When the mind turns more than one would wish towards questions of – as W.G. Sebald puts it – the “natural history of destruction”, comparative consideration by artists and interdisciplinary scholars is directed to the interstices between images, novel, essay, (auto)biography, memorial and travelogue. Artists have been among Sebald’s most prolific interpreters – as they are among the more fearless and holistic researchers on questions concerning what it means never to be able to fix an identity, to tell a migrant’s story, or to know where a historical trauma ends. Sebald has - as this book attests - also given artists and scholars a means to write with images, to embrace ambiguity, and to turn to today’s migrants with empathy and responsibility; as well as to let academic research, creation and institutional engagement blend into or substantially inform one another in order to account for and enable such necessary work in the most diverse contexts.
- Cover
- Table of Contents
- Introduction
- I. Sebald’s Writings, History and Voids
- 1. W.G. Sebald’s Cartographic Images
- Mapping the Historical Void
- 2. Imaging the Uncanny Memory
- War and the Isenheim Altarpiece in 1917–19
- 3. The Worlds of Eternal Present
- The Quest for the Hidden Patterns of Baroque Thought in Sebald’s literature
- 4. Seeing the Void?
- On Visual Representations of “Arisierungen,” Forced Absences, and Forms of Taking Inventory in the Installation Invent arisiert by Arno Gisinger
- II. Memory and Art in and Through Sebald
- 5. Monument and Memory
- 6. In the Labyrinth
- Sebald’s (Postwar) French Connections
- 7. Leaning Images
- Reading Nasta Rojc and Ana Mušćet
- 8. Working with Images
- Documentary Photography in the Oeuvres of Mike Kelley and W.G. Sebald
- 9. Ghostwriting and Artists’ Texts
- Raqs Media Collective’s We Are Here, But Is It Now?
- III. Writing with Images: Academic Practices and / as Ethical Commitment
- 10. Models for Word and Image
- Georges Rodenbach to Christian Bök
- 11. On Writing
- Propositions for Art History as Literary Practice
- 12. Memory, Word, and Image in Sebald and Joyce
- Towards a Transhistorical Ethics Communicated Through Minor Interventions in the Form of the Printed Book
- 13. Sebald’s Toute la mémoire du monde
- 14. As a Dog Finds a Spear
- List of Contributors
- Index
- List of Figures
- Figure 1 Diagram, W.G. Sebald. Austerlitz. New York: Modern Library, 2001, p. 31
- Figure 2 Map, W.G. Sebald, W.G. The Rings of Saturn. New York: New Directions, 1999, p. 148
- Figure 3 Arno Gisinger, Invent arisiert, 2000
- Figure 4 Arno Gisinger, Ohne Titel / Untitled, from the series Invent arisiert, 2000, Lambdaprint on aluminum, 25 × 20 cm
- Figure 5 Arno Gisinger, Ohne Titel / Untitled, from the series Invent arisiert, 2000, Lambdaprint on aluminum, 25 × 20 cm
- Figure 6 Arno Gisinger, Ohne Titel / Untitled, from the series Invent arisiert, 2000, Lambdaprint on aluminum, 25 × 20 cm
- Figure 7 Site of former Seething airfield
- Figure 8 Seething Airfield
- Figure 9 Recovered War Memorial, Great Yarmouth, 2002
- Figure 10 No. II, 2014
- Figure 11 Monument, installation view, SCVA, Norwich 2014
- Figure 12 Ana Mušćet, from the series I Fighter (2018)
- Figure 13 Nasta Rojc, Alexandrina Onslow, private photo album Bajna bašta (Bajina bašta)
- Figure 14 From the private photo album belonging to Nasta Rojc
- Figure 15 Nasta Rojc, unpublished autobiography Svjetlo, sjene, mrak [Light, Shadows, Darkness], 1918–19. Ana Mušćet, from the series, I Fighter, 2018
- Figure 16 W.G. Sebald, Austerlitz, 2001, cover
- Figure 17 Mike Kelley, Extracurricular Activity Projective
- Figure 18a Mike Kelley, Extracurricular Activity Projective Reconstruction #1 (A Domestic Scene), no date
- Figure 18b Mike Kelley, Extracurricular Activity Projective Reconstruction #1 (A Domestic Scene), 2000, video still, black and white, sound, 29:44
- Figure 19 W.G. Sebald, Austerlitz, Adelphi Edizioni, 2002. p.11
- Figure 20 Comparison of two images in Georges Rodenbach, Bruges-la-morte
- Figure 21 A possible stemma for novels with photographs
- Figure 22 Possible absorption spectrum of a star
- Figure 23 Schema of the relation between text and images in W.G. Sebald
- Figure 24 Detail view of the Thomas Paine Monument, New Rochelle, NY, August 4, 2018
- Figure 25 Allan Sekula, Thomas Paine Park, New York City and Cod Fisher, Dover, two Cibachrome matt photographs, framed measures 75 x 103.3 cm and 75.3 x 104 cm; and Dockers loading sugar ship, Calais, framed triptych, three Cibachrome matt photographs 5
- Figure 26a Detail view of Allan Sekula, Deep Six / Passer au bleu, Part 1, “The Rights of Man”—1er volet, “Les Droits de l’homme” (1996 / 1998), six Cibachrome matt photographs, two text panels, one chair, and woman reading in one of two books, variable
- Figure 26b Allan Sekula, Deep Six/Passer au bleu (1996/1998), installation view, detail, chair with public library copy French edition of Thomas Paine, Les droits de l’homme (1791–92), in Voyage, de l’exotisme aux nonlieux, curated by Chrystèle Burgard a
- Figure 27 Allan Sekula: The Dockers’ Museum including Mutiny [title by Allan Sekula], cartoon, graphic digitally rendered as vinyl cutouts, originally published in Labor Defender 11, no. 11 (December 1937), variable dimensions, installation view, Lumiar
- Figure 28 Detail view of the Thomas Paine Monument, New Rochelle, NY, August 4, 2018.
- Figure 29 Allan Sekula, work scan of a transparency never selected by the artist, now part of the Allan Sekula Archive at the Getty Research Institute Special Collections
- Figure 30 Allan Sekula, Midwife and newborn, Kassel, from Shipwreck and Workers (Version 3 for Kassel) (2005–7), ink printed on vinyl (print system VUTEK) 26 impressions, 243 x 338 cm
- Figure 31 On the beach near Gunton Cliff, Lowestoft, January 30, 2020
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