Naomi Hennig

Die Illegalen. Naomi Hennig. Foto: Emma Haugh
Die Illegalen
Die Illegalen. Naomi Hennig. Foto: Emma Haugh
Foto: Emma Haugh

Naomi Hennig’s artistic and curatorial practice circles around the gaps, omissions, and contradictions  of cultural and institutional politics of remembrance, as well as their inscription in collective memory. On the occasion of Undisciplinary Learning: Remapping the Aesthetics of Resistance, she condenses her ongoing research into Berlin artists who were part of the network around the Schulze-Boysen/Harnack group, better known by the name of "Rote Kapelle” used by the Gestapo, into a video installation entitled Die Illegalen (The Illegals). Hennig’s filmic sketch connects commentaries and testimonies about the lost work of the dancer and sculptor Oda Schottmüller and the sculptor Kurt Schumacher–including Peter Weiss’ references to the group in the third volume of The Aesthetics of Resistance–
as well as contemporary recordings from scenes of their lives. Schottmüller and Schumacher were both participants in this Berlin circle of resistance against National Socialism and were executed in 1942 and in 1943. As an attempt not forget, what lies in ignorance, and to speak of the unknown, the work gestures towards the difficulties of the re-construction of memory.