Inquiries of socially constructed realities or spooky handshakes with “invisible hands” of history are not exclusive to historians and philosophers but also part of artistic research and practice. This essay explores artworks of Tunisian-born artist Nadia Kaabi-Linke and deliberates on conceptual links to Schmieder’s own studies, the historical shape of the term of survival, its variations and extensions. While referring to works produced for a solo exhibition in Berlin, Schmieder emphasizes the site specificity of Kaabi-Linke’s approach and relates her artistic practices to Walter Benjamin’s philosophy of history.

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