Sie befinden Sich nicht im Netzwerk der Universität Paderborn. Der Zugriff auf elektronische Ressourcen ist gegebenenfalls nur via VPN oder Shibboleth (DFN-AAI) möglich. mehr Informationen...
Memorial Arts by Horst Hoheisel and Andreas Knitz: Negative Spaces and Memorial Spielerei
Ist Teil von
The Massachusetts review, 2019-12, Vol.60 (4), p.619-638
Ort / Verlag
Amherst: Massachusetts Review, Inc
Erscheinungsjahr
2019
Link zum Volltext
Quelle
Literature Online (LION eBooks)
Beschreibungen/Notizen
Artist Horst Hoheisel, already well-known for his negative-form monument in Kassel, proposed a simple, if provocative anti-solution to the memorial competition: blow up the Brandenburger Tor, grind its stone into dust, sprinkle the remains over its former site, and then cover the entire memorial area with granite plates. [...]perhaps no single emblem better represents the conflicted, self-abnegating motives for memory in Germany today than the vanishing monument.1 Of course, such a memorial undoing would never be sanctioned by the German government, and this, too, was part of the artist's point. Better a thousand years of Holocaust memorial competitions in Germany than any single "final solution" to Germany's memorial problem.2 Like other cultural and aesthetic forms in Europe and America, the monument—in both idea and practice—has undergone a radical transformation over the course of the twentieth century. In Germany, once the land of what Saul Friedlander has called "redemptory anti-Semitism," the possibility that art might redeem mass murder with beauty (or with ugliness), or that memorials might somehow redeem this past with the instrumentalization of its memory, continues to haunt a post-war generation of memory artists.3 Moreover, these artists in Germany are both plagued and inspired by a series of impossible memorial questions: