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Robert Assaye
Robert Assaye is a writer and critic living in London.

Articles Available Online


Issy Wood, When You I Feel

Art Review

December 2017

Robert Assaye

Art Review

December 2017

At the centre of Issy Wood’s solo exhibition at Carlos/Ishikawa is a room-within-a room. The division of the gallery into two viewing spaces –...

Art

April 2017

'Learning from Athens'

Robert Assaye

Art

April 2017

The history of Documenta, a quinquennial contemporary art exhibition founded in the German city of Kassel in 1955, is...

Cities display a worship of history in the monuments and memorials that they choose to erect, through which the past is paraded like a religion In his book Hope and Memory, Tzvetan Todorov writes: ‘While history makes the past more complicated, commemoration makes it simpler, since it seeks more often to supply us with heroes to worship, with enemies to detest; it deals with desecration and consecration’ But in Berlin the past is a very strange and warped place – not one to celebrate per se In its monuments and memorials one sees a more agnostic effort to come to terms with a recent past filled with fascism, fanaticism and false futures As in any major European capital, Berlin is full of the familiar vestiges of wars waged and won in the name of colonial ambition Out of the centre of Tiergarten Park rises the Victory Column, presiding proudly over the traffic island The huge image of winged victory has one hand held aloft against the traffic, the other holding a staff like a magnificent lollipop lady On successive corners of the Victory Column roundabout are several large bronze effigies of Prussian generals, but the names have been removed and their gestures of victory are pathetically obsolete Nearby is a huge statue of Otto von Bismarck, the author of German unification and the first Chancellor of the German Reich He struts boldly, flanked by allegorical figures: atlas holding up the world, Siegfried forging a sword to celebrate German industrial might, Germania pinning a panther symbolising the suppression of rebellion, and a sibyl reclining on a sphinx reading the book of history These boastful symbols seem absurd given how the twentieth century unfolded Berlin’s is a confused landscape that commemorates both victors and victims, both German and other In his work on public memory and national identity, Pierre Nora writes about our obsession with commemoration that has come to dominate ‘all contemporary societies that see themselves as historical’ In Nora’s eyes, monuments such as the Bismarck statue were designed to align history with the sanctioned version, to boost

Contributor

August 2014

Robert Assaye

Contributor

August 2014

Robert Assaye is a writer and critic living in London.

New Communities

Art

January 2017

Robert Assaye

Art

January 2017

DeviantArt is the world’s ‘largest online community of artists and art-lovers’ and its thirteenth largest social network. Its forty million members contribute to a...
The Land Art of Julie Brook

Art

Issue No. 4

Robert Assaye

Art

Issue No. 4

Julie Brook works with the land. Over the past twenty years she has lived and worked in a succession of inhospitable locations, creating sculptures...

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Prize Entry

April 2015

How things are falling.

David Isaacs

Prize Entry

April 2015

i.   Oyster cards were first issued to members of the British public in July 2003; by June 2015...

feature

July 2015

Talk Into My Bullet Hole

Rose McLaren

feature

July 2015

‘Someday people are going to read about you in a story or a poem. Will you describe yourself for...

Interview

September 2016

Interview with Garth Greenwell

Michael Amherst

Interview

September 2016

Garth Greenwell’s debut novel What Belongs to You has won praise on both sides of the Atlantic. Edmund White...

 

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