Daedal(us) – Esther Shalev Gerz

advertisement
48 page layout FINAL
18/7/06
11:38 am
Page 1
DAEDAL(US)
48 page layout FINAL
18/7/06
11:38 am
Page 2
ACKNOWLEDGEMENTS:
FIRE STATION ARTISTS’ STUDIOS
In particular, thanks to all the residents and
households of the North Inner City (60 households
took part in total), without whose collaboration
Daedal(us) would not have been possible.
Fire Station Artists’ Studios is a living and
working environment where communities of
professional practice, place and interest interact;
developing arts practices of exceptional quality
and integrity. (Mission Statement)
Artist: Esther Shalev-Gerz
website: www.shalev-gerz.net
The Fire Station Artists’ Studios was established in
1993 to address the needs of practicing professional
artists. Located in Dublin's North Inner City, the Fire
Station provides,
Project Co-ordinator: Liz Burns
email: liz@firestation.ie
Special thanks to Brigid Harte, Tony Sheehan,
Mick Rafferty, and Ronan Sheehan who helped to
initiate this project. Much gratitude to Terry Fagan
for his support.
To the Board of the Fire Station Artists' Studios
and to all the staff past and present: Clodagh Kenny,
Roisin Hogan, Liz Burns, Gerry Pickett, John Carrick
and Natasha Molyneaux, a special thanks. For
assistance and support, thanks to Paul McGowan,
Ciaran Bennett, Agnes Henry, Jack Gilligan, Paul
Moloney, Alexa Coyne and Christopher Fleischner.
Grant Aid: The Arts Council of Ireland
(Special Projects Scheme 2002),
Dublin City Council (Arts Office).
Project Sponsors: Daedal(us) would not have been
possible without the generous financial support of the
following companies:
AIB
Bruce Shaw
Capital Bars
Cosgrave Developments
International Fund Managers
KPMG
Murray O'Laoire Architects
Spencer Dock Development Company
- Residential studios to national and international
artists (9 studios in all).
- Sculpture workshop and digital media facilities.
- Training opportunities to professional artists.
A key policy of the Fire Station is to contribute to
the debate on collaborative arts practice through
initiating and developing art projects of innovation
and excellence in collaboration with the community
and bringing the best of contemporary visual art to
the community. Since the early 1990's the Fire
Station developed partnerships with ICON (Inner City
Organisation Network) and other community
organisations on ground breaking art projects such
as Inner Art (1997), The Memorial (1998-2000), and
Consume (1997-2000) and Daedal(us) (2003).
Curator: Brigid Harte
email: brigidharte@aol.com
Projections: Black Light, David Murphy
email: blacklightireland@tinet.ie
Technical Manager: Eoin McDonagh
email: eoinmcd@eircom.net
Esther Shalev Gerz
Daedal(us) | North Inner city Dublin
30th October – 30th November 2003
Daedal(us) | Botkyrka Konstall, Stockholm
22nd May – 11th June 2004
Daedalu(s) | Fondation Hippocrène,
Paris 14th October 2004 – 30th January 2005.
Publisher: Fire Station Artists Studio
Graphic Design: David Joyce (Language)
Image Retouching: Jean-Michel Cambilhou
Photographers: Esther Shalev-Gerz,
Terry Fagan, Dean Lochner
Artist Assistant: Marlene Rigler
For further information go to www.firestation.ie
The Fire Station Artists' Studios are funded by
The Arts Council of Ireland
© Fire Station Artists’ Studios,
Esther Shalev-Gerz and the authors.
ISBN No:
48 page layout FINAL
18/7/06
11:38 am
Page 3
INTRODUCTION
(Seminar – Art in a Changing City, National College of Ireland 27/11/03)
In 2001, the Fire Station Artists’ Studios then director Tony Sheehan
invited Brigid Harte to curate a project by international artist Esther
Shalev-Gerz. It was the North Inner City’s history and social
conditions, its architectural diversity and the ongoing transformation
that first attracted the artist.
Weekly tours of the projections were conducted by local historian
Terry Fagan. These tours succeeded in bringing a whole new
audience of “outsiders” into an area commonly avoided by many
people, as well as giving an invaluable social and historical context
for the images that were being projected.
The architectural development of the Irish Financial Services Centre
(IFSC), Dublin Docklands Development Authority, the new National
College of Ireland, as well as the accompanying new offices and
apartments indicate the ongoing changes to the area. Regeneration
in terms of improved social housing and community facilities has also
brought about a process of gentrification. Still, the North Inner City
continues to struggle with all the social issues that accompany
poverty and years of neglect, in particular lack of education,
inadequate housing, long-term unemployment and drug misuse.
The predominantly working class community of Sheriff St sits
uneasily less than thirty metres from the affluent environs of the
IFSC. Both communities do not mix. As articulated by Esther, “You
feel like it’s this little desert that people just walk around… one
moment you go from one street to another, and you’re in another
world. It’s pretty drastic”.
From the artist’s and Fire Station’s perspective, the success of the
project sprung from dialogue and negotiation with local people.
As articulated by Esther, “It’s not just an artist that comes and does
a work; it’s a whole dynamic that happens” (Seminar – Art in a
Changing City). No household pulled out of the project, and no
equipment was damaged. This indicates good communication and
interaction between the artist, the Fire Station and the local
community.
Esther Shalev-Gerz’s project consisted of a labyrinthine network of
twenty-one photographs of buildings’ façades displaced onto nearby
houses in the form of giant projections. Images of the flat complexes,
private houses, new apartments, shops and pubs were reworked
and appeared, slightly dislocated, onto nearby facades. Visible only
during night-time throughout the month of November 2003, these
projections transformed the architecture of the North Inner City.
Both the local community and visitors to the area were invited to
participate in the reinvention of this urban space, by actively
translating and reconstructing familiar sites.
Indeed, the meaning and creative process of Daedal(us) relied on
the active participation of people within the community. Sixty
households took part in the project: twenty agreed to have their
homes photographed, twenty agreed to host a projector, and twenty
others agreed to have an image projected on their homes.
A further aspect of Daedal(us) are a series of forty photographs
of the projections. Reworked by the artist, they were exhibited in
Paris and Stockholm, as well as this very publication. Through this,
the buildings of the North Inner City area have become a
permanent artwork.
Through initiating and documenting projects of this kind, as well as
working with international artists like Esther Shalev-Gerz, the Fire
Station Artists’ Studios aims to contribute to the ongoing discourse
on contextual and collaborative arts, and promote excellence in this
ever expanding area of arts practice.
Liz Burns
Fire Station Artists’ Studios
May 2005
48 page layout FINAL
18/7/06
11:38 am
Page 4
Preparation for installing the projections:
Liz Burns, Brigid Harte, Esther Shalev-Gerz, Terry Fagan,
David and Owen from Black Light
Projection Locations:
Sheriff St, Commons St, Custom House Plaza, Mayor St, Foley St, Railway
St, Buckingham St Lwr and Upr, Portland Row, Dunne St, Rutland St,
Terrace Place, Bella St, Thomson Cottages, Simmins Place, Richmond
Cottages, Richmond Parade.
