scholarly journals Film and Media as a Site for Memory in Contemporary Art

2017 ◽  
Vol 14 (1) ◽  
pp. 157-173
Author(s):  
Domingo Martinez Rosario
Keyword(s):  
Contemporary Art ◽  
Cultural Memory ◽  
Media Art ◽  
The Past ◽  
Multi Media ◽  
A Site ◽  
The Relationship ◽  
Film And Video ◽  
With Memory

Abstract This article explores the relationship between film, contemporary art and cultural memory. It aims to set out an overview of the use of film and media in artworks dealing with memory, history and the past. In recent decades, film and media projections have become some of the most common mediums employed in art installations, multi-screen artworks, sculptures, multi-media art, as well as many other forms of contemporary art. In order to examine the links between film, contemporary art and memory, I will firstly take a brief look at cultural memory and, secondly, I will set out an overview of some pieces of art that utilize film and video to elucidate historical and mnemonic accounts. Thirdly, I will consider the specific features and challenges of film and media that make them an effective repository in art to represent memory. I will consider the work of artists like Tacita Dean, Krzysztof Wodiczko and Jane and Louise Wilson, whose art is heavily influenced and inspired by concepts of memory, history, nostalgia and melancholy. These artists provide examples of the use of film in art, and they have established contemporary art as a site for memory.

Art, Myth and Memory

2020 ◽  
Vol 7 (2) ◽  
pp. 199-206
Author(s):  
Alessandra Campoli
Keyword(s):  
Contemporary Art ◽  
Cultural Memory ◽  
Art Practice ◽  
The Past ◽  
The Relationship

This paper aims at investigating the relationship between collective and cultural memory, myth, and contemporary art practice. Artists in the past have relied on the power of myth to visually speak to their audience, re-presenting myths in an illusionistic way. Today art is not conventionally telling stories anymore and is disentangled from the need for mimesis. How has the relation between art and myth changed outside the framework of representational art? Is the connection between myth and collective and cultural memory used in contemporary art practice? How do art and myth intersect today?

scholarly journals The fiction of History: recalling the past and imagining the future with Caesar at Troy.

2010 ◽  
Vol 23 (1/2) ◽  
pp. 143-160
Author(s):  
Richard Alston
Keyword(s):  
Cultural Memory ◽  
Political Power ◽  
Human Mind ◽  
Historical Narrative ◽  
Cultural Trauma ◽  
Historical Account ◽  
Historical Discourse ◽  
The Past ◽  
The Future ◽  
A Site

This essay considers the nature of historical discourse through a consideration of the historical narrative of Lucan’s Pharsalia. The focus is on the manner in which Lucan depicts history as capable of being fictionalised, especially through the operation of political power. The discourses of history make a historical account, but those discourses are not, in Lucan's view, true, but are fictionalised. The key study comes from Caesar at Troy, when Lucan explores the idea of a site (and history) which cannot be understood, but which nevertheless can be employed in a representation of the past. yet, Lucan also alludes to a ‘true history’, which is unrepresentable in his account of Pharsalus, and beyond the scope of the human mind. Lucan’s true history can be read against Benjamin and Tacitus. Lucan offers a framework of history that has the potential to be post-Roman (in that it envisages a world in which there is no Rome), and one in which escapes the frames of cultural memory, both in its fictionalisation and in the dependence of Roman imperial memory on cultural trauma.

Visions and ruins

2018 ◽  
Author(s):  
Joshua Davies
Keyword(s):  
Visual Culture ◽  
Middle Ages ◽  
Cultural Production ◽  
Cultural Memory ◽  
Social Identities ◽  
Subject Formation ◽  
Medieval Period ◽  
The Past ◽  
A Site ◽  
The Middle Ages

This book is a study of cultural memory in and of the British Middle Ages. It works with material drawn from across the medieval period – in Old English, Middle English and Latin, as well as material and visual culture – and explores modern translations, reworkings and appropriations of these texts to examine how images of the past have been created, adapted and shared. It interrogates how cultural memory formed, and was formed by, social identities in the Middle Ages and how ideas about the past intersected with ideas about the present and future. It also examines how the presence of the Middle Ages has been felt, understood and perpetuated in modernity and the cultural possibilities and transformations this has generated. The Middle Ages encountered in this book is a site of cultural potential, a means of imagining the future as well as imaging the past. The scope of this book is defined by the duration of cultural forms rather than traditional habits of historical periodization and it seeks to reveal connections across time, place and media to explore the temporal complexities of cultural production and subject formation. It reveals a transtemporal and transnational archive of the modern Middle Ages.

