{"id":6420,"date":"2023-12-18T15:59:45","date_gmt":"2023-12-18T14:59:45","guid":{"rendered":"https:\/\/quivid.de\/?p=6420"},"modified":"2024-07-25T12:18:22","modified_gmt":"2024-07-25T10:18:22","slug":"digital-amnesia","status":"publish","type":"post","link":"https:\/\/quivid.de\/en\/digital-amnesia\/6420\/","title":{"rendered":"Digital Amnesia or Constructed Memory"},"content":{"rendered":"","protected":false},"excerpt":{"rendered":"","protected":false},"author":10,"featured_media":6499,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"inline_featured_image":false,"footnotes":""},"categories":[149],"district":[165],"access":[194],"accessibility":[131],"space":[145],"year":[246],"gender":[137],"class_list":["post-6420","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-wandgestaltung","district-schwabing-freimann","access-auf-anfrage-zugaenglich","accessibility-barrierefrei-zugaenglich","space-innenraum","year-246","gender-w"],"link_en":"https:\/\/quivid.de\/en\/\/en\/digital-amnesia\/6420","acf":{"werk_qv_id":"","werk_artist":[{"werk_artist_name":"Azoulay","werk_artist_surname":"Ilit","werk_artist_gender":"w"}],"werk_artists":[{"ID":6426,"post_author":"10","post_date":"2023-12-18 16:06:20","post_date_gmt":"2023-12-18 15:06:20","post_content":"*1972 in Tel Aviv-Jaffa, Israel, lebt und arbeitet in Berlin.\r\n\r\nAzoulays Arbeiten wurden international in zahlreichen Institutionen gezeigt. Mit Queendom, ihrem j\u00fcngsten Projekt, bespielte sie k\u00fcrzlich den israelischen Pavillon auf der 59. Biennale von Venedig (2022). Sie hatte Einzelausstellungen im Herzliya Museum of Contemporary Art, Israel (2014), in den KW Institute for Contemporary Art, Berlin (2014), in Das Israel Museum, Jerusalem (2017), im CCA \u2013 Center for Contemporary Art, Tel Aviv (2019) sowie in der Braverman Gallery, Tel Aviv (2021). Dar\u00fcber hinaus waren ihre Arbeiten in Gruppenausstellungen in international renommierten Institutionen zu sehen, darunter Das Israel Museum, Jerusalem (2011, 2017), Daimler Contemporary, Berlin (2012, 2020), das Museum of Modern Art, New York (2015), das Mus\u00e9e d\u2019Art moderne de la Ville de Paris (2015), das Australian Centre for Contemporary Art, Melbourne (2015), die Pinakothek der Moderne, M\u00fcnchen (2016), das Bauhaus Museum, Dessau (2019), das Eretz Israel Museum, Tel Aviv (2021) sowie das Kunsthaus Z\u00fcrich (2022).\r\n\r\nAzoulays Werke wurden in vielz\u00e4hlige internationale Museums- und Privatsammlungen aufgenommen, darunter die des Museum of Modern Art, New York, des Guggenheim Museum, New York, des LACMA, Los Angeles, des Hammer Museum, Los Angeles, des Art Institute of Chicago, des Centre Georges Pompidou, Paris, der National Gallery of Australia, Canberra, der Julia Stoschek Collection, D\u00fcsseldorf\/Berlin, des Das Israel Museum, Jerusalem, sowie des Tel Aviv Museum of Art.\r\n\r\nAzoulay absolvierte ein Studium an der Bezalel Academy of Arts and Design in Jerusalem. Ihr wurden mehrere Preise verliehen, darunter der Constantiner Photography Award for an Israeli Artist des Tel Aviv Museum of Art (2011), der Preis des israelischen Ministeriums f\u00fcr Kultur und Sport (2011, 2017) sowie der Rencontres d\u2019Arles Discovery Award (2014). Dar\u00fcber hinaus war sie unter den Finalist:innen des Prix Pictet (2015).","post_title":"Ilit Azoulay","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"ilit-azoulay","to_ping":"","pinged":"","post_modified":"2023-12-18 16:06:20","post_modified_gmt":"2023-12-18 15:06:20","post_content_filtered":"","post_parent":0,"guid":"https:\/\/quivid.de\/?post_type=artist&p=6426","menu_order":30,"post_type":"artist","post_mime_type":"","comment_count":"0","filter":"raw"}],"werk_location_district":"","werk_location_address":"Maximiliansgymnasium, Karl-Theodor-Stra\u00dfe 9, 80803 M\u00fcnchen","werk_location_longitude":"48.165351670379","werk_location_latitude":"11.5851101395529","werk_material":"Panoramafotomontage von rund 3000 mit einem Makroobjektiv aufgenommenen Fotos, Projektwebsite mit zus\u00e4tzlichen Text- und Soundelementen, Steinrahmen, 168 x 649,5 x 4 cm.","werk_technical_data":"","werk_technical_data_en":"","werk_client":"Landeshauptstadt M\u00fcnchen, Baureferat","werk_visibility":false,"werk_map":false,"werk_parts":"","werk_institution":"Maximilians-Gymnasium","werk_architect":"BPA Braun Architekten Partnerschaft, M\u00fcnchen & Christoph Maas Architekturb\u00fcro, M\u00fcnchen","werk_architect_landscape":"Realgr\u00fcn Landschaftsarchitektur, M\u00fcnchen","werk_photograph":"Florian Holzherr","werk_author":"Mareike Schwarz","werk_txt_long_en":"

