How we see us
gazing through memory
ARE PERFORMING ARTS FESTIVAL
‘‘THE SOREST IS NEVER GIVEN A PLAIN VOICE.’’
emantic elements of “cultural memory” are preserved for long periods of time as if percolating through changing languages, cultures and chronological periods. Cultural memory can be understood as a part of the collective domain, which is directly related to the present. It can be perceived as transmission of socially valuable messages and can be thought of as information storage with inbuilt transmission mechanisms.
Transmission is characterised by face-to-face communication between the sender and the recipient. Through this immersion in space and having associations that (at first sight) are free and unrelated to historical events, the listener experiences the moment as a link in time, which is disconnected from the chains of history, as if seen through a magnifier,
examining the faces of the present in various combinations. Memory resurrects in the moment through the free associations of vision instigated by the “material” bearers. Distinguishing the past from the future makes its presence materially tangible. Memories forsaken and rediscovered...
By understanding memory as a performance, we shift the focus to artistic practices of cultural memory
he immateriality of memory refers to the ephemeral, the intangible. Here, the quest for meaning implies transcendentality. One can only assume what kind of hints can serve as transmission mechanisms: some examples would include sound, light/shadow, gestures, and odors.
The French artist Yves Klein believed that the immaterial is an energy gesture, the impact of which resembles immersion in space, where our perception abilities are activated. Such immaterial signs in motion create an area of physical influence, where the viewer/listener becomes an element of the collaboration.
he performative turn helps to understand cultural memory as a process of dealing with the past in the present that is embodied and mediated. The concept of a performance of memory crucially opens up to the practice of “doing memory”.
Cultural memory is being performed in the codes of the artwork.
The latter is thus engaged in non-linear processes of remembering and forgetting, collapsing time and space, and bringing the vicissitudes of desires, memories, and effects to the fore. The phenomenon of visualising/remembering the unimaginable is at stake. Thus, we would like this project to be perceived not as a longing for the past, but rather as the strife from roots to the everlasting.