VISIONS OF RE-CREATED SHTETL: IMAGES & DESTINIES

 SPACE, IMAGES, PEOPLE

Essays series about  new historical museum in Lithuania

Part 1 analysing the architectural aspects of the museum can be read here – https://www.innarogatchi.com/?p=824

Part 2. IMAGES & DESTINIES

 INTERIOR DESIGN AND ITS IMAGINARY 

None from many international visitors to the Lost Shtetl Museum in Seduva, Lithuania special commemorative event for the victims of the 1941 massacre in August 2025, almost a month prior to the museum’s official opening, was prepared for the level of sophistication of its interior design and permanent exhibition that we saw.

Top-notch quality of presentation, advanced modern interior design produced by the leading in the world the US RAA,  Ralph Appelbaum Associates managed to encapsulate the story of the Shoah in the concrete shtetl in Seduva, one of over 200 shtetls that had been all around Lithuania before WWII, into a wide context of the Shoah as such. The number of the shtetls in Lithuania varies according to different experts and institutions, between 200 as it is indicated in the museum’s core exhibition, 270 according to the Yad Vashem Black List of the Depopulated Jewish Villages in the WWII,  and about 400 as it is cited at the Litvak Heritage site. 

Core exhibition at the Lost Shtetl Museum. (C) Inna Rogatchi. 2025.

 Nothing has been missed in the narrative of the core exhibition of the museum. In an extrapolated way, the presentation of the ultimate tragedy of Jews from a small place in northern Lithuania tells about so many of them in a heart-warming detail, tactfully and simply, with  love which is palpable in the entire story. One can say that the Lost Shtetl museum in its many parts, aspects and details projects two significant lines: attention to detail and love to the people. And one does not see a lot of it in historical museums, especially newly opened ones. 

In this way, the story of Jews of Lithuania gets on the universal orbit of the Shoah in general and of the intentional and methodical murder and annihilation of Jews of Europe. This essentially important line comes from the permanent exhibition in the new Lost Shtetl Museum in Lithuania clearly and strongly, but not too pressurising. It comes in a technically elaborative and truly very well done way, placing the narrative of the events almost a century old ( as there are plenty of pre-war stories, very justly) in a superbly modern way. And it does the trick of grabbing a visitor’s attention and keeping it. 

I was especially touched by the animation on the floor of the main gallery of the museum. The children’s drawings that the curatorial group of the museum produced as a result of their educational program, are bringing an absolutely right and very fine accent into the whole presentation, which is  filled with photos of all sizes , all kinds of high-tech installations, all of them at the place and tasteful, and authentic artefacts, including , admirably, many donations by the descendants of the Seduva and other Lithuanian Jews from all around the world , which all treated with respect and love, as it should be.

But those appearing – disappearing – re-appearing different charming kids’ drawings that have their own  non-stop dance on the floor  of the main gallery , brings so much of life and gentleness into the heavy pile of difficult, sad and tragic facts told and shown in the main gallery hall, the centre of the core exhibition. This gentle dance of unpretentious children’s visions which is an integral part of life in general, perceived from that floor like a soundless melody, a thin and delicate, as an enlightening thread of life that re-appearing once and again after its total disappearance. Very thoughtful and gently beautiful, to me.

The museum contains nine galleries, and many people were deeply impressed by truly haunting The Last Journey which has been truly masterly designed. 

The Last Journey gallery. (C) Liana Jagniatinsky. 2025.

To counter-balance that inevitably haunting emotions at the museum that tells about the life interrupted and annihilated, there is a very welcoming design of the foyer where all known shtetls of Lithuania are presented in a beautiful way. There was not a single person in a jam-packed museum’s premises at the pre-opening event in August 2025 who was not touched by this steady light coming from the wall of Jewish communities. 

Hall of Jewish Communities of Lithuania. (C) Laura Refelt Sobel. 2025.

In general, the way and level of the interior design and its production at the  Lost Shtetl Museum, as well as the presentation of its permanent exhibition affects the visitors to its best. ” It is just great, very informative and so modern” – said to me a dear friend and colleague, MEP Petras Austrevicius who did travel to the event specifically, and who was grasped by everything he saw, as we all were.

The interior design and the core exhibition for this new museum envisioned and produced by Rick Sobel and his RAA, Ralph Appelbaum Associates, team, is simply superb.

Rick Sobel, who led his RAA, Ralph Appelbaum Associates team in their work on the Lost Shtetl Museum interior design and core exhibition, at the special pre-opening event at the museum. August 2025. (C) Laura Refelt Sobel.

The Beauty of Remembrance: Exclusive Exhibits

 Inside many galleries of the new Lost Shtetl Museum which opens in September 2025, there are a couple of places which are tactfully located a bit off the mainstream route of the core exhibition. The place that refers to a synagogue is quite special to me.

Its design is suggestive, simple but not simplistic. It features some elements of a Judaic religious rite and some symbols, all explained. It is equipped very well with all high-end technical tools belonging to the modern museums.

Synagogue Hall. (C) Inna Rogatchi. 2025.

Such a quiet place for meditation and a thought-corner, often in the form of a synagogue-prototype can be found in many Jewish and Holocaust themes museums world-wide, such as Jewish Centre in Oswieciem ( the town itself, not the camp), or the big and justly famous recreated synagogue in the  POLIN Museum and many others.

But one magnificent exhibit in the Synagogue Hall of the Lost Shtetl Museum made it exceptional. In the centre of an intimate synagogue hall, there is a purposefully extra-large superb box of pure beauty.

Aron Kodesh, Torah Ark, an exclusive exhibit at the Lost Shtetl Museum in Seduva. (C) Inna Rogatchi. 2025.

It is a modern-day crystal-engraved replica of a very special  Jewish art and ritual object, wooden Torah Ark, Aron Kodesh, which was made in the early 19th century for the synagogue in Valkininkai, 50 km from Vilnius. 

As it happened, luckily, at some stage that magnificent  Ark which was the subject of general and registered admiration,  was photographed, with few very old photos surviving, incredibly.  That has permitted the museum’s team and commissioned artists to reconstruct, or actually re-create it in the new material, with new  light effect, and, above all, with added metaphorical deep meaning that came with time perspective.

There is no synagogue today, not in Valkininkai, nor in Seduva, where there also were two large synagogues, or, for that matter, nowhere in over  200 shtetls all over Lithuania which all had been whipped out completely and cruelly in 1941 and thereafter.

There are also a very few Jewish people left in Lithuania, with many of us visiting the places of our families regularly, but still, there is a huge void in the sense of life and spirituality which is simply insuperable, and this is the fact of life and history.

Detail of an engraved and enlightened modern Aron Kodesh, Torah Ark, at the Lost Shtetl Museum. Seduva. (C) Barbara Kirshenblatt- Gimblett. 2025.

The beautiful, fine and enlightened crystal-engraved replica of Aron Kodesh in the museum’s Synagogue hall projects engaging echo of the core of Jewishness reflected in the authentic for Lithuanian Jewish cultural and artistic tradition ( in the same way of authentic finery and beauty as it is very successfully done in the POLIN with regard to the parts of the museum telling on artistic tradition and its characteristics in the Polish Jewish religious rites and customs).

This very special piece of art attracts attention and keeps it. The technique itself is very demanding. I have followed it for years, among the other subjects of applied Jewish art. The crystal engraving is traced to the Venice school of engraving since the 13th century  ( after it first appeared in  Europe in France a bit earlier). Continuing the non-interrupted tradition in Venice ever since, there is also a special Jewish branch of it, some great masters who are producing beautiful artistic Jewish-themes engravings still today.

To make it in the size  and in the detail in which it is done for the exhibit in the  Lost Shtetl Museum is a colossally demanding job, and it is a great craft, even if it is done with the help of machinery, not entirely by hand. This job was done extremely well.

The lighting for the Torah Ark t is also done both professionally and thoughtfully , as it does create, additionally to general lighting, a volume- and 3D-effects , which are bearing an extra-message in such subject as Aron Kodesh, adding there an extra-dimension of the layers of enlightened time and memory of the life and people destroyed.

This special and beautiful modern art subject re-creating the disappeared wooden Torah Ark of destroyed synagogue of eliminated shtetl in Lithuania truly enlightens our and future generations memory in a fine and beautiful way.

As my dear friend and good colleague, director general of the Lithuanian National Museum of Art Dr Arunas Gelunas mentioned after observing the  museum, “ it is a great gift to Lithuania, in many senses”.  And this beautiful modern Aron Kodesh evokes the same response.

Quiet Whispers of the Heart:  the Soul-talk of the Original Art

The visual narrative of modern museums is getting increasingly challenging: where is the right balance between a top-notch end of the constantly developing hi-tech solutions and steady unique images of traditional art? Success of a visual narrative of any new museum depends on a right balance of this tricky objective to a serious degree.

In the Lost Shtetl Museum that opens towards the end of September 2025, in their very nice prototype of a synagogue, there are three pieces of original art, two originals and one digital reconstruction of a rare and special piece that has been found in the Jewish abandoned house in 1944 and which original is preserved at the Yad Vashem. 

Synagogue Hall at the Lost Shtetl Museum. (C) Barbara Kirshenblatt-Gimblett. 2025.

Among the two original artworks, the work of Rafael Chwoles, a very good and soulful Jewish artist, is gentle, talented and warm. It is a Cheder scene.

Rafael Chwoles. Cheder. Lost Shtetl Museum art collection. Photo (C) Inna Rogatchi. 2025.

The other work here is the replica of that embroidered work that was found back in 1944  in an abandoned Jewish home in Lithuania by a Jewish soldier, and which original is preserved in Yad Vashem.

Unfinished embroidery found by a Jewish soldier in an abandoned Jewish house in Lithuania in 1944. Digital replica of the original which is preserved at the Yad Vashem. Photo (C) Inna Rogatchi. 2025.

In my view, as stunning as they can be, smashing hi-tech visuals that do perform their function of education really in a superb way, just cannot beat these quiet whispers of the heart , as they possess the bits of souls of the people who created it.

