Ilse van Rijn – författare

When the mind turns more than one would wish towards questions of – as W.G. Sebald puts it – the “natural history of destruction”, comparative consideration by artists and interdisciplinary scholars is directed to the interstices between images, novel, essay, (auto)biography, memorial and travelogue. Artists have been among Sebald’s most prolific interpreters – as they are among the more fearless and holistic researchers on questions concerning what it means never to be able to fix an identity, to tell a migrant’s story, or to know where a historical trauma ends. Sebald has – as this book attests – also given artists and scholars a means to write with images, to embrace ambiguity, and to turn to today’s migrants with empathy and responsibility; as well as to let academic research, creation and institutional engagement blend into or substantially inform one another in order to account for and enable such necessary work in the most diverse contexts.

When the mind turns more than one would wish towards questions of – as W.G. Sebald puts it – the “natural history of destruction”, comparative consideration by artists and interdisciplinary scholars is directed to the interstices between images, novel, essay, (auto)biography, memorial and travelogue. Artists have been among Sebald’s most prolific interpreters – as they are among the more fearless and holistic researchers on questions concerning what it means never to be able to fix an identity, to tell a migrant’s story, or to know where a historical trauma ends. Sebald has – as this book attests – also given artists and scholars a means to write with images, to embrace ambiguity, and to turn to today’s migrants with empathy and responsibility; as well as to let academic research, creation and institutional engagement blend into or substantially inform one another in order to account for and enable such necessary work in the most diverse contexts.

When the mind turns more than one would wish towards questions of – as W.G. Sebald puts it – the “natural history of destruction”, comparative consideration by artists and interdisciplinary scholars is directed to the interstices between images, novel, essay, (auto)biography, memorial and travelogue. Artists have been among Sebald’s most prolific interpreters – as they are among the more fearless and holistic researchers on questions concerning what it means never to be able to fix an identity, to tell a migrant’s story, or to know where a historical trauma ends. Sebald has – as this book attests – also given artists and scholars a means to write with images, to embrace ambiguity, and to turn to today’s migrants with empathy and responsibility; as well as to let academic research, creation and institutional engagement blend into or substantially inform one another in order to account for and enable such necessary work in the most diverse contexts.