|
|
|
|
|
| News |
10/03/2009
|
| OUTLINE COLLANA CURATA DA GIOVANNI IOVANE E FILIPA RAMOS |
| Giovanni Iovane Filipa Ramos, Oggetti Smarriti. Crisi della memoria nell’arte contemporanea [ Lost & Found. Crisis of Memory in Contemporary art ]
Formato 24X17 cm.
Brossura con copertina con alette
pp 160
Italiano-English
marzo 2009
18 Euro
Our world is so crammed with memories that inexorably most of them get lost. From modernity onwards this problem has been concerning the individuals as well as the whole society. In both literature and visual arts memory is often connected with space and also with the character of the archaeologist.
An archaeologist who works with texts and works of art that end up being similar to lost objects.
As Sigmund Freud, the greatest hunter of ghosts of the twentieth-century, intuited, this subject concerns geography and identity (who owns this objects?).
Contemporary art didn't answer this question; instead, it provided us with procedures and narratives that are essential for understanding the transformation of the idea of memory.
It is obvious that the crisis of memory, in its conventional manifestations, has its origin in the artistic and social experiments of modernity.
Stendhal was a couple of decades ahead of the famous essay by Walter Benjamin, The work of art in the age of mechanical reproduction, when he complained about illustrated postcards. According to the writer they disturbed, or even cancelled, the ‘original’ memory of landscapes and paintings that he previously saw.
In the face of the impressive development of technique and technology (that even managed to radically change the metaphors of memory), art, literature and also philosophy seem to have assumed an exactly opposite position to the complaints of the French writer. Assemblage, palimpsest, dematerialization, and the use of ordinary materials (Benjamin collected postcards that he used in his fragmentary encyclopedias) are all processes connected with a sort of archaeological reconstruction of a space and a body.
With the exception of those rare public monuments in memoriam (all condemned to controversy and altercation), contemporary art seems to be destined to recall different memories; to occupy empty or abandoned spaces, or to rethink the scientific practices of museum conservation and archival (paying special attention to natural sciences).
The title of the essay written by Giovanni Iovane and Filipa Ramos is rooted in the memory of two typical places of out times: the Lost Property Office (recalling the gigantic Bureau of Paris, with thousands of finds) and the Lost & Found sign that can be seen at the baggage claim area of every respectable airport. It is an image and a metaphor of the current crisis of memory in contemporary art.
|
|
|
|
|
|
|
|
|
News
|
|
|
|
|
|
| |
|
|
|
|
April 2009
 LA REGIONE ABRUZZO |
|
Archive |
|
|
|
| |
|
|
|
|
1042927