One of the contradictions of digital life is that the internet forgets nothing, yet increasingly causes its users to forget. \u201cDigital amnesia\u201d is the name of this phenomenon, as well as the title of Ilit Azoulay’s public artwork at Munich’s Maximilians Gymnasium. With Digital Amnesia or Constructed Memory, the artist created a photomontage set in a stone frame that literally places the constructed quality of history and stories in the room.<\/p>\n

The artist was invited to create a public artwork for the remodeled school. This offered an opportunity to examine the building down to its cornerstones, to see what had accumulated but also perhaps been hidden or concealed inside. Over a period of three years, Ilit Azoulay photographed the building under renovation, including the objects inside of it, with a macro lens. She then combined the numerous individual shots to create a monumentally sized, panoramic photograph. In this constructed space, architectural features, such as a staircase or representative objects from the school, such as a stone lion, are depicted side by side with everyday objects, such as a rubbish bag. The individual pictorial elements are assigned to sound pieces that can be experienced using a project website developed for the artwork, accessed via a relief-like QR code on the left side of the mural.<\/p>\n

When a specific object is selected on the corresponding website, various poems are recited, followed by excerpts of well-known Bavarian folk hymns. These are sometimes dedicated to the “M\u00fcnchner Stadterl”, sometimes to the sky\u2019s Weiss und Blau (\u201cblue and white,\u201d the Bavarian colors). The poems were co-written with the author Abigail Schneider and are based on interviews with alumni of the Gymnasium about their school days, conducted by ten current pupils under the guidance of the dramaturg Ariana Berndl. All the voices reading, singing, or humming are computer generated. Their technical sound seems choppy, alienated, and distant.<\/p>\n

This reflects the skepticism in the unanimous praise of Maximilians Gymnasium in conversations with former pupils. After all, the experience of growing up, especially during political upheavals, is always characterized by self-doubt, a desire for freedom, and exclusion. Isn\u2019t the agreement that there is one history of school, country, and state simply a fa\u00e7ade? And what forgotten memories are hidden behind it?<\/p>\n

