A Putative (Private) Life of Hannah Arendt: Bio-portraiture as performance in the work of Miriam Shenitzer

Michael Zank

Abstract


The paper uses tropes culled from several of Hannah Arendt's works, as well as Rebecca Schneider's performance-theoretical considerations on "reenactment", to analyze the work of artist Miriam Shenitzer, specifically a show of drawings, captions, and objects called "A Putative Life of Hannah Arendt." The essay probes this "putative life" as construed from the artist's own memory fragments (including the memories of others that have become the artist's own), as well as from faux-artifacts that constitute a "collection" (à la Benjamin) without claim to representing an actual past. With access to history denied and a heritage claimed "without testament," the artist opens a space "between past and future," a moment of contemplation on the borders between private and public lives.

Keywords


self-portraiture; practice-as-research; history; biography; representation; reenactment; auratic personae; public-private; collecting; drawing; found objects; Emil Fackenheim; Walter Benjamin; Hannah Arendt

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References


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DOI: https://doi.org/10.21476/PP.2019.51272

Copyright (c) 2019 Michael Zank

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