THINK ABOUT A BANANA OR ICE-CREAM
Anyone born since 1980 lives in a world whose perceptual defaults are primarily videographic and electronic or digital, and has a relationship to time and screens with increasing expectations of interactivity, control, and the possibility of communication; in other words, through images we now encounter time and information in fundamentally new ways. A practical material of contemporary art – and it is a rich and varied one – is the everfading memory of cinema: a vast archive of cultural experience, elliptical and discontinuous fragments of memory-images, which, because we can no longer invoke them directly, become an ever more powerful source of fantasmatic and incorporeal resurrection and recreation. The working idea is that the moving image in contemporary art, in all its complex varieties, is producing a new kind of virtuality or time-mage in terms of how it presents what she calls a “naming crisis” around questions of movement, mage, time, memory and history. Documentation for the work refers to it as a “projected image” work, but rather a film, movie, or video, not even a “moving image” work, but rather a flat description signaling a slippage or discrepancy – an incomplete nomination, or a process or work that eludes further description in the current conceptual context. This slippage or discrepancy generates an overlapping and interfering series of questions: is this a photographic work or a moving image work? What is photograph in this context, and what does it mean to say that the image moves? Is this a document or a painting? Where does history end, and where does memory start? How, in fact, is an Image produced? In any case, the method is to pass through a rigorously researched history in order to produce something like a recombinant memory-image – in the texts, in the visual images, and in the text-image relation. Here constructs a provocative and unstable site of reflection on a virtual life of film. It is a meditative temporality: an investigation of what the image has been and what it is becoming through a sort of quiet and ambiguous unraveling strands of associations of history and fantasy crossing the frame.
video: HD colour, 2 audio channels duration 18min and live performances in two parts
Screened and performed at Centr Red Gallery, Moscow. November 2016