Issue #3

  1. Facing and Confronting Borders

  2. Of Birthright Transgressions

  3. A Curvature of the Spine

  4. Plausible Conversions

  5. Counter-Ruin

  6. Beautiful Creatures

  7. Self Portrait

  8. A Tale of a Woman and a Robe

  9. Five Streets in Kraków

  10. I Love Germany

  11. Anxiety at the Archive

  12. Fidelity to Hybridity: Returning to Ella Shohat’s Arab-Jew

Counter-Ruin

Robert Yerachmiel Sniderman

  • Counter-Ruin, 11:34; June 22 2018; Nina Berfelde

  • Counter-Ruin, 11:51; June 22 2018; Nina Berfelde

  • Counter-Ruin, 15:03; June 22 2018; Nina Berfelde

On June 22, I walked sixteen kilometres across Berlin with a rusted car exhaust pipe tied to my abdomen, the word GAZA painted across my back in Roman, Arabic, and Hebrew letters, and thirteen stones I had collected in the streets of Warsaw piled on one hand. I walked from Grunewald Bahnhof, a deportation site during National Socialism, to Jüdische Friedhof Weißensee, the largest intact and active Jewish burial ground in Europe after the Nazi genocide. My intention was to realize a series of images I saw in my mind while I returned from Warsaw to Berlin and 62 Palestinian people, demonstrating their right of return as the US opened its relocated embassy in Jerusalem, were massacred in Gaza. I aimed to intervene, as an Ashkenazi man with a U.S. passport, in a racist transnational discourse that exploits my body and family history to ghettoize and disappear Palestinian life. This was the first enactment of a serial walk I later named “Counter-Ruin.”

“Counter-Ruin” is a culminating action of Lost in Jüdische Friedhof Weißensee, a durational site contemplation and collaboration with the Institute for Art in Context of the Berlin University of the Arts, supported by the DAAD.

Robert Yerachmiel Sniderman is a transdisciplinary poet, artist, pedagogue, and theorist based in the United States and Germany.

Nina Berfelde, born 1982 in Magdeburg (GDR), is a cultural anthropologist and visual artist.