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Assisting the analysand in making the past a living present held within a bearable yet unpredictable future is what psychoanalysis is so much about. Events of the past can never be redone, or fully repossessed, but they must be reconstructed in the context of the transference-countertransference experience of the analytic relationship. In order to make the past a useful present and presence, we need metaphors to give it shape—metaphors that capture the memorial activity linking the past with the present and future in a meaningful manner. In this paper, I explore the ways in which the work of the American photographer Shimon Attie creates a memorial place in which the past is not simply remembered but instead is actively mourned. In The Writing on the Wall, Attie collects broken fragments from prewar German-Jewish life in Berlin, and, by projecting these found shards of former lives onto the buildings in the Berlin Scheunenviertel, which once housed these people, he creates a potential space in which a present can suddenly come alive by the superimposition of a past that was supposed to have been obliterated. In this transitional realm, the spectator is given a wide realm of to-and-fro movements between past and present that permits the creation of an object world that did not exist before. I suggest that Attie's intricate weavings of past, present, and future serve as instructive models for the psychoanalytic process in which the analyst can find himself in a similar position of opening up a playground where the past
I express my profound appreciation to Thomas H. Ogden for his generous and encouraging help with this paper. I thank Shelley Nathans and Sam Gerson for introducing me to the photography of Shimon Attie. Without Zeese Papanikolas's strong encouragement, I would never have written this paper. In addition, I thank most sincerely Michael A. Bernstein for teaching me so much about the Shoa. Last, I thank Shimon Attie for having created such a powerful and inspiring series of photographs (The Writing on the Wall) and for providing me with the slides of his work, courtesy of the Jack Shaiman Gallery in New York City.
can be brought into the present and where the presentness of the past can come alive. The ability to move back and forth between the present and the past suggests a link to the Freudian concept of deferred action, later taken up by Lacan under the notion of après-coup, where the impression (Prägung) of an earlier event, having lain dormant for a long time, breaks through into the present through a retroactive action that then completely reshapes the present impression. I draw comparisons to psychoanalytic practice, in which the superimposition (the stacking on top of one another) of recollections, dreams, and associations pries open in the analysand's mind a psychic space in which memories of a seemingly insignificant past absorb a sudden sense of urgency when revisited through this retroactive process.
When knowledge comes, memory comes too, little by little. Knowledge and memory are one and the same thing.
Already a fictitious past occupies in our memories the place of another, a past of which we know nothing with certainty, not even that it is false.