<p>2017-19<br />
Forensic Excavations Inventory</p>
<p>2017-19<br />
Forensic Excavations Inventory</p>
<p>2017-19<br />
Forensic Excavations Inventory</p>
<p>2017-19<br />
Forensic Excavations Inventory</p>
<p>2017-19<br />
Forensic Excavations Inventory</p>
<p>2017-19<br />
Forensic Excavations Inventory</p>
<p>2017-19<br />
Forensic Excavations Inventory</p>
<p>2017-19<br />
Forensic Excavations Inventory</p>
<p>2017-19<br />
Forensic Excavations Inventory</p>
<p>2017-19<br />
Forensic Excavations Inventory</p>
<p>2017-19<br />
Forensic Excavations Inventory</p>
<p>2017-19<br />
Forensic Excavations Inventory</p>
<p>2017-19<br />
Forensic Excavations Inventory</p>
<p>2017-19<br />
Forensic Excavations Inventory</p>
<p>2017-19<br />
Forensic Excavations Inventory</p>
<p>2017-19<br />
Forensic Excavations Inventory</p>
<p>2017-19<br />
Forensic Excavations Inventory</p>
<p>2017-19<br />
Forensic Excavations Inventory</p>
<p>2017-19<br />
Forensic Excavations Inventory</p>
<p>2017-19<br />
Forensic Excavations Inventory</p>
<p>2017-19<br />
Forensic Excavations Inventory</p>
<p>2017-19<br />
Forensic Excavations Inventory</p>
<p>2017-19<br />
Forensic Excavations Inventory</p>

'The Forensic Excavations Inventory is a storytelling tool box designed to investigate the effect of Armenian Genocide on my own life.

Moreover it is an adaptable storytelling technique I have been developing since 2017 fit to generate knowledge not otherwise obtainable.

(I have been using it in the development of TRADITION, a work about the Ore Mountains in Saxony, Germany, part of the former East Bloc.)

In the process I laboriously extract objects like toys, furniture and body parts of of family members from a small pool of family photos, and write something about them. What the object reminds me of, what I remember in view of its context, or knowledge about its origin or meaning.

I was born in Sofia, the People's Republic of Bulgaria, and after the wall fell, grew up alone with my mother in the former east part of Berlin, with occasional visits from my grandmother and yearly holidays in Bulgaria until I was 12. My grandmother worked briefly in the former German Democratic Republic as an opera singer and my mother partially grew up and later on studied and worked there as well.

The family I knew were all survivors and descendants of survivors of the Armenian Genocide in the former Ottoman Empire which began in 1915. My grandparent's family members were either murdered and buried in anonymous mass graves or after fleeing, scattered around the world without contact to each other.

I was raised as a German-Armenian without knowledge of who my father was. My name stems from Peter Schuett, a West-German communist poet who, at the urging of my mother, accepted paternity without being involved in the slightest in my conception nor upbringing. As a child I was shown staged photos with me as a baby in his arms, and my mother happily embracing him, with a borrowed wedding ring glistening on her finger, and read the poem he published about me.

He was interrogated by the GDR national intelligence service 'Stasi' how it was possible, that he was last seen with my mother two years before my birth, but whatever he has told them I will have to read in the Stasi document about me ('Stasi-Akte').

'Destruction' is in the word deconstruction. I am excavating the missing pieces in my biography by doing the complete opposite of what archaeologists are doing - they search the grounds for shards of a once-whole object to reconstruct it by drawing the missing pieces. In contrast, I had to destroy my archetypical family picture. The once-whole photos expand spatially and open up an inbetween level, a void, in which I can express myself. Without context, the objects are perspectively distorted and need to be nominally identified ('TV set', 'hand'), analogous to how I experienced myself, as context-less, before I began revaluating my childhood experiences.

As a further step I have made physical objects of the extricated items and placed them in contemporary urban contexts where I photographed them. I carried the objects in front of politically charged places like the GDR intelligence service Stasi, and in front of the gates of the German weapons companies that armed the entire Ottoman army which facilitated the genocide of Armenians, Assyrians and Greek Ottoman citizens; I also carried the objects to sites of my childhood in Berlin-Prenzlauer Berg, a district that is now populated with English speaking expats left and right, where I once had been marked as an 'Auslaender', someone not belonging to Germany.

Another project is a speculative recreation of my different childhood homes, playing with perspective and anonymity. Disembodied body parts of my family and inorganic plastic toys and appliances are interchangeable in their visually difficult to place ambivalence. Staging and photographing them like fashion models in contemporary contexts returns my prerogative of interpretation over my identity, that has been withheld from my family in my childhood. The objects are sinisterly bubbling artifacts of my childhood everyday life on the one hand, and documents that attest to trauma in migrant familys, and connect consumership, arms trade, nationalism and state security with each other between Eurasia, Eastern and Western Europe.'

Beatrice Schuett Moumdjian, 2019

DEUTSCH
Mit Roland Barthes koennte man sagen, dass in dieser Arbeit ein Spiel zwischen 'Punctum' und 'Studium' stattfindet: Je mehr wir der Analyse des in den Bildern Verborgenen zusehen, desto mehr wird uns die Umgebung vertraut und trifft uns im naechsten Bild als Erinnerung. Der im Titel benannte Prozess einer 'totalen Dekonstruktion' dient gleichsam dazu, die vor der gewaltsamen Zerstoerung gerettete familiaere Erinnerung zu bewahren. Exemplarisch wird deutlich, was Erinnerung ist, was kontextualisiert werden kann, aber auch was als Luecke bleibt - und als fortlaufende Ausgrabung eine offene Form erhaelt.'

Clemens v. Wedemeyer, 2018

Exhibition history
2019 Neue Gesellschaft fuer bildende Kunst Berlin nGbK. Up in Arms. Berlin, DE
2019 Neue Gesellschaft fuer bildende Kunst Berlin nGbK. Kunst im Untergrund (Art in the Underground). Berlin, DE
2018 Gallery of the Academy of Fine Arts. Cultural Memory. Leipzig, DE
2017 Gallery of the Academy of Fine Arts. Studienpreis-Award. Leipzig, DE catalogue

Awards
2019 Neue Gesellschaft fuer bildende Kunst Berlin nGbK. Up in Arms/Art in the Underground competition (Up in Arms/Kunst im Untergrund). Status: Winner. Award: 4000EUR
2017 Academy of Fine Arts Leipzig. Studienpreis-Award. Status: 2nd/3rd place. Award: 2500EUR. catalogue

Publications
2018 Studienpreis-Award 2017. Academy of Fine Arts. Leipzig, DE

Notes on the Images
.First four images depict billboard designs, made for the nGbK Berlin exhibition Art in the Underground 2019.
.Subsequent two photos: installation at the Berlin underground metro station Stadtmitte U6 as part of the nGbK Berlin exhibition Art in the Underground. Pictured are 2 of the 4 billboards.
.Following three photos: visualizations for nGbK Art in the Underground public art competition.
.Samples of further layouted Forensic Excavations Inventory
.Installation view: Cultural Memory, exhibition 2017
.Installation view: Studienpreis-Award exhibition 2017, with timber frame plinth. Photo credit: Alexander Pannier
.Last four photos: photo series

.compare also the work Magic City
.Assistance: Lars Preisser