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Toonmomenten door kunstenaars in residentie

The {Mathematical Alphabet of Inverted Memories}
Geschreven door Blanca Lista





Truths
are illusions whose illusionary nature has been forgotten.”


Nietzsche





To
stretch the concept of remembrance toward the visual language through
a non-narrative structure in order to widen the scope of
understanding of the mechanics behind memory; to adapt the concept of
unmemory into art through the abstraction of visual images;
and to challenge the spectator to explore the concept of unmemory
– just as in mathematics numbers are divided into negative and
positive numbers by the number zero, which is visually represented by
a circle, that is to say a whole which contains the entirety of the
numerical components, so is memory – within every memory exists an
unrendered memory, or unmemory, which like an unrendered
digital image, does only exist in an abstract state as it has
not yet, maybe it will never, become a reality. Furthermore, memory
does not only contain one’s lived existence but it also stores
one’s non-existence words never said, decisions never taken,
places never visited. Ultimately, as in mathematics, a circle
embodies the entirety of memories; this circle is represented by
remembrance and its complex structure is mainly composed of vessels.





Memory
as a succession of tiny vessels – all unique in both configuration
and substance – self-contained in a whole and arranged into
remembrance, as opposed to the assumption of a uniform entity that is
selective and is composed of a series of memories all mixed up
together to give birth to remembrance. This project takes the time,
for once, to indulge the receptor into absorbing a visual image
without the pre-conception of instant gratification, but rather
experience the abstraction of the art form as being part of a whole.
The fact is uniqueness does not exist, there are only prototypes of a
same product, same emotion, understandably shared by everyone. The
only thing that might be considered different is the whole of tiny
vessels that each of us has accumulated through time and stored into
personal memories unique to each of us. This is not a physical nor an
emotional difference, but rather a difference that lies within each
of us that can only be understood by oneself: it cannot be shared nor
shown; yet, through the visual arts, I want to provide an inside
outlook on the notion of memory and unmemory as a pure
aesthetic concept by allowing the spectator of this artistic endeavor
to become an observer, furthermore, a voyeur, of his own
beautiful psyche with its unique complexity. Through the observation
of the artistic work, the spectator would be provided with a mirror
into his own remembrance, and therefore, he would reflect into his
own memory and unmemory. The experience would enlighten the
spectator’s understanding of the process of remembrance.





An
absolute memory/unmemory is stored into a vessel – which is
composed of fragments – connected to others through filaments; for
every memory/unmemory there are several layers, or membranes,
concurrently represented by a visual medium: painting, photography,
and film; therefore, different stages of consciousness can be found
in a memory/unmemory. Through the abstraction of the use of
light, space, and movement, in the visual arts, I intend to explore
the different levels of fragmentation in memory/unmemory,
partially due to time. The project is a collage composition of
creative ideas, concepts, and thoughts; yet, the illusion represented
through the different visual images, proposes a more complex,
self-conscious, form of viewing.





To
study the different stages of memory and unmemory through a
research in the bounds of the visual arts – painting, photography,
and film – integrating the notion of time and its influence on
remembrance. The artistic exploration of memory would be approached
from different perspectives: in painting, light; in photography,
space; and in film, movement. These mediums share the same aesthetic
foundation: images being represented as a pure visual element.
Through the observation of several different fragments of a whole
i.e. a face, a sight, which eventually constitute the memory and
unmemory of a sole person, in film, photography and painting,
the receptor would be exposed to the analysis of one single
apparently isolated event that is simply a vessel within a person’s
remembrance. The succession of these vessels delineates a horizontal
line while each vessel abstractly stands in a vertical line in time.
This artistic process would be revealed as the autopsy of remembrance
where it would be dissected into memory and unmemory. Upon
seeing with his own eyes a reflection of his own knowledge, the
spectator would be challenged to explore his own experiences into a
deeper level of questioning. What does define a person, the entirety
of his life, a series of isolated events, or a stateless set of in
betweens?






Analogue means that
the original information is retransmitted to the receiver without any
manipulation, while digital means that the original recorded
information is juggled to enable it to be preserved without any loss
of quality. Digital media offers certain
seamlessness, a satisfaction of commodity, and an expectation of
flexibility. Furthermore, digital systems, devices, aim to abstract
themselves from the temporal to grasp for the eternal – an
ideological undertaking. Therefore, in my project, the use of
analogue devices is justified in order to aim for the capture of the
moment, which exists in an atemporal present unframed in space,
which is only abstractly eternal. Digital gives meaning
through communication, while analogue gives meaning through
representation. In digital, subjectivity becomes an effect; yet, I
aim to capture the purity of subjectivity through a classical use of
its creative presence. Digital is very precise, everything is thought
of and programmed, but analogue still gives away a sense of magic,
unexpected, which makes the image real, and organic, and truly
beautiful; that is to say, the difference between a world where
chance persists and one in which there is no randomness. Digital
emphasizes a personal meaningless, it can do it all, see it all, at
every given moment, yet, analogue awaits the unforeseen as a vehicle
to greatness.