Embodiment, Curation, Exhibition

Screen Bodies ◽  
2016 ◽  
Vol 1 (1) ◽  
pp. 87-91
Author(s):  
Jiaying Sim
Keyword(s):  
Real Time ◽  
Contemporary Art ◽  
Modern Art ◽  
William Blake ◽  
Slow Motion ◽  
The Past ◽  
Film And Video ◽  
Do So

As part of the 2014 GENERATION project celebrating the past twenty-five years of contemporary art in Scotland, Douglas Gordon’s exhibition, “Pretty much every film and video work from about 1992 until now,” took centerstage at the Gallery of Modern Art in Glasgow. Gordon contributed to the dialogue with a unique installation showcasing his twenty-two years of artistic endeavors through 101 different-sized old television sets elevated on old plastic beer crates, simultaneously screening 82 video and film works. The screens flickered and lit the dark main gallery as the visual works played on loop—some with sound, some without, some in slow motion. The exhibition included such works as 24 Hour Psycho (1993), Between Darkness and Light (After William Blake) (1997), Play Dead; Real Time (2003), Henry Rebel (2011), Silence, Exile, Deceit: An Industrial Pantomime (2013) and emphasized how Gordon’s collection has grown since its first exhibition from 1999 in Poland and will continue to do so, as he updates the videos and films.

scholarly journals El acceso al pasado en una sociedad acelerada

2021 ◽  
Vol 24 ◽  
pp. 11-32
Author(s):  
Iker Samper Ayape
Keyword(s):  
The Internet ◽  
The Past ◽  
External Objects ◽  
The World ◽  
Current Context ◽  
The Subject ◽  
Siglo Xx ◽  
The Relationship ◽  
With Memory ◽  
Sobre Todo

Tras los acontecimientos bélicos que asolaron el mundo durante el siglo XX, en concreto, a partid de 1980, aumento el interés y el acercamiento teórico sobre el pasado y la memoria. Partiendo de ello, la cuestión a tratar en el presente trabajo es: qué características tiene nuestro presente y cómo esto determina algunas formas de acceso al pasado. Para luego preguntarnos sobre la relación que se establece con los memoriales, es decir, en qué medida el contexto o condiciones del sujeto mediatizan su relación con la memoria. Dado que la reflexión acerca de la memoria puede estar condicionada por las características propias de nuestro contexto: aceleración social. El acercamiento que puede tener un sujeto perteneciente a las generaciones más alejadas de lo acontecido en el siglo XX difiere mucho de la relación que pueden tener aquellos que vivieron el suceso o las consecuencias de una forma más inmediata. Por ello, debemos preguntarnos: ¿Hemos -sobre todo las generaciones más jóvenes- volcado la memoria y el conocimiento en objetos externos a los que recurrir y de esa manera no llevar el peso y poder adaptarnos al contexto actual? Estos objetos portadores de la memoria y conocimiento, como las imágenes, internet, o los memoriales, etc. ¿Están sólo bajo una lógica del consumo inmediato?, o ¿es el tipo de uso más potenciado? ¿Qué relación establecemos con los memoriales? Monumentos creados con el fin de recordar. After the warlike events that devastated the world during the 20th century, specifically, from 1980, interest and the theoretical approach on the past and memory increased. Starting from this, the question to be dealt with in the present work is: what characteristics does our present have and how this determines some forms of access to the past. To then ask ourselves about the relationship that is established with memorials, that is, to what extent the context or conditions of the subject mediate his relationship with memory. Since the reflection on memory can be conditioned by the characteristics of our context: social acceleration. The approach that a subject belonging to the generations furthest away from what happened in the twentieth century may have differs greatly from the relationship that those who experienced the event or the consequences can have in a more immediate way. For this reason, we must ask ourselves: Have we - especially the younger generations - turned memory and knowledge into external objects to turn to and thus not carry the weight and be able to adapt to the current context? These objects that carry memory and knowledge, such as images, the internet, or memorials, etc. Are they only under a logic of immediate consumption? Or is it the most enhanced type of use? What relationship do we establish with the memorials? Monuments created in order to remember.

Mobile Art

2020 ◽  
pp. 369-391
Author(s):  
Larissa Hjorth
Keyword(s):  
Everyday Life ◽  
Contemporary Art ◽  
Art Practice ◽  
Contemporary Culture ◽  
Mobile Media ◽  
Cindy Sherman ◽  
Media Arts ◽  
The Social ◽  
A Site ◽  
The Relationship

This chapter surveys the multiple ways in which mobile media art has been defined by outlining some of the ways in which the field has been defined as it moves from media arts and hybrid reality to a more holistic contemporary art practice. It is then considered how mobile art is heralding ways in which to rethink the relationship between the quotidian, the social, and the politics of data. Finally, the chapter reflects on movements by artists (such as Cindy Sherman) to social mobile media as a site for critique and questioning of contemporary culture and everyday life.