Both pieces of soulful art are situated at the calm and thoughtful synagogue hall of the museum.

The Real Thing: Magnets for Remembrance 

As we were visiting and observing the new Lost Shtetl Museum in Seduva, we saw a couple of authentic elements from the annihilated life that have a magnetic effect.

The tragedy of several European countries of which the Jewish population was annihilated entirely and with an extraordinary zealotry, such as Lithuania, Latvia, Estonia, Poland, Ukraine, is that together with people, their material culture was destroyed and whipped away, too. Also, to make the horror doubled, after WWII, anything still standing around has been literally whipped away by the Soviet authorities, with shocking enthusiasm.

Those who are working in the field of culture and museums, are well aware of the very serious difficulties to find authentic pieces of once superbly thriving Jewish culture in the Baltic states. That’s why those very few existing pieces are also very sad ones. It is such a hopeless reminder of the world lost.

In the Lost Shtetl Museum’s thoughtful and calm synagogue hall, there are two of those authentic fragments of the past, both wooden pieces. One is part of the synagogue in Seda, some 35 km from Seduva town, and another part of the Seduva synagogue.

Original piece of Seda synagogue in the Lost Shtetl museum. Photo (C) Inna Rogatchi. 2025.
Archival photo of the Seda synagogue, at display in the Lost Shtetl museum. Photo (C) Inna Rogatchi. 2025.

Both of those pieces are presented very well, masterly. And it is a tremendous luck for the museum that at least some of the authentic pieces of both synagogues in Seduva have been found. The real materials always bear its authenticity, its in-born feeling of time, the physicality of senses, in this case, the sense of memory. In my view, nothing, just nothing can replace material culture which is instrumental for our authentic perception, understanding, feeling and remembering the time and life past. Without it, not a bit of compassion would never become possible, due to the threats of human psychology. 

Original piece of a dove-tailed synagogue building in Seduva. Photo (C) Inna Rogatchi. 2025.

There is also one more real artifact displayed in the museum which evokes a feeling of inevitable sadness over the world and lives lost in it, and also a warm gratitude for its existence and presence in our life today. Those doors from a Jewish house in Kaunas with the place for mezuzah on it are both sad and moving, And they are very much in place in this core exhibition. It is like a silent song of remembrance. 

Fragment of the door of a Jewish house in Kaunas, with a place for mezuzah. Lost Shtetl museum. Photo (C) Barbara Kirshenblatt-Gimblett. 2025.

All other means can and are very helpful in adding the knowledge, they work at the different faculties of the human brain.

The real things are giving you a sense which nothing can replace. And that’s why material culture is such an essential part of civility.

But how sad those fragments of two synagogues in Seduva are. Just a few wooden planks of the buildings which housed so much life in all its facets for so long.

The real things, magnets for remembrance.

 CUSHIONS OF NATURE AS A PART OF MEMORIAL LANDSCAPE  .

LANDSCAPE & EMOTIONS

Memorial Garden at the Lost Shtetl Museum. (C) Lost Shtetl Museum.

A site always matters for created and re-created places of memory, whatever aspect of memory people address in their effort to commemorate it. There are arguably more demanding sites than the ones connected to the Holocaust and the emptied places of previously intense and thriving Jewish life that has been eradicated.

Seduva in Lithuania is one of such quite demanding places. From one side, there is wide and open serene and very large natural landscape in and around the place of one of so many non-exiting anymore shtetls. From another side, everyone who steps in at this place today knows that mass murder had a place just very near from this quiet place.

When our talented and sensitive leading Finnish architect Rainer Mahlamäki first came to see the site of his future Lost Shtetl Museum, back in May 2016, which, interestingly, was his very first visit to Lithuania,  the vision of his unique complex of buildings which opens in Seduva in September 2025,  was to large extent dictated by the landscape of this part of Lithuania and the nature surrounding the place. 

Renowned Finnish architect professor Rainer Mahlamäki during one of many of his visits to Seduva while working on his unique Lost Shtetl Museum. (C) Inna Rogatchi.

With regard to the core exhibition inside the building for which the leading RAA, Ralph Appelbaum Associates US company was responsible, it is ultra-modern, done with talent, taste and measure,  and  is very impressive and intense.

In a contrast to that serious and harrowing , in certain parts, impressiveness of the museum narrative which tells as of people’s stories, as of horror beyond horror in The Last Journey part of the core exhibition displaying a sheer fraught in an elaborative haunting galleries which are designed to project a personal sensation that refers directly and powerfully to the horrific last journey of about 700 Jewish children, women, elderly and men who were brought to their awful death by the local Nazi enthusiasts supervised by two German soldiers. As it was in the Babyn Yar, the same model and the system of organising and command of the mass murders of the civil Jewish population in those countries.

To balance emotionally after such an uneasy experience for visitors  it was decided to set a memorial garden around the building and stretch it to some substantial distance at the museum territory. That task was entrusted to a well-known ENEA Italian-Swiss company specialising in landscape architecture. The museum’s site provides a very good introduction to their memorial garden.

Memorial Garden at the Lost Shtetl Museum. (C) Lost Shtetl Museum.

Being there in person, I can mention that it is designed to be a soothing place and it relies on the local type of plants, trees and flowers. Many people who visited the place liked it a lot.

Memorial Gardent of the Lost Shtetl Museum. Photo (C) Liana Jagniatinsky. 2025.

A distinguished part of the museum’s exterior landscape is a beautiful, well set, dignified and meaningful fountain on the way to the main entrance. It projects an essential in Judaism symbolism of a circle, combining it with another equally important symbol and meaning of water. That part and that piece of landscape art has been designed and made exceptionally well.

Water sculpture and mediative fountain in the Memorial Garden of the Lost Shtetl Museum. Photo (C) Michael Leiserowitz. 2025.

Put together in a simple but  elegant way, those two core symbols of Judaism create the picture of continuity, the continuity of life, thoughts and reflections, and  memory. It sets up the tune for visitors both before they are entering the museum and after they are living it, in the right tonality of dignity and reflections on the unique value of human life. It is a worthy and important element of the memorial complex around the special new history museum in Seduva. 

So much needed today at both societal and individual level. Needed for seeing the critically unfair world today through the lenses of humanity. 

 August – September 2025. 

Seduva – Vilnius – Finland

Visions of Re-Created Shtetl: Architectural Aspects of New Museum in Lithuania

Inna Rogatchi (C). Lost Shtetl Museum. Seduva, Lithuania. Architect: prof. Rainer Mahlamäki. 2025.

By Inna Rogatchi 

August 2025

 Respectful Memory & Decency of Civility: Commemoration in Seduva 

On 25th August 1941 the Jewish life of one of so many shtetl places in Lithuania, in Seduva, was annihilated. About 700 children, women, elderly and men were cruelly and energetically murdered in the nearby forest.

Eighty four years later, to the date, the time of three and half generations, many people from all around the world whose roots are from Lithuania, and even precisely from Seduva, gathered in the place which is more than two hours drive from Vilnius, to commemorate the solemn date, and to see in advance the new memorial museum which will open in September 2025. 

It is a very special project, Lost Shtetl Museum and Memorial complex that includes a lovingly restored cemetery and meditative comforting park around the truly remarkable complex of buildings, with smashing in many senses interior design and permanent exhibition.

When visiting Lithuania among three Baltic states with an official visit in the beginning of August 2025, the President of Israel Isaac Herzog, whose grandmother is from the place, have  spent several hours with his wife Michal at the special mezuzah fixing ceremony of the door of the Lost Shtetl Museum.

The President of Israel Isaac Herzog visiting The Lost Shtetl Museum before its opening. August 2025. (C) The Lost Shtetl Museum. With kind permission.

After a detailed two-hour tour through its premises and the core exhibition, President Herzog called the museum ‘outstanding’. He had a good reason for this praise. 

* * * 

My husband artist Michael Rogatchi  and I were glad to be able to participate in that cordial, touching, warm and dignified commemoration that gathered so many so different people, including the descendants of the Lithuanian Jews from Toronto to New Mexico and from Cape Town to London, Lithuanian top politicians, Members of the European Parliament, Ambassadors and distinguished diplomats, important representatives of the leading international Holocaust and Jewish institutions, such as Yad Vashem and POLIN, historians , leaders of the cultural life in Lithuania, international stars of music in its different genres.

Inna Rogatchi (C). The Lost Shtetl museum. Seduva, Lithuania. Architect: prof. Rainer Mahlamäki. 2025.

The one thing that has united all those different people from all around the world was interest, with a capital I. Their all and each of them genuine interest towards what we all were seeing around and in front of us: the complex of buildings which makes a special, distinctive statement in its modernity and elegance, the trademarks of our great Finnish architect professor Rainer Mahlamäki who authored the project, cutting-edge interior and permanent exhibition design by world-famous RAA, Ralph Appelbaum Associates company, soothing park around the building produced by also quite well-known in its field ENEA, that truly special completely restored, to be ready in 2013 after a three-years work, Jewish cemetery nearby. All together it works and impresses very different people, and not necessarily with a Jewish background, in a deeply humane way.

In all this, a huge service to the Jewish memory and civilised history has been done, and hopefully, the museum will continue to produce that special atmosphere of quiet compassion and respectful, caring remembrance which actually builds our own, each one’s individually, status of civility and decency.

* * * 

We came to see the fruit of almost 10-years hard work of our dear colleague professor Rainer Mahlamäki and his dedicated, talented and reliable team, our friends and colleagues from very able Lahdelma & Mahlamäki Architects Finland, and their Lithuanian colleagues, and to be with Rainer and his wife Maria at that special commemorative event and on that day.

We both were very glad to see the people’s unanimous fantastic reaction to the complex of buildings, its harmonious architectural decision, its modernity, its articulated messages, its metaphors, and its light which is the main proponent in everything what Rainer creates, even – and even more so – when he deals with the darkest and most difficult historical themes.

 Symbols of the Heart: Modern Architecture of Memory 

There are very rare architects who are able to create a harmonious co-existence of distinctively different domains, such as modernity and sharpness of contemporary architecture from one side, and living nature from the other.

