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Physical environments and their images feature increasingly prominently today in efforts to contend publicly with political violence, making aesthetics ever-significant to discourses and practices of testimony.
Critics have shown that the publicness of the platforms and practices used in these efforts is marked by disparate levels and types of participation and agency. Relatively underexplored, however, is how those disadvantaged by this disparity navigate it and what role aesthetics may play therein. I explore these questions through fieldwork on architectural memorializations of the Solingen arson attack where a family with Turkish background were targeted at home in their sleep.
I argue that the arson attack has featured in these memorializations not simply as the subject of testimony but also as a force structuring its aesthetics. It is May , the twentieth anniversary of a neo-Nazi arson attack on immigrants that took place in the North Rhein-Westphalian city of Solingen.
I am in a modest-sized public space in Frankfurt that its mayor named after one of the Solingen victims as result of a successful campaign by memory activists. I am here with two of the activists β themselves of immigrant origin β who recap to me their onerous commemorative endeavours over the past two decades.
The activists say they built and put this statue in place soon after the square was named in remembrance of the Solingen victim, considering it necessary as a commemorative finishing touch. The authorities almost immediately took it down, but the activists built a new one and put it up again. Since then, this contestation has cyclically repeated itself.