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The Willed and the Unwilled Monument: Judenplatz Vienna And The Willed and the Unwilled Monument: Judenplatz Vienna and Riegl’s Denkmalpflege Author(s): Mechtild Widrich Source: Journal of the Society of Architectural Historians, Vol. 72, No. 3 (September 2013), pp. 382-398 Published by: University of California Press on behalf of the Society of Architectural Historians Stable URL: http://www.jstor.org/stable/10.1525/jsah.2013.72.3.382 . Accessed: 10/09/2013 05:26 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. University of California Press and Society of Architectural Historians are collaborating with JSTOR to digitize, preserve and extend access to Journal of the Society of Architectural Historians. http://www.jstor.org This content downloaded from 82.130.104.75 on Tue, 10 Sep 2013 05:26:18 AM All use subject to JSTOR Terms and Conditions The Willed and the Unwilled Monument: Judenplatz Vienna and Riegl’s Denkmalpflege mechtild widrich ETH Zurich he 1980s and 1990s can retrospectively be charac- Regime in Austria, carried out between 1994 and 2000 and terized as obsessed with issues of memory and com- in some sense still ongoing, will show that there is often Tmemoration. In Europe and the United States, calls another tension that must be attended to, one that connects to commemorate the victims of the state’s and its citizens’ practical questions of building and demolishing with moral wrongdoings, from the colonial period to the Cold War, questions of agency and responsibility. The search for led to a reconsideration of monument practice. It is generally authentic or quasi-authentic places of remembrance that recognized that old heroic forms had to fall by the wayside, dominated public debate on commemoration in the 1990s as the new monuments were generally dedicated to groups bore with it the careful orchestration of historic authenticity, that had suffered at the hands of the society commemorating not always connected to historical truth, but deeply con- them. But more pressing than such iconographic and build- nected to a longstanding modernist preoccupation with the ing-technical considerations were the ethical challenges of subjective experience of spectators and inhabitants of art such undertakings, however physically beautiful or fit for and architecture. My text begins with an account of the site their appointed task. There might be no “right” way to ret- and the chronology of the Vienna memorial competition, as rospectively deal with atrocities. To take responsibility is to these histories are crucial for my argument: they deliver the do something, but the reflective attitude on being confronted problem of motivation pervasive in such projects for a good with a monument can only provide absolution, even if a decade on either side. Alois Riegl’s argument that Stimmung “guilty” one. There is an inherent tension in these “exculpa- (mood) is a crucial element in the reception of monuments tory” monuments between those who are remembered and is a neglected aspect of his essay “The Modern Cult of those seeking active commemoration as a public sign of Monuments” (1903). Above all, his concept of the “unwilled” catharsis, reform, or closure. My case study, the Judenplatz nature of historical monuments addresses a profound need Vienna, the memorial competition, and the execution of the in memorial discourse: a conceptualization of those factors Monument and Memorial for the Jewish Victims of the Nazi that convert monuments from their original purposes to ours and constitute their very interest in the present. Through a Journal of the Society of Architectural Historians 72, no. 3 (September 2013), 382–398. ISSN consideration of Riegl’s elaborations, I will give an account 0037-9808, electronic ISSN 2150-5926. © 2013 by the Society of Architectural Histo rians. of the paradoxical state of “responsible irresponsibility” or All rights reserved. Please direct all requests for permission to photocopy or reproduce article content through the University of California Press’s Rights and Permissions web- the exculpatory excuse of contemporary monument viewing, site, http://www.ucpressjournals.com/reprintInfo.asp. DOI: 10.1525/jsah.2013.72.3.382. wherein the unwilled ravages of time (and of human action) This content downloaded from 82.130.104.75 on Tue, 10 Sep 2013 05:26:18 AM All use subject to JSTOR Terms and Conditions are intentionally recalled and thus “willed” in the present. any competition for the monument.2 This hurry is under- Problems of fit between willed and unwilled forms of com- standable, given the