"Invisibility, Embodiment and Patterns of Memory": A discussion on Oicherman's I wish I could (2019), Oh my dear one (2011) and Twitchin's "Do we still remember?"
The conversation will focus on the forms that artists use to return to the historical document versus the living on of memories from the past, whether personal or cultural. Questions of the how of cultural memory in relation to the what would, then, be the subject of discussion around Twitchin's videoworks (photographic, phonographic), but might also be applied to Oicherman's practice of engaging with a personal archive (photographic, textile). Twitchen's films offer an apparent "unity" of threads braided together, while critical reflection immediately recognises that their relation is constructed, yet the films present a "narrative" continuity of its own. Meanwhile, Oicherman's films visually and phonically disconcerts the viewer, reflecting on the elusive personal character of mass-produced textiles that hint at the absent body and the open space of collective and personal memory. Thus, the question of the "how" of cultural memory in relation to the "what" might then be a subject for discussion.
"Invisibility, Embodiment and Patterns of Memory": A discussion on Oicherman's I wish I could (2019), Oh my dear one (2011) and Twitchin's "Do we still remember?"
The conversation will focus on the forms that artists use to return to the historical document versus the living on of memories from the past, whether personal or cultural. Questions of the how of cultural memory in relation to the what would, then, be the subject of discussion around Twitchin's videoworks (photographic, phonographic), but might also be applied to Oicherman's practice of engaging with a personal archive (photographic, textile). Twitchen's films offer an apparent "unity" of threads braided together, while critical reflection immediately recognises that their relation is constructed, yet the films present a "narrative" continuity of its own. Meanwhile, Oicherman's films visually and phonically disconcerts the viewer, reflecting on the elusive personal character of mass-produced textiles that hint at the absent body and the open space of collective and personal memory. Thus, the question of the "how" of cultural memory in relation to the "what" might then be a subject for discussion.
USB G.003 MSA Conference Newcastle 2023 conference@memorystudiesassociation.orgTechnical Issues?
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