Memory is a ghost

2020
Public space
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Memory is a ghost, public space around Kunstverein Salzburg, Austria, 2020
Memory is a ghost, public space around Kunstverein Salzburg, Austria, 2020
Memory is a ghost, public space around Kunstverein Salzburg, Austria, 2020
Memory is a ghost, public space around Kunstverein Salzburg, Austria, 2020
Memory is a ghost, public space around Kunstverein Salzburg, Austria, 2020
Memory is a ghost, public space around Kunstverein Salzburg, Austria, 2020
Memory is a ghost, public space around Kunstverein Salzburg, Austria, 2020
Memory is a ghost, public space around Kunstverein Salzburg, Austria, 2020
Memory is a ghost, public space around Kunstverein Salzburg, Austria, 2020
Memory is a ghost, public space around Kunstverein Salzburg, Austria, 2020
Memory is a ghost, public space around Kunstverein Salzburg, Austria, 2020
Memory is a ghost, public space around Kunstverein Salzburg, Austria, 2020
Memory is a ghost, public space around Kunstverein Salzburg, Austria, 2020
Memory is a ghost, public space around Kunstverein Salzburg, Austria, 2020
Memory is a ghost, public space around Kunstverein Salzburg, Austria, 2020
Memory is a ghost, public space around Kunstverein Salzburg, Austria, 2020

Memory is a ghost / Erinnerung ist ein Gespenst
2020

Installation in public space
10 sandwich boards with posters Variable dimensions

The intervention Memory is a ghost consists of ten sandwich boards with the sentence Erinnerung ist ein Gespenst. These boards also resemble an ambivalent an- nouncement or even an advertisement. In reference to Siegried Kracauer’s statement that photography is akin to a ghost or apparition and that it presents moments lost in time, that no longer exist, Luise Schröder wishes to connect this idea to our curious times.She thus reformulates Kracauer’s thesis and claims: Memory Is a Ghost. The presentation of this sentence on the signage seems like a literary quotation, and yet there is ambivalence, a deliberate unknown that interrupts the usual flow of reading. The sentence invites the viewer to reflect on the current relationship of the present to the past. The Covid-19 crisis is associated with numerous social and eco- nomic consequences, such as the temporary closure of cultural and educational institutions, the financial plight of low-income earners and the self-employed, increasing domestic violence, and limited social contacts. Our present is already described as a historical moment from which nothing will ever be the same again. The typeface “off” used especially for the work was created by Reymund Schröder, whose design and content refers to a typeface by Walter Tiemann called “Offizin,” which was published posthumously in 1953.