Topographies/topologies of the camp: Auschwitz as a spatial threshold

This paper, largely inspired by Giorgio Agamben’s conceptualization of the camp, reflects on the relationship between the ‘topographical’ and the ‘topological’ in reference to Auschwitz-Birkenau and its spatialities. After having discussed the concept of soglia (threshold), we briefly introduce the ways in which the historiographical literature on the Holocaust treats the relationship between modernity, rationality, and Nazism. The second part of the paper is dedicated to an attempt to read ‘geographically’ the entanglements between the camp, Nazi spatial planning, bureaucratic rationalities, and the Holocaust. The notion of the camp-as-a-spazio-soglia is central to this interpretation. Auschwitz, conceived as a metaphorical and real space of exception, is contextualized within the broader regional geography planned by the Nazis for that part of Poland; while ‘Mexico’, a specific compound within the camp, is described as a key threshold in the reproduction of those very geographies. The aim is to show how the topological spatialities of the camp were a constitutive element of the overall biopolitical Nazi project of ‘protective custody’ and extermination and that, for this reason, they deserve further investigation and need to be discussed in the relation to the crude calculative and topographical aspirations of that same project.     

The Green Matzevah

ABSTRACT

This article examines the extent to which historical memory, including the symbolism of Auschwitz-Birkenau, can be considered not only in terms of its close connections to both Polish and Jewish national and political imaginaries, but also in terms of its entanglements with survivors’ memories of nature. I analyse the presence of the post-camp space of Auschwitz-Birkenau in Helena Birenbaum’s poetic testimonies. This is a space that has often been described as tainted and contaminated while being treated as a lifeless “landscape of death” and cemetery. Readings of Birenbaum’s testimonial poetry alongside archival and field research conducted at the Auschwitz-Birkenau Memorial and Museum have enabled me to talk about grey and green camp’s landscape. I have sought to demonstrate that such spaces function in Auschwitz testimonies under the cover of metaphorical constructions and poetic images that I call “the green matzevah,” that contain significant analytical and empirical potential. I explore how the camp’s dead grey zones have over the years turned into green matzevahs, i.e. terrain that has experienced post-traumatic curating by invasion of plants. I argue that drawing attention to the world of nature as represented in testimonies can expand knowledge of the camp, challenging the martyrological framing that prevailed under communism and help to imagine how to preserve a memory of this place when there are no human witnesses.     

The Politics of Nature at the Former Auschwitz-Birkenau Concentration Camp

ABSTRACT

This article seeks to develop a new approach in Holocaust studies, namely an environmental history of the Holocaust. A case study of the former concentration camp at Auschwitz-Birkenau demonstrates the extent of the entanglement of the politics of memory and the politics of nature, or political ecology, to use Bruno Latour’s term. I suggest that memorials should be treated as an environment, and thus explored as an assemblage of human and nonhuman (f)actors. Analysing both the official preservation strategies adopted by the Auschwitz-Birkenau Memorial and Museum as well as artistic projects (including ?ukasz Surowiec’s Berlin-Birkenau), I consider commemorative practices’ environmental impact. My investigation thus primarily focuses on the role of the figure of the tree-as-witness in preservation work and in the use of powerful herbicides (namely Roundup) in preserving traces of the camp. This study could open the way to further comparative studies of ecocide and genocide.