Archive for the ‘Memory & Context’ Category

Wells, Liz. ‘Sense of Location: Topography, Journey, Memory’ (London: I.B.Taurus, 2011) 261-302 p.261 [describing Jem Southam’s ‘River Hayle January 2000’] However, naturalised, this is a landscape that has been subject to extensive human intervention – the markers are there for our information, whether we are physically present, or viewers of photographs which operate in observational […]

Mayer-Schönberger, Viktor. ‘Failing to forget the “Drunken Pirate”‘ Delete: The Virtue of Forgetting in the Digital Age (Princeton, Oxford: Princeton University Press, 2009) 1-15 p.11 What we sense is the demise of forgetting, and a fundamental shift to the default of remembering. [discussion of Panopticon, ‘a prison in which guards could watch prisoners without prisoners knowing whether […]

Vals Im Bashir


One night at a bar, an old friend tells director Ari about a recurring nightmare in which he is chased by 26 vicious dogs. Every night, the same number of beasts. The two men conclude that there’s a connection to their Israeli Army mission in the first Lebanon War of the early eighties. Ari is […]

Anne Hardy


Text from Strange, fantastical, and a wee bit unsettling, Anne Hardy’s photographs invite glimpses into imaginary places, each suggesting fictions of a very surreal nature. Working in her studio, Hardy builds each of her sets entirely from scratch; a labour intensive process of constructing a barren room, then developing its elaborate interior down to […]

Empty rooms are filled with “projections” replaying psychological and emotional events.

Berger, John. ‘Ways of Remembering’ The Camerawork Essays: Context and Meaning in Photography ed. by Jessica Evans (London: Rivers Oram Press, 1997) 42-51 [originally published in 1978] p.42 [After Sontag] A photograph is similar to a footprint or a deathmask. It is a trace of a set of instant appearances. The camera, like the eye, […]

p.3 Barthes ‘wanted to learn at all costs what Photography was “in itself,” by what essential feature it was to be distinguished from the community of images. p.4 What the Photograph reproduces to infinity has occurred only once: the Photograph mechanically repeats what could never be repeated existentially. p.5 The Photograph is never anything but […]

Labyrinth (My Mother’s Album) is a large-scale installation consisting of a series of narrow corridors leading in a maze-like double spiral. The viewer enters the installation through a door and is lead through progressively shorter corridors at right angles until he or she enters a small space in the centre of the labyrinth. This room, […]

Batchen, Geoffrey., ‘’fearful ghost of former bloom’: What Photography Is’ Where is the Photograph ed. by David Green (Brighton, Kent: Photoforum, Photoworks, 2003) 15-29 [Batchen discovers a large 19th century photo-object combining hair, waxen flowers, wreath, words and a photograph] p.19 Memory is here given a physical manifestation. Or perhaps it would be more accurate […]

Read Only Memories by Sean Cubitt, in Language and the Subject, edited by Karl Simms, published by Rodopi, 1997. p.207 The sigh of satisfaction that accompanies the conclusion of a novel is also a sigh of nostalgia. For the subjectivity created in the pursuit of itself premised on a parallel experience of loss. p.208 […]