Professor Rainer Mahlamäki is one of those rare architects whose vision have created both beautiful and humane new reality that can be seen in both of his important buildings appeared in a decade between them, POLIN Museum in Warsaw opened its doors in 2014, and recently we all celebrated its 10th anniversary, and new Lost Shtetl Museum in Seduva, Lithuania, will be opened in September this year.

These two photographs of mine, also taken in a decade between them, captured that vision of the architect. The vision that actually creates a new reality, which is and will be imprinted in the perception and  will stay in memory of so many.

Inna Rogatchi (C). Facade of the Lost Shtetl Museum. Seduva, Lithuania. Architect: prof. Rainer Mahlamäki. 2025.
Inna Rogatchi (C). Facade of the POLIN Museum of the History of Polish Jews. Warsaw, Poland. Architect: prof. Rainer Mahlamäki. 2014.

This new reality, which is a harmonious creation, importantly, yet is more and specifically meaningful in the cases of the buildings that houses both incredibly rich but also bottomlessly tragic history, as it is the cases of both POLIN and Lost Shtetl museums.

These beautiful and emblematic trees in the front of the POLIN and Lost Shtetl museum facades indicate life, and strive for life, ongoing living memory, continuity, and the thread of humanity.

 It has created a special, authored by Rainer Mahlamäki spatial reality. It has also created a new space in both places. The space which speaks to one directly. The space of humanity.

Canyon of Hope & Message of Light: Essential Features of the new museum in Lithuania

The Lost Shtetl Museum and Memorial Complex in Seduva  is a purposefully accommodative building, architecturally. It was done by its author, well-known Finnish architect professor Rainer Mahlamäki, with an attentive care, to create, or as Rainer emphasises, “to re-create the life that has been annihilated”.

Coming close to the building which is situated in an open airy place in the Lithuanian country-side, one feels very comfortable, immediately. This is also one of the trade-marks of Rainer Mahlamäki’s architecture, his wish and ability to create not just a place, but the place of comfort, psychologically as well. And one can feel it in practically all Rainer’s buildings. This is a special focus and a special talent, undoubtedly.

But this architect, who is a deep and strong intellectual, is not satisfied with one dimension in his architecture, far from it. Entering the building of the Lost Shtetl Museum, one is getting surprised almost instantly, and then non-stop. 

The main element of this surprise is the building’s openings. Visitors of the museum are facing them in several places, and every time, the effect of opening works with no mistake. 

Inna Rogatchi (C). Opening at the Lost Shtetl Museum building. Seduva, Lithuania. Architect: prof. Rainer Mahlamäki. 2025.

An opening effect in architecture is a tricky thing. If an architect fails in it, it will be counter-productive, and it would be felt as unnecessary, something like a seasonal decoration that has been forgotten to be taken away in time.

But if the opening, especially inside the modern building, is done with vision and masterly, it adds to the building , and to a visitor’s impression of the building in a big way, with a long-lasting reflection. The Lost Shtetl Museum building in this respect is very successful and very special indeed.

There are several openings in the Lost Shtetl museum, not too little and not too much. They are all different. Being an organically talented person, Rainer Mahlamäki possesses a special quality of not repeating himself and the elements of his design. In some of the openings, we are seeing all elements of living nature: skies, trees, plain calm landscape in some instances.

Inna Rogatchi (C). Opening and the terrace at the Lost Shtetl Museum. Seduva, Lithuania. Architect: prof. Rainer Mahlamäki. 2025.

This creates the dialogue between a visitor and the building momentarily, and this instant interconnection sets up a dialogue for a visitor during his elaborate and rather uneasy travelling through quite intense permanent exhibition of the museum that tells about the life which is not ‘simply’ not anymore, but which has been interrupted and destroyed brutally and with unlimited cruelty.

Rainer’s Canyon of Hope in this museum in my opinion should bring him a very substantial international architectural prize, indeed.

I have been following this project since the beginning, for almost a decade by now, and I knew about this unique element of the building design all these years on. But nothing, just nothing can prepare one for experiencing this sensation in reality.

Not only does the Canyon of Hope lead people to the skies after a rather uneasy walk through the museum’s galleries.  It hovers over the meticulously restored Jewish cemetery which is located just nearby the museum’s building. This Canyon of Hope is a grandiose success of Rainer Mahlamäki’s building of the Lost Shtetl Museum, and I am sure that it will become its re-sounding symbol.

Inna Rogatchi (C). Canyon of Hope. Lost Shtetl Museum. Seduva, Lithuania. Architect: prof. Rainer Mahlamäki. 2025.

As if this high-class architectural philosophy created by professor Mahlamäki and implemented so well by his Lahdelma & Mahlamäki Architects Finland and their Lithuanian colleagues would not be enough, the master architect provides a very smart architectural dialogue in the museum’s Canyon space. The opposite of the great Canyon of Hope, there is another canyon and another opening.  I call it Canyon-2.

It is very high and it is designed in the same coloristic key, thus making the dialogue of two canyons organic and natural. But the window of the canyon-2 is a fraction of the size of the Canyon of Hope’s opening, and it is placed incredibly high, in the way that one needs a push of extra attention to notice it. The message that the dialogue between the two canyons creates is gentle and meditative, also due to the spatial but also metaphorical and psychological completeness of the space. 

Inna Rogatchi (C). Canyon -2. Lost Shtetl Museum. Seduva, Lithuania. Architect: prof. Rainer Mahlamäki. 2025.

The space created by those two canyons opposing each other is like a special stratum, the special place to think. And think again. The canyon-2 idea has a connotation with the opening in the powerful Daniel Liebeskind’s Jewish Museum in Berlin. But it is quite different.

In Berlin, the place of the opening is the place of barely controllable horror in a stylised prison cell. One is so impressed there that many people instinctively inclined to forget it, to take it away from their consciousness, because it is objectively very difficult to bear. Not many succeed though, because Liebeskind’s decisions in the Jewish Museum in Berlin are very powerful indeed. 

In the Lost Shtetl Museum, the window opening of the canyon-2 opposing the long vertical opening of the Canyon of Hope, is placed  much higher, curved not directly, but with Mahlamäki’s trade-marked beautiful curves, as he applied in the POLIN building,  thus  making the space immediately comforting, and  inviting mediation.

The space of two canyons in the Lost Shtetl is as if it embraces you, it supports you. This is a rare sensation in modern architecture, doubly so when the subject is the Holocaust.

And there was not a single person among those who visited the museum on the special commemorative event honouring the memory of the victims of Jews of Seduva murdered in August 1941, who would not spend a substantial time in the Canyon of Hope. 

That space works miraculously. It is not about Hope Against Hope. It is about Hope as an element. And this is what life is about.

Inna Rogatchi (C). The Quiet Wind of Memory. Seduva Diary. Watercolour, wax pastel, oil pastel, lapice pastel, pigments, Luminance Caran d’Ache on original authored print on cotton paper. 50 x 40 cm. 2025. The Rogatchi Foundation Appreciation Award to prof. Rainer Mahlamäki and the Lahdelma & Mahlamäki Architects team on the completion of the Lost Shtetl Museum project. 2025.

With cordial Thank You to all and everyone who has made this special and important project of respectful and loving memory, in its almost decade-long journey of creation, happened. It is a meaningful contribution to humanity, and it is highly appreciated.

August 2025

Seduva – Vilnius – Helsinki

Inna Rogatchi Essay on Art and Memory is Commended by the President of Israel

Publication by the Tribune Juive, Paris

Highly popular, widely read and consistently influential Tribune Juive media portal has published the news regarding President of Israel Isaac Herzog’s commendation of Inna Rogatchi’s essay JUNE BIRTHDAYS: Reflections on Love and Humanity.

M.C. Esher is his study.

The full text of the Tribune Juive article can be read here:

https://www.tribunejuive.info/2025/07/31/inna-rogatchis-june-birthdays-reflections-on-love-and-humanity-essay-commended-by-the-president-of-israel/

The photograph of Anne Frank at the M.C. Escher’s study. (C) Inna Rogatchi

The full text of Inna Rogatchi’s June Birthdays essay can be read here:

https://blogs.timesofisrael.com/june-birthdays-reflections-on-love-and-humanity/

Re-Creating the Path of Remembrance

The first exhibition in Lithuania and the world to mark the 100th anniversary of  the legendary institution

The Path of Remembrance is a 6-part series of a reviewing essay of a special commemorative exhibition, and is part of Inna Rogatchi project from her Art & Memory series of international projects.

By Inna Rogatchi ©

Part I. 

The first exhibition to mark the 100th anniversary of YIVO

In the beginning of March 2025, an unusual, special and warm exhibition opened in the heart of Vilnius, at the Vilnius Picture Gallery, part of the Lithuanian National Museum of Art. Titled as You Shall Not Make an Image. Commandments, Daily Life and Change, and occupying two floors of a very well maintained popular museum in the downtown of the Lithuanian capital, the exhibition is significant in several respects. 

By referring  in a multi-sided way  to the story of the legendary historical institution of YIVO, it is the first exhibition in Lithuania and the world to celebrate the 100th anniversary of the institution. With several more exhibitions to commemorate the important date on the way , later this year, in various Jewish cultural institutions of Lithuania, this exhibition is the first one, it is organised by a national cultural institution and is funded by the Lithuanian Ministry for Culture. It would be notable and commendable in any case, but today, in the atmosphere of either negligence or distancing from anything Jewish anywhere world-wide, this gesture is significantly meaningful. 

At the exhibition opening. March 2025. (C) Gintare Grigenaite. LNDM

I first heard about the plans for the YIVO commemorative exhibition two years ago, when discussing a series of block-busting Chagall exhibitions with the Director General of the Lithuanian National Museum of Art Dr Arunas Gelunas. “ And of course, in 2025, we would have the 100th anniversary of YIVO” – Dr Gelunas has mentioned – “ which we would celebrate in the best way possible”. – “ Of course”, I did agree knowing the academic background of the man who leads the Lithuanian National Museum of Art for the second term now, who previously was the Minister of Culture in his country and who represented it as Lithuania’s Ambassador in UNESCO. It was half a year before October 7th. Many things have changed, sometimes drastically, in the activities of so many cultural institutions world-wide. But the commitment of one of the leading cultural institutions of Lithuania and its leaders stayed. 

