'Exeter after the 1942 Baedeker Raids' © Historic England

Review

What Remains review

4 out of 5 stars
  • Museums
  • Recommended
Rosemary Waugh
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Time Out says

On November 14 1940, Coventry Cathedral was almost completely destroyed by incendiary bombs. The ruins remain, right next to Basil Spence’s brilliant modernist replacement, in what functions as a memorial and a symbol of Coventry’s commitment to peace. If you’ve never been, go. It’s a genuinely incredible place.

Coventry Cathedral and the Frauenkirche in Dresden – the German city it twinned with as an act of reconciliation – feature prominently in this exhibition describing how culture of all kinds fares during times of conflict (in summary: generally not very well). Forming part of the Imperial War Museum’s three-part ‘Culture Under Attack’ season, ‘What Remains’ comes at its subject from a number of angles: what gets destroyed, why it gets destroyed and what happens afterwards.

Take a step back and the different parts don’t quite add up to a coherent argument; although, to be fair, this is probably one of those topics where a case-by-case approach is required to gain any insight. This exhibition is more about gathering together a long list of examples that together demonstrate how questions of culture are almost impossible to disentangle from any true conversation about war.

Along with many images of destruction on a mega-scale, including the infamous detonation of the Bamiyan Buddhas and the smashing of the Temple of Bel in Palmyra, Syria, some of the most affecting sections relate to acts on a more personal or individual level. There’s the carefully preserved charred remains of a book from Leuven’s incinerated library, an official document listing artworks seized from specific Jewish families by the Nazis, and a video clip showing artefacts in Mosul Museum being thwacked with sledgehammers.

It’s a sense of pointlessness that really dominates the last of these. Blasting a building accidentally in a bombing raid is one thing, but the idea of actually bothering to take a hammer to an ancient statue is just… sad. Which is pretty much the overriding feeling of this exhibition. Humans, eh? We can’t be trusted with nice things.

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