Alumni Network uni‘alumni 2018 13 offer the visitors more. For example, we have a reading room where visitors can view books, accounts by contemporary witnesses, and historical records. This includes letters and diaries of displaced persons. Moreover, we will present new special exhibitions and organize events at regular intervals. It is important for me that the horizon extends beyond Germany. Why shouldn’t it be possible to organize an exhibition on the partition of India in 1947, the tide of refugees from Syria, or contemporary ethnic cleansing campaigns? You deal with people who have been forced to leave their homeland for one reason or another. What does “homeland” mean to you – or do you consider the term outdated in our postmodern world? No, not at all. I would make a distinction between homeland and home, however. My homeland is Reinbek, a town near Hamburg, where I was born. That surely has a lot do with the fact that my parents live there and my grandparents are buried there. And then there’s my home, Berlin, where I have been living and working for the past eight years. Freiburg was also my home for a long time. I would be a dif- ferent person in general without this city, but it was only by chance that I wound up there. German reunification, which I basically followed on television from the sunny southwestern tip of Germany. But I didn’t go to Berlin to secure a piece of the Wall. I have to admit I did not ex- perience the debates from the front line. You initially started studying law in Berlin, right? For a semester, but that came to noth- ing. It wasn’t the right field of study for me, and this enormous, wintry, separated Berlin of the 1980s was just too much for me. When I visited friends in Freiburg, the city captivated me right away – the great weather, the magnificent architec- ture, and the beautiful Black Forest. Sometimes I miss having those lovely mountain ranges on the horizon here in Berlin. What debates marked your time as a student in Freiburg? I still have clear memories of the histori- ans’ quarrel on the significance of the Holocaust and the controversy sur- rounding the Wehrmacht Exhibition. And then there was of course the What do you know today about designing exhibitions that you had no idea of back then? I would express it differently: I used to underestimate what effect history as a discipline can have when it is brought out into the public sphere. Exhibitions tell stories that shape people’s conscious- ness, and they do so more strongly than any scholarly work ever could. I am very aware of the responsibility this involves. I try in every exhibition I organize to make the relevance of the topic as a whole clear for people of different edu- cational backgrounds, perspectives, and sensibilities. At the same time, I have to live with the knowledge that I will never be capable of telling the complete story – no matter whether I have 500 or 5000 square meters to do so. M Y CO U RS E CE R T I FI CAT E: J ES S J O CH I M S E N Graffito with a Semicolon that For a long time I was unshakably convinced the most pointless course certificate I ever earned at the university was one from an undergrad- uate seminar titled “On the Use of the Semicolon in Philosophy.” No way will I ever need this, I thought, as I walked my feet off on a hike along the Martin Heidegger Path in Todnauberg (required for the course) and provoked an interminable private lecture by the professor with the ill- considered remark: “Hiking is the con- tinuation of expulsion from one’s homeland by other means.” “You will think of me one day,” he concluded his tirade, “me and the semicolon!” He was right, as it turned out, be- cause years later in Hanover, the capi- tal of standard German, I came across the following graffito on the wall of a building: “Die Revolution ist großartig; alles andere ist Quark” (“The revolution is great; everything else is rubbish”). As Rosa Luxemburg (to whom this sentence is attributed) was not a topic of discussion in the seminar back then, I didn’t know how much importance she attached to the use of the semicolon, but I couldn’t help but imagine the noc- turnal act: Had the young spray artists discussed the punctuation beforehand? “Wicked line, dude, but doesn’t it need a comma? – No, man, it’s much cooler with a semicolon!” Aside from the fact that even a revo- lution wouldn’t help things in Hanover ... this is what I thought: A graffito with a semicolon is the end! Thinking has finally caught on. Jess Jochimsen, born in 1970 in Munich, lives as an author and cabaret artist in Freiburg. He recently published the novel Abschlussball (“Graduation Ball”). He studied German studies, political science, and philosophy at the University of Freiburg from 1991 to 1997. Photo: Britt Schilling