The
cinematic present, like the point of origin of graphs, can be given a
number: zero. But zero is not what it is – it is a null. The
concept of nonidentity reveals zero’s quality of internal
difference; zero is a relation rather than a no thing because it is
always already a relation of nonidentity with itself. Nothing comes
first in the beginning of cinema: zero is the nonidentity out of
which the images arise, the difference that surrounds, supports, and
activates apparent motion, the instability of the unmoving still
image between what it was and what it will become. Zero denotes
origin in coordinate space, traditionally placed at the center to
allow for negative as well as positive values; zero is the relation
between plus and minus, existence and nonexistence. As origin, zero
neither exists nor does not exist: it is the privileged marker of
difference. In art, a zero of completion complements the zero of
origin. The continuum of difference, zero not as a void but as the
sum of all differences. There are multiple ontological temporalities
of films emphasizing sophisticated structuring of space and the use
of repetitions, mirroring, framing, and staging in depth. To unframe
visual art, as nowadays even our infinities are bounded, in order to
introduce a potentially endless creative mise en abyme. An
atemporal work of art becomes a purely spatial configuration.





Zero
is intimately connected to the idea of nothing, emptiness, void, the
ultimate unreality of signifying not nothing, but no thing, as a
result, it is opposed to the idea of completeness. Nothing is
that which is not, and it could only be known by knowing nothing. In
the study of the mechanics of remembrance, zero is a sign, which
determines the absence of certain other signs; therefore, it also
validates their existence – the idea that something exists by not
existing, which creates a systematic ambiguity between the concept of
absence and that of existence. Within remembrance, memories are
structured around the notion of an absence, in the sense of a
signified non-existing memory, that is to say, for every existing
memory there is an unmemory, which compiles that which has not
taken place, the negative side of the real memory stored in our mind.
Zero, which represents itself as the absence of anything, as nothing,
the idea of an empty meaningless character, finally holds within all
the other signs, just as remembrance contains both memory and
unmemory. As a numeral, the mathematical sign of zero points
to the absence of certain other mathematical signs, however, as a
pure symbolic figure, zero signifies the non-presence of any sign.
Furthermore, zero adapted into the concept of remembrance, represents
the starting point, or origin, for both the sequence of memory and
unmemory towards their infinite progression, at the same time
as it embodies every memory as well as every unmemory.





{Painting}


Untitled Series





To
explore the concept of memory/unmemory through light
distortion of different layers of remembrance while experimenting
with the notion of the organic feel of memory adapted into painting
texture. The abstraction in painting through light distortion and
organic texture incorporation should be considered as a mild
destruction, which could be compared to the fragmentation of a
memory/unmemory due to time passing. The use of such creative
themes as texture structure, collage form, in the function of
manipulative devices to transform the image in the canvas into
something new. The paintings integrate organic elements
such as spices – basil leaves, ground cinnamon, clove, black
pepper seeds, saffron, cayenne, nutmeg, red pepper seeds, onion
seeds, tamarind – as both a formal element and a link to the
storage of memories and unmemories in our unconscious.





The
experimentation with different textures is meant to provide the
viewer with a deeper sense of understanding of the mechanics behind
remembrance as a series of layers composed of divers degrees of
memory. The different textures created with the palette knife are a
visual representation of the search for memory/unmemory within the
spectator’s very own unconsciousness, while incorporating a
symbolic use of color. The use of essential visual symbols – the
circle, the straight line – intensifies the meaning of these forms
through subtle changes in their size, spacing, and placement on the
canvas. The artistic code used, as a purely abstract method, offers
an illusionist representation of memory – of a real visual scene –
and unmemory – as an imagined visual scene. Externally, the
paintings suggest the spectator the possibility of momentarily
becoming, via a thought experiment – through the act of remembering
– the artist. At this specific moment, the spectator is capable of
seeing from the artist’s point of view, and this action becomes a
voyeuristic one. The canvas acts as a mirror, reflecting back to the
spectator an imagined version of himself, a fictive self in the guise
of the artist.





