{"id":16,"date":"2021-08-06T21:06:31","date_gmt":"2021-08-06T19:06:31","guid":{"rendered":"https:\/\/tracingspaces.net\/excavations\/?page_id=16"},"modified":"2024-01-05T19:38:52","modified_gmt":"2024-01-05T18:38:52","slug":"eroeffnung-der-ausgrabungsstaette","status":"publish","type":"page","link":"https:\/\/tracingspaces.net\/excavations\/","title":{"rendered":"Ausgrabungsst\u00e4tte"},"content":{"rendered":"[vc_row type=“in_container“ full_screen_row_position=“middle“ scene_position=“center“ text_color=“dark“ text_align=“left“ overlay_strength=“0.3″ shape_divider_position=“bottom“][vc_column column_padding=“no-extra-padding“ column_padding_position=“all“ background_color_opacity=“1″ background_hover_color_opacity=“1″ column_shadow=“none“ column_border_radius=“none“ width=“1\/1″ tablet_text_alignment=“default“ phone_text_alignment=“default“ column_border_width=“none“ column_border_style=“solid“][vc_column_text]\n

Baustelleneinrichtung<\/h1>\n

k\u00fcnstlerischer ‚Ausgrabungsarbeiten‘<\/h1>\n

am Wiener Nordwestbahnhof<\/h1>\n

Construction site set-up<\/h1>\n

of the artistic ‚excavation works‘<\/h1>\n

at the Vienna North West Station<\/h1>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=“in_container“ full_screen_row_position=“middle“ scene_position=“center“ text_color=“dark“ text_align=“left“ overlay_strength=“0.3″ shape_divider_position=“bottom“][vc_column column_padding=“no-extra-padding“ column_padding_position=“all“ background_color_opacity=“1″ background_hover_color_opacity=“1″ column_shadow=“none“ column_border_radius=“none“ width=“1\/1″ tablet_text_alignment=“default“ phone_text_alignment=“default“ column_border_width=“none“ column_border_style=“solid“]
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\u00dcberlagerung eines Luftbildes des Areals des Wiener Nordwestbahnhofs aus dem Jahr 2015 mit dem Einreichplan der Einbauten f\u00fcr die NS-Propaganda-Ausstellung \u201eDer ewige Jude\u201c (1938) im Bestand des sp\u00e4ter zerst\u00f6rten Bahnhofsgeb\u00e4udes (schraffiert) an der Ecke Taborstra\u00dfe und Nordwestbahnstra\u00dfe.<\/h6>\n[\/vc_column_text]
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In einer gro\u00dfr\u00e4umigen Freiluft-Installation werden \u201eSpuren\u201c zweier historischer Ereignisse zeitlich verdichtet an ihren Originalschaupl\u00e4tzen rekonstruiert: Analog zu \u201eAusgrabungen\u201c wurden sowohl die Grundrisslinien der 1952 abgebrochenen Bahnhofshalle und der 1938 darin aufgebauten antisemitischen NS-Propaganda-Ausstellung \u201eDer ewige Jude\u201c im Ma\u00dfstab 1:1 am Boden nachgezeichnet und als Erinnerungsmal \u201efreigelegt\u201c. Gleichzeitig wird mit Verweis auf die Dreharbeiten des Films \u201eStadt ohne Juden\u201c ein Kameraset und Zugwaggon in abstrahierter Form nachgebaut. War die fiktive Deportation im Film von 1924 noch vor\u00fcbergehend, so zeigte die verhetzende Wirkung der Ausstellung 1938 ihre fatale Wirkung im Realen: in Pogromen, Deportationen und Massenvernichtung.<\/div>\n[\/vc_column_text][\/vc_column][vc_column column_padding=“no-extra-padding“ column_padding_position=“all“ background_color_opacity=“1″ background_hover_color_opacity=“1″ column_shadow=“none“ column_border_radius=“none“ width=“1\/2″ tablet_text_alignment=“default“ phone_text_alignment=“default“ column_border_width=“none“ column_border_style=“solid“][vc_column_text]\n
In a large-scale open-air installation, „traces“ of two historical events are reconstructed in condensed time\u00a0at their original locations: Analogous to „excavations“, both the ground plan lines of the station hall\u00a0demolished in 1952 and the antisemitic Nazi propaganda exhibition „The Eternal Jew“ set up inside here\u00a0in 1938 were traced on the ground on a scale of 1:1 and „uncovered“ as a commemorative monument. At\u00a0the same time, with reference to the filming of the movie „City without Jews“, a camera set and train\u00a0carriage are recreated in an abstracted form. If the fictitious deportation in the 1924 film was still\u00a0temporary, the inciting effect of the exhibition in 1938 showed its fatal effect in the real: in pogroms,\u00a0deportations and mass extermination.<\/div>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=“in_container“ full_screen_row_position=“middle“ scene_position=“center“ text_color=“dark“ text_align=“left“ overlay_strength=“0.3″ shape_divider_position=“bottom“][vc_column column_padding=“no-extra-padding“ column_padding_position=“all“ background_color_opacity=“1″ background_hover_color_opacity=“1″ column_shadow=“none“ column_border_radius=“none“ width=“1\/1″ tablet_text_alignment=“default“ phone_text_alignment=“default“ column_border_width=“none“ column_border_style=“solid“]
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Der Nordwestbahnhof als Drehort f\u00fcr die fiktive (noch vor\u00fcbergehende) Deportations-Szene im Film \u201eStadt ohne Juden\u201c (1924) nach einer Romanvorlage von Hugo Bettauer. Blick der Kamera auf das Postgeb\u00e4ude, das heute noch erhalten ist. \u00a9 Filmarchiv Austria<\/h6>\n[\/vc_column_text][\/vc_column][vc_column column_padding=“no-extra-padding“ column_padding_position=“all“ background_color_opacity=“1″ background_hover_color_opacity=“1″ column_shadow=“none“ column_border_radius=“none“ width=“1\/2″ tablet_text_alignment=“default“ phone_text_alignment=“default“ column_border_width=“none“ column_border_style=“solid“][vc_column_text]\n
Der Mittelrisalit des Portal-Geb\u00e4udes des heute nicht mehr existenten Nordwestbahnhofs an der Taborstra\u00dfe Ecke Nordwestbahnstra\u00dfe diente als Tr\u00e4ger des riesigen antisemitischen Plakates und als Eingang zur Ausstellung \u201eDer ewige Jude\u201c 1938. \u00a9 Bildarchiv Austria<\/h6>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=“in_container“ full_screen_row_position=“middle“ scene_position=“center“ text_color=“dark“ text_align=“left“ overlay_strength=“0.3″ shape_divider_position=“bottom“][vc_column column_padding=“no-extra-padding“ column_padding_position=“all“ background_color_opacity=“1″ background_hover_color_opacity=“1″ column_shadow=“none“ column_border_radius=“none“ width=“1\/1″ tablet_text_alignment=“default“ phone_text_alignment=“default“ column_border_width=“none“ column_border_style=“solid“]
<\/div><\/div>[\/vc_column][\/vc_row][vc_row type=“in_container“ full_screen_row_position=“middle“ scene_position=“center“ text_color=“dark“ text_align=“left“ overlay_strength=“0.3″ shape_divider_position=“bottom“][vc_column column_padding=“no-extra-padding“ column_padding_position=“all“ background_color_opacity=“1″ background_hover_color_opacity=“1″ column_shadow=“none“ column_border_radius=“none“ width=“1\/2″ tablet_text_alignment=“default“ phone_text_alignment=“default“ column_border_width=“none“ column_border_style=“solid“][vc_column_text]Die Methode der fiktiven Ausgrabungen bezieht sich auf Siegmund Freuds Analogie von Psychoanalyse und Stadtarch\u00e4ologie, die Freud zufolge beide jeweils anhand der Untersuchung auf den ersten Blick unscheinbar erscheinender Spuren versuchen, \u00fcberlagerte oder verdr\u00e4ngte Schichten freizulegen: im Unterbewusstseins eines Individuums, einer Gesellschaft oder bez\u00fcglich der Bautappen und Geschichte(n) einer Stadt.<\/p>\n