Ilit Azoulay is concerned with fragments and individual destinies beyond the prettified fa\u00e7ade. The juxtaposition of the different image and sound elements of the panorama in the stone frame shows that traditional history is in a constant state of reconstruction and is not carved in stone. The sophisticated debates of Memory Studies are combined In an interactive way with the digital reality of a young generation of schoolchildren. Thus, the artwork joins a tradition of socially engaged photomontages pioneered by the Dada artist Hannah H\u00f6ch, with her biting critiques about the failures of the state on the eve of World War II. As such, the artistic medium itself is already a means of expressing political dissent. Digital Amnesia or Constructed Memory argues against a type of commemorative politics that glorifies rather than exemplifies. In times of digital information wars, it argues in favor of a critical awareness of history, of which memories are given space and which are not.<\/p>\n","werk_img":[{"ID":6500,"id":6500,"title":"quivid-muenchen-ilit-azoulay-digital-amnesia-kunst-am-bau-2023-04","filename":"quivid-muenchen-ilit-azoulay-digital-amnesia-kunst-am-bau-2023-04.jpeg","filesize":361205,"url":"https:\/\/quivid.de\/wp-content\/uploads\/quivid-muenchen-ilit-azoulay-digital-amnesia-kunst-am-bau-2023-04.jpeg","link":"https:\/\/quivid.de\/en\/quivid-muenchen-ilit-azoulay-digital-amnesia-kunst-am-bau-2023-04-2\/","alt":"","author":"10","description":"","caption":"","name":"quivid-muenchen-ilit-azoulay-digital-amnesia-kunst-am-bau-2023-04-2","status":"inherit","uploaded_to":0,"date":"2024-01-10 15:24:01","modified":"2024-01-10 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ZUR PROJEKTWEBSEITE<\/a><\/p>\n

Es z\u00e4hlt zu den Widerspr\u00fcchlichkeiten des digitalen Lebens, dass das Internet einerseits nichts vergisst und die Benutzenden andererseits zusehends zum Vergessen bringt. Digitale Amnesie hei\u00dft dieses Ph\u00e4nomen, das titelgebend f\u00fcr das \u00f6ffentliche Kunstwerk von Ilit Azoulay im M\u00fcnchner Maximiliansgymnasium ist. Mit \u201eDigital Amnesia and Constructed Memory\u201c schuf die K\u00fcnstlerin eine in einen Steinrahmen eingefasste Fotomontage, mit der die Konstruiertheit von Geschichte und Geschichten buchst\u00e4blich in den Raum gestellt wird.<\/p>\n

Die K\u00fcnstlerin wurde eingeladen, anl\u00e4sslich der Generalsanierung der Schule ein \u00f6ffentliches Kunstwerk zu schaffen. Dadurch bot sich die Chance, das Geb\u00e4ude bis auf seine Grundpfeiler hin zu betrachten; was in seinem Inneren angeh\u00e4uft, aber wom\u00f6glich auch versteckt oder verschwiegen wurde. \u00dcber drei Jahre fotografierte Ilit Azoulay daher das Geb\u00e4ude im Umbau samt darin enthaltener Objekte mit einem Makroobjektiv. Daraufhin f\u00fcgte sie die unz\u00e4hligen Einzelaufnahmen zu einer monumentalen Panoramafotografie zusammen. In diesem konstruierten Raumgef\u00fcge sind Architekturen wie eine Treppe im Rohbau, repr\u00e4sentative Objekte wie ein steinerner L\u00f6we oder Alltagsdinge wie ein M\u00fcllsack nebeneinander dargestellt. Den einzelnen Bildelementen sind Soundst\u00fccke zugeordnet, die \u00fcber einen reliefartigen QR-Code an der linken Seite des Wandbildes mittels einer f\u00fcr das Kunstwerk entwickelten Projektwebseite erfahrbar sind.<\/p>\n

Bei Auswahl eines bestimmten Objekts auf der dazugeh\u00f6rigen Webseite ert\u00f6nen verschiedene Gedichte gefolgt von Ausschnitten bekannter bayrischer Volkshymnen. Mal sind sie dem \u201eM\u00fcnchner Stadterl\u201c gewidmet, mal des Himmels \u201eWei\u00df und Blau\u201c. Die Gedichte wurden gemeinsam mit der Autorin Abigail Schneider verfasst und beziehen sich auf Interviews mit Alumni des Gymnasiums \u00fcber ihre Schulzeit, die von zehn aktuellen Sch\u00fcler:innen unter Anleitung von Ariana Berndl gef\u00fchrt wurden. Alle vorlesenden, singenden oder summenden Stimmen sind computergeneriert. Ihr technischer Klang wirkt abgehackt, verfremdet und distanziert.<\/p>\n