Now, prior to the exhibition’s opening, Dr Gelunas remembers with a palpable pleasure on how this special project has began: “ Our common friend Jonathan ( Brent, the director of YIVO) during one of his visits here raised the topic of the forthcoming 100th anniversary of our beloved institution, and of course, my initial reaction was “Absolutely. We will do it”.  

Lithuanian art historians are at the exhibition opening. March 2025. (C)Gintare Grigenaite. LDNM

The idea of Dr Gelunas was to create a special exhibition dedicated to YIVO and its story in the year of the institution’s 100th anniversary, and to do it pointedly in the heart of Vilnius, in the beautiful, carefully restored and meticulously maintained central museum of the Vilnius Picture Gallery, which occupies one of the wings of famous 18th century Chodkevicius Palace. To have the exhibition there had the purpose to make it visible, known and visited by as many people as possible, both those who live in Lithuania and  those many who are coming to visit. The centrality of the place and a Jewish-themed exhibition in a non-Jewish cultural institution, well-known and of a national representation, were well-thought  lines of the director Gelunas’ thinking and planning. But not only. 

For years, I dreamed of organising a Jewish-themed exhibition in one, or several of our ( The Lithuanian National Museum of Art) museums. I really did –  Arunas was sharing with me his reflections during our tour of just finishing exposition. – Lithuania of many and many countries does have its richest Jewish history, it has accumulated so much knowledge, culture, heritage and legacy of Jewish life, its art, its science, its literature. It all was developing here in the thriving and versified way for centuries. We are proud of it and are grateful for that. Jewish cultural heritage is an organic part of the Lithuanian national heritage, absolutely so, this is the fact of life, science and history. And it is the richness of our cultural heritage. So to celebrate it, in the year of the 100th anniversary of such a unique institution as YIVO, it has to be in Lithuania, it has to be in Vilnius, and it has to be in the national museum, right in the heart of Vilnius. There is a real pleasure for me and our team to do it, and it was a pleasure to work on it” – said the director of the Lithuanian National Museum of Art Dr Arunas Gelunas. 

Dr Arunas Gelunas, Director-General of the Lithuanian National Museum of Art with Gabija Kasparaviciute-Kaminskiene, curator of the exhibition. March 2025. (C) Inna Rogatchi.

As soon as a curatorial team was formed to start to work on this special project, the destination of them was New York, where YIVO institute works for 85 years by now, in one of the most dramatic stories of culture and memory of our times. 

Re-Creating with Love: Curatorial Approach

For two of three curators of the exhibition, the Vilnius Picture Gallery director Aiste Bimbiryte and  curator Gabija Kasparaviciute-Kaminskiene, it was the first professional encounter with the theme of Jewish heritage. The third curator, to whom they referred as ‘the box of knowledge’ is a well-known in Lithuania expert in the field , professor of the University of Vilnius Jurgite Verbikiene. 

When I learned that two of three curators of the exhibition presenting the Jewish heritage in Lithuania via the lens of the history of YIVO Institute had no previous experience with the theme, I asked both Aiste and Gabija what were their starting point for this demanding, multi-directional serious project that took a year of intense work.

 When I started to think about this exhibition, initially I had an impression that there are many taboos in Jewish culture. The taboos which could institute a sort of a barrier which for people who are not experts in arts and culture would be difficult to overcome. But I was wrong. When I started to examine, to research and to learn, and to work with specialists, I realised that this is not the case altogether, and never was. As soon as that first and only hurdle for me personally was overcomed, the work on this international exhibition was a sheer pleasure, and the source of a massive learning, for which I am very grateful” – said director of the Vilnius Picture Gallery Aiste Bimbiryte, herself is an University teacher who specialises on the history of fashion. 

Director of the Vilnius Picture Gallery Aiste Bimbiryte and curator Gabija Kasparaviciute-Kaminskiene at the exhibition opening. March 2025. (C) Gintare Grigenaite. LDNM

For me, it was the pleasure of discovery – said Gabija Kasparaviciute-Kaminskiene, who is studying for her BA, specialising on a women artists of the 18th and 19th century , – and  as for an art historian, it was very interesting for me to look into the roots of the Jewish art, in many of its original sources, including books and manuscripts.  It also was important to work on a public project. Our exhibition presents things which are known to the specialists in Jewish heritage, of course, but we were trying to find special and importantly, authentic objects which would be attractive for the general public. Another curatorially interesting aspect during the last year of the work was discovery and presentation of those Jewish symbols which have different meaning from what is generally believed about it, which was a very happy, meaningful and engaging re-discovery”. 

Both Aiste and Gabija spent a week in New York in 2024, working intensely with their colleagues at YIVO going through the institute’s incredible archive, its collections and materials in order to distill the choice of the documents, original artworks and artefacts to be present at the exhibition in Vilnius. Importantly, most of the forty objects from YIVO presented in Vilnius are originals, with several copies among them. The materials from New York are quite substantial, it is over 20% of the entire large exhibition with its over 180 very different objects to be seen, from the rare books and manuscripts to Chagall’s hand-written  correspondence, and from a very rare and simply brilliant wooden carved sculpture of the 18th century to vivid and special original of Emanuel Mane-Katz painting of a happy Rabbi in a yellow robe. 

Thoughtful cooperation

The large exhibition is the fruit of an elaborate and thoughtful cooperation of not less than 20 major  cultural institutions, including YIVO in New York and the Chagall Committee in France, with which the Lithuanian National Museum of Art has forged of an extremely productive cooperation materialised in two major and unique exhibitions in 2023 and 2024, and who did contribute in providing the possibility to exhibit some parts of Chagall’s correspondence with YIVO, with some had-written letters and cards, which is a special magnet, to me. 

Marc Chagall correspondence with YIVO exhibited in Vilnius. (C) Gintare Grigenaite. LDNM

Among the other partners are National Library of Lithuania with its incredible Department of Judaica and generally, one of the richest European cultural institutions, Lithuanian State National Archive, fine National MK Ciurlionis Art Museum, Lithuanian National Museum, important Library of the University of Vilnius, Vilna Gaon Museum, and several regional museums, many of which have truly special objects. Among those museums Pakruojis, Ziezmariai, Birzai, Alkam, Samogitian and Trakai museums, as well as Panevezys Diocese and Church Heritage museum of Lithuania.  Two leading private art collections in Lithuania, TARTLE Art Foundation and the Dr Jaunius Gumbis Collection of Lithuanian Art contributed very good original artworks for the exhibition, too. As everyone in the artfield of knows, to coordinate the effort between just a few institutions is a serious undertaking that requires a lot of time and effort. To run the exhibition with twenty partners, some of them major international cultural institutions, is truly a very demanding effort which in this case went on  smoothly and productively, for which the organisers are truly grateful. And so do we, all those who are coming to this unusual exhibition to find so many gems in a wide variety of genres,  and from a hugely expanded period, starting from the 15th century onward. 

Implementation: Loving Care

For those visitors who are familiar with many exhibitions of the various institutions of the Lithuanian National Museum of Art, with its eleven museums under the roof of the national cultural institution, the quality of presentation during the last several years is taken for granted. Having a privilege to be able to compare the way of exhibiting taken as a standard in the museums of the Lithuanian National Museum of Art with many other museums, both inside and outside Lithuania, I can happily mention that the level of presentation there is of a top world class. This is absolutely important, demonstrating not only the level of professionalism but also the level of respect towards museum visitors. It has always been like that, starting from the Louvre. 

The location and history of a museum as such do not necessarily guarantee the quality of presentation in a museum, as we all know well. The outrageous history of a virtual hijacking of the unique Vasari Corridor in Florence after the Uffici had become a target of a brutal mob terror attack in 1994, which had continued until very recently, is probably the most dramatic but just one of many sadly existing samples of neglecting the fundamental rules of exhibiting in too many museums world-wide today, due to a various reasons, from poorly educated staff to wrongly understood concepts. Or just simply due to not caring much. 

This is fortunately not the case for any exhibition organised in any museum of the Lithuanian National Museum of Art, where the level and detail of presentation is classically high. Dr Arunas Gelunas, the Director General of the museum, did set it as a standard, with the team, of which  many people were  hired anew, after Dr Gelunas started to lead the national museum of art back in 2019. 

“ When we started ( back in 2019), I was especially concerned by the technical conditions and presentation practices in our museums, but  in this one, in the Vilnius Picture Gallery, the old and famous palace which is located in the heart of the capital, I knew that before anything else, and in parallel with hiring the new team to run the museum, we needed to re-equip it. We did it by changing practically everything, from exhibition boxes, stands and vitrines to the top-end professional museum light system, which is a half of the success in every museum today. It was elaborate, time and resources consuming effort, but  we knew that before any new program should start, the museum should be re-made to be at the top international presentation level.  In parallel, we were hiring a new team, and when these both must-stages of our renewed Vilnius Picture Gallery museum were accomplished, we were able to take a deep breath of satisfaction, and to start to build on and develop our programs and exhibitions there, in this great premises in a star location in Vilnius. So, we are doubly glad to host our exhibition which tells about the unique history and way of YIVO from Vilnius a hundred years ago to New York eighty years ago , with happiness of rediscovery of many incredible things 35 years ago and joint work on it, with return to Vilnius from New York for this exhibition, first to mark the noble 100th anniversary of YIVO, these days. It has been quite a journey” – summarised Dr Gelunas.   And it was, indeed. 