Esther Shalev-Gerz photographing in North Inner city >
48 page layout FINAL
18/7/06
11:38 am
Page 5
48 page layout FINAL
18/7/06
11:38 am
Page 6
List of Images:
p. 7 – 20 : All photographs Daedal(us), 2003, 65 x 53cm, colour photographs, diasec mounted
p. 22 : Between Listening and Telling, Exhibition at Hôtel de Ville, Paris, France, February 2005
p. 29 : Daedal(us), Exhibition at Botkyrka Konsthalle, Sweden, 2004
p. 31 : Daedal(us), Exhibition, Fondation Hippocrène, Paris, 2005
p. 32 - 45 : All photographs Daedal(us), 2003, 108 x 80cm, colour photographs, diasec mounted
48 page layout FINAL
18/7/06
11:38 am
Page 7
48 page layout FINAL
18/7/06
11:38 am
Page 8
48 page layout FINAL
18/7/06
11:38 am
Page 9
48 page layout FINAL
18/7/06
11:39 am
Page 10
48 page layout FINAL
18/7/06
11:39 am
Page 11
48 page layout FINAL
18/7/06
11:39 am
Page 12
48 page layout FINAL
18/7/06
11:39 am
Page 13
48 page layout FINAL
18/7/06
11:39 am
Page 14
48 page layout FINAL
18/7/06
11:39 am
Page 15
48 page layout FINAL
18/7/06
11:39 am
Page 16
48 page layout FINAL
18/7/06
11:39 am
Page 17
48 page layout FINAL
18/7/06
11:39 am
Page 18
48 page layout FINAL
18/7/06
11:39 am
Page 19
48 page layout FINAL
18/7/06
11:40 am
Page 20
48 page layout FINAL
18/7/06
11:40 am
Page 21
48 page layout FINAL
18/7/06
11:40 am
Page 22
48 page layout FINAL
18/7/06
11:40 am
Page 23
SPACES OF PERCEPTION
Esther Shalev-Gerz's Daedal(us)
“It is at the same time true that the world is
what we see and that, nonetheless, we must learn
to see it - first in the sense that we must match
this vision with knowledge, take possession of it,
say what we and what seeing are, act therefore as
if we knew nothing about it, as if we still had
everything to learn.” 1
For the last 20 years Esther Shalev-Gerz has been creating
a powerful artistic practice reflexively built on
communication. In the act of transmitting information,
ideas, and knowledge a sense of shared experience becomes
underlined - and sometimes established. Operating as an
insert between the social act of speaking and the image,
Shalev-Gerz's practice locates itself between listening and
telling in a space where memory is articulated and where
perception and knowledge inform each other. One of the
difficulties with perception is that ‘things’ and their
perception are two different concepts. A space sits between
the two. This problem is doubled in the case of artwork. This
space-between is analogous to the silences that punctuate
words that enable language to exist – be it textual, aural, or
visual. John Cage described silence as a balance to sound that
clarifies structure, noting that “the world changes according
to the place we place our attention. This process is addictive
and energetic.”2 A silence is not empty: it leaves a trace or a
gap where something once was or could be. To pay attention
to moments between words – or objects – is to look afresh at
familiar environments. Silence relies on the speech that
succeeds it and through the silence enveloping the preceding
speech, meaning is created. The relationship between speech
and silence is that of the visible and the invisible, the known
and the assumed.
By occupying and interrogating this in-between space
Shalev-Gerz takes possession of it through, as Merleau-Ponty
wrote, “the virtues of language.” Working through acts and
encounters of communication, she creates works that
question assumptions and highlight moments between
understanding and perception. In 2002 she was invited by
The Fire Station Artists’ Studios to make a work in Dublin's
Northeast Inner City: an isolated area in spite of its urban
nature, and a location rife with problems of heroin abuse
while at the same time undergoing a process of regeneration
and a certain gentrification. Shalev-Gerz created a doubling
of place on top of these contradictions in Daedal(us), a work
1 Maurice Merleau-Ponty, The Visible and the Invisible,
Northwestern University Press, 1968
2 John Cage, For The Birds, Marion Boyars, 1981
with process and communication at its core. Using memory
to create a renewed sense of place, she drew together
individuals to consider their own location through a series of
interruptions in space that created a maze like structure of
repetition. The title Daedal(us) points the Greek myth of
Daedalus, the Athenian architect and inventor who built
King Minos an endless labyrinth, only to be later imprisoned
within the structure himself with his son Icarus.
Constructing wings from feathers and wax, the pair planned
a much-feted escape via the skies – Daedalus made his escape,
but his son flew too close to the sun, the wax melted, and he
fell to the sea. The title also of course evokes James Joyce's
Stephen Dedalus who repeatedly wanders Dublin's streets;
like the mythical Daedalus he is tied to the structures of
place, desiring escape. Robert Smithson, in his writings,
recalled Brancusi's sketch of Joyce as a 'spiral ear' that
“suggests both a visual and aural scale, or in other words it
indicates a sense of scale that resonates in the eye and the ear
at the same time.”3 Like the silence, this space between sound
and vision operates as a punctuation point for engagement:
in Shalev-Gerz's work the space is that of the familiar layered
upon itself in a new configuration.
Like all of Shalev-Gerz's work, Daedal(us) develops over
time, initiating a series of long-term relationships. Wherever
she makes a work she immerses herself in an area, choosing
to mine the human relationships that create a sense of place.
In this project Shalev-Gerz, like Stephen Dedalus, traversed
the streets of the area getting to know not just the
architecture and topology, but also its occupants. An
unfamiliar woman wandering with an expensive camera in
an area with many drug-dealers will not be a commonplace
sight, and in order to negotiate this relationship Shalev-Gerz
was required to engage with people as she made her way
through the network of neighbourhood streets. Working
with Liz Burns of the Fire Station Artists’ Studios she
conversed with many people, gaining an impression of how
they felt about their area, with many telling of the economic,
3 Robert Smithson: Collected Writings, edited by Jack Flam,
University of California Press, 1996
48 page layout FINAL
18/7/06
11:40 am
Page 24
sociological and architectural changes that had taken place.
Conversation and the telling of stories is a characteristic of
Shalev-Gerz's practice, with works such as White Out (2002),
The Portraits of Stories (1998-2000), First Generation (2004),
and Between listening and telling. Last witnesses. Auschwitz
1945-2005 (2005) providing a space for individuals to tell
their experiences of their place in the world.
In this most recent work, Between listening and telling.
Last witnesses. Auschwitz 1945-2005, the space of silence is
explicitly mined. Shalev-Gerz worked with 60 interviews
where the last witnesses of the Holocaust spoke of their
experiences before, during, and after the Second World War,
as well as of how they lived today. The context for this work
was a historical room in the Hôtel de Ville in Paris where the
walls are lined with tapestries and a large chandelier sits in
the centre. Shalev-Gerz developed a concept to create a space
for listening to these testimonies and designed four long
tables with waved profiles that enabled 60 people to sit, watch
and listen to 60 personal DVD players at their own pace of
reflection. Each contained a single unedited testimony by an
individual, allowing an unmediated life-story to be told by
each person. Three large projections are shown at the end of
the room, confronting the visitor on entrance. These films
are edited to the moments of silence in the spaces between
words, turning small silences into extended moments. These
are the pauses before the speakers tell something: feeling
exudes from their faces, as eyes glisten with tears, eyebrows
raise in disbelief, shoulders lift in question, and sometimes
smiles cross the lips. From time to time those listening to the
recollections look to the large screens or to others listening,
and in that moment become aware of the spaces between
language. The design enabled not only people to listen, but
also allowed visitors to watch others doing the same: to see
the present meeting the past through the emotional
responses of the listeners and of the tellers. In the space
between telling and listening a new, contemporary moment
of sharing the past and present became possible.
From her research for Daedal(us) (always an essential
element of her practice), Shalev-Gerz selected twenty facades
of buildings in the Northeast Inner City that were
photographed in colour. Each image was then captured on a
glass positive plate, creating a black and white image that
could be projected on to buildings at night while
maintaining a strong visual presence. This way of working
recalls the infancy of photography where heavy, bulky
equipment and long exposures meant that creating a single
view was a lengthy process that enabled a more detailed
inspection of the landscape than had ever been possible
through mere vision - rather like Joyce's inspection of a
single day's activities in all of its minutiae in Ulysses. This
new ability to halt time led many photographers to try to
erase all temporal indications, but this was rarely possible.
Others made the imperfections that time created a feature to
emphasise the stillness of the image. Eadweard Muybridge,
for example, worked with photography to describe many
places (that culminated in a 360-degree panorama of San
Francisco in 1877) before he turned to his famous studies of
animal locomotion, making many images of waterfalls that
appeared as ghostly glows. At this time photography was
strongly linked to articulations of place - partly because
buildings did not move as people did, allowing the long
exposures to capture the image, but also because of
photography's incredible descriptive ability. This was
exemplified by Eugene Atget, who effectively worked as a
visual anthropologist, producing thousands of images of
Paris between 1895 and 1927 that he carefully indexed and
reindexed in “a repetitive rhythm of accumulation.”4 Often
making repeat visits to photograph different aspects of a
single building, Atget would by chance sometimes capture a
ghostly movement as an individual moved before the lens.
Looking across Atget's practice one can see him focussing on
single points, such as shop windows, street signs or doorways,
around which he articulated urban space, its representation,
and inhabitation - echoes of which can be seen in ShalevGerz’s Dublin project.
