Time – Present continuous. The becoming memory. The image of memory. Information storage via image.
An image still traversing changes, stored in the memory of something.
To attribute images to instances and to face the impossibility of defining the present-moment boundaries of an experience. This here „now” cannot be „now” without that which has passed, nor without that which will be. Piece by piece, everything we've laid down until now. This way of remembering via the image lies within us. The order in which we choose to assemble the puzzle pieces is an order one can learn. Succession. Series. One followed by another. A constant preoccupation can morph into rhythm. The ceaseless perpetuation of fixating on evolution. The constant concern towards defining change. The way we define things defines us. To define is to cause time to halt - the cinematic cliché of pausing for a frame that requires contemplation.
The potential to generate language can produce a potency for various automatic ways of seeing. Assignment, association, premeditation. Advertising assigns meaning to things before they coagulate on the retina; the inexorable result of voicing that first word only for someone else to continue the sentence for you. Having a landmark. A means of walking through history. Truths must be claimed to understand where the road goes. Hazy and subtle, a memory trail manifesto emerges. What was yesterday and where did all this cumulation come from?
Everything we built and claimed. Everything we haven't claimed. Everything we obscured or is concealing itself from us. Everything that lies beneath ruins. Everything that is hurt comes to light. Everything that is going to get hurt. Everything that remained unresolved. Everything that has been reassembled, repaired, replaced.
Where is the storage place for what we forgot?
Each of us has an intrinsic way of walking the trail. Frame by frame - then a glitch that we don't understand.
FFW >>>> To lose sight of the macro to minutia, or vice versa. A moment that is about to hijack everything we thought we knew. How does one measure the lenghts in between us? What is the landmark to employ so as not to forget where we come from? It is imperative we remember how to see. We cannot truly deconstruct time in order to physically place ourselves back in a past moment.
Do things really change that fast?
What precisely do we choose to assimilate of this marathon, in order to gift representation? How could we define the experience so far in a status?
In the penultimate exhibition of the project "Between emergence/y and establishment" we continue to investigate stability, instability, and the urgency/need to find a balance between the two - this time from the perspective of memory and the modes of representing it. Under the markings of an atypical 2020 and its changes, the exhibition in question focuses on the ways in which we remember, recall, store and configure what we know, based on cumulative processes that can sometimes transfigure the identity of what we believe we have as information. Our means of storage often happen to fail, and whether we are addressing technology or human nature, what remains, most of the time, is a cumulation of layers of the same thing, which is subjected to several different shutter speeds, hence the situation reversals’ capacity of taking over the role of hacker of the images and information that are preserved in memory. Collective memory plays an important role here, so much so that it becomes the organism that can configure an immutable unit for what we know on a generic level, at least until the correct information is mixed with false information and history is destabilized. The exhibition in question presents various angles of memory manifestations, through a selection of works that operate both with the identification of the personal affect in relation to the passing of time, but also with the more concrete delimitation of identifiable aspects of things and their happening order.
Funders: Cultural programme co-funded by the Administration of the National Cultural Fund The programme does not necessarily represent the standpoint of the Administration of the National Cultural Fund. AFCN cannot be held liable for the content of the programme or the manner in which the outcomes of the programme may be used. These shall devolve entirely on the beneficiary of the financing.
Part of Noaptea Albă a Galeriilor 2020 program