{"id":505,"date":"2016-11-12T13:00:53","date_gmt":"2016-11-12T12:00:53","guid":{"rendered":"http:\/\/www2.hu-berlin.de\/kuwi-aesthetik\/word\/?p=505"},"modified":"2021-01-31T11:59:00","modified_gmt":"2021-01-31T10:59:00","slug":"spektrale-montagen","status":"publish","type":"post","link":"https:\/\/www.aesthetik.hu-berlin.de\/en\/spektrale-montagen\/","title":{"rendered":"Spectral Montage (Precarious Afterlives)"},"content":{"rendered":"<p><\/p>\n<div class=\"\">\n<p><span class=\"\"><span class=\"\">Jan Mollenhauer\u2019s <\/span><\/span><span class=\"\">project explores concepts of montage and spectrality to describe precarious afterlives of images within visual constellations intertwining Germany and the Black Atlantic between 1915 and 1962.\u00a0<\/span><\/p>\n<div class=\"\"><span class=\"\">In 1945, African American GIs, as members of the highly segregated US Army, stepped into the recently liberated concentration camp of Buchenwald. Some of the soldiers took photos around which the project\u2019s visual constellation is centred.\u00a0<\/span><\/div>\n<div class=\"\"><span class=\"\">Between 1877 and the 1940s, \u00bblynchings\u00ab amounted to mass spectacles in the United States, especially in the South. Photographs taken by whites were widely disseminated \u2014 among fellow whites as well as among African Americans. Early American, not least early African American film is deeply involved in the visual culture of Lynching. After 1945, however, that visuality changes. One no longer sees white voyeuristic mobs, but witnesses black families in mourning. Do the Buchenwald photos \u2014 imaginatively \u2014 restitute \u00bbgrievability\u00ab (Butler)?<\/span><\/div>\n<div class=\"\"><span class=\"\">Lynching\u2019s particular body-image, along with the uncannily similar <i class=\"\">longue dur\u00e9e <\/i>of racist stereotypes stemming from Weimar\u2019s postcolonial film also inform the visuality of and around African American occupying forces and the droves of Black GIs following them in Germany after World War 2. The hugely successful film Toxi<i class=\"\">\u00a0<\/i>(Dir.: R.A. Stemmle, West Germany 1952) is symptomatic for this discourse, extending to fremd gehen. Gespr\u00e4che mit meiner Freundin<i class=\"\">\u00a0<\/i>(Dir.: Eva Heldmann, Germany 1999).\u00a0How do these images relate to the photos taken in Buchenwald? By actively providing \u00bbreadability\u00ab (Didi-Huberman), Jan reflects upon the fractal, the hidden, and the haunting in the project\u2019s material.<\/span><\/div>\n<\/div>\n<div class=\"\"><\/div>\n<p>Image:<br \/>\nWilliam Alexander Scott III.: George Patton (foreground, l.) speaks with\u00a0Omar Bradley (middle) in the recently liberated forced labour camp Ohrdruf, close to Buchenwald, African American soldier in the background, April 1945. NARA, ID: 111-SC-442154.<\/p>","protected":false},"excerpt":{"rendered":"<p>Jan Mollenhauer\u2019s project \u00bbSpectral Montage. (Precarious Afterlives)\u00ab (Working title) explores genealogical entanglements of the Shoah and Lynching within the visuality African American cultures.<\/p>\n","protected":false},"author":2,"featured_media":642,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":[],"categories":[2],"tags":[],"acf":[],"_links":{"self":[{"href":"https:\/\/www.aesthetik.hu-berlin.de\/en\/wp-json\/wp\/v2\/posts\/505"}],"collection":[{"href":"https:\/\/www.aesthetik.hu-berlin.de\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.aesthetik.hu-berlin.de\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.aesthetik.hu-berlin.de\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.aesthetik.hu-berlin.de\/en\/wp-json\/wp\/v2\/comments?post=505"}],"version-history":[{"count":43,"href":"https:\/\/www.aesthetik.hu-berlin.de\/en\/wp-json\/wp\/v2\/posts\/505\/revisions"}],"predecessor-version":[{"id":2475,"href":"https:\/\/www.aesthetik.hu-berlin.de\/en\/wp-json\/wp\/v2\/posts\/505\/revisions\/2475"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.aesthetik.hu-berlin.de\/en\/wp-json\/wp\/v2\/media\/642"}],"wp:attachment":[{"href":"https:\/\/www.aesthetik.hu-berlin.de\/en\/wp-json\/wp\/v2\/media?parent=505"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.aesthetik.hu-berlin.de\/en\/wp-json\/wp\/v2\/categories?post=505"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.aesthetik.hu-berlin.de\/en\/wp-json\/wp\/v2\/tags?post=505"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}