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      100 Notes – 100 Thoughts / 100 Notizen – 100 Gedanken

      Nº004: Emily Jacir & Susan Buck-Morss

      dOCUMENTA (13), 9/6/2012 – 16/9/2012

       Artistic Director / Künstlerische Leiterin: Carolyn Christov-Bakargiev

      Agent, Member of Core Group, Head of Department /

      Agentin, Mitglied der Kerngruppe, Leiterin der Abteilung: Chus Martínez

      Head of Publications / Leiterin der Publikationsabteilung: Bettina Funcke

      Managing Editor / Redaktion und Lektorat: Katrin Sauerländer

      English Copyediting / Englisches Lektorat: Philomena Mariani

      Proofreading / Korrektorat: Sam Frank, Cordelia Marten

      Graphic Design and E-Book Implementation / Grafische Gestaltung und E-Book-Produktion: Leftloft

      Production / Verlagsherstellung: Stefanie Langner

      © 2011 documenta und Museum Fridericianum Veranstaltungs-GmbH, Kassel; Hatje Cantz Verlag, Ostfildern; Susan Buck-Morss; Emily Jacir

      Illustrations / Abbildungen: p. / S. 1: Fridericianum, September 1941 (detail / Detail), Photohaus C. Eberth, Waldkappel; Universitätsbibliothek Kassel, Landesbibliothek und Murhardsche Bibliothek der Stadt Kassel; p. / S. 30: © The Israel Museum/David Harris; p. / S. 33: © 2011 Digital image, The Museum of Modern Art, New York/Scala, Florence; p. / S. 39: © Roger M. Richards/rogermrichards.com; p. / S. 44: © 2009 Emily Jacir; p. / S. 45 top / oben: © Eyad Albaba/ddp images; bottom / unten: © João Silva/PictureNet

      documenta und Museum Fridericianum

      Veranstaltungs-GmbH

      Friedrichsplatz 18, 34117 Kassel

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      Chief Executive Officer / Geschäftsführer: Bernd Leifeld

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      Hatje Cantz Verlag

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      ISBN 978-3-7757-3033-4 (E-Book)

      ISBN 978-3-7757-2853-9 (Print)

      Gefördert durch die

      funded by the German Federal

      Cultural Foundation

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       “History breaks down into images, not into stories.”

      Walter Benjamin

      1.

      History is layered. But the layers are not stacked neatly. The disrupting force of the present puts pressure on the past, scattering pieces of it forward into unanticipated locations. No one owns these pieces. To think so is to allow categories of private property to intrude into a commonly shared terrain wherein the laws of exclusionary inheritance do not apply. The history of humanity demands a communist mode of reception.

       2.

      The goal is nothing short of a different world order. It will require rescuing the past based on a de-privatized, de-nationalized structure of collective memory. There is little danger of a new triumphalism in this task. Human universality is a scarred idea, and the sources of the scarring must be remembered along with its moments of inspiration. Extreme inhumanities are part of a communist transmission of the past. The human disaster in Gaza cannot be made the legacy of Israel any more than the Holocaust belongs solely to the Germans. Neither historical role, of victim or oppressor, is encoded in our DNA. Past injury is not a license to kill.

       3.

      Art teaches us to see things. It is Anschauungsunterricht—training in observation.

      Draw a New Angel that matches Benjamin’s description.