{"id":342,"date":"2024-12-11T15:57:19","date_gmt":"2024-12-11T14:57:19","guid":{"rendered":"https:\/\/krisol-wissenschaft.org\/allianz-copy\/"},"modified":"2025-01-29T22:08:10","modified_gmt":"2025-01-29T21:08:10","slug":"statement-rothberg","status":"publish","type":"page","link":"https:\/\/krisol-wissenschaft.org\/en\/statement-rothberg\/","title":{"rendered":"Statement on the \u201cPostponement\u201d of \u201cThe Art of Memory in Times of Trauma and Grief\u201d in Leipzig, by Michael Rothberg, 05.12.2024"},"content":{"rendered":"

Lorem ipsum dolor sit amet, consetetur sadipscing elitr, sed diam nonumy eirmod tempor invidunt ut labore et dolore magna aliquyam erat, sed diam voluptua. At vero eos et accusam et justo duo dolores et ea rebum. Stet clita kasd gubergren, no sea takimata sanctus est Lorem ipsum dolor sit amet. Lorem ipsum dolor sit amet, consetetur sadipscing elitr, sed diam nonumy eirmod tempor invidunt ut labore et dolore magna aliquyam erat, sed diam voluptua. At vero eos et accusam et justo duo dolores et ea rebum. Stet clita kasd gubergren, no sea takimata sanctus est Lorem ipsum dolor sit amet.<\/p>\n\n\n\n

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Satzung und Gr\u00fcndungspapier<\/a><\/div>\n<\/div>\n\n\n\n
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Mitglied werden<\/a><\/div>\n<\/div>\n\n\n\n

 <\/p>","protected":false},"excerpt":{"rendered":"

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Statement on the \u201cPostponement\u201d of \u201cThe Art of Memory in Times of Trauma and Grief\u201d in Leipzig, by Michael Rothberg, 05.12.2024
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Members of KriSol (Alliance for Critical Scholarship in Solidarity) have been organzing the event series Facing the Authoritarian Drift: Art Schools as Sites of Critique.<\/span> Within the framework of this series, three days of lectures, screenings and conversations were planned under the title \\\"The Art of Memory in Times\u00a0of Trauma and Grief\\\" at the Academy of Fine Arts Leipzig. However, the event was suddenly postponed by the rectorate. In solidarity with event participants and organizers, Krisol shares the following statement by Michael Rothberg.<\/span><\/a><\/div>\\n
Last March I gave the Second Annual Mosse Lecture at Columbia University. According to the university website, the lecture was established \u201cto honor the legacy of the progressive Mosse publishng house, founded by Rudolf Mosse, whose flagship paper, the Berliner Tageblatt, helped to shape the democratic public sphere during the Weimar Republic.\u201d Among the distinguished members of this German-Jewish family, who were forced to flee immediately after the Nazis took power in 1933, was George Mosse, who would later become an innovative historian of nationalism, fascism, racism, and sexuality.\u00a0<\/div>\\n
The topic I chose for my lecture took inspiration from the Mosse family\u2019s commitment to a \u201cdemocratic public sphere\u201d and from their experience of exile. I spoke first about the authoritarian turn in German memory culture that has accompanied debates about the Holocaust, antisemitism, and Israel\/Palestine in recent years. I then turned to a film about state violence, genocide, memory, and exile by a Kurdish artist forced to flee Turkey in the face of persecution. P\u0131nar \u00d6\u011frenci's beautiful film A\u015f\u00eet recounts the story of her father\u2019s hometown, a site of the Armenian genocide and of the current oppression of Turkey\u2019s Kurdish minority. The film also takes inspiration from Stefan Zweig, who committed suicide after fleeing the Nazis, and whose cosmopolitan sensibility was the subject of one of George Mosse\u2019s studies of German-Jewish culture. Because of the way it weaves together Armenian, Jewish, and Kurdish histories, A\u015f\u00eet offers a relational model of remembrance that, I argued, could serve as an alternative to a German memory culture that has become rigid and dogmatic in its focus on the singularity of the Holocaust.<\/div>\\n
When, last summer, I was invited to speak in a series called \u201cFacing the Authoritarian Drift: Art Schools as Sites of Critique,\u201d which was dedicated to confronting the new dogmatism in German public culture, I thought that my Mosse Lecture would fit well in this context. The organizers also invited P\u0131nar \u00d6\u011frenci to show her film along with the Palestinian artist Jumana Manna and her film Foragers. A panel discussion would follow my lecture involving Manna, the Holocaust scholar Marianne Hirsch, and the sociologist \u00c7i\u011fdem Inan, along with the panel organizers. I was also scheduled to meet with students at the Hochschule f\u00fcr Grafik und Buchkunst\/Academy of Fine Arts Leipzig to discuss my work on Holocaust memory. This three-day collection of screenings, lectures, and discussions bore the name \u201cThe Art of Memory in Times of Trauma and Grief.\u201d<\/div>\\n
