Lost in Jüdischer Friedhof Weißensee

durational contemplation, 2016-2019

Before Shabbat fell on a summer day in 2016, I got lost in the largest intact and active Jewish cemetery in postwar Europe. Jüdischer Friedhof Weißensee lies in eastern Berlin on Herbert-Baum-Straße, a street named for the young anti-fascist electrician whose martyred body the community buried in 1942 amidst mass deportations. Running between the forested fields of some 116,000 people buried since 1880, searching for the gate I assumed had closed, I experienced radical awe turn to a synesthetic terror. Hyper-aware of the severe security measures protecting Jewish institutions in the city, I was doubly afraid of being mistaken for a vandal and decided, if I were caught climbing out over the mausoleum-lined walls, I would tell the police my grandfather, Fredrich S, is buried inside, and that I became lost, searching for him. To prompt immunity and form a claim where there was violent abstraction. After two years, I returned to Berlin to practice the repercussion.

Beginning with the innate choice of walking to and from, or not walking to and from, the cemetery, my performance work mediates the separation between experience inside and outside the cemetery walls over a sustained six months; a practice conjoined with rabbinic laws that place a boundary of ritual and ways of thinking between everyday life and burial space. I formed my own laws from nervousness, lethargy, fear, and intense concentration: The Weight of My Body Inside Jüdischer Friedhof Weißensee; The Unstable Perpetuation of Daily Law; Empty Heat; and Spleen. I rapidly envisioned, dramatically committed to, and then forgot ritual actions and corollary constraints. I collected hundreds and hundreds of stones in the streets of Berlin while singing and hauled them in great numbers to the cemetery to place on individual graves or entire fields of graves. I sent people I met into the cemetery, or accompanied them, and afterward presented them with a series of questions to answer in writing in their mothertongue. I tracked a recurring pain in my spine and searched for its representation in recurring gravestone images. I found a rusted off car exhaust pipe while walking to the cemetery and archived and lived with it. I collected trash in the cemetery and recorded the names of the person buried nearest each piece and archived and lived with it. I kept the hair that fell from my face and head into books I was reading and archived it. I wrote inside the cemetery upon specific paper sheets, using the words and names from graves to induce statements, lists, poems, public actions.

Western Gallery, 2019

On May 14th, I was returning to Berlin from Warsaw, Poland, the city of my great-grandmother’s birth, when more than sixty nonviolent demonstrators were massacred marching against their exile and mass incarceration in Gaza. On the train, I started to envision a public intervention I would eventually call “Counter-Ruin”, sourced from an image I had co-manifested with/in the cemetery; tens of people picking up stones around the ruins of Anhalter Bahnhof ,a former Nazi deportation site, then carrying them in each hand, en masse, to place on the graves of the thousand of suicides buried in Jüdischer Friedhof Weißensee during the 1942 deportations. The concurrent Great March of Return and retributed massacres purged and relocated the image. In so far as I could be read or read myself as Jewish in Berlin, Gaza was written on my back I wished to make this anxiety public—to ritualize and provoke its intensity—within the larger project’s embrace and thereby insert my body, physically and symbolically, into the racist transnational discourse that vilifies my position or justifies it and pits traumatized communities against each other in the name of it I meant to communicate geographically and socially in real time the terror of lineal entanglement, in the fact of my body moving in relation to other bodies in Berlin. I meant to be ambivalent I moved without stopping my reference.

"Counter-Ruin" by Miguel Azuaga and Robert Yerachmiel Sniderman (2018)

Exhibition History

2019, 'Lost in Jüdischer Friedhof Weißensee', Western Gallery, Western Washington University, Bellingham, the United States of America (curator: Hafþór Yngvason)

2019, 'Jewish Geographies: Jewish Space in Contemporary Art', Center for the Arts, University at Buffalo, the United States of America (curator: Benjamin Kersten)


Publications by Artist

"Lost in Jüdischer Friedhof Weißensee" in The Offing, April 2019.

