Julie talks with poet-artist Robert Yerachmiel Sniderman about his project Wierzba Estery / Esther’s Willow, a collaboration with artists Katarzyna and Marta Sala in Chrzanów (PL), a half-Jewish city until the Nazi genocide and postwar processes that continued a long century of ethnic cleansing. The project gestures into the city’s traumatic recent past to reach an old and intimate space of transcultural ancestral experience and horizontal implication, where Jewish and Slavic communities in Poland mutually, collaboratively, and differently depended on willow trees to treat viruses, diseases, infertility, and bodily pain, exchanging knowledge, treatments, practitioners, and patients at a site of nonhuman mourning that continues, even nominally (“weeping willow”), to mediate between the living and the dead.
We also discuss Robert’s earlier piece, Lost in Jüdischer Friedhof Weißensee. This project came into its most public manifestation in response to the 2018 Great March of Return massacres in Gaza. Robert enacted what he calls a “Counter-Ruin,” in which “Gaza” is written across his back in three languages as he walks through Berlin carrying stones to deposit in Jüdischer Friedhof Weißensee, the largest Jewish cemetery in Berlin.
We discuss the urgent need for a “new universalism” or a “critical universalism,” and the seemingly intractable problem of, and violence inherent within, the nation-state. “Instead of space we have time and text: that’s Judaism,” says Robert, as we seek a principle of the unfinished and unsettled.
Projects discussed:
Esther’s Willow
The Hopkins Review: A Willow (Grave) That Knows a Felled Willow (Mourner) That Knew an Eradicated Square (Woman)
Dream Text: Gaza Walks