Any attempt to confront the past has to find a way to live in the present. Using Heiner Muller’s The Horatian as a conceptual starting point, the piece uses personal and historical accounts of Confederate statues in America, and the Holocaust Memorial in Berlin, to explore how vandalism can serve as an anti-monument to violence.
In The Horatian, by Heiner Müller, the city of Rome is slowly torn apart by competing factions that can’t debating whether or not to celebrate The Horatian as a hero, or try him as a war-criminal. Eventually the soldier is killed, but the debate doesn’t end, as is body is turned into a state-sponsored shrine that is in turns desecrated and venerated throughout the play.
Peter Eisenman, the architect for the Memorial For the Murdered Jews of Europe in Berlin, objected to an anti-vandalism polymer being applied to the memorial. He felt that any vandalism, specifically neo-nazi vandalism, would testify to the memorial’s impact.
The How is creating a piece of post-dramatic theater for artists and audiences to engage monuments of America’s unequivocally ignominious past.
Created and Performed by Gabby Beans, Tanya Chattman, David Glover, Linus Ignatius, Eri Miller, Aimee Niemann, Ilker Oztop, Weronika H. Wozniak
Concept and Direction by Polina Ionina and Will Hand
Upcoming: Arete Gallery in Greenpoint, April 2018.
Work-in-Progress Production, Dixon Place. November 28th, 2017