Sektion 6: Räume des NS in der Demokratie: Leerstelle, Aneignung, Umnutzung oder Lernort?
Gilad Baram, Berlin

(Not So) Difficult Heritage (Anymore). On Documenting Nuremberg’s Transforming Nazi Party Rally Grounds

In a highly controversial move, the infamous Nazi Party Rally Grounds in Nuremberg, Germany’s largest preserved Nazi monument complex, is slated to become a large-scale cultural centre and the interim home of the city’s opera house. Together with the ambitious renovation of other significant monuments on the site – the Zeppelin Field and Zeppelin Tribune – these plans, some of which are already underway, constitute the most extensive overhaul of the Nazi complex since its initial construction in the early 1930s.

Disconcerted by this plan, filmmakers Gilad Baram and Bnaya Halperin-Kaddari – both Israelis of Jewish-European descent who emigrated to Berlin over a decade ago – embark on a film project that aims to scrutinize the rally grounds, both as a physical site of architectural transformation and as a metaphoric site of societal and cultural shifts vis-a-vis Germany’s National Socialist heritage, and a re-awakening national identity. Over the course of five years, they immersed themselves in recording the rapidly changing complex, focusing on the multiple public usages of its structures, on its architectural renewal and repurposing and on the people inhabiting and working in and around its spaces. Provisionally titled “Making Good Again”, their documentary feature film is planned to premiere shortly before the grand premiere of Nuremberg’s relocated opera house.

Tying together personal and collective narratives, “Making Good Again” evokes a set of fundamental questions concerning the role played by monuments in the (re)construction of historical narratives. Has Germany succeeded in “coming to terms with its past”? What does intergenerational responsibility regarding WWII and the Holocaust require and what are the consequences of a lack thereof? What role does guilt play in German society nowadays, if at all? And finally, is redemption possible in Germany; or, in other words, could ‘bad’ be made ‘good’ (again)?

The lecture-screening will include exclusive excerpts from the filmmakers’ work-in-progress and insights into the artistic research and creative process of this long-duration production.

Kurzbiografie Gilad Baram
2002–2006Production manager and location manager, Cinema and television production at July-August Productions (JAP), Tel-Aviv
2006–2010Bachelor of Fine arts (BfA), Photography Department, Bezalel Academy of Art and Design, Jerusalem
2009–2012Freelance photographer, solo and group exhibitions, museums and galleries Assistant to photographers Josef Koudelka, Gilles Peress, Stephen Shore and Jeff Wall
2013Chief advisor and co-writer for the book “Wall – Israeli and Palestinian landscape 2008–2012” / Josef Koudelka
since 2014Freelance filmmaker, cinematographer and photographer under the umbrella of Nowhere Films, Berlin
  • “Koudelka Shooting Holy Land”, documentary film, 2015/2019 (72 min.).
  • “The Disappeared”, experimental documentary film, 2018 (46 min., co-directed with Adam Kaplan).
  • “The People’s House (Beit Ha’Am)”, documentary film, currently in development.
  • “Making Good Again”, documentary film, currently in development.