Future Heritage Past: Hans Rosenström’s Shoreline installation (ARoS Triennial, Aarhus, Denmark, 2017)

As European City of Culture (2017), Aarhus has been host to a series of significant exhibitions and other creative events this year. Perhaps one of the most ambitious has been the 1st ARoS Triennial Exhibition, entitled THE GARDEN – End of Times; Beginning of Times (June 3–July 30, 2017). Quoted in Isobel Harbison’s Art Agenda review (http://www.art-agenda.com/reviews/%E2%80%9Cthe-garden%E2%80%94end-of-times-beginning-of-times%E2%80%9D/) ARoS’s director, Erland Høyersten promised that the exhibition would “thematize man’s [sic.] coexistence with, and view on, nature … over a period of 400 years”, the Triennial exhibition focussed on depictions of nature throughout history over three sites. Representing ‘The Past’ are over 100 works of art (mostly painting) located in a series of galleries within the main ARoS Art Gallery. ‘The Present’ is represented through a half dozen or so installations down at the redeveloping Docklands area, while ‘The Future, is displayed through a couple of dozen installations strung out along the coast and through the forest to the south of the city centre. Apparently, the Exhibition’s opening coincided with President Donald Trump’s announcement that the US intended to withdraw from the Paris Climate Change Agreement. It is not the task of this Blogsite to pass comment on the artistic merit, depth or meaning (for me, some ‘worked’ and some didn’t), but one piece struck me in particular as having resonance with this ‘Geographies of Heritage’ Blog, both in terms of its subject matter, and (perhaps ironically) in terms of its demise (or destiny!?)


Shoreline, by Hans
Rosenström (Three channel sound installation, concrete, paint, view, 10:16 minutes. Photo by Anders Sune Berg

I cycle along this stretch of coast each morning on my way to work, and the last installation that I passed each morning was Shoreline, by Hans Rosenström. According to the artist (see: https://hansrosenstrom.net/shoreline/), the view of the horizon represents the future, and the constructed ‘ruin’ (or folly) cites a fragment of a Caspar David Friedrich painting (Klosterfriedhof im Schnee, 1817/1819). It is a nice way of confounding linear temporalities, especially since ‘The Past’ section of The Garden exhibition contained some Friedrich paintings:

“Grounded on the earth, gazing out to the shoreline, the viewer will hear disembodied but present voices, overlapping and interweaving raising issues of how nature’s and our own communities are formed and relationships between them. The text is written in collaboration with the Palestinian poet Farah Chamma” (Rosenström 2017)

Interestingly, Friedrich’s Klosterfriedhof im Schnee was itself destroyed during in Berlin during air raids in 1945 – and it is Berlin, of course, which has become a lens through which so many scholars (planners and architects, journalists and writers, historians and philosophers) have since pondered on the temporality of life, place and identity (e.g. Gunter Grass, Cees Neeteboom, Karen Till, Neil MacGregor). Indeed, in his essay on ‘presentism’ and relations between time and heritage, Francois Hartog (2005: 9) called Berlin a laboratory of reflection, and it is to Hartog’s reflections on the temporality of heritage to which I am prompted by Rosenström’s Shoreline installation. According to Hartog, we are living in a time of overwhelming heritagisation and museification, where the past is daily created and merchandised. This proliferation of heritage, Hartog argues, is a sign of rupture: “heritage has never thrived on continuity but on the contrary, from ruptures and questioning the order of time, with the interplay of absence and presence, visibility and invisibility. […] Heritage is one way of experiencing ruptures, or recognizing them and reducing them, by locating, selecting, and producing semaphores” (Hartog 2005; 15).


So, does this make Rosenström’s Shoreline a semaphore? … something that causes us to question the order of time, and to critique Western linear conceptions of inevitable progress? In many ways, perhaps this gives our engagement with heritage (and engagement of heritage) some positive potential – that heritage process and practice can do something. Hartog mentions that heritage can help us reduce or overcome ruptures by locating ourselves, and so by asking these questions, does it allow us to make an intervention? The ability to locate ourselves through semaphores, and make selections, is suggestive of a purposeful or mobile sense of nostalgia, situated in the present but with an eye to the future. Maybe this can be something that has promise – though Hartog seems quite pessimistic:

“The future is no longer a bright horizon towards which we advance, but a line of shadow that we have drawn towards ourselves, while we have come to a standstill in the present, pondering on a past that is not passing” (Hartog 2005; 16).

So what happened to Rosenström’s Shoreline installation? The Exhibition ended on 30th July, and over a couple of days, the ‘ruined’ folly was taken down, broken up and carried away to be discarded. The installation was dis-assembled and ‘skipped’ – a ruin was ‘ruined’! Not sure what that means!