Women in Dark Times (49 page)

 
  
44
    Annika Wik, ‘In-Between: The Cut’,
Esther Shalev-Gerz
(Lausanne: Musée cantonal des Beaux-Arts, 2012), p. 71.

 
  
45
    Didi-Huberman, ‘Blancs Soucis de Notre Histoire’, p. 57.

 
  
46
    Rose, ‘Interview with Esther Shalev-Gerz’, 7 June 2013.

 
  
47
    Matthew Abess and Esther Shalev-Gerz, ‘Neither Revelation nor the Thing Itself’,
Describing Labor
, p. 76.

 
  
48
    Letter personally communicated to me by Shalev-Gerz, quoted here with permission of its author.

 
  
49
    Jacques Rancière, ‘The Work of the Image’,
Menschendinge
, p. 13.

 
  
50
    Rosa Luxemburg to Adolf Warski, end November or beginning December 1918,
Letters
, p. 484.

 
  
51
    Gili, ‘Interview’, p. 157.

 
  
52
    ‘Dora, Neuilly-sur-Seine’, Shalev-Gerz,
Entre l’écoute et la parole
, oral testimony.

 
  
53
    ‘Yvette Ley, Noisy-le-Sec’, Shalev-Gerz,
Entre l’écoute et la parole
, oral testimony.

 
  
54
    Gili, ‘Interview’, p. 158.

 
  
55
    Abess and Shalev-Gerz, ‘Neither Revelation nor the Thing Itself’,
Describing Labor
, p. 84.

 
  
56
    For example, Nicole Schweizer, ‘Foreword’, p. 4, and Annika Wik, ‘In-Between: The Cut’,
Esther Shalev-Gerz
(Lausanne), pp. 69–72.

 
  
57
    Abess and Shalev-Gerz, ‘Neither Revelation nor the Thing Itself’,
Describing Labor
, p. 83.

 
  
58
    Woolf,
Three Guineas
, p. 255.

 
  
59
    Ingela Lind, ‘A Dialogue with Esther Shalev-Gerz’, and Gili, ‘Interview’,
Esther Shalev-Gerz
(Paris: Jeu de Paume).

 
  
60
    Rose, ‘Interview with Esther Shalev-Gerz’, 15 May and 6 June 2013, and
Esther Shalev-Gerz: The Contemporary Art of Trusting, Uncertainties and Unfolding Dialogue
(Gothenburg: University of Gothenburg and Valand Academy, 2014). The publication is based on the second of these interviews; all other quotations are from my notes from the first interview.

 
  
61
    ‘Interview: Esther Shalev-Gerz and Doris von Drathen’,
Irréparable
(p. 2 – pages unnumbered).

 
  
62
    Shalev-Gerz,
Describing Labor
, p. 75.

 
  
63
    Abess and Shalev-Gerz, ‘Neither Revelation nor the Thing Itself’,
Describing Labor
, p. 81.

 
  
64
    Rose, ‘Interview with Esther Shalev-Gerz’.

 
  
65
    Ibid.

 
  
66
    Ibid.

 
  
67
    Abess and Shalev-Gerz, ‘Neither Revelation nor the Thing Itself’,
Describing Labor
, p. 84.

 
  
68
    Shalev-Gerz,
Two Installations
, p. 56.

 
  
69
    John Harris, ‘UKIP: the battle for Britain’,
Guardian
, 18 May 2013.

 
  
70
    Tony Judt,
Postwar
, p. 9.

 
  
71
    Ibid.

 
  
72
    Rose, ‘Interview with Esther Shalev-Gerz,’ p. 197; see also
Describing Labor
, p. 79.

 
  
73
    Ibid.; also private communication, July 2013.

 
  
74
    Faqir,
My Name Is Salma
, p. 25.

 
  
75
    Esther Shalev-Gerz,
Les portraits des histoires
, p. 53.

 
  
76
    Esther Shalev-Gerz,
The Place of Art
, University of Gothenburg,
Art Monitor
, 2, 2008, p. 74.

 
  
77
    Shalev-Gerz,
Les portraits des histoires
, p. 62.

 
  
78
    Shalev-Gerz,
Les portraits des histoires
, Bromwich. This exhibition was cancelled when the venue, The Public, shut down in 2008. Typescript of interviews provided by the artist.

 
  
79
    Shalev-Gerz,
Les portraits des histoires
, p. 61.

 
  
80
    Shalev-Gerz,
Les portraits des histoires
, Bromwich, typescript.

 
  
81
    Shalev-Gerz,
The Place of Art
, p. 75.

 
  
82
    Alain Badiou,
De quoi Sarkozy est-il le nom?
(Paris: Lignes, 2007), p. 59.

 
  
83
    Shalev-Gerz,
Les portraits des histoires
, p. 30.

 
  
84
    Ibid., p. 53.

 
  
85
    Shalev-Gerz,
The Place of Art
, pp. 113–14.

 
  
86
    Ibid., p. 115.

 
  
87
    ‘On Two, 2009: Script of the Video Installation, Jacques Rancière and Rola Younes’,
Esther Shalev-Gerz
(Lausanne), pp. 147–8.

 
  
88
    ‘On Two’,
Esther Shalev-Gerz
(Paris: Jeu de Paume), p. 117.