"Counter-Ruin" in Protocols, Issue #3 Borders, 2018.


Artist Talks

2025, 'walk listen café: Politics of Walking: Grief, Solidarity, and Resistance' (with Babak Fakhamzadeh, Nohad El Hadj, Marta Moreno Muñoz, Tom Jeffreys), Action Synergy / WALC (Walking Arts & Local Communities), online

2024, 'DO NOT UPROOT: Artists’ Talk on Palestine/Israel After October 7th' (with Joanna Rajkowska), Lokal 30, Warsaw, Poland

2022, 'Tisch #16 with Robert Yerachmiel Sniderman: Toward a Performance of the Undead at Karl Abraham's Grave', Tisch University, House of Taswir, Berlin, Germany

2022, 'Reading: Lisa Fishman, Natalie Lyalin, Eugene Ostashevsky, Robert Yerachmiel Sniderman', A Jewish Literary Sabbath: A Mini-Symposium, Woodland Pattern, Milwaukee, the United States of America

2019, 'The Aesthetics of Multidirectional Memory: Robert Yerachmiel Sniderman in conversation with Jason Groves', Western Gallery, Western Washington University, Bellingham, the United States of America

2019, 'Whereby the Present Haunts Itself' (with Yanara Friedland, Tom Haviv, Jane Wong), &Now Festival of Experimental Writing, University of Washington Bothell, Bothell, the United States of America

2019, 'Lost in Jüdischer Friedhof Weißensee', Jewish History Museum, Tucson, the United States of America

2018, 'Lost in Jüdischer Friedhof Weißensee: Site Work and Counter-History', 2018, Institut für Kunst im Kontext, Universität der Künste, Berlin, Germany


Interviews, Reviews, Criticism

Sarah Adler, "Do not uproot! Palestine will live!" in The Body Called Palestine. Kolkata: Benjamin's Double Collective, 2025

Almut Sh. Bruckstein/House of Taswir, "Not in Our Name! Free Palestine. From the River to the Sea" in Jadaliyya, Arab Studies Institute, 08 January 2025

A.S. Bruckstein Çoruh / House of Taswir, "Dream Text: Gaza Walks: Performances in Broken Pieces" in Art Unlimited. Istanbul: Unlimited Publications, March 2024

Juliette Samman, "Robert Yerachmiel Sniderman: Depoliticizing identities helps them flourish" in One Democratic State Initiative, 2024

Julie Carr, "Episode 3: The first principle is the principle of Lostness: Robert Yerachmiel Sniderman" in Return the Key: Jewish Questions for Anyone, 2024

Sarah Adler, "Do not uproot! Palestine will live!" in The Berlin Left, 21 January 2024

Sa'ed Atshan and Katharina Galor, The Moral Triangle: Germans, Israelis, Palestinians. Durham and London: Duke University Press, 2019

Jason Groves, "Unlost in Jüdischer Friedhof Weißensee" in Feedback, London: Open Humanities Press, 4 December 2019

The Moral Triangle

Germans, Israelis, Palestinians

2020 | Duke University Press

Credits

Supported by the German Academic Exchange Service (DAAD) and Kristina Leko's Colloquium for Experimentation and Intervention in Public Spaces, Institut für Kunst im Kontext, Universität der Künste Berlin.

Special thanks to the direct participation of Miguel Azuaga, Nina Berfelde, Sophia Deeg, Wanda Growe, Redone Jabal, and Kristina Leko in the two walks documented here. Additional thanks to Majed Abusalma, Juan Camilo Alfonso, Matthew Daniel, Yanara Friedland, Dirar Kalash, Claudette Lauzon, Adi Liraz, Катя Маат, Nahed Mansour, Marta Sala, and Anastasia Usatova for helping with conceptualization and ethics.

Photography of walks: Nina Berfelde

Western Gallery photography: Payton Dickerson

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