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Critique presentation
- 2. Memorial to the Murdered Jews of Europe http://en.wikipedia.org/wiki/File:HolocaustMahnmalLuft.jpg
- 3. Memorial to Homosexuals Persecuted under Nazism
- 6. Melanggan
Editor's Notes
- WEAVE Anxiety Disembodied presence “Ontological anxieties about the status of the object, and more particularly, anxieties about its status as human.” (Hook) Multiplicity Anonymity Feeling of infinite scale Struggle to contain scale Series of Decisions - Network (cf. Good - the film)
- SPIRAL Draws you in Do not know what you are looking at until you have seen it. The scene is unflinching Has a current political function Vandalism: was to break the ‘eye’ of the memorial (the glass screen), rather than deface the concrete box. Tension with ‘owners’ of other memorials Memorialises persecution not just under a single event, but over a long period of time. Indeed the memorial is in part acting to confront continuing prejudice.
- CONSTELLATION OF MINESHAFTS Anxieties Embodied absence “ This then is one route of the uncanny, that moment of ontological error in which a given monumental place (or object) takes on a psychological presence, an imagined subjectivity.” Iterations (Rhythm (like bumps on a vinyl record) Recurrance and the uncanny Proliferation Many cities, many countries, different responses Multiplicity Heimat - link to the home (literally) Made unheimlich (uncanny/unhomely) Scale – intimacy The particular “ It is not what is written which intrigues me, because the inscription is insufficient to conjure a person. It is the emptiness, void, lack of information, the maw of the forgotten, which gives the monuments their power and lifts them from the banality of a statistic.”http://needleberlin.com/2010/08/23/nazi-victims-and-stumbling-blocks-to-memory/ Thresholds…
- MOULDING Data (Information Aesthetics, Datamash) Mutable - can change, be reorganised to form different narratives Strangely organic aesthetic (cf Murmuration of Startlings http://vimeo.com/31158841?utm_source=Twitter&utm_medium=link&utm_campaign=SocialMedia ) Tension between Place (particular location) and unfettered(?) movement of data Flexible presentation of memorial: data, web, sound installations. Open accessibility (to the technological elite).
- THRESHOLD “ While the Western monument in the modern era enabled as much a process of forgetting or collective amnesia as it marked a memory, the Melanesian counterpart enables with its erasure, the creation of an inherently recallable image; it thus instigates a process of remembering that is not directed to any particular vision of past or future, but which repeats itself many times over in point-like, momentary and thus ‘animatorical’ awakening of the past in the present.” (p63) “ The oddest thing… is no doubt the mobility of this memory in which details are never what they are: they are not objects, for they are elusive as such; not fragments, for they yield the ensemble they forget; not totalities, since they are not self-sufficient; not stable, since each recall alters them.” (quoting De Certeau) (p64) “ He beautifully captures the absent space of memory as constituted by a double alteration ‘both of memory, which works when something affects it, and of its object, which is remembered only when it has disappeared.’” (of DeCerteau) (p64) “ This absent space of memory is less easily embraced within a linear, narrative frame, but demands representations that recall what is absent into the present.” (p64) All from Susanne Kūchler ((1999). “The Place of Memory.” The Art of Forgetting . Oxford, Uk; New York, USA: Berg.
- “ When attending the reveal of a malanggan, everybody present is purposeful and prepared - their minds and pockets ready to attain at least a fragment of share in what is to be seen for only a matter of minutes.” Dismantling of Christ’s wrapped Reichstag in Berlin Berlin Wall falling (Susanne Kūchler ((1999). “The Place of Memory.” The Art of Forgetting . Oxford, Uk; New York, USA: Berg, p67)
- “ The modality of the uncanny that we are dealing with here is one based on repetitions of time, hauntings, overlaps, problematic, precisely uncanny relationships between what is past and what is present.” Hook
- “ Once the landscape has been overlaid with its memorial inscription, it retains an afterimage in visitors' minds-andis therefore never innocent of memory again.” (Young, Counter-Memorial, p286) “ By inviting its own violation, the monument humbles itself in the eyes of beholders accustomed to maintaining a respectful, decorous distance. It forces viewers to desanctify the memorial, demystify it, and become its equal. The counter-monument denaturalizes what the Gerzes feel is an artificial distance between artist and public generated by the holy glorification of art. Ultimately, such a monument undermines its own authority by inviting and then incorporating the authority of passersby.” (Young, Counter-Memorial, p279)
- “ We cling to a tangible reminder of a site that was brought to life for the brevity of our encounter with it. In this way, we are now possibly closer to an animatorical reading of monuments that appears to have governed medieval church art and certain non-Western artefact traditions than we have been at any point since the Renaissance. Yet, whereas we now can possess the experience offered by the monument intellectually and have the means to reproduce this experience, we still customarily conceptualise the memorial’s value as residing in the object or parts of the object, rather than in a mental resource created through the object’s disappearance.” (Susanne Kūchler ((1999). “The Place of Memory.” The Art of Forgetting . Oxford, Uk; New York, USA: Berg, p67)
- “ When attending the reveal of a malanggan, everybody present is purposeful and prepared - their minds and pockets ready to attain at least a fragment of share in what is to be seen for only a matter of minutes.” Dismantling of Christ’s wrapped Reichstag in Berlin Berlin Wall falling (Susanne Kūchler ((1999). “The Place of Memory.” The Art of Forgetting . Oxford, Uk; New York, USA: Berg, p67)