In 1990 Heiner MWller participated in a project designed by the architect Daniel Libeskind on the occasion of the 950th anniversary of the city of Groningen in the Netherlands.1 The city council wanted to define the borders of the city to give to the inhabitants and visitors a definition of the past, present, and future of Groningen. Miller designed an installation on the outskirts of the city, integrating elements of space, noise, and music, as well as a poem. The installation, as a statement concerning space, and the position of the body in space, and involving a poem referring to the Holocaust and the history of oppression in a wider sense, connects notions of space and history. It can be seen as a three-dimensional projection of Miller's ideas on history and space. The way in which the installation manages to establish a connection between poem and landscape, between history and space, is therefore the major concern of this essay.
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