By Andreas Huyssen
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Example text
But the turn-around for me came before Soviet domestic politics began to shift into reverse in the Baltic states-events which at least for now make Helmut Kohl look like a genius and his politics of breakneck acceleration like the only rational course to take. I began to accept the idea of unification as inevitable, necessary, even desirable when it became clear in 1990 that the East German population was not willing to serve as guinea pigs in yet another political experiment, that of a "third way" democratic socialism.
It may be, however, that precisely this desire to move the museum beyond a modernity that hid its nationalist and imperial ambitions behind the veil of cultural universalism, will ultimately reveal the museum as that which it always also could have been, but never became in the environment of a restrictive modernity: a genuinely modern institution, a space for the cultures of this world to collide and to display their heterogeneity, even irreconcilability, to network, to hybridize and to live together in the gaze and the memory of the spectator.
The question is not if, but how they are alive, and how they are perhaps coded differently in postmodern culture. One thing seems true. As the present moves experientially toward entropy, feelers are cast toward different times and other spaces, dialogues are opened up ESCAPE FROM AMNESIA 21 TWILIGHT MEMORIES 28 with voices formerly excluded by the strong present of Western modernity. What Benjamin used to call the "homogeneous empty time" of everyday life under capitalism may be emptier than ever, but it is not extended nor substantial enough any longer to be called homogeneous.