 
  
89
    ‘On Two’,
Esther Shalev-Gerz
(Lausanne), p. 148.

 
  
90
    Ibid.

 
  
91
    Ibid.

 
  
92
    Ibid., p. 147.

 
  
93
    Ibid.

 
  
94
    Rose, ‘Interview with Esther Shalev-Gerz’.

6. Coming Home: Yael Bartana

 
    
1
    Strasberg,
Marilyn and Me
, p. 76.

 
    
2
    Ibid., p. 79.

 
    
3
    Sebastian Cichoki and Galit Eilat (eds),
A Cookbook for Political Imagination
(hereafter
Cookbook
) (Warsaw: Zach
?
ta National Gallery of Art, 2011), p. 285.

 
    
4
    Camilla Nielsson, ‘Hollywood Exodus’,
Cookbook
, p. 285.

 
    
5
    Ibid., p. 287.

 
    
6
    Yael Bartana,
Mary Koszmary (Nightmares)
, first of film trilogy 
. . . And Europe Will Be Stunned
, opening address by Sławomir Sierakowski.

 
    
7
    Galit Eilat, Sebastian Cichoki, Yael Bartana, ‘Jewish Renaissance Movement in Poland (JRMiP)’,
Cookbook
, p. 4.

 
    
8
    ‘A Conversation between Yael Bartana, Galit Eilat and Charles Esche’, . . . 
And Europe Will Be Stunned
(Berlin: Revolver, 2010), p. 115.

 
    
9
    Bartana,
Assassination (Zamach)
, third of film trilogy 
. . . And Europe Will Be Stunned
, address by Rifke.

 
  
10
    Bartana,
Mary Koszmary
, opening address by Sławomir Sierakowski.

 
  
11
    Ibid.

 
  
12
    Eva Hoffman,
Shtetl: The Life and Death of a Small Town and the World of Polish Jews
(London: Secker & Warburg, 1998), p. 247.

 
  
13
    Ibid., p. 108.

 
  
14
    Ibid.

 
  
15
    Lief Magnusson, ‘Introduction’, Esther Shalev-Gerz,
First Generation
, p. 5.

 
  
16
    Ibid., p. 8.

 
  
17
    Ibid., p. 5.

 
  
18
    
Ringelblum Archive: Polish-Jewish Relations
, p. 257, cited in Michael C. Steinlauf,
Bondage to the Dead: Poland and the Memory of the Holocaust
(New York: Syracuse University Press, 1997), p. 87, my emphasis.

 
  
19
    Ibid.

 
  
20
    Ibid., p. 129.

 
  
21
    Jan T. Gross,
Neighbors: The destruction of the Jewish Community in Jedwabne
(Princeton: Princeton University Press, 2001), and Antony Polonsky and Joanna B. Michlic,
The Neighbors Respond: The Controversy over the Jedwabne Massacre in Poland
(Princeton: Princeton University Press, 2004).

 
  
22
    Steinlauf,
Bondage to the Dead
, p. 84. See Steinlauf for the complex details of this history, especially in relation to the occupation of Poland by Russia, Nazi Germany and then the Soviet Union in the 1940s.

 
  
23
    Ibid., p. 191, my emphasis.

 
  
24
    Cited in Jan T. Gross,
Fear, Anti-Semitism in Poland after Auschwitz, An Essay in Historical Interpretation
(Princeton: Princeton University Press, 2006), pp. 174–5.

 
  
25
    Ibid., p. 175.

 
  
26
    Ibid.

 
  
27
    http://www.artesmundi.org/en/about-us

 
  
28
    Ariella Azoulay and Adi Ophir, ‘Guided Imagination’,
Cookbook
, p. 88.

 
  
29
    Ibid., p. 89.

 
  
30
    Arendt, ‘We Refugees’,
The Jew as Pariah
, p. 65, essay also included in Arendt,
Jewish Writings.

 
  
31
    Juli Carson, ‘Postcards from the Real: The Jewish Renaissance Movement in Poland’,
Cookbook
, p. 156.

 
  
32
    Arendt, ‘We Refugees’, p. 56.

 
  
33
    Ibid., p. 63.

 
  
34
    Ibid., p. 57.

 
  
35
    ‘Interview with Yael Bartana’,
ArtiT
(Amsterdam: Annet Gelink Gallery, Tel Aviv: Sommer Contemporary Gallery, 2012), transcript p. 2.

 
  
36
    ‘Interview with Yael Bartana’,
ArtiT
, transcript p. 4.

 
  
37
    Eilat, Cichoki, Bartana, ‘Jewish Renaissance Movement in Poland (JRMiP)’,
Cookbook
, p. 4 (emphasis original).

 
  
38
    ‘Interview with Yael Bartana’,
ArtiT
, transcript p. 2.

 
  
39
    Ariella Azoulay, ‘“Come back! We need you!” On the video works of Yael Bartana’ (Tel Aviv: Short Memory Center for Contemporary Art and Rachel and Israel Pollack Gallery, The Teacher’s College of Technology, 2008), transcript p. 8.

 
  
40
    Personal communication from artist.

 
  
41
    ‘A Conversation between Yael Bartana, Galit Eilat and Charles Esche’, . . . 
And Europe Will Be Stunned
, p. 48.