Abstract
ABSTRACT In Ghost Story and Secretion, the Northern Irish artist Willie Doherty depicts landscape as haunted. Both films register the presence of ghosts through a malodorous ooze: a residue of repressed secrets whose return disturbs the living. These miasmic flows literalize the seepage between ‘concentrationary histories': the interrelation between particular histories of institutional violence. Doherty's haunted topographies explicitly connect the Breitenau and Dachau camps with Northern Ireland's Troubles and Abu Ghraib. Haunting, understood here through the uncanny, and Nicholas Abraham and Maria Torok's theory of encryption, embodies concentrationary memory's focus on narrating the seepage between histories and the camp’s continued threat.
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