I was recently published in Kapsula magazine’s special edition on the editing process. The process: a short text was submitted on a given theme, and an in-person round table process of editing ensued. For the full text, go to:
The following is excerpt from the text:
I came to the art practice of Esther Shalev-Gerz through her first German public commission The Monument Against Fascism (1986-1993). The commission was given to the artist and her then-husband Jochen Gerz, and was part of a seminal period in German national self-reflection that resulted in countless attempts at building memorials. At the time, in the mid-1990s, I was aware of being sheltered from what was once fascist Germany while also being implicated in the shame and shock passed on to my generation–the first in my family to come to Canada. My immigrant family did not know how to reconcile with the public memory of those years, as children born during the war. Perhaps they were caught in what Saul Friedländer has referred to as “deep memory”: something that remains essentially inarticulable and unrepresentable (Friedländer 1992, 41).
To continue reading, see the article on KAPSULA.
Anouchka Freybe 