Vilnius Picture Gallery, part of the Lithuanian National Museum of Art. (C) Gintare Grigenaite. LDNM

Both, the architect of the YIVO commemorating exhibition Auste Kuliesiute-Semete and the exhibition’s designer Migle Datkunaite were also supposedly thinking of incorporating this idea of a way, the route of memory, the path of remembrance into their very thorough and masterly concept of the exhibition. In the case of this show, it was both the abundance of the material and artifacts from one side, and the objective to produce a laconic in outline and modern in style exhibition, from another.  Those factors posed a certain challenge for the  architect and designer. Both Auste Kuliesiute-Semete and Migle Datkunaite are recognised professionals in their field, and both are working with the Lithuanian National Museum of Art of many if its dizzying number of exhibitions, from 50 to 70 annually. 

Architectural concept of this exhibition indeed resembles a path. In a visually organic way, it is lays down  a zigzag of the YIVO story and the Jewish life in Lithuania and its forced relocation beyond the ocean, escaping the war and the Holocaust. The design of the exhibition is both somber and sophisticated, with much attention paid by the designer Migle Datkunaite to every detail, from the colours and its shades in every of many rooms on two floors of the museum, to the charming and pointed details, such as six dots on every annotation card throughout the exhibition, both large and smaller ones. 

Those dots in the Migle Datkunaite personal design symbolises the six days of creation in the basic concept of Judaism. And it also, very personally and charmingly, refers to a milestone book by the founder of YIVO, great Yiddish linguist Max Weinreich, Di shvartse pintelekh, The Little Black Dots ( 1939), that has set the standard for written Yiddish for the masses, and has become the first YIVO published book in the institute’s Popular series. 

The tragedy speaks volumes here, as very soon, in two years, there will be no masses to learn classical Yiddish, in Lithuania for sure, and then, the YIVO so well-meant Popular series would stop for a very long and completely tragic time, as the date of the publication of their first book in it coincided with the beginning of the Second World War. 

So there were no takers any longer for the YIVO Popular series, for the reason of genocide unleashed all over Europe against the Jews. And the YIVO itself as an educational centre and institution had to move the far, the better running for its life. The destination was New York. 

About the gems and highlights of the first in Lithuania and the world the YIVO 100th anniversary commemorative exhibition in Vilnius is told in the Part II of the essay. 

March 2025, Vilnius

IR ©. 

You Shall Not Make an Image. Commandments, Daily Life and Change exhibition at the Vilnius Picture Gallery, Vilnius, Lithuania. March 5 – September 14, 2025.

The Lock of Love: From Chagall to Rembrandt and Back

Rembrandt Influence in Chagall Art

Essay 

Inna Rogatchi (C). The Lock of Love collage. Chagall Heritage Today project 2025.

Inna Rogatchi (C). The Lock of Love. Chagall Heritage Today project. (C). 2024-2025.

There is an interesting and telling gesture and declaration of love and admiration, and the conscious sign of choosing his artistic path being led by the highest possible professional standard, the one by Rembrandt, by 27-year Marc Chagall in one of his most vivid portraits created in 1914.

1914 is one of the most decisive years for Chagall, reflecting the world which never was the same after the Great War started in that year. By then, Chagall had been in Paris for three years already. And being in Paris for young enough Chagall, who was 24 on his arrival there, meant to be in Louvre where his soul was developing and blossoming, absorbing the wealth of the world and civilization art in a dizzy indulgence.

Rembrandt was the world, the cosmos and everything for Chagall from the moment he saw the works of that titan, the titan of art of all times. Rembrandt has become a starting point, metaphorically, for Marc Chagall in his vision of art, and having such a solid ground in very visioning of art in general, the level of Chagall’s own art always was steady, and it was always high. The top. Never faltering, under any circumstances, till the very end of his very long, almost a century-long life. This is not the case for many other artists.

With all his ostensibly easiness of subject-matters and related images, which led to some existing , grossly wrong attributions of the Chagall’s art to the school of naive art, he is a superb master of a highest order and craft who was always led , consciously and by his own choice of a top demand and strive, by the utmost best ones, Rembrandt in the visual art, and Mozart and Bach in music.

When you see the world and your profession through the prism of a highest demand, your own effort brings the corresponding result. That young Chagall realized early on. Three years in Paris , this was largely in Louvre, in his mid-20s, amid fierce work brought the result, with his first gallery contract in Paris, and yet more importantly, especially for him feeling lonely and under-appreciated, with his first solo exhibition in Berlin. Chagall was ecstatic about that first personal exhibition and not anywhere but Berlin, thriving, magnetic and bubbling with a non-stop public appetite for art.

Rembrandt’s effect on Marc Chagall was giant, and because of its depth and continuation, Chagall evolved into painting a huge number of self-portraits, following the pattern set by Rembrandt, the most prolific author of his time. The number of confirmed self-portraits by Rembrandt in all techniques, oil, drawing and etching comes to one hundred. The number of Chagall’s self-portraits is several time more, but the pattern of a perpetual artistic self- search and self-expression via the most familiar to an artist subject, himself, was set for Marc Chagall by his deep admiration, and more, his detailed understanding of Rembrandt, and his certain partial self-identification with the great master, his principal teacher, as goes.

In 1914, 27-year Chagall paints his charming, vivid, expressive and quite masterly Self-Portrait in Front of the House in unusual for his self-portraits official attire, but with a joking and pointing color of the artist’s trousers, that bright and outpouring blue which he adopted as his color for life. His jacket is rich brown, with enlightened spots so familiar to many of us from another master, the one of the 17th century, whose brown has imprinted in our collective retina the same deep, as Chagall’s blue did.

Rembrandt van Rijn (C). Self-Portrait with a Gorget. Oil on oak panel. 38,2 x 31 cm. 1629. Germanisches Nationalmuseum. Nuremberg. Germany. Rembrandt Project – with kind permission.

It is not without reason that Chagall believed that ‘blue for me is the same that brown for Rembrandt’, and in the making his jacket not just brown, but decisively and declaratively Rembrandt-like brown, Chagall who, with his first gallery contract signed in Paris and his first big and serious solo exhibition in Berlin, had been just accepted in the club of artist-masters, as he understood it, with a proper reasoning, was referring in his charming and special self-portrait to his teachers of teachers, who lived and worked three hundreds years before him. And not only the jacket.

Marc Chagall (C). Self-Portrait in Front of the House. Oil on cardboard mounted on canvas. 50,7×38 cm. 1914. Private collection (C) ADAGP, Paris. With kind permission.

In the Chagall’s self-portrait in question, we see his left-side lock as a longer one. What does it tell us? It does tell those who know Rembrandt well enough, to remember about his asymmetrical left lock in his second oil-painted self-portrait of 1629 known as Self-Portrait with Gorget, or Self-Portrait With Breastplate.

Lovelock as that asymmetrical lock of hair was known from the 16th century, came from France, and was highly popular there. Not so was the case in the Netherlands of the 17th century, it was a sign of teasing and demonstration of emphasized, publicly demonstrated independence by some young men there. A bit of an intentional over-doing. And young Rembrandt who was 23 at the time of painting his second oil self-portrait, took care to show his lovelock the same expressively as his famous breastplate, the gorget. Or actually he made it famous by portraying it on a small oak panel.

Two hundred and eighty five years later, 27-young Marc Chagall in the year of his first serious exhibition in one of the thriving world’s capital, painted on cardboard his homage to his guiding star , of a size which is a bit larger than the Rembrandt’s self-portrait painted by him at 23 almost three hundred years earlier.

It is quite an artistic dialogue, to me. Powerful, engaged, masterly, and , most importantly, full of subdued love, as it is prescribed by good manners and right tone. Twenty-three years old Rembrandt’s self-portraying on the oak panel is fully self-reflective , as are all his self-portraits. Twenty-seven years old Chagall’s self-portrait is joyful and joyfully ceremonial. In 1629, in Leiden, young Rembrandt was discovered by his most important patron Huygens, and started to get commissions from the Dutch state and the country’s ruler. In 1914, young Chagall got his first gallery contract and his first important exhibition. He saw many reasons to create this rembrandt-ish brown with a bit of chagall-ish blue self-portrait, finishing it with that left-side asymmetrical lovelock. In his case, and now in the history of art, it was his lovelock for Rembrandt which accompanied Marc Chagall all his extremely fruitful and productive artistic life”.

Inna Rogatchi (C). Chagall Heritage Today series of essays. (C). 2024-2025.Publication: The Times of Israel -January 2025 https://blogs.timesofisrael.com/the-lock-of-love-from-chagall-to-rembrandt-and-back/

Dear World: I don’t care – 2.11.2023

By Avi Lewis (C)

Avi Lewis. (C) Avi Lewis, with kind permission.

The War & Humanity project Introduction:

This is what we would call ‘a writing on the wall’. On our Jewish wall world-wide. Avi Lewis, software engineer working for Meta and well-known videographer from Israel, succeeded in a perfect formulating what all of us, Diaspora Jewry, is feeling today. Slightly ironically, it comes from the person who lives with his family in Israel and who is currently on his IDF reserve duty. Avi’s monologue has become an instant classic because of a simple reason: it tells in a clear way what we all are feeling today.

Avi was born and raised up in Australia and his family is friendly with members of our family in Melbourne. Avi made aliyah, carried on his service at the IDF, worked as a news writer for The Times of Israel, and now works for Meta.

Avi has told us that he is currently on duty at the IDF reserve – and his observations from there is also one of the most inspired one can read these days.

Avi and his wife have three children and they are living in Modin.

We are proud to present Avi’s manifesto on behalf of million of Jewish people worldwide in our War & Humanity project, and thank him lovingly for his vision and clarity.

DEAR WORLD: I DON’T CARE

By Avi Lewis (C)

I don’t care that you sympathize with Hamas

I know you wouldn’t tolerate any of the things they did to us if they would’ve done it to you

I don’t care that you’re outraged by Israel’s response to the massacre more than the massacre itself

I know you would do everything to eliminate such pure evil if you experienced it yourself

I don’t care that this doesn’t fit neatly into your carefully constructed narrative of ‘Israel as aggressor’ and ‘Palestinian as victim’

The truth hurts sometimes, but hey, don’t let facts get in the way of your feelings

I don’t care if you think we are at fault, that we had it coming, that Hamas’ actions’ didn’t occur in a vacuum (or to deny they ever happened)

If you feel that the poster of a kidnapped child hurts your cause, maybe yours is a lost cause

I don’t care about your calls for a premature ceasefire, about your demand that we provide them with electricity, that we stop fighting for ‘humanitarian reasons’

What of a humanitarian gesture to release our 230+ hostages – elderly, children, babies – snatched from their cribs?