Darin spiegelt sich die Skepsis an dem einhelligen Lob des Maximiliansgymnasiums in den Gespr\u00e4chen mit der ehemaligen Sch\u00fclerschaft. Schlie\u00dflich sind Erfahrungen des Erwachsenwerdens, noch dazu w\u00e4hrend politischer Umbr\u00fcche, stets auch von Selbstzweifeln, Freiheitsdrang und Ausgrenzungen gepr\u00e4gt. Bildet die Einigung auf eine Geschichte von Schule, Land und Staat nicht nur eine Fassade? Und welche in Vergessenheit geratene Erinnerungen verbergen sich dahinter?<\/p>\n

Ilit Azoulay geht es um die Bruchst\u00fccke und Einzelschicksale abseits der zurechtgemachten Fassade. Das Nebeneinander der unterschiedlichen Bild- und Klang-Elemente des Panoramas im Steinrahmen zeigt, dass \u00fcberlieferte Geschichte in andauernden Umbau und eben nicht in Stein gemei\u00dfelt ist. Auf interaktive Art verbindet sie die anspruchsvollen Debatten der Memory Studies mit der digitalen Wirklichkeit einer jungen Schulgeneration.<\/p>\n

Damit reiht sich das Kunstwerk in eine Tradition engagierter Fotomontagen ein, die von der Dada-K\u00fcnstlerin Hannah H\u00f6ch mit ihrer bei\u00dfenden Kritik am Staatsversagen am Vorabend des Zweiten Weltkriegs begr\u00fcndet wurde. So ist das k\u00fcnstlerische Medium selbst bereits ein Ausdrucksmittel f\u00fcr politischen Widerspruch. \u201eDigital Amnesia or Constructed Memory\u201c widerspricht einer Ged\u00e4chtnispolitik, die weniger erkl\u00e4rt als verkl\u00e4rt. In Zeiten digitaler Informationsk\u00e4mpfe spricht es sich f\u00fcr ein kritisches Bewusstsein f\u00fcr Geschichtsvermittlung aus, welchen Erinnerungen Raum gegeben wird und welchen nicht.<\/p>\n

ZUM INTERVIEW<\/a><\/p>\n","werk_txt_context":"

