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The sixth book in the series "Sem Título" (Untitled) is an essay by Ruth Rosengarten on the links between photography and the archive in contemporary art, plotting a personal trajectory through the works of the Berardo Collection by linking artists such as Marcel Duchamp, Anselm Kiefer, Hiroshi Sugimoto and Bernd and Hilla Becher. Beside the text, now published in English, the book includes colour reproductions of the works selected.
Essays exploring the importance of archives as artifacts of culture
This anthology investigates the turn in art not only towards archives and histories, the relics of modernities past, but toward the phenomena, in themselves, of "haunting" and the activation of memory. It looks at a wide array of artistic relationships to memory association, repetition and reappearance, as well as forms of "active" forgetting. Its discussions encompass artworks from the late 1940s onward, ranging from reperformances such as Marina Abramovi's Seven Easy Pieces (embodied resurrections of decades-removed performance pieces by her contemporaries) to the inanimate trace of "memory" Robert Morris assigns to his free-form felt pieces, which "forget" in their present configurations their previous slides and falls. Contextualizing memory's role in visual theory and aesthetic politics--from Marcel Proust's optics to Bernard Stiegler's analysis of memory's "industrialization"--this collection also surveys the diversity of situations and registers in which contemporary artists explore memory. Art that engages with memory embodied in material and spatial conditions is examined beside works that reflect upon memory's effects through time, and yet others that enlist the agency of remembrance or forgetting to work through aspects of the numerous pasts by which the present is always haunted.
The anthology Politics of Memory investigates the changing relationship between artistic practices and the documentary. The documentoffered as an objective trace left by events, as material proof or as the creation of realitycan transform a state of memory into state memory through historical removal which, ultimately challenges permanent or temporary forgetting, casting memory into the future. Bringing together the work of international artists and filmmakers including Hito Steyerl, Eric Baudelaire and Clemens von Wedemeyer and others who attended the cycle of conferences held between 2009 and 2013 at Nuova Accademia di Belle Arti Milano, this illustrated softcover publication is the result of a multi-year research project promoted by NABAs Visual Arts and Curatorial Studies program. It begins with the idea of memory as a critical exercise and act of resistance and compares a variety of artistic expressions investigating forms of documentary making and archiving.
"An international artistic research project initiated by the [stfold University College/Norwegian Theatre Academy, Norway in cooperation with York St John University, UK, Muthesius Academy of Fine Arts and Design, Kiel, Germany and Massachusetts Institute of Technology, Cambridge, US"--Colophon.
An exploration of life at the margins of history from one of Russia’s most exciting contemporary writers Shortlisted for the 2021 International Booker Prize Winner of the MLA Lois Roth Translation Award With the death of her aunt, the narrator is left to sift through an apartment full of faded photographs, old postcards, letters, diaries, and heaps of souvenirs: a withered repository of a century of life in Russia. Carefully reassembled with calm, steady hands, these shards tell the story of how a seemingly ordinary Jewish family somehow managed to survive the myriad persecutions and repressions of the last century. In dialogue with writers like Roland Barthes, W. G. Sebald, Susan Sontag, and Osip Mandelstam, In Memory of Memory is imbued with rare intellectual curiosity and a wonderfully soft-spoken, poetic voice. Dipping into various forms—essay, fiction, memoir, travelogue, and historical documents—Stepanova assembles a vast panorama of ideas and personalities and offers an entirely new and bold exploration of cultural and personal memory.
A theoretically grounded interdisciplinary study of "cultural memory" in sites ranging from Chile, Bolivia, and South Africa to Germany and the US.
The news media have given us potent demonstrations of the ambiguity of ostensibly truthful representations of public events. Jordana Mendelson uses this ambiguity as a framework for the study of Spanish visual culture from 1929 to 1939--a decade marked, on the one hand, by dictatorship, civil war, and Franco's rise to power and, on the other, by a surge in the production of documentaries of various types, from films and photographs to international exhibitions. Mendelson begins with an examination of El Pueblo Español, a model Spanish village featured at the 1929 International Exposition in Barcelona. She then discusses Buñuel's and Dalí's documentary films, relating them not only to French Surrealism but also to issues of rural tradition in the formation of regional and national identities. Her highly original book concludes with a discussion of the 1937 Spanish Pavilion, where Picasso's famed painting of the Fascist bombing of a Basque town--Guernica--was exhibited along with monumental photomurals by Josep Renau. Based upon years of archival research, Mendelson's book opens a new perspective on the cultural politics of a turbulent era in modern Spain. It explores the little-known yet rich intersection between avant-garde artists and government institutions. It shows as well the surprising extent to which Spanish modernity was fashioned through dialogue between the seemingly opposed fields of urban and rural, fine art, and mass culture.
Paper Memory tells of one man’s mission to preserve for posterity the memory of everyday life in sixteenth-century Germany. Lundin takes us inside the mind of an undistinguished German burgher, Hermann Weinsberg, whose early-modern writings sought to make sense of changes that were unsettling the foundations of his world.