4 Rosalind Krauss, Photography's Discursive Spaces, in The Originality of the
Avant-garde and other Modernist Myths, MIT Press, 1985
Having created a series of images of facades, Shalev-Gerz
then required locations to project them from and to, which
again required a personal negotiation. Once a person had
granted permission to have a photograph taken of their
house, a second person was needed to agree that their home
could be projected on, and then a third that the projector
could be installed in their home to provide a place for the
image to be projected from. These propositions 'of', 'on' and
'from' speak loudly of how one might describe a relationship
with a place. Some were reticent to install a projector, linking
such an action to surveillance activities that would be
unwelcome in an area where drug-sales took place.
Nonetheless, once individuals engaged with the notion and
intents of Daedal(us), many agreed and no adverse
consequences occurred - in fact it was an affirmation of local
ownership of the area that took place. The projections
themselves change over time: each one was visible as soon as
night fell for an entire month, creating a level of
impermanence to a project with a specific, temporary
duration. The projected buildings themselves changed over
the period, and towards the end a red glow, sending out a call
to pay attention to the area, was filtered into the images. By
re-representing urban space through photography a sense of
place can be articulated, initiating a new, or revived, closeness
between the city and its inhabitants. To see a single location
stopped in time, even within our contemporary technological
moment, is to offer an opportunity to recognise the most
familiar through its representation. Daedal(us) existed as an
event that sat between fictional projection and a real,
experienced space. This was emphasised when the projectionevents themselves were photographed to become art objects to
be displayed in art galleries and illustrated in catalogues, such
as this very one. Each of these photographs depict not only
the architectural displacement but also vulnerability of each
image to the textures of each building that fed through to the
layered representation of another facade. In this reworking
Shalev-Gerz inserted cultural practice into the space of the
everyday through yet another level of negotiation,
48 page layout FINAL
18/7/06
11:40 am
Page 25
representation and reworking of the real. By altering the
familiar a space becomes open for recognition of place and
for personal stories to be told.
In his book Architectural Uncanny5 Anthony Vidler discusses
how familiar places can be made strange by the slightest
change in perceptions. Such a change may well be based on
an objective factual shift, but can also take place through
imagination or belief systems. He quotes from Ernst Bloch's
text A Philosophical View of the Detective Novel that
describes how these generic fictions are constructed to create
an eeriness not only in what one is reading, but also in one's
‘real’ life through a process of defamiliarisation. He explains:
“something is uncanny - that is how it begins. But at the
same time one must search for that remoter 'something'
which is already at hand.” That “remoter something” will be
the familiar, and only through what is known can the
unknown be recognised. This conflation of representation of
place and shifting perception is key to Daedal(us), which
invites spectators to become active agents in the recognition
of each site, locating displacements between site and
perception into memory through an engagement in the
space between the known and perceived.
Memory becomes a significant element of Daedal(us) when,
over a period of some weeks and for a number of hours each
night, the local environment is visibly transformed. Projected
images of the front walls of buildings reappear unexpectedly
in proximity to their original site but slightly relocated.
These displacements call for re-identification of the
buildings and treated sites, and reclamation of them in their
new locations and encourage the telling of personal
experiences of the area and its representations, bringing
groups of people together who otherwise would have little
desire to communicate, purely based on pre-configured
assumptions. Daedal(us) made an opportunity for the world
to be looked at differently. Notions of permanence and
memory are central to Shalev-Gerz's practice explored in a
5 Anthony Vidler, The Architectural Uncanny, MIT Press 1992
number of works that include First Generation, a permanent
video installation where the articulation of experience and
the silences between words are made explicit. The location for
First Generation is Botkyrka – a suburb of Stockholm built for
people from the northern part of the country wishing to
move to the city, later becoming destination for recent
immigrants. To be of a first generation is to negotiate a way
of life and identity through language, behaviour and
perception of oneself and others - an experience familiar to
Shalev-Gerz who has consistently been a new arrival, moving
from Lithuania, to Israel, to New York, and to Paris where
she has lived for the last 20 years. This project invited people
who were first arrivals to reflect on their own identities.
Here, as with other works, the host organisation was asked to
find people to work with creating new institutional
interactions with local people. Any choice of who to work
with will be influenced by one's own perceptions meaning
that such a selection will not be neutral: the make up of that
group will reflect the habitus of the selector.
The invited people form another layer of interaction, and
built on top of this are visitors to the exhibition. People who
those visitors then talk to about the work create a further
series of relationships that, like all human interactions,
develop through conversation and transmission of
experience. Each contributor to First Generation was filmed
listening to themselves replying to a set of questions that
were also etched into the stone steps of the building housing
the installation, posing the same questions to all that enter.
The camera closely studies each person's face, showing the
barely perceptible changes that occur as one listens to one's
own words. In such an intimate study of a person's face a
sense of beauty abounds. It is only when we are emotionally
close to a person that we scrutinise a face so closely. ShalevGerz's interactions with people reveal such moments of
personal tenderness: her way with people is one of thought
and care, each person who encounters her is given a sense of
their own importance. This visual element of the work is
shown as a large projection viewable from the outside of the
building through a glass façade which means that, like
Daedal(us), the work is only visible after dark, creating a
level of impermanence to this permanent work. Inside a
sound installation collages the Botkyrka residents' responses
together in the order of the questions asked, rather than by
speaker. The gap between the identity of the voices and faces
of the individuals is left to be negotiated by each viewer.
First Generation, like Daedal(us), turned to the silences in
speech to enable a reflection of meaning and perception.
This un-measurable location sparks the imagination, and
enables a connection to be made between individuals and
their environment. Shalev-Gerz presents us as viewers whether through direct experience of the work installed in
the Northeast Inner City, or indirectly through anecdote and
documentation - with a challenge to take possession of
location and redefine our perceptions and ourselves.
Lisa Le Feuvre, 2005
lefeuvre@ndirect.co.uk
48 page layout FINAL
18/7/06
11:40 am
Page 26
First Generation, Permanent video-installation, Multicultural Center, Fittja, Sweden, 2004
48 page layout FINAL
18/7/06
11:40 am
Page 27
48 page layout FINAL
18/7/06
11:40 am
Page 28
YOU, ME, THE OTHER & THE CITY
DAEDAL(US) A WORK COMPRISING LARGE SCALE
PROJECTIONS BY PARIS BASED ARTIST ESTHER
SHALEV-GERZ TOOK PLACE RECENTLY AMONGST THE
STREETS AND HOUSES OF DUBLIN'S NORTHEAST
INNER CITY. THE ARTIST TALKS TO THE VISUAL
ARTISTS' NEWS SHEET ABOUT THIS PROJECT AND
HER COLLABORATIVE APPROACH TO ART MAKING.
"This text first appeared in the Visual Artists' News Sheet
(Issue 2. December 2003). The VAN is published by the Sculptors'
Society of Ireland www.sculptors-society.ie)"
For over 20 years Esther Shalev-Gerz's work has centred on
interventions in public space, taking form in collaboration and
exchange with the audience. Her installations and photographic
works raise questions on collective memory and its interaction with
personal history. Last year, the artist was invited by the Fire Station
Artists' Studios in association with curator Brigid Harte, to conceive
a project for Dublin's north inner city.
Daedal(us) was funded via The Arts Council's Special Project
Scheme 2002, Dublin City Council and sponsorship from the Irish
Financial Services Centre. As the title suggests, both the Greek
mythological character Daedalus, the maker of mazes and
wanderings of Joyce's Stephen Daedalus, were starting points for the
work. But also, as signalled by the (us) in the title, is the involvement
of the residents of this area in creating an opportunity for locals and
visitors to recognise the value of this neighbourhood.
Jason Oakley: How did the project come about?
ESG: Brigid Harte saw a work of mine called The Portraits of Stories,
(1998-99) that I realised in Aubervilliers, a suburb of Paris in the
northern part of the city. 80,000 people live in this place and almost
80% of them are recent immigrants. People don't stay there long.
