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.