Above and Below the Holocaust Landscape
The Lake District Holocaust Project has received a major award of £48,000 from Arts Council England. The two year project titled “Above and Below the Holocaust Landscape” will involve exhibitions in 2019 and 2020 by artists Richard Kolker, Richard White and Lorna Brunstein, and Miroslaw Balka.
These exhibitions coincide with archaeological activities at the former site of Calgarth Estate near Windermere and will explore psychogeographical connections between this Calgarth in the Lake District and its links to locations elsewhere connected to the Holocaust, including Auschwitz and Treblinka.
Reach Over The Wall
Another Space, which produces and manages the Lake District Holocaust Project, has been awarded £9942 towards a unique project that will involve young people in a film project based in and around Windermere.
From Troutbeck to Treblinka
Another Space, which produces and manages the Lake District Holocaust Project, has received a grant from the Heritage Lottery Fund (HLF) as part of a project to carry out an archaeological survey and dig at the site of Calgarth Estate, a unique historical Second World War location with a dramatic link to the Holocaust. It was home to three hundred Jewish child Holocaust Survivors on their arrival in the Lake District in 1945.
The survey and dig will be carried out at the Lakes School in the summer of 2019. The school stands on the former site of the wartime workers housing scheme of Calgarth Estate. The estate was originally built in 1942 to house workers at the nearby Short Sunderland “Flying Boat” factory at White Cross Bay, and was gradually demolished over time until it finally disappeared in the mid 1960’s.
The survey and dig will take place over the summer and autumn of 2019 and will see wide ranging opportunities for people to work closely with one of the country’s leading archaeologists. There are great opportunities to get involved as volunteers to learn about all aspects of excavation, conservation, and exhibition work.
The archaeology will be led by world renowned archaeologists Caroline Sturdy Colls and Kevin Colls, and will include a cutting edge technological survey to identify what remains of the estate lie hidden below ground. This will be followed by excavations that will focus on uncovering the remains of hostel accommodation on the estate that slept single workers from the factory.
Caroline Sturdy Colls is an acknowledged expert in her field and is Professor of Conflict Archaeology and Genocide Investigation at Staffordshire University. She completed the very first archaeological surveys of the former extermination camp at Treblinka (Poland), the sites linked to the Nazi slave labour programme in Alderney (the Channel Islands), and sites in Serbia. Kevin Colls is the lead Archaeological Project Manager at the Centre for Archaeology at Staffordshire University and has directed and published archaeological projects throughout the United Kingdom and Europe. He has 20 years’ experience in research and professional development-led archaeology and his specialist subjects include archaeological field techniques, urban archaeology and forensic archaeology.
Calgarth Estate stood from 1942 to around 1964. It was home to two hundred families and three hundred single workers. It had a school, shops, entertainment hall, and laundry. The single storey houses were nicknamed “Shorts Palaces” by the residents and had indoor bathing and central heating facilities, still rare for working class people in the Lake District in the 1940’s. The estate was eventually demolished and Lakes School opened on the site in 1967, and most of the former residents were rehoused on the then newly built Droomer Estate in Windermere.
Further information is available at
A Place on Earth – The Auschwitz Album
‘A Place on Earth’ at Lake District Holocaust Project in Windermere was from Yad Vashem, the World Holocaust Remembrance Centre, and told the background story to a photograph album that shows in detail the arrival of a transport of Jews to Auschwitz-Birkenau. It was the first time the exhibition had been exhibited in the UK.
Many of the children and youngsters who came to the Lake District in the summer of 1945 had passed through Auschwitz at some point in their horrific journey through the Holocaust so this exhibition is of great significance to the Lake District Holocaust Project.
The photos in the album were taken at the end of May or beginning of June 1944 by Nazi officials.
The photos show the arrival of Hungarian Jews in the summer 1944. For this purpose a special rail line had been extended from the railway station outside the camp to a ramp inside Auschwitz Birkenau itself. Many of the photos in the album were taken on the ramp and also show aspects of the selection process.
Those considered fit for work were sent into the camp, where they were registered, deloused and distributed to the barracks. The rest were sent to the gas chambers.
