Griselda Pollock E-Book

Pollock Griselda

• Herausgeber: Hatje Cantz Verlag
• Kategorie: Geisteswissenschaft
• Serie: E-Books
• Sprache: Deutsch
• Veröffentlichungsjahr: 2011

Seitenzahl: 47

Beschreibung

   Griselda Pollock bietet mit ihrer Betrachtung einer Auswahl von Arbeiten Charlotte Salomons eine radikal neue, nicht-autobiografische Lesart des Werkes einer Künstlerin, die als Jüdin 1943 in Auschwitz ermordet wurde. Bereits 1940 war sie im französischen Konzentrationslager Gurs interniert worden, eine Erfahrung, nach der sie begann, Gouachen und Pauspapiere als Theater der Erinnerung anzufertigen. In nur sechs Monaten, zwischen 1941 und 1942, schuf sie einen umfangreichen narrativen Zyklus, der 1.325 Bilder und Texte sowie musikalische Angaben für den Gesangsvortrag umfasst, die sie als abgeschlossenes Gesamtwerk mit dem provokativen Titel Leben? oder Theater? in einem Karton bei einem Arzt in Nizza deponierte. Die einzelnen Blätter eröffnen intime Einblicke in die Gedankenwelt einer Namenlosen, deren Status als Künstlerin einzig auf der Deportationsliste nach Auschwitz verzeichnet ist und die erst mit großer Verspätung zu einem Namen als Kunstschaffende und damit zu angemessener Anerkennung kam.    Griselda Pollock (*1949) ist Professorin für Social and Critical Histories of Art sowie Direktorin des Centre for Cultural Analysis, Theory and History an der Universität von Leeds.      Sprache: Deutsch/Englisch  

Leseprobe

100 Notes – 100 Thoughts / 100 Notizen – 100 Gedanken

Nº028: Griselda Pollock

Allo-Thanatography or Allo-Auto-Biography: A Few Thoughts

on One Painting in Charlotte Salomon’s Leben? oder Theater?, 1941–42 /

Allo-Thanatografie oder Allo-Auto-Biografie. Überlegungen zu einem Bild in Charlotte Salomons Leben? oder Theater?, 1941/42

dOCUMENTA (13), 9/6/2012 – 16/9/2012

Artistic Director / Künstlerische Leiterin: Carolyn Christov-Bakargiev

Agent, Member of Core Agent Group, Head of Department /

Agentin, Mitglied der Agenten-Kerngruppe, Leiterin der Abteilung: Chus Martínez

Head of Publications / Leiterin der Publikationsabteilung: Bettina Funcke

Managing Editor / Redaktion und Lektorat: Katrin Sauerländer

Editorial Assistant / Redaktionsassistentin: Cordelia Marten

English Proofreading / Englisches Korrektorat: Sam Frank

Translation / Übersetzung: Barbara Hess

Graphic Design / Grafische Gestaltung: Leftloft

Production / Verlagsherstellung: Christine Emter

E-Book Implementation / E-Book-Produktion: LVD GmbH, Berlin

© 2011 documenta und Museum Fridericianum Veranstaltungs-GmbH, Kassel;

Hatje Cantz Verlag, Ostfildern; Griselda Pollock

Illustrations / Abbildungen: p. / S. 1: Dar ul-Aman Palace, 2010 (detail / Detail),

© Mariam Ghani; images / Abbildungen Charlotte Salomon: Courtesy Charlotte Salomon Foundation / Stiftung, Jewish Historical Museum, Amsterdam

documenta und Museum Fridericianum

Veranstaltungs-GmbH

Friedrichsplatz 18, 34117 Kassel

Germany / Deutschland

Tel. [phone]

Fax [phone]

www.documenta.de

Chief Executive Officer / Geschäftsführer: Bernd Leifeld

Published by / Erschienen im

Hatje Cantz Verlag

Zeppelinstrasse 32, 73760 Ostfildern

Germany / Deutschland

Tel. [phone]

Fax [phone]

www.hatjecantz.com

ISBN 978-3-7757-3057-0 (E-Book)

ISBN 978-3-7757-2877-5 (Print)

Gefördert durch die

funded by the German Federal

Cultural Foundation

We cannot be held responsible for external links; the content of external links is the full responsibility of the operators of these sites. / Für externe Links können wir keine Haftung übernehmen. Die Inhalte der verlinkten Seiten sind ausschließlich von deren Betreiber zu verantworten.