I don’t care that you’ve rallied for Palestine as part of your march for LGBTQ rights, trans rights, workers rights, socialism, climate change, intersectionality, Black Lives Matter, fighting Islamaphobia and ‘all forms of racism’

Your gullibility would be laughable if it wasn’t so hypocritical. None of those things exist under Hamas

I don’t care that you ‘love Jewish people – just hate Israel’, that you have some friends that are Jewish, that maybe you’re ethnically Jewish yourself – and therefore you’re entitled to levy every libel in the playbook against us

Words matter. They lead to actions. When a lie is repeated often enough it’s accepted as truth. You are laying the groundwork for more attacks against us

I don’t care that you wave the flag of ‘human rights’, that you’ve become overnight experts in international law, that you shout fancy slogans you don’t understand such as proportionality, occupation and apartheid

Your humanity is selective. In your mind, human rights don’t apply to us because we are undeserving. You didn’t speak up when our women and children were horribly assaulted

I don’t care if you think we are colonialists, imperialists and settlers and that we should just go back to where we came from

We are back to where we came from

I don’t care if you believe in a one state solution, a two state solution, a federation, an internationalized Jerusalem or any other theory drawn up in your ivory tower

We won’t readily hold out our necks and endanger our lives in order to satisfy your thought experiments and placate your conscience from afar

I don’t care if you consider yourself anti-Zionist but not antisemitic

We’ve seen enough Jews around the world attacked over the last 3 weeks under the guise of ‘anti-Zionism’

I don’t care that you think we are too powerful, too technologically advanced, too sophisticated

If we didn’t build ourselves up to this point we’d get eaten alive by Hezbollah, Islamic Jihad, Iran and Palestinian terrorism

I don’t care that you blame us for 1948 refugees, for the fact that they have no state, for the keys that they wave in their fantasy of ‘right of return’

Three weeks ago we got a glimpse of what that ‘return’ looks like and what it means for our children

I don’t care if you think we aren’t real Jews, that Zionism has nothing to do with Judaism, that Jews are a religion and not a nationality and so we deserve no state

Your denials have zero impact on the strength of our ideals and the self-affirmation of our identity

I don’t care that you accuse us of flaunting the myriad of UN resolutions, inquiries and statements

They reflect more on the institutional decay of the UN than on us

I don’t care about your media coverage, the lies, the equivocation, the acceptance of Hamas talking points and statistics

You echo chamber is just a another weapon in their strategic arsenal

I don’t care that you accused us of bombing the Al Ahli hospital

It was only a matter of time before you found a symbol for Israel’s wickedness. The subsequent retractions were a fig leaf once the truth emerged that Islamic Jihad was responsible and that the hospital is still standing

I don’t care that you see us as a criminal state, a terror state, usurpers, baby killers, Christ killers, Khaybar Jews or any other depravity that exists in your mind

Your libels lay the groundwork for our dehumanization. Rings a bell. We will fight it

I don’t care that you’ve inverted the truth by accusing us of genocide

If positions were reversed and Hamas held the power we do now, you’d see what a genocide looks like

I don’t care that you’re angry, boiling and outraged

I don’t care that you’re glued to your TV screens and Telegram channels

I don’t care that you’re mad

I don’t care if you’re out on the street, waving your flag and chanting your slogans

We won’t die silently the way you want us to

For the first time in 2,000 years we are organized, we are motivated and we will defend ourselves

We fight for light over darkness

Morality over evil

Not that it matters to you – but we will stick to the rules and hold the high moral ground not because you expect it from us, but because they are a value for us

We will do so ethically and thoughtfully, for we are the People of the Book

Our power and strength are our necessity, because the alternative for us is:

Be’eri, Kfar Aza, Pittsburgh, Toulouse, Farhud, Hebron, Birkenau, Belzec, Babi Yar, Kristalnacht, Kielce and Kishinev

Do you think for a moment that we would return to that reality just to make you feel a little better?

You are deeply mistaken…

World,

For so, so long, I really, deeply cared

I cared about fitting in

I cared about what you think

I cared about being a model citizen

I cared about setting a personal example of how a tiny people in a tough neighborhood could still be a Light unto the Nations

How the world’s oldest minority – now a majority here – could treat its own internal minorities par excellence amidst the complicated and messy reality of ethnic conflict

How we could painfully dismember parts of our homeland and offer them on the platter of peace to Palestinians that want neither peace nor some parts (they want all of it)

How we could dazzle you with USB sticks, drip irrigation, operating system kernels, Nobel Prize winners, swallowable medical cameras, deep tech, quantum mechanics, generative AI and cures for disease

But now I’m finally accepting that you don’t care

You never did

You don’t see and you don’t hear

And because I cared about what you think so much, that so deeply hurts

But you don’t have my best interests at heart

You take issue with my base identity, with what I represent

Don’t expect me to wait for your approval this time

It doesn’t matter what I do, you’re not going to change

It doesn’t matter how I act, because your issue is with who I am

Now I’m going to block out your noise, and do what it takes to win this war

Today
Finally
I no longer care

Published for the first time at the Times of Israel on October 30, 2023.

SACRILEGIOUS COMPARISON: HOLOCAUST 2.0 essay

Michael Rogatchi (C). The Third Eye. 1991.

Holocaust Dimension  

 Close to a month after the October 7th, 2023 massacre, we still are digesting indigestible. The shock was and still is so deep that human psychological self-defence worked on its own, thus allowing us to function in some way. 

I have heard some voices noting that ‘we are using these both terms, in general, not regarding the October massacre,  far too easy’. Possibly, this assumption is correct, as we, humans, are often reckless and jumpy in characteristics, and quite too often are quickly coming to the powerful comparisons. In general. Not in this case, to our own horror. 

For many historians who are specialising on the Holocaust, it is also a special and well-guarded, self-guarded, territory. We know the Shoah in such detail that it constitutes its own dimension. 

Could it be the second Holocaust? A hint of such thought was regarded as completely sacrilegious  and totally impossible just a month ago. And today, we are speaking – and thinking – about it a lot. 

In a new epoch marked by October 7th, 2023, the supposition is fully applicable, and the process of comprehension of it makes our initial shock yet deeper. 

The aftermath of the October 7th massacre does not provide us with hope either. In a frighteningly surreal development, the Israeli delegation at the UN has decided to wear the Stars of David patches with Never Again sign on them 78 years after the UN has been established as the direct result of WWII and the Holocaust. Any Hitchcock could not invent anything more dramatic and surreal at the same time. But the challenge of the time is that it is all blatant reality of the day. 

A Double  Effect

Among many of our heroic forensic experts and volunteers, there is one brave woman, Shari,  who has made aliyah from the US twenty years ago and whose all grandparents were the Holocaust survivors. She, the mother of four, works at the Rabbinat morgue for weeks helping to identify the bodies of our victims. Or  what’s left of them. For weeks she is doing this vitally important gruesome work. She has the authority to speak on the matter of the second Holocaust. And she said it: “Based on everything I and my colleagues have been seeing during all this time during the two weeks after the massacre, and having behind me the history of my family, all of my grandparents from Czechoslovakia and their families, I can tell that what we are seeing is worse than the Holocaust”. The cruelty, the brutality, the degree of deprivation thrown on helpless Israeli civilians made Shari to make her terrifying conclusion. 

Among the photo evidence I saw from the military morgue where Shari and her colleagues are heroically conducting their mission, I saw the plastic bag with a severed female head. The eye of the person whose head it was has outgrown to an enormous size as the result of beheading. This is not any Picasso-made exaggerated metaphorical illustration. It is for real. I keep the photo among my working materials. In the file entitled Holocaust 2.0. 

In one of my recent lectures on the aftermath of October the 7th,  I brought an one-line thesis which summarises the essence of this uneasy comparison for us to make: ‘This is worse than the Holocaust because of the simple and  fundamental reason that the Holocaust has happened ”. 

When several years ago Rabbi Yisrael Meir Lau whom we have an honour to know well,  said in a powerful  interview that ‘people did not learn anything after the Holocaust’, I was quite worried. I know that Rabbi Yisrael had all the reasons to say what he said, but I was still wondering what exactly prompted him to say it? I asked him about it in person,  and Rabbi Yisrael told me that in his view and opinion, “people are ready for anything with regard to attacking the Jews, again. The lessons of the Holocaust were not learned, as he was seeing it, at all. I would like to be mistaken, very much so”, – Rabbi Lau said to me and my husband in his office in Tel Aviv. I tended to think that he would be mistaken, that people have decency of memory, at least. 

And now I know  what Rabbi Lau meant.  And we all see the disastrous outcome of the vicious rejections of the lessons of the Holocaust, does not matter by whom, actually. Anyone. And those are many.  And this matters. Those who are cheering Hamas. Those who are excusing Hamas. Those who are threatening Israel. Those who publicly incite against Jews anywhere in the ongoing wave of unleashed hate. We need to see this fact in all its screaming alarm, in the double-weight of unlearned lessons of the giant crime against humanity repeated in front of our eyes.  We need to see it now. And to act. Now.  

An Ultimate Cruelty

There are more horrific aspects of the October 7th  massacre and its aftermath that made initially unthinkable comparison with the Holocaust applicable. One of these aspects is an ultimate cruelty committed in a cold drugged blood by the savages against peaceful people, both civilians who were 83% among the attacked people and all of the victims. I can see the point of those editors who are not eager to publish unwatchable photos. There are guidelines in journalism. I also hear the reasoning expressed by some observers who refuse to publish this horrific evidence of inhumanity as they do not like to demonstrate the awful signs of unimaginable suffering of the victims as a matter of respect towards them. And then, each of us has its own, highly individual threshold of what each of us  is able to perceive and express. 