{Photography}


The
Art of Looking.


{a
photographic sequence in an amber afternoon}





Time
and memory became the starting points for the photographic project.
Additionally, the challenge to study the concept of remembrance
through visual space, as a key to deepen our understanding of the
influence of time in photography. Therefore, The Art of Looking.
aims to explore the concept of memory/unmemory through
photographic images. In the course of research, the idea of box
within a box within a box, an interior space within a space within a
building, came to be intimately connected to the concept of hidden
memory/unmemory. The project aspires to capture a single
individual moment, either a memory or an unmemory of desire,
shown as a series of consecutive still images – the perception of
remembrance as circular anticipation.





Each
image within the series of photographs gives the spectator the chance
of objectifying himself, and much more specifically, what he is
seeing, the means of perceiving from the outside, as an unitary
seeing subject, since each image makes a grammatical declaration:
this is what happened, what I see, simply by the use of a spatial
mark disguised in the form of a verbal tense, and therefore an
ambiguity between either a real or an imagined picture, that is to
say, a memory or unmemory, from each particular image at a
particular instant in time. Abstractly, the photographs allow the
subjects to enact a thought-experiment, what gives these pictures a
certain highly convincing illusion is the reflection into the
spectator’s own unconsciousness – perhaps, these images did
indeed happened at that moment in time, since the scene could be the
artist’s own memory, when actually they are the image subject’s
own unmemory, which becomes a reality when seeing an empty
photograph of the previously depicted scene. This notion further
concludes the fact that photographed images can represent purely
imaginary, non-existent, timeless, scenes, which introduces a vital
difference between presentation and representation, the latter being
an arbitrary artistic choice in this particular project.





To
promote illusion – and thereby be capable of revealing the truth
behind the illusion. As today the authentic has
become a special effect, revert to a pure, unaffected analogical
photographical reconstruction is not only refreshing but also
necessary to create a purely illusionary dreamlike atmosphere of
truth. The analogue can hold authenticity because it is not unified,
as digital media is, yet its uniqueness lies in is uncontrived
nature. For the illusion to persist, it must preserve its
truly magical characteristic by remaining always present in an
atemporal unbounded space.
The illusion of anteriority felt by
the spectator, represents the belief that the visual scenes observed
took place at a prior moment in time. Remembrance could be seen as a
system, where zero is a conceptual sign for absence, which creates a
source for abstraction. Through the visual representation of
different degrees of abstraction, the project aims to create poetic
mirrors of remembrance.


{Film}


Galore.
A
cinematographic collage of solitude and the printed memories created
in-between.





The
film, which could be seen as either horizontal – as a series of
still pictures – or vertical – as a still picture at a time, aims
to achieve the fragmentation of time through random thoughts on
solitude and to bring the notion of memory/unmemory into a new
level of abstraction in order to transform its meaning. The time of
the story is present, a girl voice narrates the script mainly
thoughts, ideas, to experiment with two concepts: the repetition of
fragments, a game with spatial existence, fragmentation through the
use of different tenses obsession over ones present – the aim for
it to be real and the improvisation in the storytelling random
conversation inner narrators mind combined with images –
unsynchronized, unbalanced The images are all in the present: the
city throughout the film walking, characters past/present, memory
idealized. To explore the idea of talking/listening to someone
while being unable to help being focused only in your own
thoughts/ideas in your head; the wish to convey this feeling through
the voice over as a monologue, always with ourselves; when the girl
becomes a male subject, it symbolizes the reflection of any
imagined/past conversation.





To
show the solitude of the city – its people, its places – through
a conversation piece for one; a fight against solitude, the
unhappened moment, passing of time, ideal/utopian printed memory; the
need to create a wordscape in order to understand our deepest
anxiety/worry/fear; an endless search for balance; an escape to
imaginary memory; try to hold on to truth/reality, which transforms
itself into absurdity; only dialogue/image to achieve
distance/perspective; aim throughout film not to know if characters
are real or imaginary; a game on images, which must give meaning to
abstract fragmented voice over through editing as an imagescape
to allow words to acquire a new meaning; the main character is
brought back to reality by the use of music/sound; she explains he,
a play with the characters person/identity, is it real, or an
invention?; a girls vision/thoughts on her love; self-portrait, now
– random thoughts – roller coaster of uncertainty; finally, being
self-conscious of your previous unconscious choices, past is the
space between what we were and what we became, present is the space
between what we became and what we shall be; the fragmentation of
time through random thoughts on solitude.








©
Lista2005

27 10 2005

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