then-ongoing open competition for memoration are to be expected, in Vienna and in monumen- the Memorial for the Murdered Jews of Europe in Berlin as tal scenarios throughout Europe, as is, I will argue, the search part of a bigger “commemorative turn.”3 The Berlin project for “authentic” moods that allow broader audiences to assume brought not only positive international press to the city but some sort of (however forged) historical consciousness. also uncomfortable questions concerning how neighboring Austria dealt with its past.4 A related reason for the interest in In December 1994, Nazi hunter and concentration camp the memorial might have been that Austrian politicians, at survivor Simon Wiesenthal publicly stated that Austria least on the left, had begun to relinquish the myth of Austria should have a memorial dedicated to the Austrian Jews as the “first victim” of Nazi Germany, and needed deeds to murdered under National Socialism. Vienna’s new mayor, match this new political direction.5 On a local level, the city Michael Häupl, reacted affirmatively. As a magazine dedi- needed to end the controversy sparked by Alfred Hrdlicka’s cated to the cause recounts the story, Häupl “spontaneously 1988 Memorial against War and Fascism on the Albertina- agree[d] to the erection of a memorial on Vienna’s Juden- platz (Figure 1); intellectuals and the Jewish community platz.”1 First excavations began in summer 1995, preceding objected to the vague dedication (against “war and fascism”) Figure 1 Alfred Hrdlicka, Memorial against War and Fascism, 1988 (author’s photo, 2012) The Willed and T h e U n W i l l e d M o n U M e n T 383 This content downloaded from 82.130.104.75 on Tue, 10 Sep 2013 05:26:18 AM All use subject to JSTOR Terms and Conditions that tiptoed around the issue of Austrian guilt. More promi- in the spring of 1995, in advance of any construction for the nently, there was outrage over the “street-washing Jew” por- memorial. Before long, the archaeologists found more than tion of the memorial, a bronze sculpture of a bearded man they had expected. The foundations of the synagogue as well on hands and knees holding a brush (visible in Figure 1 cen- as parts of the bimah, a raised platform from which the Torah tered behind the two upright pieces in the foreground), was read, came to light half a meter below the pavement which called to mind actual indignities suffered by Viennese in August 1995 (Figure 3).10 Soon after, a closed competition Jews following the Anschluss. The sculpture, which could was launched. be sat or stepped on, clumsily added modern humiliation to The competition call vaguely suggested that “interaction” the historical degradation it addressed; it did not help mat- with the ruins was possible but not required; as jury president ters that Hrdlicka’s gallery sold a smaller version as a stand- Hans Hollein carefully put it, artists were “given permission alone desktop sculpture.6 Yet controversy would not be easy to incorporate this archaeological find into their concepts.”11 to avoid, for the site Wiesenthal proposed for the new Though the primary reason for the dig was the erection of memorial was politically complex. the new memorial, the remains came to play a leading role The Judenplatz had been the center of Jewish life in the in shaping what was to come. Excavations continued, under thirteenth and fourteenth centuries, but the name stems time pressure, as the archaeologists recall, and in January from the fifteenth century (and became official in the nine- 1996, a jury consisting of international curators, city repre- teenth), after the Jews had been expelled from it as a result sentatives, and members of the Viennese Jewish community of the Vienna Gesera (pogrom) in 1421 (Figure 2).7 To avoid selected British sculptor Rachel Whiteread’s untitled project, forced baptism, part of the Jewish community had commit- soon dubbed “The Nameless Library”: the sculptural ghost, ted suicide in the synagogue on the square.8 The building in concrete, of a Viennese living room turned inside out, was demolished soon after, some of the stones reputedly complete with rosette ceiling (mounted on the roof ), handle- being used for an annex of the relatively new (and Catholic) less double doors, and rows of books whose spines, facing university, but in any case the structure was dismantled and inward, were to gesture vaguely at Jewish learning and its the building materials used elsewhere, as was customary at destruction (Figure 4).12 Whiteread had initially proposed the time.9 Given this history, it is no wonder that
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