The place is in flux, always changing. Parisians do not appreciate the
area very much. For the work I asked 65 people who lived there,
“what story would you tell today?” They were free to tell what they
wanted and they could dictate to me how I should film them. I
allowed them to make decisions and to decide how they wanted to
appear in the video. By creating an interwoven criss-crossing during
the editing, I have constructed a special kind of arrangement for
these Portraits of Stories. The projected image contains two people
at any given moment, until a total of 65 people have spoken for a
duration of two and a half hours. The question of what is a portrait
today is a recurring theme in my work. Historically the portrait, as we
know, depicts only one, the king. For me the contemporary portrait
is two. It's the other and me. As Brigid thought it would be important
that I come to Dublin she connected me with the Fire Station Artists'
Studios whose former director, Tony Sheehan, invited me to come
to the North Inner City.
JO: What were your impressions of the area?
ESG: Terry Fagan and Mick Rafferty gave me a tour of the North
Inner City and I was literally knocked down by the powerful layering
of history and the mutating present in this place. It's the only place I
know that has a monument for children who have died from heroin.
When one arrives there from another part of Dublin, it becomes
slowly emptier and emptier. All this moved me and inspired me
profoundly. The area is beautifully filled with contrasts. You have
this huge stadium with little buildings next to it. Some points of view
are spectacular in terms of architecture. I was really stimulated while
walking through there.
JO: Could you briefly describe the form of the work you produced in
response to this?
ESG: I decided to photograph 20 facades of houses and shops, and
then I 'displaced' them by projecting them in the close vicinity onto
other facades and gable houses. I therefore created a new kind of
maze-like journey where the inhabitants or visitors have to go and
walk around to find where each house has reappeared. The
projectors are timed to be switched on between 6pm and 11pm
every day for a month. So the work is about light and night. I have
done works with those elements before. I find that darkness creates
a space for dream, like cinema.
In alternate weeks, in a pulse-like motion, the images will appear in
black and white and then in red. I chose to use red and white as a
kind of signal. The area needs attention. In fact it needs the only
thing that makes art and other things work, i.e. love. It's the only
motor that crystallises beauty in things. I do believe this after 25
years of working as an artist. I've created a maze within a maze.
It's a maze in history, which goes back and forth in time. It is a maze
in our attitudes and how we avoid certain places and about how we
can bring people back to those places. But the most appreciated
were the conversations that I had with people. This was a very
important part of the project for me. If people allow me to work
with them, that's grand, but if they don't, we still have had a good
conversation. The project takes its name from Daedalus the maker
of the maze in Greek mythology, whom James Joyce famously
references by naming the hero of Ulysses Stephen Dedalus.
As we read Joyce's Ulysses we follow Stephen Dedalus' wanderings
through the streets of Dublin. The Daedal(us) project occurs
among some of these byways.
Just as Joyce has his protagonists, Leopold Bloom and Stephen
Dedalus, travel the streets of Dublin so that he himself, while living
abroad, might remember his hometown and be re-familiarised with
it, the Daedal(us) project similarly requires its spectators to wander
the streets of the inner city core and (re)familiarise themselves with
it. In a district that is undergoing rapid transformation and
regeneration, the wandering, remembering, and reclaiming may
produce new kinds of maze-like journeys and future memories.
And you know that every time I conduct a project, just before
completion I become aware of some autobiographic aspect to it.
This project began with the idea of Joyce writing about Dublin when
he was abroad. I, myself, was born in one place and lived in so many
different places. I've moved so much that I am on the move all the
time. People always ask me, “so where is your home?” I think the
distance that you have from your home crystallises inventiveness
and creativity.
JO: Tell us more about the process of negotiation in realising
the project.
ESG: The whole project actually involves giving power to three
people for each image. First we had to ask someone's permission to
take a photograph of his or her house. Then we had to ask
someone's permission to project a photograph of this image on their
house. Thirdly we needed to obtain other's consent to host the
projectors. To all these people we needed to explain the project so it
would be acceptable. These people allowed me to realise the
work. I did the images.
48 page layout FINAL
18/7/06
11:40 am
Page 29
48 page layout FINAL
18/7/06
11:40 am
Page 30
For each image at least three people have to go through what I call
'the ritual of Art'. It is one of our social rituals whereby we include or
exclude people from our society. Bringing art to this place is my way
of including people in this social ritual.
JO: Was there any special process involved in making photographic
images for large-scale projection?
ESG: Art is also a craft. The image is important, so I used
photographs that I took with a very good camera to create what are
called 'gobos' which are circular glass transparencies attached
directly to the projector lens. I worked in Paris with a specialist in
digital image retouching - a friend of mine who I have worked with
for 12 years.
We touched-up the image to allow the projection light to go through
without destroying the structure of the image. An unmodified image
wouldn't allow enough light through. The converging verticals in the
photographs of the buildings were also corrected. It's not a process
of beautification but more to clarify what is already there.
JO: What was the response on the street while making this work?
ESG: The projectors are not small things, they are 50 - 60 cm long
and are mounted on a tripod. The image is then projected onto the
facing building. We visited a woman and she said she had “no
problem” with us putting the projector in her apartment. But she also
said “Look, there is drug dealing here, you know I hope they'll
understand I am not doing it against them”. So people are very
conscious there.
When I was walking around taking photographs with three other
people from the Fire Station, a Garda car came up to us and a Garda
said to me “are you crazy? - they'll take your camera”. And you
know what? The lads who were there came to me and said, “They
came to you to tell you we will pinch your camera, didn't they?”. But
the moment that we explained the project to them and why we were
doing it, there was no problem.
JO: Will Daedal(us) have a 'life' after it's over in terms of
documentation?
ESG: First of all, this project invites the people of Dublin to come
into this area to rediscover their city. With the 20 images of facades I
will make 20 more images of them being projected in their displaced
contexts. My intention is then to make an exhibition from these 40
photographs and make a publication in an arts space in the city. As
this project is also a collaboration with those who participate, I want
to invite these people from the North Inner City to come to the
exhibition and give them this publication. As an artist, my freedom is
to choose for whom I work. As the people from Dublin already
participate in the ritual of art and those of the North Inner City do
not, this project will establish a vital exchange.
Projection locations
Sheriff St, Commons St, Custom House Plaza, Mayor St, Foley St,
Railway St, Buckingham St Lwr and Upr, Portland Row, Dunne St,
Rutland St, Terrace Place, Bella St, Thomson Cottages, Simmins
Place, Richmond Cottages, Richmond Parade.
Esther Shalev-Gerz
www.shalev-gerz.net
48 page layout FINAL
18/7/06
11:40 am
Page 31
48 page layout FINAL
18/7/06
11:40 am
Page 32
48 page layout FINAL
18/7/06
11:40 am
Page 33
48 page layout FINAL
18/7/06
11:40 am
Page 34
48 page layout FINAL
18/7/06
11:41 am
Page 35
48 page layout FINAL
18/7/06
11:41 am
Page 36
48 page layout FINAL
18/7/06
11:41 am
Page 37
48 page layout FINAL
18/7/06
11:41 am
Page 38
48 page layout FINAL
18/7/06
11:41 am
Page 39
48 page layout FINAL
18/7/06
11:42 am
Page 40
48 page layout FINAL
18/7/06
11:42 am
Page 41
48 page layout FINAL
18/7/06
11:42 am
Page 42
48 page layout FINAL
18/7/06
11:42 am
Page 43
48 page layout FINAL
18/7/06
11:42 am
Page 44
48 page layout FINAL
18/7/06
11:43 am
Page 45
48 page layout FINAL
18/7/06
11:43 am
Page 46
BIOGRAPHY: ESTHER SHALEV-GERZ
Lives and works in Paris (France)
1957
since 1971
since 1973
1975 – 1979
1980 – 1981
since 1981
since 1983
1984
1990
since 1996
2002
2003 –
Born in Vilnius, Lituania
moves to Jerusalem
installations and photography
slideshows, books and sculptures
studies Fine Arts at the Bezalel School of Art and Design,
Jerusalem (B.F.A.)
lives in New York
teaches at various Art schools
works in public space
moves to Paris
DAAD scholarship, lives in Berlin
works on video
IASPIS scholarship in Stockholm.
Professor at School of Fine Arts, Göteborg University, Sweden.
1999
Shows & work in public space (selection)
1982
1983
1986
1990
1991
1995
1996
1997
1998
Oil on Stone 2, participation in a group show “Here and now”, The
Israel Museum, Jerusalem.
Oil on Stone 4, Tel-Hai, Israel, permanent installation.
Monument Against Fascism, Hamburg-Harburg, permanent
installation (with Jochen Gerz).