Images between Religion and Art

2017 ◽  
Keyword(s):  
Mass Media ◽  
Public Space ◽  
Contemporary Art ◽  
Religious Art ◽  
Critical Potential ◽  
The Public ◽  
The Past ◽  
The Relationship ◽  
Religion And Art ◽  
Contemporary Artists

This chapter discusses the different ways contemporary artists re-use religious motifs and the effects of such citations. In the majority of cases their artworks function as a context to turn that religion into a topic, and an object of discussion. The critical potential of contemporary artworks that deal with religious themes lies somewhere apart from art’s rejection or mocking of religion, as blasphemy retains its proximity to the specifically religious power of images. When contemporary artists reuse religious motifs they become counter-motifs. The interest in religion, in its various traditions and guises, indicates a desire for self-understanding by re-staging the past. The multifaceted relationship between contemporary art and religion is examined through a detailed discussion of twelve exhibitions organised between 1999 and 2010, which approach religion and religious art from a variety of perspectives. Many of the curators claim that they are emphatically not religious, nor trying to send a religious message. Including religion in the infrastructure of display associated with contemporary art creates a different visibility in the public space and asks questions concerning such visual practices as iconoclasm; the relationship between commercialism, mass media and religion, and the afterlife of religious art, among many others.

Travelling Through History

2019 ◽  
pp. 1-27
Author(s):  
Filippo Lambertucci
Keyword(s):  
Cultural Change ◽  
Urban Transport ◽  
Archaeological Sites ◽  
Metro Station ◽  
The Past ◽  
The Everyday ◽  
New Methodologies ◽  
A Site ◽  
The Relationship

The construction of underground urban transport lines in Rome has provoked in the past years the discovery and the destruction of numerous archaeological sites. The last decade has marked a significant cultural change in Italy in the relationship between infrastructure and archaeology, thanks to the development of new methodologies and successful experiences; thanks to the excavations for the construction, it has been possible to realize the largest archaeological campaigns for decades and open new perspectives to the involvement of findings in the structure of the everyday city. The case study of the new metro station San Giovanni ain Rome offers an example for the conservation of heritage through the tools of narration in a site where the archaeological layers have been removed but can still be perceivable thanks to a narrative system that envelops the passenger in a total experience, with a scientifically museum-like rigorous arrangement of information realized according to the speed of commuters.

scholarly journals Tendrils of Memory: A Journey through Vietnam’s Landscape

1970 ◽  
Vol 16 (2) ◽  
Author(s):  
Les Horvat
Keyword(s):  
Lived Experience ◽  
Cultural History ◽  
Social Scientists ◽  
New Approach ◽  
Creative Practice ◽  
The Past ◽  
Interdisciplinary Field ◽  
Cultural Construct ◽  
A Site ◽  
The Relationship

While the interdisciplinary field of memory studies is burgeoning, the relationship between creative practice, memory, and landscape, remains open to debate, especially when considered in terms of its validity as anthropological data for ethnographers and social scientists. This article calls for a new approach to landscape and memory that remains sensitive to the notion that photography is able to provide a relevant platform for the re-examination of lived experience. Landscape is positioned as a site for memory and forgetting, and as a cultural construct resonant with the fabric of who we are, who we have been in the past, and offering an indication of who we may be in the future. The importance of creative practice through its many forms is suggested as a well-credentialed means of interpreting lived experience, leading to the proposition that photography has an important role to play in furthering our understanding of cultural history.

scholarly journals THEORETICAL AND PRACTICAL UNIVERSALITY OF MEMORY AND OBLIVION CATEGORIES IN LITERATURE

2019 ◽  
pp. 70-75
Author(s):  
Valerii Bren
Keyword(s):  
Contemporary Art ◽  
Cultural Memory ◽  
Theoretical Basis ◽  
Past Experience ◽  
Literary Studies ◽  
Social Discourse ◽  
The Past ◽  
Balanced Approach ◽  
The Future ◽  
Individual Memory

This research is devoted to the concepts of memory and oblivion in terms of the universality of these categories for literature, and their interdisciplinary in history, culturology, and sociology. The theoretical basis for analysis in the artistic text is shown on the example of Ukrainian and foreign researchers, specified and illustrated manifestations in the Ukrainian novels by Y. Andrukhovych, O. Zabuzhko, S. Zhadan, O. Irvanetz, etc. Literature is the centre of individual and national cultural memory and a means of creating of it. However, it becomes a platform for social discourse of memory, as well as the preservation of individual memory as a genetic key in the text. Consequently, modern literary studies require a well-balanced approach and analysis of the ways, means, methods, and forms of its functioning in contemporary art. Such approach will enable an understanding of the past experience, as well as assessments of contemporary imprints of events in the future, on a qualitatively new level.

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