Emily Jacir & Susan Buck-Morss. Susan Buck-Morss
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100 Notes – 100 Thoughts / 100 Notizen – 100 Gedanken
Nº004: Emily Jacir & Susan Buck-Morss
dOCUMENTA (13), 9/6/2012 – 16/9/2012
Artistic Director / Künstlerische Leiterin: Carolyn Christov-Bakargiev
Agent, Member of Core Group, Head of Department /
Agentin, Mitglied der Kerngruppe, Leiterin der Abteilung: Chus Martínez
Head of Publications / Leiterin der Publikationsabteilung: Bettina Funcke
Managing Editor / Redaktion und Lektorat: Katrin Sauerländer
English Copyediting / Englisches Lektorat: Philomena Mariani
Proofreading / Korrektorat: Sam Frank, Cordelia Marten
Graphic Design and E-Book Implementation / Grafische Gestaltung und E-Book-Produktion: Leftloft
Production / Verlagsherstellung: Stefanie Langner
© 2011 documenta und Museum Fridericianum Veranstaltungs-GmbH, Kassel; Hatje Cantz Verlag, Ostfildern; Susan Buck-Morss; Emily Jacir
Illustrations / Abbildungen: p. / S. 1: Fridericianum, September 1941 (detail / Detail), Photohaus C. Eberth, Waldkappel; Universitätsbibliothek Kassel, Landesbibliothek und Murhardsche Bibliothek der Stadt Kassel; p. / S. 30: © The Israel Museum/David Harris; p. / S. 33: © 2011 Digital image, The Museum of Modern Art, New York/Scala, Florence; p. / S. 39: © Roger M. Richards/rogermrichards.com; p. / S. 44: © 2009 Emily Jacir; p. / S. 45 top / oben: © Eyad Albaba/ddp images; bottom / unten: © João Silva/PictureNet
documenta und Museum Fridericianum
Veranstaltungs-GmbH
Friedrichsplatz 18, 34117 Kassel
Germany / Deutschland
Tel. +49 561 70727-0
Fax +49 561 70727-39
Chief Executive Officer / Geschäftsführer: Bernd Leifeld
Published by / Erschienen im
Hatje Cantz Verlag
Zeppelinstrasse 32, 73760 Ostfildern
Germany / Deutschland
Tel. +49 711 4405-200
Fax +49 711 4405-220
ISBN 978-3-7757-3033-4 (E-Book)
ISBN 978-3-7757-2853-9 (Print)
Gefördert durch die
funded by the German Federal
Cultural Foundation
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“History breaks down into images, not into stories.”
Walter Benjamin
1.
History is layered. But the layers are not stacked neatly. The disrupting force of the present puts pressure on the past, scattering pieces of it forward into unanticipated locations. No one owns these pieces. To think so is to allow categories of private property to intrude into a commonly shared terrain wherein the laws of exclusionary inheritance do not apply. The history of humanity demands a communist mode of reception.
2.
The goal is nothing short of a different world order. It will require rescuing the past based on a de-privatized, de-nationalized structure of collective memory. There is little danger of a new triumphalism in this task. Human universality is a scarred idea, and the sources of the scarring must be remembered along with its moments of inspiration. Extreme inhumanities are part of a communist transmission of the past. The human disaster in Gaza cannot be made the legacy of Israel any more than the Holocaust belongs solely to the Germans. Neither historical role, of victim or oppressor, is encoded in our DNA. Past injury is not a license to kill.
3.
Art teaches us to see things. It is Anschauungsunterricht—training in observation.
Draw a New Angel that matches Benjamin’s description.
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