On December 4, the day on which the film screening was supposed to take place and the day before the lecture and panel discussion, the hosting institution, the Hochschule f\u00fcr Grafik und Buchkunst\/Academy of Fine Arts Leipzig, \u201cpostponed\u201d all of the events\u2014a euphemism for censorship or cancelation. In other words, a lecture that was part of a series organized to bring attention to the restriction of academic freedom and freedom of expression in Germany was instead itself restricted and used as an opportunity to defame, once again, Palestinian perspectives. These \u201cpostponed\u201d events were to take place almost a year to the day after another series of events called \u201cWe Still Need to Talk: Towards a Relational Model of Remembrance,\u201d which I had co-organized with Candice Breitz and the Bundeszentrale f\u00fcr politische Bildung\/Federal Agency for Civic Education, was also \u201cpostponed.\u201d In both cases, the censorship targeted expression (or potential expression) by Palestinians, by people in solidarity with Palestinians, and\/or by people critical of Israel\u2019s war of annihilation on the Palestinians of the Gaza Strip, and its continued occupation of the West Bank and East Jerusalem. In both cases, this censorship also resulted in the silencing of Jewish voices, including the voices of Jewish Holocaust scholars.\u00a0<\/div>\\n
It has been barely two weeks since Nan Goldin\u2019s bold comments at the opening of her exhibition at Berlin\u2019s Neue Nationalgalerie, during which she challenged Germany\u2019s suppression of Palestinian solidarity and expressed the hope that she could help \u201cpav[e] a path for other artists to speak out without being censored.\u201d Since that time, an event dedicated to a graphic history of Jerusalem, which has been a best-seller in France and is being translated into Hebrew, was canceled in Berlin; and now the events in Leipzig will join the long list of post-October 7 suppressions, which have been documented on the Archive of Silence.<\/a>\u00a0<\/div>\\n
It is no small irony that the postponement of the Leipzig events took place on the same day that Amnesty International released a report arguing that Israel\u2019s war in Gaza meets the definition of genocide in international law, thus confirming the assessment of numerous genocide scholars and international jurists. Despite the censorious efforts of German politicians and institutions, enforced silencing will never prevent a reckoning with crimes against humanity and it will never erode solidarity among those who are working to create a peaceful and just future for everyone.<\/div>\\n
Michael Rothberg<\/div>\",\r\n \"align\": \"top\",\r\n \"row\": 1,\r\n \"col\": 1,\r\n \"colspan\": 16,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0.5,\r\n \"spacebelow\": 1,\r\n \"yvel\": 1,\r\n \"push\": 1,\r\n \"relid\": 94,\r\n \"absolute_position\": false\r\n }\r\n ]\r\n}","phonegrid":"{\r\n \"colCount\": 16,\r\n \"colGutter\": 1,\r\n \"rowGutters\": [\r\n \"10\",\r\n \"2\",\r\n 5,\r\n 5\r\n ],\r\n \"frameMargin\": 5,\r\n \"topFrameMargin\": \"2\",\r\n \"rightFrameMargin\": \"2\",\r\n \"bottomFrameMargin\": \"2\",\r\n \"leftFrameMargin\": \"2\",\r\n \"mus\": {\r\n \"colGutterMu\": \"%\",\r\n \"rowGutterMu\": \"%\",\r\n \"topFrameMu\": \"%\",\r\n \"bottomFrameMu\": \"%\",\r\n \"frameMu\": \"%\"\r\n },\r\n \"rowAttrs\": [\r\n {\r\n \"relid\": 2\r\n },\r\n {\r\n \"relid\": 4\r\n },\r\n {\r\n \"relid\": 7\r\n },\r\n {\r\n \"relid\": 8\r\n },\r\n {\r\n \"relid\": 9\r\n }\r\n ],\r\n \"bgColor\": null,\r\n \"bgImage\": null,\r\n \"cont\": [\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Statement on the \u201cPostponement\u201d of \u201cThe Art of Memory in Times of Trauma and Grief\u201d in Leipzig, by Michael Rothberg, 05.12.2024
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Members of KriSol (Alliance for Critical Scholarship in Solidarity) have been organzing the event series Facing the Authoritarian Drift: Art Schools as Sites of Critique.<\/span> Within the framework of this series, three days of lectures, screenings and conversations were planned under the title \\\"The Art of Memory in Times\u00a0of Trauma and Grief\\\" at the Academy of Fine Arts Leipzig. However, the event was suddenly postponed by the rectorate. In solidarity with event participants and organizers, Krisol shares the following statement by Michael Rothberg.<\/span><\/a><\/div>\\n
Last March I gave the Second Annual Mosse Lecture at Columbia University. According to the university website, the lecture was established \u201cto honor the legacy of the progressive Mosse publishng house, founded by Rudolf Mosse, whose flagship paper, the Berliner Tageblatt, helped to shape the democratic public sphere during the Weimar Republic.\u201d Among the distinguished members of this German-Jewish family, who were forced to flee immediately after the Nazis took power in 1933, was George Mosse, who would later become an innovative historian of nationalism, fascism, racism, and sexuality.\u00a0<\/div>\\n