COPAN Slideprojections, Galerie Giovanna Minelli, Paris.
Erase The Past, work in book format, published by the DAAD, Berlin.
Monument Against Fascism, participation in “The Art of Memory”,
The Jewish Museum, New York, U.S.A.
The Dispersal of the Seeds / the Collection of the Ashes
(La Dispersion des semences / la collecte des cendres), UNO - Parc,
Geneva, Switzerland, permanent installation (with J.G.).
Unrepairable (Irréparable), Musée de La-Roche-sur-Yon,
La-Roche-sur-Yon, France.
The 20th Century (Le XXe siècle), participation in “Ich Phoenix”,
Gasometer Oberhausen, Oberhausen, Germany (with J.G.).
Monument et Modernité, Espace Elektra, Paris.
Reasons for Smiles, “Le Cirque 96” (with J.G.), Paris.
Reasons for Smiles (Raisons de sourire) (with J.G.), Maison
Européenne de la Photographie, Paris.
Reasons for Smiles / Five Installations in the Public Space,
participation in “28e Rencontres Internationales de la Photographie
d’Arles”, Chapelle du Méjan (with J.G.), Arles, France.
The Dispersal of Seeds / the Collection of the Ashes no. 2 (La
Dispersion des semences / la collecte des cendres no. 2), permanent
installation, Marl, Germany (with J.G.).
Reasons for Smiles, Maison Européenne de la Photographie,
Paris (with J.G.).
Monument Against Fascism / Slideprojection, participation in
“Auguste Rodin - Die Bürger von Calais, Werk und Wirkung”,
Skulpturenmuseum Glaskasten, Marl, Germany (with J.G.).
Reasons for Smiles, Catriona Jeffries Gallery, Vancouver,
Canada (with J.G.).
A gaze for Algeria “Through your eyes only” (Ne regarder qu’à
travers les yeux - Regard pour l’Algérie), project on the Internet
“Chaos dans l’action”.
The Berlin Inquiry (Die Berliner Ermittlung), Berliner Ensemble /
Hebbel-Theater / Volksbühne, Berlin (with J.G.).
2000
2001
2002
2003
Reasons for Smiles, participation in “Le Fragment, la durée, le
montage”, La Galerie, Art School of Quimper, France.
Reasons for Smiles, Maison Européenne de la Photographie,
Paris (with J.G.).
Ritrovare Volterra, Volterra, Italy.
Irréparable 85, Galerie Käthe Kollwitz, Berlin.
Eve donne la pomme à Eve, participation in “L’invention des
femmes”, group show at La Maison du Citoyen,
Fontenay-sous-Bois, France.
Perpetuum mobile, participation in “Projekte zum Lichtparcours
Braunschweig 2000”, Kunstverein Braunschweig,
Braunschweig, Germany.
Increments on Stone (Incréments sur pierre) / Books absorbed into
the Sky (Livres aspirés au ciel), participation in “Le Lien – La Nature
instrumentalisée”, group show at the Musée de Louviers,
Louviers, France.
The Portraits of Stories - Belsunce (Les Portraits des histoires),
La Compagnie, Marseille, France.
The Portraits of Stories - Aubervilliers (Les Portraits des histoires),
Les Laboratoires d’Aubervilliers, Aubervilliers, France.
Perpetuum mobile, participation in “Domesticated”, group show,
Refusalon, San Francisco, U.S.A.
“Unseparable Angels (Unzertrennliche Engel), paricipation in
“Station Weimar -Werkstatt der Moderne – Sequenz II.”, LimonaPavillon, Weimar, Germany.
Irreparable 87, Rennes, France.
A Gaze for Algeria, participation in “L’invention des femmes”,
Auvers-sur-Oise, France.
Perpetuum mobile, “Lichtparcours 2000”, Adenauerbrücke,
Braunschweig, Germany.
La Raison de l’oubli (The Reason of Forgetting) participation in
“Pertes et profits”, CNEAI, Chatou, France.
The Portraits of Stories - Skoghall, participation in “Public Safety”,
Skoghall, Sweden.
The Jews Walkway (Judengang), Prenzlauer Berg Museum,
Berlin, Germany.
Inseparable Angels (Unzertrennliche Engel), Kunststiftung Poll,
Berlin, Germany.
Unreparable no. 87 Center for Architecture and Art, Architectural
School of Brittany, Rennes
The Era of Witness / L’ère du témoin, étape II, theatre production
with the “Compagnie de l’Octogone”, Paris, France.
The Judgement, proposal for a monument for Murellenberg,
Berlin, Germany.
Reasons for Smiles, participation in “Facing History”, group show,
Presentation House Gallery, Vancouver, Canada.
Places, Musée Henri Martin, Cahors, France.
The Thread, permanent installation, Castlemilk, Glasgow, Scotland.
Does Your Image reflect Me? Sprengel-Museum Hannover, Germany.
Two Installations (Två installationer) - White-Out / The Imaginary
House of Walter Benjamin, Historiska museet, Stockholm, Sweden.
Perpetum Mobile, Videoscreening at Backfabrik, Galerie Blickendorff,
Berlin, Germany.
Bilder des Erinnerns und Verschwindens (Group show), ifa-Galerie,
Berlin, Germany.
Aletheia – The Real of Concealement (Group show), Goteborgs
Konstmuseum, Götheborg, Sweden.
The Thread, Castlemilk, Glasgow, Scotland, (work in progress).
Daedal(us), 20 projections in the North-east Inner City,
2004
2005
Dublin, Ireland.
Konst som instabila processer, Statens konstrads galleri,
Stockholm, Sweden.
Visages de l’histoire: portraits de Vancouver/Facing History: Portraits
from Vancouver (Group show), Canadian Cultural Forum, Paris.
Diptyque pour Arcueuil / Dyptich for Arcueil,
(work in progress), France.
First Generation, permanent installation, video-based, for the
Multicultural Center of Fittja, Schweden.
Esther Shalev-Gerz / Portraits of Stories – Skoghall, Daedalus,
Botkyrka Konsthall, Sweden, 22nd May – 11th June
Cahors et… Bogdan Konopka, Esther Shalev-Gerz, Alain Turpault
(Group show), Henri-Martin Museum, Cahors, France.
“Propos d’Europe III (Group show), Hippocrène Foundation, Paris,
Nov. 04 – Jan. 05.
Between listening and telling. Last witnesses. Auschwitz 1945-2005,
Hôtel de Ville, Paris, January 24th – March 12th.
White Point- Meeting Point, project proposition for the
Holocaust Center “HL Centeret”, Oslo, Norway.
Competition for the Creation of a monument for the homosexual
victims of Nazi persecution, State of Berlin,
Federal Republic of Germany.
The Place of Art, Project proposition for the community
of Bergsjön, Sweden.
Propos d’Europe IV, Hippocrène Foundation, Paris,
9th May – 31 July.
Facing History / Portraits from Vancouver/ Visages de l’histoire :
portraits de Vancouver, Group exhibition, 1st April – 12th June.
Bibliography
Publications
COPAN, Galerie Giovanna Minelli, Paris, 1990.
Erase the Past, DAAD Berlin, 1991.
Mahnmal gegen Faschismus
(Monument contre le fascisme (with J.G.),
Cantz/Hatje Verlag Stuttgart, 1993.
Das 20. Jahrhundert (Le 20e Siècle) (with J.G.),
Klartext Verlag, Essen, 1996.
Irréparable, Musée de la Roche-sur-Yon, 1996.
Raisons de sourire (with J.G.), Actes Sud, Arles, 1997.
Die Berliner Ermittlung (L’Instruction berlinoise) (with J.G.),
Hebbel-Theater, Berlin, 1998.
Les Portraits des histoires, Belsunce, Marseille,
Editions Images en Manoeuvres, 2000.
Les Portraits des histoires, Aubervilliers, Editions ENSBA, 2000.
Est-ce que ton image me regarde ? / Geht dein Bild mich an?,
Sprengel-Museum, Hannover, 2002.
Två installationer, Historiska museet, Stockholm, 2002.
Esther Shalev-Gerz, in: Bilder des Erinnerns und Verschwindens,
ifa-Galerie, Berlin, 2003, p.24-39.
WEB SITE www.shalev-gerz.net
Daedal(us), Fire Station Artists’ Studios, Dublin, 2005.
