Goethe-Institut Amsterdam – THE HORNS OF THE ALTAR – KaRNOT Ha-MiZBeaCH

Performance: Joseph Sassoon Semah with friends: Baruch Abraham, Masja Austen, Peter Baren, Bülent Evren, Uzi Heymann (piano), Jom Semah, Mati Shemoelof, Yvonne Strang and Els Wijnen.

Joseph Beuys a volunteer soldier in the Third Reich transformed himself into the Victim of the Nazi-Era, and with him, West-Germany will cure itself. Basically, we should remember that the actual transformation from a Victimizer to a Victim takes place in radical circumstances. In our context, this implies that the transformation of Joseph Beuys into a Victim took place in Post-Nazi West Germany. Eventually, it would be tempting to say that the Victim is defined in terms of his Victimizer.

Please note: ‘Hare Hunting’ was a [codeword] euphemism for killing Jews by the Nazi troops during the Holocaust. On Friendship / (Collateral Damage) IV How to Explain Hare Hunting to a Dead German Artist [The usefulness of continuous measurement of the distance between Nostalgia and Melancholia] (September 2021 – June 2022) A critical project concerning post-war artist Joseph Beuys

Created by Joseph Sassoon Semah, curator Linda Bouws © Stichting Metropool Internationale Kunstprojecten 2021