Peter Trawny Interview | Alex Gilbert #272

Peter Trawny, involved in the scholarly edition of Martin Heidegger’s collected works, is a German philosopher and professor at the University of Wuppertal.

How can Heidegger’s narrative interpretation of Van Gogh’s “Peasant Shoes” in The Origin of the Work of Art be understood as a legitimate approach to art, even if the shoes did not belong to a peasant woman but possibly to Van Gogh himself?
Heidegger’s interpretation is a narrative that, while possibly factually inaccurate, remains a valid possibility within the broader philosophical framework he brings to the painting. He did not intend a comprehensive art-historical reading but rather used the image to explore his concept of “Earth.” Even if the narrative may feel kitschy, it is not invalid, because all interpretation involves some kind of presupposition. This is precisely what Heidegger acknowledges, and the concept of “Earth” would require deeper engagement to fully unpack.

Is “presence” the foundational category for experiencing and interpreting art, and does such a concept necessarily entail a theological or ontological commitment, as thinkers like George Steiner suggest?
Yes, presence might be a foundational category—though one wrapped in complex metaphysical implications. Even if Steiner links this “presence” to “God” as its source, that notion remains compelling, despite the secularized or “death of God” framework in his language. The interplay of presence and absence reveals the event of truth. Ultimately, both art and philosophy rely on conditions beyond their own making, affirming the significance of presence without requiring full theological closure.

In what ways does Anselm Kiefer’s 2020 Paris exhibition, commemorating Maurice Genevoix’s induction into the Pantheon, engage with German history, the politics of memory, and possibly Heideggerian thought?
Kiefer’s exhibition intersects with multiple layers of meaning: Macron’s political gesture of reconciliation, Kiefer’s own deep preoccupation with German history, and his unique artistic style. His massive installations invoke themes Heidegger explored—such as the world/earth relationship, the significance of place, and historical myth—but Kiefer approaches them in a thoroughly modern, even commercial, way. While echoes of Heidegger may be found in the material and mood, Kiefer’s art functions within a contemporary framework of mass production and branding. Comparisons to artists like Warhol or Beuys (his mentor) highlight this blend of philosophical gravity and commercial scale.

What does Wim Wenders’ 2023 film Anselm reveal about Kiefer’s artistic vision, and where does it fall short in examining the deeper meanings of his work, particularly in relation to memory and monumentality?
Wenders’ film is an homage, capturing the aesthetic beauty of Kiefer’s work—through striking visuals, evocative sounds, and poetic references—but it doesn’t delve deeply into the philosophical or historical substance of his art. It touches on Kiefer’s romantic and monumental approach, revealing how his studios themselves become artistic environments, while also hinting at the commodification of his brand. However, the film stops short of interrogating what a “monument” truly means, or how memory, especially painful memory tied to German history, functions in Kiefer’s work. True remembrance requires personal entanglement, something the film gestures toward but does not explore fully.