JHM 4771

All images / Alle Abbildungen:

Charlotte Salomon, Leben? oder Theater?, 1941–42

Gouache on paper / Gouache auf Papier

32.5 × 25 cm

Griselda Pollock

Allo-Thanatography

or Allo-Auto-Biography:

A Few Thoughts

on One Painting

in Charlotte Salomon’s

Leben? oder Theater?,

1941–42 /

Allo-Thanatografie

oder Allo-Auto-Biografie.

Überlegungen zu einem Bild

in Charlotte Salomons

Leben? oder Theater?,

1941/42

Griselda PollockAllo-Thanatography or Allo-Auto-Biography: A Few Thoughts on One Painting in Charlotte Salomon’s Leben? oder Theater?, 1941–42

I.

Reminiscences, even extensive ones, do not always amount to an autobiography. . . . For autobiography has to do with time, with sequence and what makes up the continuous flow of life. Here, I am talking of space, of moments and discontinuities.1

On the edge of the Catholic cemetery at Portbou, Israeli sculptor Dani Karavan (b. 1930) was commissioned to create a memorial to Walter Benjamin on the fiftieth anniversary of his death in the town on September 26, 1940. Inaugurated on May 15, 1994, the monument is entitled Passages. A rusted steel pathway leads to a hooded entrance, which opens onto a precipitous staircase cut directly into the cliff. The staircase appears to open directly onto the sea crashing on the rocks below. The viewer is, however, protected from falling into the sea by a massive wall of glass placed at the mouth of the staircase through which the blue Mediterranean is visible but on which has been written, engraved into the glass, a phrase from Walter Benjamin himself:

It is more arduous to honor the memory of the nameless than that of the renowned. Historical construction is devoted to the memory of the nameless.

Charlotte Salomon (1917–1943) is one of the nameless. During her brief lifetime, the only document that affirmed her status as artist was the typed transport list that took her from Drancy on October 7, 1943, to Auschwitz, where she was murdered on October 10 because she was a pregnant Jewish woman. Salomon had been incarcerated in 1940 in the French concentration camp at Gurs, along with a diverse group of women, many of whom managed to escape the camp in the turmoil following the capitulation of France to invading German forces in June 1940. Those who escaped had names. They were known for themselves or for their husbands and found a place on the list of forged exit permits. The not yet reputed Hannah Arendt was one of these, saved because she was the wife of a famous communist. Many escaped Europe via Marseille, facilitated by the energetic American Varian Fry, who rescued many of the major European intellectuals and artists fleeing Nazi-dominated Europe. Walter Benjamin was aided thus but died when his transit visa for Spain was refused. His sister was also in Gurs. Being nameless, Charlotte Salomon was not on Fry’s or anyone’s list, save that of the Gestapo when Alois Brunner came to Nice to clear out all the German-Jewish refugees still hiding there. What is it to give a name to the nameless? How does an artist acquire an author name and become part of a cultural memory, out of time, because in her own time, there was no way she could acquire such recognition? What is the relation of name, life, and time, in that time, and in our time now?

II.

In Otobiographies (1979), Derrida offers a deconstructive reading of the phrase “the life and work of,” in his case, philosophers, in mine, artists. In art history, interpretation oscillates between the enclosure of art within the circle of its own formal concerns and a biographical reading that rests on the “Vasarian” model of the Vite