Übersetzung für "Erinnerungsraum" in Englisch

The result is an enterable memento mori, an at once touching and oppressive memory space.

Archives are the memory space of a society.

Is something like a European space of memory conceivable?

Photo: David Pinzer Archives are the memory space of a society.

Emotional history is rapidly taking up the entire space of memory.

Texts, pictures and rites unfold memories, that reach out beyond the individual.

There is a memorial room, which was functioning as a secretariat during the life of the Mother.

The exhibition ends in a ‘memory area’ that evokesvarious aspects of this genius who is said to havebeen solitary, pacifist, a music lover, generous and sexist.

Yet again this is a space of memory, in which the marks left by childhood and the desires felt in the present can be explored.

From her father's travel photos, to the rhythm of a Strauss Waltz, to a waltz scene from Tom and Jerry, Bailie works from the realm of personal and collective memory in 'The Grand Tour'; a realm which never lingers for long.

Archives embody more than a memory space of a society, for they constantly tell and reproduce knowledge constellations, social relationships, individual narratives and cultural structures of the present.

The projection space becomes a metaphor for the empty space of memory to which the performers of the play go at the end of the performance.

While the question of how the shared memory space between Germany and Israel in the 21st century constitutes itself against the backdrop of the Holocaust – and not only that – is one starting point of the project, Conditions of Political Choreography seeks to form a sense of topicality of history in the face of increasing racism and populism in democratic societies.

Golinski thus creates an impressive realm of memory where his pictures and objects intertwine to form a tight narrative network around the tragic life and work of the architect.

As a research project, "Ghosts of Berlin" explores the enigmatic memory space of Berlin as an instigator of physical thinking and embodied dramaturgy.

But the important aspect here, we feel, is that space is regarded as a category that cannot necessarily be tied back to concrete local conditions but which is far more aptly described as a subjective space of experience or memory.

For the observer following the complex paths of associative thoughts, in the course of time and the order of the tapes, a space of memories emerges.

At the same place where after the First World War a memorial room had existed but had been destroyed in the Second World War.

While Tacita Dean stages a new sequence of quasi-cinematographic events with historical photographs and Oskar Schmidt brings to mind the pictorial compositions of iconic photographs by means of re-enactment, Maya Zack creates a traumatic experience through a digitally reconstructed memory space.

An artistic position emerges that is essentially nourished by the respective photographer’s own experiences and memories as well as by contemporary currents.

In her exhibition for Camera Austria she shows – for the first time in Austria – the series “Embargo till 11” (2011), which, leads us into this kind of shared (equally traumatic) European space of memory.

From an art-historical point of view, it represents the attempt to create a contem­porary, stage-like narrative space ­– »as an interplay between a space for memory and a visual narrative, as a narrative space which the viewer can assimilate both in its entirety ›in one go‹, as well in the individual elements as he walks by, either sequentially or en masse«, as Renate Wiehager describes it.

In Berlin, the discursive formats "Spaces of Debate" and "Moving Thoughts" provide an interpretation beyond the project's scope. While the question of how the shared memory space between Germany and Israel in the 21st century constitutes itself against the backdrop of the Holocaust – and not only that – is one starting point of the project, Conditions of Political Choreography seeks to form a sense of topicality of history in the face of increasing racism and populism in democratic societies.

In her exhibition for Camera Austria she shows – for the first time in Austria – the series "Embargo till 11" (2011), which, leads us into this kind of shared (equally traumatic) European space of memory.

Its general theme is the search for a common European identity and memory. The authors address issues such as the following: Do we have a common cultural heritage, common European places of remembrance, or rather a space of remembrance that unites memories with different connotations?