In my work, I examine and compare the signs used in abstract
communication systems. These come from areas such as history,
ethnology, writing system research, religion or the natural sciences
and cover a period dating from prehistoric rock drawings up to
modern-day electronically data processing. It is the graphical
qualities of these signs, which is most important for me and not the
philosophical content or scientific significance.
There is hardly another German city with such long associations with
Jewish history as Cologne. Even in Roman times, a Jewish community is
mentioned here in a decree of the Emperor Constantine from the year
321. Since that time, a Jewish community has again and again been
accepted in Cologne or driven away, its synagogue rebuilt and again
destroyed. Only from 1798 was it possible for Jewish citizens to settle
permanently in Cologne, after receiving permission from the French
administration of the city. The first small synagogue was built in
Glockengasse in 1804, on a part of the secularized grounds of the
convent of the Order of St. Clarissa. During the following years, due
to the large number and the economic importance of the Jewish
inhabitants of Cologne, a more appropriate synagogue became necessary.
In 1857, at his own expense, Abraham Freiherr von Oppenheim had a big
synagogue built by the Cologne Cathedral architect, Ernst Zwirner,
covering the entire site of the former convent in Glockengasse. Like
the other Cologne synagogues, it was destroyed in "The Night of the
Broken Glass". In 1957, the new Cologne Opera House was built on part
of the synagogue site in Glockengasse. The foundations of the former
sacred building and its ritual bath are preserved under Offenbachplatz.
Today only, a bronze plate on the lateral façade of the opera
house recalls the former religious significance of this "space" in
Glockenspiel.
With my exhibition project "Former Synagogue" in the foyer of the
Cologne Opera House during the Jewish festival in the Rhineland, I want
to remind people of this religious significance and bring it back to
its original location for a limited time. The title of the exhibition
is like the first line of the Torah (Genesis Chapter 1, Verse 1) In the
beginning God created the Heaven and the Earth.
As described above, with my exhibition project I want to recall the
former religious and sacred significance of the "space" in
Glockengasse. Due to its different use today, this former significance
has almost completely vanished from our consciousness. By choosing the
sacred Hebrew letters and their colours, this significance returns to
this "space" for a limited time. The letters and the colour are part of
the Torah and the Tallit; they are signs of religious thought and
ritual activities, which were once present in this "space".
Johannes Senf
Cologne 2002
translation from German by the translation office Denzig Cologne