Abstract
Marc Adelman’s Stelen is a collection of 150 images of men posing at the Memorial to the Murdered Jews of Europe in Germany. Understanding the photographs that compromise Stelen involves tracking a number of shifts that have taken place across different fields: a change in the understanding of the role of the public memorial which has seen the construction of ‘anti-memorials’ or ‘counter-monuments’ such as the Memorial to the Murdered Jews of Europe; a turn towards participatory memory practices in museums and at memorial sites; digital photography and the impact of social media. In the first part of this paper, I explore how these trends intersect in order to give an account of the conditions of production of the photographs. Adelman has proposed that the photographs might be understood in relation to the role that the memory of the Holocaust plays in contemporary queer life. In the second part of this paper, I use Michael Rothberg’s concept of Multidirectional Memory to consider Stelen as a counter-archive that offers a multidirectional articulation of grief.
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