So wie sich Walter Benjamin in seinem Passagenwerk auf diese Analogie bezogen hat, so hat auch der Architekt und Architekturtheoretiker Peter Eisenman nach seiner streng strukturalistischen Fr\u00fchphase ab 1978 \u201eExcavations\u201c als st\u00e4dtebauliche Entwurfsmethode erprobt: er suchte nach realen und fiktiven Bauprojekte aus der Geschichte des konkreten Standortes, \u00fcberlagerte deren Grundrisslinien und extrudierte sie ins dreidimensionale \u2013 sowohl in die H\u00f6he als auch in die Tiefe (in das Erdreich), um aus dem Spannungsverh\u00e4ltnis der enstehenden Zwischenr\u00e4umen dieser \u00dcberlagerungen (den \u201eVoids“) neue Raumformationen zu schaffen.<\/p>\n

Auch wir verstehen unsere \u201eAusgrabungsst\u00e4tte“ zum Einen als Markierung unserer voranschreitenden Erinnerungsarbeit an fr\u00fchere Bauformationen und die mitunter folgenschweren Nutzungen des Bahnhofs in totalit\u00e4ren Zeiten: die m\u00e4chtigen Geb\u00e4uden und tempor\u00e4ren Einbauten existieren schon lange nicht mehr, sind weitgehend in Vergessenheit geraten oder aus der Erinnerung verdr\u00e4ngt worden. Zum anderen verstehen wir unsere „Excavations“ aber auch als Vorschlag, diese gemeinsame Erinnerungen zu erhalten und als materielle Manifestationen in die zuk\u00fcnftige Freiraum-Gestaltung des an dieser Stelle geplanten neuen Stadtteils einzuschreiben.[\/vc_column_text][\/vc_column][vc_column column_padding=“no-extra-padding“ column_padding_position=“all“ background_color_opacity=“1″ background_hover_color_opacity=“1″ column_shadow=“none“ column_border_radius=“none“ width=“1\/2″ tablet_text_alignment=“default“ phone_text_alignment=“default“ column_border_width=“none“ column_border_style=“solid“][vc_column_text]The method of fictitious excavations refers to Siegmund Freud’s analogy of psychoanalysis and urban archaeology, both of which, according to Freud, attempt to uncover superimposed or repressed layers by examining traces that appear inconspicuous at first glance: in the subconscious of an individual, a society, or with regard to the materialised building stages and history(s) of a city.<\/p>\n