48 page layout FINAL
18/7/06
11:43 am
Page 47
Articles and interviews
1985
Karin Thomas : “Zweimal deutsche Kunst nach 1945”, Dumont, Köln, 1985.
1986
Jürgen Hohmeyer : “Unterschriften gehen unter”, in Der Spiegel, no. 43, Hamburg, 1986.
Petra Kipphoff : “Mahnmal des Anstosses”, in Die Zeit, n°45, Hamburg, 1986.
1987
Alfred Welti: “Nicht für die Ewigkeit gebaut”, in Art 1/1987, Hamburg.
Michael Gibson: “Hamburgs Sinking Feelings”, in Art News, 8/1987, New York.
Bernard-Henri Levy: “L’Anti-Monument”, in Galerie Magazine 7-8, 1987, Paris.
Claude Gintz: “L’Anti-Monument”, in Galerie Magazine 7-8, 1987, Paris.
Michael Gibson : “Vanishing Monument Against Fascism”, in International Herald Tribune,
03.01.1987, Paris.
Stephan Schmidt-Wulffen : “Duell mit der Verdrängung”, in Kunstforum 2, Köln, 1987.
1990
Doris von Drathen: “Im Zweifel schwebend”, in Die Zeit 45/4.11.1990, Hamburg und
Kultur-Chronik 2/91, Bonn.
Hermann Pfuetze: “Das Mahnmal von Harburg”, in Aesthetik & Kommunikation,
Dec.1990, Berlin.
1991
David Galloway : “Sculpture”, in Art News, New York, 1991.
1992
Thomas Wulffen: “Verborgene Monumente”, in ZYMA Jan./Feb.1992, Stuttgart.
Thomas Wulffen: “Obscure Monuments”, in Parachute #68 oct.1992, Montreal.
Amine Haase : “Mahnmale gegen Faschismus und Rassismus”, in Kunst und Antiquitäten,
01.02.1992, Hamburg.
James Young : “Memory against itself”, in Critical Inquiry, janvier 1992, Chicago
University, Chicago.
Stefanie Endlich : “Denkmäler ? Denk-Orte ?”, in Orte 2, Bremen, 1992.
Monika Flacke, “ Das Konzept Geschichte in der zeitgenössischen Kunst”,
Kritische Berichte n°2, 1992
1993
James E. Young : “The Holocaust Rorschach Test”, in New York Times Magazine, New
York, 25.04.
1994
Günter Metken: “Die Kunst des Verschwindens”, in Merkur 6, Juni 1994, Berlin.
Manfred Schneckenburger: “Absenkung gegen Amnnesie”, in Aushäusig, Lindinger +
Schmid, 1994, Regensburg.
Walter Graskamp : “Die Behaglichkeit des Gedenkens”, in Die Zeit, Nov. 1994, Hamburg.
1995
Christian Bernard: Allocution pour l’inauguration de La Dispersion des semences, la
collecte des cendres, 8.12.1995, Genève.
Liliana Albertazzi : “Terrorisant conformisme et conformisant terrorisme”, in Art Presence,
n°15, 1995, Pléneuf-Val-André.
1996
Justin Branch: “The Historiography of the Harburg Monument”, University Thesis 1996,
Eton College, Windsor.
Philippe Mesnard: “Visions de la shoah, trangression ou grotesque” (Mahnmal gegen
Faschismus) in Art Press juin 1996.
Robert Fleck, “Die Gänse vom Feliferhof” in Der Standart
(museum in progress), 24.05.96.
Esther et Jochen Gerz: “Auf Mut steht der Tod”, Stellungnahme der Künstler,
in Der Standard, Wien, 21.10.96.
Markus Wieland: “Denkmäler sind potentielle Aufreger”, in Falter, octobre 96.
Walter Müller:”Das Schweigen der Gänse”, in Der Standard, 27.10.96.
1997
“Fahnen von Gerz und Gerz”, in Kunstzeitung, janv. 97.
Rainer Metzger, “Über den Humor nach Auschwitz”, in Der Standard, 23.1.97, S. 10.
Amine Haase, “Barbarei ist die Soldatenbraut”, in Kölner Stadtanzeiger, 28.01.97.
Thomas Wagner, “Gänse im Anflug”, in FAZ, 24.3.97.
James Young, “Der Widerspruch der Künstler”, in Tagesspiegel, 10.04.97.
Mark Hinson, “smile”, in Tallahassee Democrat, April 11, 1997.
Christa Hagmeyer, “Eine Ausstellung, bei der fast nichts zu sehen ist”, (Pluralsculpture) in
Kreiszeitung Böhlinger Bote, 22.2.97.
Günther Schehl, Radio “Kulturchronik”, S2 kultur, 04.03.97, (Pluralsculpture)
Eleonore Louis, “Die Gänse vom Feliferhof. Ein Mahnmal in progress von Esther und
Jochen Gerz”, in Kunsthistoriker aktuell, Mitteilungen des österreichischen
Kunsthistorikerverbandes, Jg. XIV, Nr. 1, 1997, S. 3.
Beate Söntgen, Zurückgedachte Gegenwart (Gründe zu lächeln), in FAZ,
14.6.1997, S. 35.
Jochen Stöckemann, Suche nach vergessenen Bildern (Gründe zu lächeln), Ausst.
Wiesbaden), in Hannoverische Allgemeine Zeitung, 3.6.97.
Natascha Pflaumbaum, Ein Lächeln für die Geschichte (Gründe zu lächeln), Colloquium
Göttingen), in Göttinger Tageblatt, 11.6.97.
Jean-Max Colard, “Esther et Jochen Gerz”, (Raisons de sourire), in Les Inrockuptibles,
N°111, 2.-8.7.97, p. 17.
Anne-Marie Morice, “Le travail des images”, (Arles), in Regards sur la Création, Nr. 26,
Juli/Aug. 1997, S. 44-45
Douglas Todd, “Smile - you are seeing yourself “(Reasons for Smiles), in The Weekend
Sun, 23.8.97.
Christian Staffa, Grenzen der Wahrnehmung, in Memory. Zeitung zur Ausstellung
Amine Haase, “Orte des Erinnerns und Gedenkens. Das Mahnmal - an der Schnittstelle
zum Nicht-Ort?”, in Kunst und Kirche, n°2, mai 1997, pp.89-90 (Saar, Hamburg).
“Raisons de sourire d’Esther et Jochen Gerz”, in Telerama, 1997.
Gabi Dolf-Bonekämper, “Lügen und andere Wahrheiten”, in Neue Zürcher Zeitung,
15.07.1997.
Le Canal du Savoir, “L’art, réflet ou vision de l’histoire”, diffusion chaîne cablée Paris
Première, 03.09.1997 à 10h, et 07.09. 1997 à 1h.
Wilfried Schoeller, “Zeitsprung ins Unsichtbare”, in Du, Heft n°10, Oktober 1997, S.
03.54-04.18.
Robin Laurence, “Conceptualist Hopes to lose Control of his Art, in XXX (exposition
Vancouver).
James Y.Young, “Deutschlands Denkmal-Problem. Gedenken, Anti-Gedenken und das
Ende des Monuments”, in Catalogue Deutschlandbilder. Kunst aus einem geteilten Land,
Martin-Gropius-Bau, Berlin 1997/98, S. 592-597.
Toby Clark, “Remembering War : Memorials and Anti-Monuments”, in Art and
Propaganda in the Twentieth Century, Calmann & King Ltd., New York 1997, p. 118-123.
Esther und Jochen Gerz, “Gründe zu lächeln 1996, Das Göttinger Fragment”, in Bernhard
Jussen (Hg.), Von der künslerischen Produktion der Geschichte I. Jochen Gerz. Wallstein
Verlag, Göttingen 1997, S. 33-80.
Alexandre Castant / Christian Gattinoni, “L’Homme oublié, images et pouvoirs”, France
Culture, 23.Nov.1997, 22h35, avec la participation d’Esther et Jochen Gerz.
Hella-Christiane Otto, “Das Harburger Mahnmal gegen Faschismus von Jochen Gerz und
Esther Shalev-Gerz - Wettbewerb und Realisierung”, Magisterarbeit, Universität Bonn,
1997 (unveröffentliches Manuscript).
