mapping, forgetting and failure
(2025)
author(s): Marcia Nemer
published in: VIS - Nordic Journal for Artistic Research
In the last days of June 2024 I learned something I would rather not know. Aware that the act of forgetting is something that often simply happens, I started a daily practice of checking if I could still remember what I would like to forget. The question I found myself asking as time passed and I failed is if the desire to remember is what makes us forget.
or
In the last days of June 2024, I learned something I would rather not know.
Something I wanted to forget.
Aware that the act of forgetting is something that often simply happens, I start a daily practice: at the end of each day I sit down, stamp a date on a notebook page and take note: Do I still remember? I write using charcoal, a material that has little permanence. To work with charcoal is to constantly fight its desire to go away. Every night I take the time to see if I can still remember what I would like to forget. I know how to remember, I don’t know how to forget. I do nothing to forget, I simply let time pass and register the presence of this thing I now know. I don’t know how to actively forget, and I choose not to learn ways to do it. I wait for it to happen.
As time passed and I failed, I found myself asking if the desire to remember is what makes us forget.
I fail over and over again.
I still remember.
What Is This Image Doing Here? [submitted to VIS - Nordic Journal for Artistic Research - 2025-07-11 10:25]
(2025)
author(s): Giselle Hinterholz
published in: Research Catalogue
This visual essay explores images generated through AI-based expansion of a simple photographic composition.
Without commands or prompts, the system infers human gestures, shadows, and presences — inventing what was never there.
The project questions authorship, visibility, and the power of symbolic residue when language no longer mediates creation.
It is not about representation — it is about refusal, inference, and the unsettling persistence of images beyond intention.
Patches of Time (PoT): Performing Memory through photographic (re)construction..
(last edited: 2025)
author(s): Lawrence Agbetsise
This exposition is in progress and its share status is: visible to all.
This study examines the relationship between the narratives in audio-visual artwork and the temporality of historical preservation within sociocultural contexts of destruction and re-construction, and rusting, through the concept of Sankofa. The series of photographic artworks titled “Patches of Time” delves into the socio-cultural fabric of memory, historical sites, forest, and the contemporary reconstruction of the past. Together with the written content, I show various forms of media such as photos, sound files and videos that reveal different aspects of the audio-visual practice. The photos and sound compositions are discussed here as ways of doing and making, exposing the experiences that hold aesthetic qualities and a sense of the sublime. The materiality of the photos and soundscapes mirrors an archaeological process, where remnants of the past are not only recovered but also recontextualized within contemporary sociocultural frameworks. Specifically, I investigate the integration of destruction and re-construction which aligns with Walter Benjamin’s notion that reproduction destabilizes traditional narratives, offering opportunities for reimagining history, and reshapes the aura of cultural artifacts. The destruction and re-construction of these photos impacts the narrative gestures of going back and starting anew (Sankofa). The study aims to observe the interconnectedness of art, memory and the mind as historical sites and explore the potential for re-imaging the nature of audio-photographic art.
"N.N-Zwischenliegend" – non-calculable time, space and body
(last edited: 2024)
author(s): Erika Matsunami
This exposition is in progress and its share status is: visible to all.
Non-calculable time, space and body is the second part of the artistic research “N.N-Zwischenliegend.” This part consists of three main questions: How to create a documentary that is not binary proof? Is it possible to understand artistic documentation (a work of art) as knowledge? Is it possible to conceive artistic documentation (a work of art)? These questions refer to the subject of Arti-fact, and to part three “N.N-Zwischenliegend” of my artistic research. In doing so, I attempt to investigate the subject of aesthetic contemplation, which frequently relates to cultural evolution. For this, I require self-reflection on whether a work of art could be documentation on the topics of space, time and body.
The third part of this artistic research is on spatial installation.
The three important elements in this part are the photographs which I took of Berlin, the sounds which I recorded in the city of Berlin, and the interviews with Berliners. – an invisible city and the recent notion of a 'city' towards urbanism in Berlin
Ninguém entra duas vezes no mesmo rio.
(last edited: 2024)
author(s): rodrigo queirós
This exposition is in progress and its share status is: visible to all.
“Misfortune is the echo of hope”
By looking attentively we can renew our world constantly, everything that surrounds, even the most banal is a portrait of hope. In this Exposition I choose to focus on what is directly around me, in a nearly autobiographical form, at a same time forming a kind of portrait of a city and a memory of a disappearance. Paradoxically, the disasters of what is no longer with us, that has been lost, is also what we should maintain in "echo" as an act of tenderness. In an exercise of simplicity that arises from the question "what is the shipwrecked person left with?" of Hans Blumemberg.
MEMORY AND FRISSON THROUGH THE PERSPECTIVE OF THE SOUND
(last edited: 2023)
author(s): Tilen Lebar
archived in: KC Research Portal
ABSTRACT:
The author presents the results of the exploration of musical form through the perspective of the mnemonic technique of 'chunking.' He introduces to us his original work that was questioning and investigating different types of memory representations and limited capacities of a human brain. He combines the musical compositional process and defines the time relations between static and sound in motion. Later on, the author presents to us the overlapping characteristics of the sound phenomena of Autonomous Sensory Meridian Response (ASMR) and Frisson. He defines different bodily processes that are consequentially related to both sound phenomena. Moreover, the author presents the second original work that tried to reproduce the sound phenomena in a 'classic' concert form. Overall, he presents results of an online and a verbal survey that investigates the reactionary thoughts of the collective memories and experiences induced by the audience. Later on, he compares the feedback obtained with the existing researches that were dealing with the topic of memory and the psychophysiological responses of the human body.
This visual essay explores images generated through AI-based expansion of a simple photographic composition. Without commands or prompts, the system infers human gestures, shadows, and presences — inventing what was never there. The project questions authorship, visibility, and the power of symbolic residue when language no longer mediates creation. It is not about representation — it is about refusal, inference, and the unsettling persistence of images beyond intention.open exposition comments (0)
“Misfortune is the echo of hope” By looking attentively we can renew our world constantly, everything that surrounds, even the most banal is a portrait of hope. In this Exposition I choose to focus on what is directly around me, in a nearly autobiographical form, at a same time forming a kind of portrait of a city and a memory of a disappearance. Paradoxically, the disasters of what is no longer with us, that has been lost, is also what we should maintain in "echo" as an act of tenderness. In an exercise of simplicity that arises from the question "what is the shipwrecked person left with?" of Hans Blumemberg.open exposition comments (0)