I do not post it myself, because of all those reasons, and because I believe that these kinds of publications have to be handled at the special briefings, as it is done by the Israeli government nowadays. 

Those of us who did see at least some of the evidence of the October 7th massacre, or read about it, have simply anything to compare it with. Except the Holocaust. 

When you think that stretching your capacity of visual and descriptive observation, you saw the worst possible violence committed, you are seeing the photo of a couple. Completely charred. Somebody, motivated by compassion to the victims, decided to publish it, and you saw it purely by chance. A man and a woman. Laying nearby. The days come by. I saw it for a second, literally. After that, this photo is ever present in your mind, whatever you do. It is just present there, in the corner of your mind. All the days from the moment you saw it. And there is nothing you can do about it.  And you do understand to the core of your being Adorno’s famous furious rejection of even a thought of a possibility ‘write a poetry after Auschwitz’.  You really do. 

We are getting the evidence in growing numbers, and all possible forms. Photos, videos, descriptions, documents. Instructions, messages, recordings. We are hearing of cut off breasts, gouged eyes, cut off babies, all from alive people,  tight together by the metal wire parents and children burned alive. We are learning of decapitations, sex with corpses, making them corpses after terrible torture and sexual violence of no limit. 

We are learning about affliction at the level we never thought possible. It is not only the unparalleled level of cruelty per se which paralyses, numbs the minds of normal people. It is the eagerness of the beasts to inflict all those unspeakable tortures on the Jews. The Jews. The Jews.  

Hamas savages not only committed mass premeditated murder. They have attacked Jews in all their savagery and with all their devilish sadism. From this point of view, yes, what had happened qualifies for the Holocaust 2.0. 

Guidelines from the Hell

We saw many instructions in Arabic found on the bodies of the killed satanic agents. And we have documented testimonies of those of them who were arrested and interrogated. I saw it and I’ve read it. The guidelines included some precise targets, such as children and women. “Take hostage children and women”. ‘Attack parents and children together’. The savages were trained and instructed by slightly more senior savages to attack invalids, incapacitated people – because they are unable to provide any resistance, to get rid of elderly ‘quickly and with one bullet’, as they are ‘useless’ . 

Somebody who is regarded as a human, due to his or her physiology only, was busy for a long time, many months, in elaborating the hell on the earth, and making it implemented. Two and a half thousand savages were sent off to carry on the carnage. Substantial numbers were also training them, planning the massacre, preparing it in all its chilling detail. After the massacre, scores of savages are still propagating the burning hatred and methodically inciting the spread of annihilation of Jews world-wide. 

This is not a fight of any sort and in any meaning of the word. This is an unleash of a black force of evil against its opposite. This is not a spontaneous unleashing of it, but conceived, planned, structured, prepared,  implemented and having a post-implementation plan and objectives program of destruction of Jewry, both in Israel and anywhere else. In this aspect as well, the text-book of the attack and its aftermath is known. It is still an existing protocol of the Final Solution working meeting in the villa in Wannsee in January 1942, known as the Wannsee Conference.  

Psychological Terror

Intimidation is the air which terrorists breathe. They cannot function otherwise. In comparison with the Holocaust, we are doomed to see the atrocities  in real-time. Nobody can control it in our era of instant spread of information, all kinds of , any kind of. So we are privy, instantly, or at the timing devised by perpetrators, to tortures, murders, kidnappings. To humiliation of our brethren, their fright and their and our horror. To intimidation, pressure, haunt. All of it. Unlimited. In an accelerated motion. To serve the enemy’s purpose and objective to spread a total fear with regard to them. This is a sheer and massive psychological terror which Hamas and any pro-Hamas forces and their supporters are carrying on now day and night. Not against Jews and Israel only, but against normal people world-wide.

Well, they are badly mistaken in that. Because our spirit is based on humanity while their’s spirit or whatever it is , is based on destruction and hate. But of course, there is a psychological effect of everything they do, and they are being taught about the existence of this psychological effect.   

During the Holocaust, the Nazis were using many lies aimed, not always,  but often enough, to lull Jews into the belief of ‘re-location’.  As a rule, till the last days of WWII, the Nazis were not interested in open and cynical stating of their real purpose, the annihilation of Jews. 

Eighty years on, we are in a different situation. The savages who carried the massacre, who are still attacking Israel, and intimidating the Jews world-wide, are pretty open in their actions, purpose, translating it in a real-time to their bosses, families, and world-wide. They believe in a power of fear, and they are spreading it in the latest technological motion. 

In this aspect, the immediacy of the psychological warfare used by Hamas and anyone who supports them, is overcoming the power of evil which has become known to the people during the Holocaust. Apart from those troops who liberated the extermination camps, and the Allies intelligence, the rest of the world has gradually learned about the horrific crimes of the Nazis, after the end of WWII. It weighed on during twenty years after the end of WWII before becoming an indisputable factor of our development and accepted social rules and norms. Which has collapsed in the front of our eyes now, to a sudden and painful dismay of the Israelis and the world’s Jewry.

Now, we all, regardless of age, education, and preparedness to withstand the evil, are thrown into the hurricane of horror, on purpose, by the perpetrators. 

I am sure those animals underestimate human nature. They hope to frighten us, but in fact, they are strengthening us in our commitment to fight against the dark force. 

Still, their savagery, in the aspect of traumatising people, millions of people around the globe via their real-time psychological warfare should not be under-estimated. They know what they are doing and  what for. They should be confronted in this firmly, and we should not be intimidated on the psychological level which is a primary one, actually. 

I hope, Elon Musk would be willing and able to make some natural, logical and human conclusions in this regard, as well. That would be helpful, wouldn’t it? 

Spread of Violent Hate Beyond Israel

I do not know how much time is needed for people in Israel and Jews world-wide to come to terms with the horrific facts of the October 7th massacre and ongoing haunting turmoil  because of 230 hostages including babies and Holocaust survivors elderly. More than one hundred people are still not identified. There is a possibility that some of them won’t be identified at all. Entire families have been murdered. There are many cases when a family has just one survivor, in some cases it is just a 13-year old teenager. How are he and the others in the same position supposed to live their life?

The massacre resulted in many children becoming orphans. It resulted with many people becoming invalids. For very many of us life would never be the same. It is called ongoing trauma. And it never is cured or goes away. Never. 

And against all this massive horrific ongoing multiplied consequences of the massacre, people in Israel and Jews worldwide are facing not unanimous support and compassion but a massive, aggressive, arrogant, well-organised, hysterical wave of hatred. Streets, avenues, squares, campuses, buildings hosting Israeli Embassies and missions, are filled with hundreds of thousands of haters.  Aggressive, loud, violent scums in dizzy quantities. 

This inhuman stand, even trend of anti-Semitic massive global hatred is the only feature, apart from the existence of the IDF, that differs the current situation from the Holocaust. The world’s reaction and post-reaction to the October 7th massacre is appalling. It is appalling in its stupidity, aggression, non-fairness, immorality. It is appalling in its cowardice and idiotic moral equilibristic and moral relativism. It is appalling in its nastiness. It is despicable.

My dear friend, a brave and distinguished British officer, wrote to me recently: “I watched the speech the Israeli Ambassador gave in New York.  It was certainly one of the finest I have ever heard; clever, simple, direct, uncompromising and compelling. It was on the level of Winston Churchill. I just wish the audience had a few more like Ambassador Erdan and not mere craven representatives of despotic and some evil countries”.

My friend was absolutely right. Gilad Erdan happened to be the right man in the right place at the right place. My deep gratitude to him and his team, and all our support to their great effort on behalf of us all. 

And I was shaken to the core to see our Israeli delegation led by Ambassador Erdan wearing the yellow Stars of David at the UN floor.

Ambassador Gilad Erdan and Israeli delegation at the UN meeting. October 30, 2023.

What a terrible, terrible message. And how absolutely justified it is. This is the sign of the time, the mark of the moment: Jews, official representatives of the state of Israel at the United Nations, have to demonstrate the sign of the Holocaust 80 years after in a screaming effort to warn about its repetition.  As so many Jewish people today, I repeatedly would like to awaken, to realise that I am not sleeping. 

What Can Be Worse Than the Holocaust? 

As the horror of the October 7th massacre was becoming known, our first reaction was a psychological rejection: “No, no, no. Impossible”. But then we learned that our worst dreads were true. And another line of psychological self-defence, and also a normal human reaction went like: “No, no, no. There should not be a second Holocaust”. Natural human reaction. In the situation created by anti-humans. In the world where so unimaginably many are taking the side of evil, so eagerly, and so energetically. Why?

Are all those thousands of primarily youth floating the streets of London, Paris, New York, Melbourne, Warsaw, and so on, brainless? Heartless? Deprived of  compassion, humanity and any normal values? There is no doubt that stupid and arrogant wokism played a grotesquely unhealthy role in the education, moral balance and set of artificial values that has nothing to do with the historical way of mankind, and which forcibly and in no time deformed morality to its lowest.

But this is only part of the reasons which formed our current defeat of humanity. Flirting with terrorists at all and every level, from a mentally incapacitated UN, its grotesque, unreal agencies which are shamelessly and emphatically one-sidedly supporting terrorists without naming them so,  as long as they are anti-Jewish, anti-Semitic and anti-Israel is another core reason.

Financing the anti-Semitic and anti-Israel hatred during decades by all kinds of supposedly to be respectful institutions in Europe and world-wide with pumping endless money into so-called  education, so-called schools, so -called textbooks of so-called civilians in Gaza, and any other territory where children are methodically taught to hate and kill Jews on the criminal level of forming, sculpting an anti-Jews instinct for millions of children there – we are seeing in abundance proud videos of those ‘schools’ and those lessons of hate and nothing except the hate.

That is hard evidence of real ongoing by decades the way of bringing up children under Palestinian authority and in many other places of the Middle East – and not only, in many other places in Europe, US, Australia, Canada, all over where a large communities from the Middle East have been settled, the way of openly vicious anti-Semitic and anti-Israel hatred. Which is accepted or overseen by the societies and countries and governments, to the degree which we all finally are witnessing now. 