Gerhard Fetka, “Kränze für Mahnmal auf dem Feliferhof”, in Neue Zeit, 04.12.97.
Petra Watson, “Mirror Mirror” (Reasons for Smiles Vancouver), in Canadian Art, Vol. 14,
n°4, Winter 1997, p. 64.
Gründe zu lächeln, in Lettre International, Heft 36, Frühjahr 1997, S. 113.
Raisons de sourire, in Journal 2, mai 1997.
Raisons de sourire, in Libération, 21 mai 1997, p. 33.
1998
Petra Bopp,””Wir sind aus sehr fragilem Material” - Esther Shalev-Gerz’ Umgang mit
Erinnerung”, in Formen von Erinnerung, Jonas Verlag, p.41-61.
Hermann Pfütze, “Die Zeit muss mitbauen”, in Berliner Zeitung, 16.01.1998.
Gabriela Walde, “Stellen Sie sich vor, Sie wären im Lager” (Die Berliner Ermittlung), in Die
Welt 25.02.1998.
Ingeborg Ruthe, “Das Ghetto Kunst verlassen” (Die Berliner Ermittlung), in Berliner
Zeitung, n° 57, 09.03.1998.
Esther Slevogt, “Raus aus den Fauteuils !” (Die Berliner Ermittlung), in TAZ, 17.03.1998.
Ute Kiehn, “Kann aktives Zuschauen Wegschauen verhindern ?” (Die Berliner Ermittlung),
in Berliner Zeitung, 26.02.1998.
Monica Riani, “No MAM, a expressao teatral interpretada pelas artes plàsticas”,
in Gazeta do Rio, 12.03.1998.
Fatima Sà, “Olhar plastico sobre o teatro”, ohne Angabe, 19.03.1998.
Helga Bittner, “Das Papier bleibt vor Dachau nicht weiß, Jochen und Esther Gerz proben
in Berlin Peter Weiss’ “Die Ermittlung”, in Rheinische Post, 19.05.1998.
Uwe Mengel / Klaus-Michael Klingsporn, “Die Berliner Ermittlung”, Direktübertragung
aus dem Hebbel-Theater, in Wortspiel, Deutschland Radio Berlin, 25.05.1998, 19.05 Uhr.
Mark Siemons, “Dürfte ich das noch einmal hören? Der Wiederholungszwang
zertrümmert die Sprache : Die Berliner Ermittlung”, in Frankfurter Allgemeine Zeitung,
28. May 1998, S. 43.
Nicola Kuhn, “Und dann wird es heiß”, in Tagesspiegel, 18.1.1998.
Claude This, “Mise en abyme de deux colonnes de la mémoire : la colonne de Harbourg,
le monument de Guerry”, in Figures de l’Art, revue d’études d’esthétiques, n°3,
1997-1998, p. 257-263.
1999
Esther Shalev-Gerz , “Le Mouvement perpétuel de la mémoire”, in autrement (Travail de
mémoire 1914-1998), Editions Autrement - collection Mémoires n°54, p. 24-29.
“Reasons for smile”, in Lapiz, Revista Internatcional de Arte, February 1999, p. 54-57.
Alice Laguarda, L’image inversée de l’origine, entretien avec Esther Shalev-Gerz, le 28
October 1998 à Paris, in Visuel(s), n°6, pp. 7-10.
Frédéric Lombard, “Les Habitants ont la parole”, in Aubermensuel, n°85, June 1999, p.7.
C. Ba., “Une prise de parole par l’image vidéo”, in Le monde, 15 June 1999, p. 28.
Delphine Huetz, “Esther Shalev-Gerz et compagnie” (entretien), in Taktik, 503, du 16 au
23 June 1999.
Katrin Bettina Müller, “Biographische Bruchstellen - Arbeiten zu Architektur und
Fotografie von Esther Shalev-Gerz”, in neue bildende kunst, 4/1999, Berlin, p. 56-57.Le
Lien - la nature instrumentalisée, group show, Musée de Louviers, 1999 Delphine Huetz,
“… mais toujours en bonne compagnie”, in Libération.
“Portraits du quartier Belsunce”, in Mouvement, n°5, June / September 1999.
Michel Melot, “Le Monument comme agitateur public”, in Rue de la Folie,
no. 5 – July 1999.
“Surpris par la nuit” (Les Portraits des histoires, Les Laboratoires d’Aubervilliers, 1999),
émission sur France Culture le 14 September 1999 à 22H30.
François Piron, “Parole donnée”, in Mouvement, n°6, October / December 1999, p. 10.
Mats Dahlberg, “Skoghall pa konstens världskarta”, in DEL 2 (NYA WermlandsTidningen), 8 October 1999, p. 16.
Tomas Skoglund, “Världen ser pa Skoghall”, in VF (Värmlands Folkblad),
8 October 1999, p. 17.
Esther Shalev-Gerz, “The Perpetual Movement of Memory” et “The Role of the
48 page layout FINAL
18/7/06
11:43 am
Page 48
Audience” (entretien avec L.K. Hammond et K. Wodiczko), in NYU American
Photography Institute – National Graduate Seminar 1998 (“Public Strategies :
Public Art and Public Space), 1999, pp. 107-110 et 120-128.
Esther Shalev-Gerz, “Le Mouvemet perpétuel de la mémoire”, in Rue de la Folie,
no. 6 – October 1999, p. 46-47.
“Transformes” (Les nouvelles formes à Berlin), France Culture, 20 October 1999.
Esther Shalev-Gerz, “Le Mouvement perpétuel de la mémoire”, in PASAJES n°1, 1999.
2000
Esther Shalev-Gerz, Regard pour l’Algérie, in Cube, Sartoriacomunicazione,
Modena, 2000.
Trans/Formes, France Culture, 9th February 2000, 2 p.m.
Myriam Bloedé, “Esther Shalev-Gerz ou le passage de témoin”, in Cassandre, n°33,
fév-mars 2000, p. 20-23.
“Lundis des histoires”, France Culture, 17th April 2000, 9 a.m.
Julien Romengas, “Qu’est-ce qu’un portrait contemporain?”, in parpaings,
# 12, avril 2000.
Station Weimar, Werkstatt der Moderne - Sequenz II, Beckett - Lammert, Klee - ShalevGerz, Jessenin - Mierau, Stiftung Weimarer Klassik, Weimar, April 2000.
Wolfgang Leissling, “Glashaus für Klee”, in Thüringer Allgemeine, 4 avril 2000.
Marco Heuer, “Ohne sein Wissen : Taxifahrer im Glaspavillon”, in Weimarer Allgemeine, 4
April 2000.
Peter-Alexander Fiedler, “Hommagen an Weimar-Besucher”, in TLZ, 4 April 2000.
Esther Shalev-Gerz, “Turm (ohne Mauer) 1997 - Plan einer Ausstellung, in Denkmale
und kulturelles Gedächtnis nach dem Ende der Ost-West-Konfrontation, Akademie der
Künste (dir.), Berlin, jovis, 2000.
“En anledning att le” (Reasons for Smiles), in Hjärnstorm, n° 69, 2000, p.36.
“Les Portraits des histoires (Aubervilliers)”, in Bulletin critique du livre en français, BCLF,
n° 622, July 2000, p. 1530.
Lichtparcours Braunschweig 2000 (catalogue), Stadt Braunschweig, 2000.
Emanuelle Lequeux, “Echange objet d’art contre lien social”, in Aden, du 5 au 11 July
2000, p. 24.
Jean-Louis Vézo, “Troc et services à Levanneur”,
David Cascaro, “Pertes et profits”, in Le Journal des expositions, n°74, juin 2000.
L’Invention des femmes (catalogue), RDV, murmures de quartier, 6-28 mai 2000, Auverssur-Oise.
Anja Bücherl, Mémoires au présent – à partir du travail d’Esther Shalev-Gerz (mémoire de
DEA d’histoire de l’art, réalisé à l’Université Paris I, Panthéon-Sorbonne), 2000.
Esther Shalev-Gerz “Die unendliche Bewegung der Erinnerung” and James E.Young
“Das Mahnmal verschwindet” in Jüdischer Almanach 2001/5761, Jüdischer Verlag p.40.