The topic I chose for my lecture took inspiration from the Mosse family\u2019s commitment to a \u201cdemocratic public sphere\u201d and from their experience of exile. I spoke first about the authoritarian turn in German memory culture that has accompanied debates about the Holocaust, antisemitism, and Israel\/Palestine in recent years. I then turned to a film about state violence, genocide, memory, and exile by a Kurdish artist forced to flee Turkey in the face of persecution. P\u0131nar \u00d6\u011frenci's beautiful film A\u015f\u00eet recounts the story of her father\u2019s hometown, a site of the Armenian genocide and of the current oppression of Turkey\u2019s Kurdish minority. The film also takes inspiration from Stefan Zweig, who committed suicide after fleeing the Nazis, and whose cosmopolitan sensibility was the subject of one of George Mosse\u2019s studies of German-Jewish culture. Because of the way it weaves together Armenian, Jewish, and Kurdish histories, A\u015f\u00eet offers a relational model of remembrance that, I argued, could serve as an alternative to a German memory culture that has become rigid and dogmatic in its focus on the singularity of the Holocaust.<\/div>\\n
When, last summer, I was invited to speak in a series called \u201cFacing the Authoritarian Drift: Art Schools as Sites of Critique,\u201d which was dedicated to confronting the new dogmatism in German public culture, I thought that my Mosse Lecture would fit well in this context. The organizers also invited P\u0131nar \u00d6\u011frenci to show her film along with the Palestinian artist Jumana Manna and her film Foragers. A panel discussion would follow my lecture involving Manna, the Holocaust scholar Marianne Hirsch, and the sociologist \u00c7i\u011fdem Inan, along with the panel organizers. I was also scheduled to meet with students at the Hochschule f\u00fcr Grafik und Buchkunst\/Academy of Fine Arts Leipzig to discuss my work on Holocaust memory. This three-day collection of screenings, lectures, and discussions bore the name \u201cThe Art of Memory in Times of Trauma and Grief.\u201d<\/div>\\n
On December 4, the day on which the film screening was supposed to take place and the day before the lecture and panel discussion, the hosting institution, the Hochschule f\u00fcr Grafik und Buchkunst\/Academy of Fine Arts Leipzig, \u201cpostponed\u201d all of the events\u2014a euphemism for censorship or cancelation. In other words, a lecture that was part of a series organized to bring attention to the restriction of academic freedom and freedom of expression in Germany was instead itself restricted and used as an opportunity to defame, once again, Palestinian perspectives. These \u201cpostponed\u201d events were to take place almost a year to the day after another series of events called \u201cWe Still Need to Talk: Towards a Relational Model of Remembrance,\u201d which I had co-organized with Candice Breitz and the Bundeszentrale f\u00fcr politische Bildung\/Federal Agency for Civic Education, was also \u201cpostponed.\u201d In both cases, the censorship targeted expression (or potential expression) by Palestinians, by people in solidarity with Palestinians, and\/or by people critical of Israel\u2019s war of annihilation on the Palestinians of the Gaza Strip, and its continued occupation of the West Bank and East Jerusalem. In both cases, this censorship also resulted in the silencing of Jewish voices, including the voices of Jewish Holocaust scholars.\u00a0<\/div>\\n
It has been barely two weeks since Nan Goldin\u2019s bold comments at the opening of her exhibition at Berlin\u2019s Neue Nationalgalerie, during which she challenged Germany\u2019s suppression of Palestinian solidarity and expressed the hope that she could help \u201cpav[e] a path for other artists to speak out without being censored.\u201d Since that time, an event dedicated to a graphic history of Jerusalem, which has been a best-seller in France and is being translated into Hebrew, was canceled in Berlin; and now the events in Leipzig will join the long list of post-October 7 suppressions, which have been documented on the Archive of Silence.<\/a>\u00a0<\/div>\\n
It is no small irony that the postponement of the Leipzig events took place on the same day that Amnesty International released a report arguing that Israel\u2019s war in Gaza meets the definition of genocide in international law, thus confirming the assessment of numerous genocide scholars and international jurists. Despite the censorious efforts of German politicians and institutions, enforced silencing will never prevent a reckoning with crimes against humanity and it will never erode solidarity among those who are working to create a peaceful and just future for everyone.<\/div>\\n
Michael Rothberg<\/div>\",\r\n \"align\": \"top\",\r\n \"row\": 2,\r\n \"col\": 0,\r\n \"colspan\": 16,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 94,\r\n \"absolute_position\": false\r\n }\r\n ]\r\n}","_links":{"self":[{"href":"https:\/\/krisol-wissenschaft.org\/en\/wp-json\/wp\/v2\/pages\/342","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/krisol-wissenschaft.org\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/krisol-wissenschaft.org\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/krisol-wissenschaft.org\/en\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/krisol-wissenschaft.org\/en\/wp-json\/wp\/v2\/comments?post=342"}],"version-history":[{"count":0,"href":"https:\/\/krisol-wissenschaft.org\/en\/wp-json\/wp\/v2\/pages\/342\/revisions"}],"wp:attachment":[{"href":"https:\/\/krisol-wissenschaft.org\/en\/wp-json\/wp\/v2\/media?parent=342"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}