If the culture of remembrance of National Socialism and the Holocaust is to be more than the political clearing away of past guilt, it must be relevant to the present and compatible with the media-cultural memory of current generations. The objects from literature, film, art and comics examined here (Christian Kracht: Faserland, Thomas Meinecke: Hellblau, Alexander Kluge/Gerhard Richter: December, Quentin Tarantino: Inglourious Basterds, Jean-Luc Godard: Histoire(s) du cinéma, Zbigniew Libera: Lego. Concentration Camp, Walter Moers: Adolf. Äch bin wieder da!!, Der Bonker) form a poetics of parodic constellations that recognize the historical catastrophe of the Holocaust as radical alterity and make it visible in its unavailability using pop-cultural and post-modern methods and makes accessible. The parodic constellations aimed at discursive opening thus refute the apparent incompatibility of pop culture/postmodernism and the culture of remembrance.