Steffen Pletl, “Der vergessene Weg”, in Berliner Morgenpost, 20 November 2000
Gernot Wolfram, “Die verwitterte Geschichte des Judengangs” , in Die Welt,
29th November 2000
Robert Meyer, “Der “Judengang” weckt Erinnerungen”, in Neues Deutschland,
21th November 2000
Kathrin Bettina Müller, “Erinnerung, hinter rostigen Toren versteckt”, in die tageszeitung,
4th December 2000
Ulrich Clewing, “Der private Weg”, in F.A.Z Berliner Seiten, 8th December 2000
Andrea Gärtner, “Das Judengang Projekt “, in kunststadt/stadtkunst, no. 47,
Herbst 2000
V.D.C. “Les Portraits des histoires: Aubervilliers”, Archives de la critique d’art,
book review, automne 2000
Ulrika Sten, “Public Safety”, Riksutställningar no. 4, Sweden, 2000
2001
“Zeitpunkte”, Interview on Radio-Kultur, Germany, January 26th 2001
Stefanie Heckmann, “Spurensuche mit Engel” in Berliner Zeitung, no. 44,
21st February 2001.
Katrin Bettina Müller, “Engel im Gepäck” in Der Tagesspiegel, no. 17, 24th February 2001
Sybille Wirsing, “Die psychologische Masse”, in F.A.Z. Berliner Seiten, no. 45,
22nd February 2001
Katrin Bettina Müller, “Engel im Gepäck” in Der Tagesspiegel, no. 17,
24th September 2001
Kulturchronik “Imaginary House of W. Benjamin” Title Page, published in 5 languages,
Bonn, 3/2001
Fanny Söderbäck, “Konsten är at samtala”, arena no. 4, Sweden, September 2001
Claudia Courtois, “Memoire de l’esclavage”, le monde, 3rd September 2001
Robin Laurence, “Engage Minds, Excite Senses”, The Georgia Straight, Canada,
September, 2001
“Facing History”, Arts alive, Vol 7 No. 4, Canada, September / October 2001
Katharine Hamer, “Artist reworks banned poster”, North Shore News, Vancouver, Canada,
7th Sept, 2001
Regine Robin, “Les expérimentations de Jochen Gerz et Esther Shalev-Gerz”,
Berlin Chantiers, Stock, 2001, p. 362-366.
2002
Esther Shalev-Gerz, “Theresienstadt Ideal City”, in Terezín is Like a Diamond,
editors: Ingrid Comfors and Yvonne Rock, The Swedish Ministry of Culture, Sweden, 2002
“Esther et la magie des gens ordinaires”, La dépèche du midi (Lot), France, 17 May 2002
Alexandra Glanz, “Plädoyer für’s Zuhören”, Hannoversche Allgemeine Zeitung, Germany,
25/ 26 May 2002
“Erinnerung durch Kunst”, Tageszeitung-Ausgabe Berlin, Germany, 25/ 26 May 2002
“Esther Shalev-Gerz”, Frankfurter Allgemeine Sonntagszeitung,n°21, Germany,
26th May 2002
Klaus Zimmer, “Wo Erinnerung gestaltende Kraft bekommt / Geht Dein Bild mich an?”,
Cellsche Zeitung, Germany, 29 May 2002
“Esther Shalev-Gerz”, La lettre de Cologne, no. 14, Allemagne, spring 2002
Alice Laguarda, “Le pari de la réciprocité”, Parpaings, no. 34, France, June 2002
Frank Keil, “Parallelwelten im virtuellen Dialog”, Allgemeine Jüdische Wochenzeitung,
no. 12, Germany, 6th June 2002
Axel Lapp, “Die anderen Erinnerungen”, d’LëtzebuergerLand, no. 28, Luxembourg,
11th July 2002
“Est-ce que ton image me regarde?”, Rézo International, n°9, France, autumn 2002
“Est-ce que ton image me regarde?”, site-magazine, Sweden, 3-4.2002
Clemens Pollinger, “Iaspis – ett lyckat kärleksbarn”, Svenska Dagbladet, Sweden, 23
October 2002
Doris von Drathen, “Esther Shalev-Gerz”, Kunstforum International, Allemagne,
November 2002
Ricki Neuman, “Hon vill ge oss nya minnen”, Svenska Dagbladet, Sweden,
12th November 2002
Brigitta Rubin, “Människor har behov av minneshus”, Dagens Nyheter, Sweden,
15th November 2002
Milou Allerholm, “Så får historien ansikte”, Dagens Nyheter, Sweden, 18 December 2002
Ricki Neumann, “Stockholm sous le charme d’Esther Shalev-Gerz”, Courrier International,
no. 633, France, 19-25th December 2002
Alice Laguarda, “Esther Shalev-Gerz: Växelverkans länk”, Paletten, n°249/250, Göteborg,
Sweden, 2002
Karen Love (editor), “Reasons for Smiles”, in: “Facing History”, Vancouver, Canada, 2002
Interview with Karin Andersson, Radio Nordboten, Sweden, November 2002
Interview with Mårten Arndtzén, Sveriges Radio / Kulturnytt, Sweden, December 2002
2003
Gunnila Grahn-Hinnfors, “Minne”, Göteborgs-Posten, Göteborg, Sweden,
4th March 2003
“Esther Shalev-Gerz”, (en reva i) Parasollet - Färgfabriken 26-28 november 2002,
Stockholm, Sweden, April 2003.
Barbara Barsch, Esther Shalev Gerz : Geht Dein Bild mich an, Exposition Catalogue Bilder
des Erinnerns und Verschwindens, ifa Galerie, Berlin, p. 24-39.
Ingela Lind, “Esther Shalev-Gerz”, Artes N° 3 /2003/29, Stockholm, Sweden, 2003.
Dariush Moaven Doust, “Divulsions : The Imaginary House of Walter Benjamin”, Aletheia.
Exposition Catalogue The Real of Concealment, Goeteborg Kunstmuseum, 2003.
CIRCA Magazine, “Daedalus”, CIRCA no. 105 Autumn 2003, Dublin, Ireland, 2003.
Angela Long, “Housing project”, The Sunday Business Post, Ireland, 26th October 2003.
Marianne Hartigan, “Wall caper. The city goes Joyce”, The Sunday Tribune, Ireland, 26th
October 2003, p. 39.
The Visual Artist’s News Sheet, “Daedal(us)”, Ireland, September 2003, p. 25.
Arminta Wallace, “Throwing shapes in the city”, The Irish Times, Dublin, Ireland,
31st October 2003, p. 16.
2004
Jason Oakley, “Dublin : Daedal(us) by Esther Shalev-Gerz”, CIRCA no. 107, Spring 2004,
p. 84-85.
“L’ICN à la découverte de l’art et des sciences”, L’est Républicain, 7th February.
“Facing History / visages de l’histoire”, Exhibition catalogue, Canadian Cultural Institute,
Collection Esplanade, 2004.
Eva Bäckstedt, “Shalev-gerz pa Botkyrka Konsthall”, Svenska Dagbladet, 22nd may,
culture section, p. 7.
Natalia Kazmierska, “Testa, no Fittja, yes”, Expressen.se, Culture section, 1st June.
Ingela Lind “Det främmande finns I oss alla om vi lyssnar (there is an alien in all of us if
we listen”), Dagens Nyheter, 30th october.
Ricki Neumann, “Omstarter I närbild”, Svenska Dagbladet, 27th november, culture
section, p. 9.
2005
Marie-Hélène Jacquier, “L’effet miroir de la mémoire”, Paris-Berlin,
no. 4, janvier 2005, p. 47.
Adrien Cadorel, “Paroles de rescapés,” 20 minutes, 25th January.
“Images et récits de la barbarie”, The Figaro Magazine, 25th January.
Esther Shalev-Gerz, “First Generation”, Glänta 4, Sweden, p. 33 -60.
Mathilde Dehimi, “L’invitation à la mémoire des survivants d’Auschwitz”,
www.lemagazine.info,Internet.
Carole Boulbès, “Esther Shalev-Gerz. Exposition Entre l’écoute et la parole. Derniers
témoins. Auschwitz 1945-2005”, artpress n° 312, mai 2005, p.87-88.
Esther Shalev-Gerz, “The aesthetics of radiators, sacrifice, authority, the bench,
Europaletten, distorsion, plinth and the sea”, Avangselever Konsthögskolan Valand
2005, Göteborg,Sweden, p. 63.
Download