Der denkmalgesch\u00fctzte Geb\u00e4udekomplex des Maximilians- und des Oskar-von-Miller-Gymnasiums im Zentrum Schwabings gelegen, ist im Zuge der Schulbauoffensive durch das Baureferat grundlegend saniert und erweitert worden. Neben einer umfassenden Instandsetzung des Bauwerks und einer kompletten Erneuerung der Technik, wurden die beiden Schulen durch einen Fachlehrsaalbau an der n\u00f6rdlichen Hofseite und durch zwei unterirdische Turnhallen erweitert. Die K\u00fcnstlerin Ilit Azoulay wurde f\u00fcr das Maximiliansgymnasium aus einer Vorschlagsliste der M\u00fcnchner Kunstkommission ausgew\u00e4hlt und beauftragt, ein Kunst-am-Bau-Projekt zu entwickeln.<\/p>\n","werk_collections":[{"ID":7678,"post_author":"5","post_date":"2024-06-19 09:58:13","post_date_gmt":"2024-06-19 07:58:13","post_content":"","post_title":"QUIVID-Review #1","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"review-1","to_ping":"","pinged":"","post_modified":"2025-04-29 14:29:38","post_modified_gmt":"2025-04-29 12:29:38","post_content_filtered":"","post_parent":0,"guid":"https:\/\/quivid.de\/collection\/review-1\/","menu_order":9,"post_type":"collection","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":7699,"post_author":"5","post_date":"2023-05-08 13:28:18","post_date_gmt":"2023-05-08 11:28:18","post_content":"","post_title":"Last realized","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"zuletzt-realisiert","to_ping":"","pinged":"","post_modified":"2025-04-28 16:19:34","post_modified_gmt":"2025-04-28 14:19:34","post_content_filtered":"","post_parent":0,"guid":"https:\/\/quivid.de\/collection\/zuletzt-realisiert\/","menu_order":2,"post_type":"collection","post_mime_type":"","comment_count":"0","filter":"raw"}],"werk_sort_data_district":"Schwabing-Freimann","werk_sort_data_year":"2023","werk_sort_data_access":"auf Anfrage zug\u00e4nglich","werk_sort_data_category":"Wandgestaltung","werk_sort_data_artists":"Ilit Azoulay"},"featured_image_src_1280":"https:\/\/quivid.de\/wp-content\/uploads\/quivid-muenchen-ilit-azoulay-digital-amnesia-kunst-am-bau-2023-04.jpeg","featured_image_src_768":"https:\/\/quivid.de\/wp-content\/uploads\/quivid-muenchen-ilit-azoulay-digital-amnesia-kunst-am-bau-2023-04.jpeg","artists":[{"name":"Ilit Azoulay","url":"https:\/\/quivid.de\/en\/artist\/ilit-azoulay\/"}],"tax_category":"Wandgestaltung","tax_access":"auf Anfrage zug\u00e4nglich","tax_district":"Schwabing-Freimann","tax_year":2023,"_links":{"self":[{"href":"https:\/\/quivid.de\/en\/wp-json\/wp\/v2\/posts\/6420","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/quivid.de\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/quivid.de\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/quivid.de\/en\/wp-json\/wp\/v2\/users\/10"}],"replies":[{"embeddable":true,"href":"https:\/\/quivid.de\/en\/wp-json\/wp\/v2\/comments?post=6420"}],"version-history":[{"count":33,"href":"https:\/\/quivid.de\/en\/wp-json\/wp\/v2\/posts\/6420\/revisions"}],"predecessor-version":[{"id":6986,"href":"https:\/\/quivid.de\/en\/wp-json\/wp\/v2\/posts\/6420\/revisions\/6986"}],"acf:attachment":[{"embeddable":true,"href":"https:\/\/quivid.de\/en\/wp-json\/wp\/v2\/media\/6504"},{"embeddable":true,"href":"https:\/\/quivid.de\/en\/wp-json\/wp\/v2\/media\/6496"},{"embeddable":true,"href":"https:\/\/quivid.de\/en\/wp-json\/wp\/v2\/media\/6498"},{"embeddable":true,"href":"https:\/\/quivid.de\/en\/wp-json\/wp\/v2\/media\/6508"},{"embeddable":true,"href":"https:\/\/quivid.de\/en\/wp-json\/wp\/v2\/media\/6502"},{"embeddable":true,"href":"https:\/\/quivid.de\/en\/wp-json\/wp\/v2\/media\/6500"}],"acf:post":[{"embeddable":true,"href":"https:\/\/quivid.de\/en\/wp-json\/wp\/v2\/artist\/6426"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/quivid.de\/en\/wp-json\/wp\/v2\/media\/6499"}],"wp:attachment":[{"href":"https:\/\/quivid.de\/en\/wp-json\/wp\/v2\/media?parent=6420"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/quivid.de\/en\/wp-json\/wp\/v2\/categories?post=6420"},{"taxonomy":"district","embeddable":true,"href":"https:\/\/quivid.de\/en\/wp-json\/wp\/v2\/district?post=6420"},{"taxonomy":"access","embeddable":true,"href":"https:\/\/quivid.de\/en\/wp-json\/wp\/v2\/access?post=6420"},{"taxonomy":"accessibility","embeddable":true,"href":"https:\/\/quivid.de\/en\/wp-json\/wp\/v2\/accessibility?post=6420"},{"taxonomy":"space","embeddable":true,"href":"https:\/\/quivid.de\/en\/wp-json\/wp\/v2\/space?post=6420"},{"taxonomy":"year","embeddable":true,"href":"https:\/\/quivid.de\/en\/wp-json\/wp\/v2\/year?post=6420"},{"taxonomy":"gender","embeddable":true,"href":"https:\/\/quivid.de\/en\/wp-json\/wp\/v2\/gender?post=6420"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}