This exhibition offers some explanation and context for The Auschwitz Album, which is the only surviving visual evidence of the process leading to mass murder at Auschwitz-Birkenau. The album is a unique document and was donated to Yad Vashem by Lilly Jacob-Zelmanovic Meier in 1980.
It is assumed that the album was prepared as an official reference for a higher authority, as were photo albums from other concentration camps.
Holocaust & Memory Reframed –
The aim of the project ‘Holocaust and Memory Reframed’ was to produce a series of international art installations and initiatives based at the Lake District Holocaust Project over two summer and autumn periods in 2016 and 2017.
The four exhibitions look at work that explores aspects of Post Holocaust arts and culture and relate to “the representation of the unrepresentational”.
Fourth & final exhibition for this project: “yromem” – Miroslaw Balka
We are delighted that one of the World’s leading contemporary artists, Miroslaw Balka, agreed to conclude this remarkable two year programme with a powerful installation entitled “yromem”.
Miroslaw lives in Otwock, Poland, a town that, before World War 2, had a very large Jewish population and his work remains rooted in the place of his birth. He deals with both personal and collective memories, especially in relation to his Catholic upbringing and the collective experience of Poland’s fractured history.
Miroslaw has exhibited in leading galleries throughout the world, including the Turbine Hall in the Tate Modern, the Venice Biennale and recently in a retrospective “CROSSOVER/S” at the Pirelli Hangar Bicocca in Milan.
Sir Nicholas Serota, former head of Tate Modern and now Chairman of Arts Council England, describes his work as both “beautiful and unsettling. He suggests that “there could be no finer or appropriate context for one of his exhibitions than the Lake District, the spiritual home of English Romanticism, which also has connections to one of the defining moments of human history, the Holocaust”.
Part 3 – Hidden Threads
The third exhibition Hidden Threads in the series for Holocaust & Memory Reframed displayed the work of Heather Belcher, a leading Textile Artist, from 6 July to 27 August.
Heather, who works mainly in felt, based two of her large scale pieces on a coat which was donated to Platt Hall Gallery of Costume in Manchester. The coat was made by Mayer Hersh one of the child Holocaust Survivors in 1963. Heather visited Platt Hall and took detailed photographs and measurements of the coat for reference for her pieces The Naming & The Named.
Time spent in the company of survivors is time spent in the company of those who experienced and witnessed events that are indescribable and yet these witnesses hold out their hands to us and try to explain, and we hold out our hands to them in the attempt to understand.
We know that they speak not only for themselves but also for those lost in the Holocaust……
As time passes then the question of how we engage with these time led changes is inexorable and we are duty bound to both honour the testimonies and to be a witness on behalf of the witnesses.
The ways in which we can do this will evolve along with the ways that people will engage with the testimonies. It is in this way that the context within which we negotiate with these testimonies will, in a quite profound way, be reframed.
A vital truth that lies at the core of these witness testimonies will remain though. We forget at our peril.
Arza Helfgott – In Harmony
The beautiful sculptural work by Arza was a perfect inclusion in our programme for 2017. For abstract and semi abstract work to function it must be the ideal vehicle for people to look and meditate, and for the impact to reach regions of the mind that are contemplative.
The Auschwitz Dandelion
An individual Arts Council Award to Trevor Avery for exhibition, workshops and publication. Trevor worked with both Rose Smith & Neasden Control Centre. An exhibition was displayed in April and May 2017.
For further details and more photographs about any of these exhibitions please visit
The Alfred Huberman Writing Award
Nearly 500 entries were received from both primary and secondary schools both in Cumbria, Lancashire and as far afield as Surrey and Sussex. The standard was exceptionally high.
The entries were read by officers of the Lake District Holocaust Project and sent to Catherine Edmunds for her judgment and finally to the Huberman family. Catherine is not only a writer and poet but also the daughter of one of the child Holocaust Survivors who came to the Lake District – Jana Tanner – and has written the story of her mother’s experiences in the Second World War in her book My Hidden Mother.
Catherine thought that “the best writing was superlatively good”. The decisions were unanimous and Shirley Huberman and her children, Maurice, Brian & Caroline made the final placement decisions.
More details can be seen at Alfred’s website http://alfredhuberman.com/
and on the Education page at