The children who were brought this way, on the Western tax-payers money, are adults now. They are acting. Both inside Israel killing Jews mercilessly and with their animalistic pleasure and satisfaction,  and outside it, supporting their soul-mates who are burning parents and children alive. In the front of the apoplectic world that allows these rallies of hate and which in a full idiocy repeats its mantra of humanitarian-purposes ceasefire. How about the humanitarian purpose of surviving terrorist attacks? 

After we all saw the unimaginable photos and footage of the 1945 from Auschwitz and any other Nazi extermination camp, my ever-seized total , helpless astonishment was always caused by the scenes of the hysterical pro-Nazi rallies as in Germany, as in many other places – like New York, or Paris, or Rome. How come? I always thought about looking at those thousands of people who were so ever happy to cheer for the maniacs who never actually hide their thoughts and purposes. Now I see first-hand the same cheerfulness and support of evil all over the globe. 

Ninety years after the beast awoke and started to act, three and half generations after, we are going there again. After all the nightmares and after decades of researching them, speaking of them, writing about them, filming about them, discussing them, contemplating the anatomy of evil. 

What can be worse than the Holocaust? The Second Holocaust. 

NO JEWS ALLOWED: 2023 – 26.10.2023

Inna Rogatchi (C). Dreams in Black. 2022.

‘It is a fake!’ – was the immediate reaction of some of the advocates of  Turkey tourism. “Well, I would go for independent proof”, – another, Jewish enthusiast of vacating in Turkey doubted the obvious. It was not a fake. An independent proof of authenticity of the photograph in question has been provided, too. The photograph shows No Jews Allowed sign printed on A4 paper with a crossed star of David under the sign. It has been displayed on the facade of  a busy  bookstore, characteristically,  in the centre of Istanbul.  

When the fact was re-established – no fake, yes, it is true – laments followed from all directions ( except Turkey itself which is officially hysterically anti-Israel now) : “ does it remind us something?”,  ‘ Where are we going from this? “, ‘What to do now?”. The laments are fully justified. 

And all of us are thinking the same thing which none of us does not want to say aloud: “We-do-know-what-follows-this-kind-of-signs”, don’t we? Well, we do. 

And it is a good moment to realise that it is not a movie. It is the reality of the day, as in Ankara, as it is in many other places where this is allowed. What is allowed? Not ‘just’ pre-racial cleansing signs on store facades. But: mega rallies in support of pure evil, hate, racism and crimes. Occupied Central Station in New York. Blocked Brooklyn Bridge in New York. Paralysed London. Blocked Victoria Station in London. Graffities in Australia. Stars of David on the doors of the Jewish houses  in Berlin and all over Germany. Burned doors of the apartments of Jewish people in France. Inciting demos in Paris, Strasbourg, Brussels. Enough of demonstration of hate. It has nothing to do with any democracy whatsoever. It has everything to do with giving in to fascism, neo-Nazism, destruction, crime, violence and racial hatred. Any of it should be forbidden by a local law or regulations – exactly as it is done in Florida nowadays. 

Our parliaments and local city administrations should be responsible and decent, and not give in all this unjustified hatred, violence and inciting. 

It is not about Jews, stupids. It is about normality and decency which are attacked daily and in intensifying mode, for three weeks on, from October 7th, 2023, and it is only the beginning. The black forces are on unleash. How can any person who can put two and two together, cannot see it? Or perhaps, it is a fake. An aberration of perception. Welcome to 1933.

SACRED PLACES & BLACK FLAGS – 25.10.2023

Michael Rogatchi (C). Silver Thread. Psalms Country. 1992

With daily grimmest possible and impossible discoveries, still shocking news, details and stories, some of the events of an utter importance are left unnoticed as they should. 

In the most peaceful and kindest country on earth called Iran, the tomb of Mordechai and Esther, the heroes of Purim, savers of Jews, was intruded in Hamadan, not for  the first time, but this time, just three days ago, the intrusion was specific. 

For one, the gate into the compound of the tomb  was broken, and not by an uncontrollable mob, but by several solid men who came there carrying on their mission, or order, or both, were absolutely assured of what they were doing, absolutely calm, as they knew that there would be no resistance whatsoever. 

Those men came to carry on their order with no agitation whatsoever,  they were executing what they were ordered to do. Inside the compound, they in a clam-and-sure motion burned the Israeli flag. All was filmed, this is how we know. It has happened for the first time in history when an act of vandalism of this sort had occurred inside the Mordechai and Esther tomb’s compound which is actually the property of the Iranian Jewish community, officially so. 

We also know that the tomb itself was vandalised, expectedly, but still it is terrifying. Inside the compound and the tomb, there are many very important Jewish figures buried. It is also terrifying because additionally to the Mordechai and Esther tomb, the tombs  of prophets Daniel and Habakkuk are also in that most peaceful and so accommodating country of Iran. 

The calmed self-assured men who came into the compound as to their own courtyard to burn the Israeli flag there, were the part of unfolding scheme in which now the appointed Iranian MPs have started the proceeding of official petitioning to transfer the Mordechai and Esther tombs, the most sacred place for the Iranian Jewry, and one of the most sacred ones in the entire Jewish history and for Jews world-wide, from the ownership of the Jewish community which bought it for an astronomic , of course, price, to the other hands, ‘to transform it into the place of Islamic interest’, as is written in the official petition and motion submitted within the National Assembly, the Iranian parliament. 

Not only the burning of the Israeli flag inside the Mordechai and Esther tombs compound was unprecedented, but there are other unprecedented signs which signal alarm from that so peaceful country, as for example, the raising of the black flag in Tehran on the second, if not first day of the October 2023 massacre. In Islam,  the black flag means the flag of Mohammad, and it is a battle flag. With connection with the raising of the black flag in Tehran two and half weeks ago, there are some explanations coming in the Western sources and aiming to calm the public down, saying that the meaning of it is a mourning over the victims of Gaza. A nice try , of course. The thing is only that the flag was raised before any Gazan victims fell.  

At the same time, in Nablus, a wild nasty crowd was storming the Joseph tomb  which has been under so many attempts of attacks repeatedly. The channelised hyper-anger of a mob directed to the sacred places of Judaism might be seen by some as a sort of ‘a collateral damage’. But it is not. Very far from it. 

As we are praying for our victims, and for the safety of people in Israel, our IDF forces, and the Jews all around the world, many of whom are under unprecedented direct threats, we are also praying for all of our sacred places , their safety and integrity. Because it is from these places where our strength originates. The strength which keeps us up for 3 700 years. And counting.

THE SILENT ONES – 24.10.2023

Inna Rogatchi (C). Octet in Blue. 2019.

So, there is a special media event for all  accredited journalists working in Israel, organised by the Israeli  government press-office in cooperation with the IDF. Full house. More than 200 journalists from all over the world, working in Israel. They are shown a 43-minute document with raw footage collected from the terrorists on-body cameras, their smartphones, as well as from surveillance cameras at the places of the carnage. The material is undoctored, to the degree. Some of it still cannot be demonstrated, in the IDF view, ‘due to the respect to the victims’. Some of it would be never shown, and it is related to mass rape, ‘because we cannot do it’. Period.  IDF cleared only one on-minte clip for publication. But my colleagues, and some of my good acquaintances presented at the event saw it all. I spoke with several of them, and I saw the photos from the event. The photos of the audience. 

Over two hundred  professionals from all over the world, from the US to India, and from Norway to Australia, were totally shocked and completely terrified. As any human would be witnessing crimes against humanity in real-time. Men and women, young, middle-aged, and senior, it was a shock and disbelief in their terrified eyes. Many could not breathe. Many cried. I had an impression that men were taken even more. While female journalists tried not to cry, but were visibly paralysed, men did cry and were taken completely aback, with their hands covering their mouths to hold a scream. But silent screams were in the eyes of every single journalist presented at the event called “October 7, 2023. Hamas massacre.   Collected Raw Footage. 43’ press-conference GPO, IDF”. 

I do not know if any Finnish journalists were present at the event. Apart from one honest and brave veteran journalist Antti Kuronen who was allowed to report for just three days in an extremely abridged report, the media coverage of the October Massacre and its aftermath, as well as officialdom’s handling of the screaming situation in Finland is beyond pale. So, we decided to help my colleagues in the media and among public figures and officials, with fact-checking, and have sent to all of them, tens of editors, senior journalists, journalists bosses, MPs, MEPs, diplomats, government officials etc. the photos from the press-briefing in Israel illustrating the horror among hundreds of international journalists, and quite detailed description of what they were shown. Just trying to help all those self-blinded people to end the misery – and the shame – of this kind of self-imposed blindness.  Perhaps, some of them will be cured. And all of them would know that people are not blind and they are taken accountable for their outrageous silence.

One of my colleagues, Amy Spiro, wrote a detailed report of what she and the rest of over 200 international  journalists  saw. Here it is – https://www.timesofisrael.com/idf-shows-foreign-press-raw-hamas-bodycam-videos-of-murder-torture-decapitation/

It is just one but 101% documented evidence of what has happened. Many more eye-withness reports exist. Amy’s description of what the international journalists saw by their own eyes is a must read, especially for two category of people: so-called journalists professionals who are propagating pitiness towards ‘peaceful’ Palestinians and are so deeply interested not even in two sides coverage, but on one, and that’s the side of vile terrorists and their supporters of all kinds; and by anyone else who are being in a public domain – political leaders, government members, parliamentarians, public figures, etc. –  preferred to keep silent on the worst atrocities that were assaulted without any reason whatsoever against mostly civilians. The share of the civilians among the Israeli victims is 83%, on the record. Babies, children, sick, invalids, elderly, women, anyone, actually. 

The silent ones have shamed themselves for the rest of their lives. Not that this kind of people care. But regardless of their small thoughts, there are such things as a reputation and legacy. They have tarnished both of it, by their own choice. And they should not have any illusions of how they will be remembered. As the silent ones. Meaning, in the face of crimes of the October 7, 2023, massacre of Israelis, despicable  ones. For now and forever.