Who still has souvenirs of Autumn 1989 stored away in the cupboard? To mark the tenth year of post-communism, curator Bernd Roder of the Prenzlauer Berg Museum in Berlin recently put out such a call for donations. His planned exhibition, The Time Is High, sets out to punctuate the timeline of recent German history with the memories of those who lived and worked in the local community at the time when ‘real existing socialism’ was pronounced dead and the five states of the German Democratic Republic (gdr) were swiftly annexed by the larger German federation. In the first decade of post-communism, German museum directors have entered a race to curate the wreckage of socialism as if there were no tomorrow, organizing some two dozen exhibitions of ephemera and objects manufactured by the now defunct factories of the People’s Own Industries, or Volks Eigene Betriebe. Roder specifies the sort of objects he requires to document the process of unification—a factory logbook which suddenly breaks off, or perhaps a withdrawal slip someone might have saved from the last day that banks recognized the Eastern mark. Artists, too, have taken up the shards of communism and incorporated them into their works as ‘found objects’. While some critics dismiss this focus on the vanishing material culture of the gdr as overly sentimental, attributing it to a dysfunctional vanguard which has languished in its leftist delusion far beyond the point of decency, others seek to rescue from opprobrium the right to wax nostalgic, arguing for the importance of cultural memory at this time of transition.
Why such a fixation on the past?footnote1 In ‘The New Opacity: The Crisis of the Welfare State and the Exhaustion of Utopian Energies’, Jürgen Habermas characterizes European cultures on both sides of the Iron Curtain as befuddled and historically unmoored. Already, in the late 1980s, the disorienting decline of social solidarity induced a
Hoet’s exhibition was the first Documenta to be planned after the fall of the Berlin Wall in 1989. Present in the myriad elements of the exhibition—the artworks, catalogues, documentary films, and reviews—is an alertness to this moment of capital importance. Hoet ran Documenta IX as a kind of conceptual lost-and-found department for the remnants of state socialism. Although the catalogue essays express what seems to be relief that the many injustices committed under the gdr régime might finally be redressed, they nevertheless reveal a certain melancholic disappointment with the outcome of the Wende, or post-communist turn. Hoet seems fixated by the notion that something was lost in the transition from a continent divided between the market and the plan to the hegemonic Europe of late capitalism. What was the ‘Other Europe?’, and why might some Westerners have grown dependent on the notion that there existed some elsewhere beyond liberal democracy? You never know what you have until you lose it, Hoet implies.
In his memoir On the Way to Documenta IX, Hoet discloses a kind of nostalgia for history, suggesting that all the losses suffered at the close of the century were inflected and perhaps even amplified by the collapse of communism. The ostensible resolution of ideological conflict in Europe appears to be compounded together with the
We see that the dissolution of state socialism has blurred and displaced conventional perspectives. While an artist can incorporate a relic of the gdr into an artwork, elevating it from the everyday to the sublime, a cultural historian can display the same object as a document of another life-world. Attempts to come to terms with the socialist past range from sober, historical description to melancholic attachment, from the brutal erasure to the painful work of mourning, and from arrogant dismissal to nostalgic fascination. If, as for Walter Benjamin, real historical memory sustains the emancipatory potentials which were once crushed, when does authentic attachment to the past slip into false nostalgic longing? And how to distinguish the legitimate endeavour to imagine an alternative to late capitalism from the imperialism of the imagination?