are related to the Holocaust – the barack, the watchtower and the chimney. These “terrified” Miroslaw but became “elements of a very important vocabulary” for him.
Part 3 – Hidden Threads
The third exhibition from July 6 – August 27, as part of the Holocaust & Memory Reframed Project, was by Heather Belcher, a renowned Textile artist. Her exhibition featured an overcoat, modelled on one made by Mayer Hersh, a child Holocaust Survivor who had stayed in the Lake District in 1945. The exhibition showed just how powerful the links are between clothes, memory and history.
Holocaust & Memory Reframed – Parts I and 2
Part I – The Memory Quilt
The first exhibition from 9 June to 3 September 2016 was The Memory Quilt – a series of four hangings, sections of which were made by some of the Holocaust Survivors and their families.
Part 2 – Breath becomes Air
Breath becomes Air, was an installation by Ian Walton displayed from 9 September to 29 October 2016. Ian travelled to locations in Krakow and Prague during which he encountered Auschwitz Birkenau and Theresienstadt. It is notable that he made these journeys unknowingly at the same time as LDHP was emerging in Windermere. This synchronicity is heightened by the fact that that there were children from Poland and Hungary amongst those who came to Windermere in 1945, and a significant number of the three hundred children had passed through Auschwitz before being finally liberated at Theresienstadt.
‘Flowers of Auschwitz’
The exhibition and a garden project in the grounds of the library were inspired by the book of the same name, ‘Flowers of Auschwitz’ by Zinovii Tolkatchev, a solider and artist. Tolkatchev was one of the liberators of Auschwitz Birkenau and his drawings of the surviving children, made at the time, have remarkable tenderness and compassion.
The project, by Trevor Avery and Rose Smith, linked a nursery garden and farm at Rajsko in Poland with the LDHP in Windermere. It looked at the beginnings of the nursery garden and its proximity to Auschwitz Birkenau State Museum and provided a link to the iconic book.
In the 1940s an old schoolhouse at Rajsko marked the entrance to a vast complex of greenhouses that Jewish prisoners, imprisoned some two miles away at Auschwitz Birkenau, built and worked in. They were initially used to grow a variety of dandelion for experiments with the production of a synthetic rubber. Later vegetables and fruit were grown specifically for the Nazis who lived and worked at Auschwitz and other concentration camps in the surrounding area.
Although there is now a commercially run garden nursery growing geraniums and chrysanthemums in adjacent buildings, the original greenhouses have remained virtually untouched since 1945.
The exhibition ‘Flowers of Auschwitz’ told the story of these greenhouses, with images and footage of the site put on public display for the first time in the UK. In the garden a colour coded selection of flowers and shapes were planted by over 50 primary school children from Windermere.
Exhibition & Project supported by Arts Council England
A CCTV camera beamed footage from the out of bounds basement of the library building onto a monitor placed, under Miroslaw Balka’s direction, in the window of the main gallery where the permanent exhibition From Auschwitz to Ambleside is displayed.
Both the careful positioning of this monitor within the gallery and the film itself created a dialogue with the darkness of the haunting moving film “Nacht und Nebel”, a second film by Balka. ‘Nacht-und-Nebel’ was a secret Nazi operation that started in 1941 where thousands of people ‘disappeared’. The film was shot during a foggy night in January 2014 in a forest near the artist’s studio in Poland.
Subtle relationships were created between the darkness and the passage to the light, both figuratively and literally.
The basement carries with it the chill spectre of an unidentified presence and creates an immediate atmosphere between light and dark, hot and cold, preservation and decay, freedom and captivity. This basement is not accessible and yet we can see it through the lens of a camera. We look into a forbidden, unknown space.
The symbolism of the basement film and DVD “Towards the Light” is more complex than first appears and is infinitely more so when set against the film “Nacht und Nebel” which was exclusively on loan for display in late 2015.
From Calgarth to Windermere – the Droomer Estate
Further information is available at
Droomer Estate, a classic “council estate” of the immediate post war era, was built on the outskirts of Windermere as part of the British Government’s national mass housing programme of the time. However this was a post war housing development with a unique and significant difference tied in with the aftermath of World War Two.
The temporary war time estate at Calgarth that housed both workers at the Flying Boat Factory and, at the end of the war, child Holocaust Survivors, was eventually demolished and many of its inhabitants moved to the Droomer Estate in the early 1950s.
This project involved interviewing and collecting oral histories from residents and research at local and national Archives.
FLYING BOATS AND FELLOW TRAVELLERS
This project involved collecting oral histories from people associated with the WW II Sunderland Flying Boat Factory and the associated housing estate at Calgarth in the Lake District.
For further information please visit
The Tier Project 2012
How does it feel to be a refugee in a strange place? Nothing looks familiar, the language is hard to understand and although relieved to have escaped danger, the future is uncertain and frightening.
The TIER initiative was a schools and education workshop where children were introduced to Nowhereland. They were introduced to personalized passport controls and ID cards before living out, through role playing, real examples of refugees to the UK who were escaping danger and hardship.
TIER – Tolerance Inclusion Education Resource – was funded by Awards for All
The Paradise Project 2012
Over five hundred children from throughout South Lakeland and a powerful contribution from children in Poland saw each child producing a specially commissioned painting on canvas. They presented their version of paradise, a 21st Century take on an age old notion.
Their work was dedicated to all those children who suffer at the hands of cruelty and prejudice wherever they may live.
This Arts Council England supported exhibition was exhibited in nine venues across the region including a central hub at the newly established base for Lake District Holocaust Project in Windermere.
Where once we walked
Where Once We Walked is part of a long-term collaboration with sound artist Mark Peter Wright. A live performance premiered the work on September 15th 2011, St Mary’s Church, Windemere UK. The performance was based entirely upon location recordings gathered from the Polish homes, villages and surrounding environments of the child Holocaust Survivors who came to the Lake District in 1945.
The listeners were guided through an auditory mosaic of fields, monasteries, streets and ceremonies, of the places and people ‘where once we walked’. To coincide with the performance a limited release of 150 CD copies were also produced. The work has also been performed and broadcast at the Tate Britain (UK) and Helicotrema Festival (Italy). An extract can be heard at:
The Lost Village of Calgarth 2009
Just what lies below the surface? A unique project that involved John Gater and his geophysics equipment saw his expertise utilized at the former site of Calgarth Estate, now Lake School.
The foundations and ruins of the former housing scheme emerged onto a computer screen as the results of deep scanning picked up anomalies below ground.
Talking to schoolchildren and surveying pinpointed sections of the former housing scheme resulted in a hugely important step along the road to a full Artaeological journey in the future.
Excerpt from film – John Gater and his geophysics equipment; time late afternoon