Just as Walter Benjamin referred to this analogy in his famous Passagenwerk about the City of Paris, the architect and architectural theorist Peter Eisenman also proposed such „excavations“ as an urban design method after his strictly structuralist early phase: Beginning in 1978 in a projct for Venice, he started to search for previous real and fictitious building projects for the very same site, then superimposed the ground plan lines of these projects and extruded them both in height and in depth (into the soil) – in order to create new spatial formations from the tense relationship of the resulting interstices of these superimpositions (the „voids“).<\/p>\n

We, too, understand our „excavation site“ on the one hand as a marker of our advancing work of remembrance of earlier building formations and the sometimes momentous uses of the station in totalitarian times: of mighty buildings and temporary installations that have long since ceased to exist, have largely been forgotten or have been suppressed from memory. On the other hand, we also understand our „excavations“ as a proposal to preserve these triggers of commemoration and to inscribe them as material manifestations in the future landscape-design of the new urban development planned for this site.[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=“in_container“ full_screen_row_position=“middle“ scene_position=“center“ text_color=“dark“ text_align=“left“ overlay_strength=“0.3″ shape_divider_position=“bottom“][vc_column column_padding=“no-extra-padding“ column_padding_position=“all“ background_color_opacity=“1″ background_hover_color_opacity=“1″ column_shadow=“none“ column_border_radius=“none“ width=“1\/1″ tablet_text_alignment=“default“ phone_text_alignment=“default“ column_border_width=“none“ column_border_style=“solid“]

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1:1 Nachzeichnung der Umrisse des\u00a0 Bahnhofsgeb\u00e4udes mit einer zitathaften Rekonstruktion der Einbauten f\u00fcr die Ausstellung „Der ewige Jude“ (1938) am Ort des historischen Ereignisses, Installation von Michael Hieslmair & Michael Zinganel (Tracing Spaces) \u00a9 Foto: Wolfgang Thaler 2021<\/h6>\n[\/vc_column_text]
<\/div><\/div>[\/vc_column][\/vc_row][vc_row type=“in_container“ full_screen_row_position=“middle“ scene_position=“center“ text_color=“dark“ text_align=“left“ overlay_strength=“0.3″ shape_divider_position=“bottom“][vc_column column_padding=“no-extra-padding“ column_padding_position=“all“ background_color_opacity=“1″ background_hover_color_opacity=“1″ column_shadow=“none“ column_border_radius=“none“ width=“1\/1″ tablet_text_alignment=“default“ phone_text_alignment=“default“ column_border_width=“none“ column_border_style=“solid“][vc_column_text]\n

Literatur \/ Quellen:<\/p>\n

Bedard, Jean-Francois et al. (Eds.): „Cities of Artificial Excavation: The Work of Peter Eisenman, 1978-1988“. New York: Rizzoli International, 1994.<\/div>\n[\/vc_column_text][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

[vc_row type=“in_container“ full_screen_row_position=“middle“ scene_position=“center“ text_color=“dark“ text_align=“left“ overlay_strength=“0.3″ shape_divider_position=“bottom“][vc_column column_padding=“no-extra-padding“ column_padding_position=“all“ background_color_opacity=“1″ background_hover_color_opacity=“1″ column_shadow=“none“ column_border_radius=“none“ width=“1\/1″ tablet_text_alignment=“default“ phone_text_alignment=“default“ column_border_width=“none“ column_border_style=“solid“][vc_column_text] Baustelleneinrichtung k\u00fcnstlerischer ‚Ausgrabungsarbeiten‘ am Wiener Nordwestbahnhof Construction site set-up of the…<\/p>\n","protected":false},"author":2,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-16","page","type-page","status-publish"],"_links":{"self":[{"href":"https:\/\/tracingspaces.net\/excavations\/wp-json\/wp\/v2\/pages\/16","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/tracingspaces.net\/excavations\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/tracingspaces.net\/excavations\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/tracingspaces.net\/excavations\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/tracingspaces.net\/excavations\/wp-json\/wp\/v2\/comments?post=16"}],"version-history":[{"count":42,"href":"https:\/\/tracingspaces.net\/excavations\/wp-json\/wp\/v2\/pages\/16\/revisions"}],"predecessor-version":[{"id":191,"href":"https:\/\/tracingspaces.net\/excavations\/wp-json\/wp\/v2\/pages\/16\/revisions\/191"}],"wp:attachment":[{"href":"https:\/\/tracingspaces.net\/excavations\/wp-json\/wp\/v2\/media?parent=16"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}