Mnemotops

Kód výsledku v IS VaVaI

<a href="https://www.isvavai.cz/riv?ss=detail&h=RIV%2F44555601%3A13530%2F20%3A43895962" target="_blank" >RIV/44555601:13530/20:43895962 - isvavai.cz</a>

Výsledek na webu

<a href="https://owncloud.cesnet.cz/index.php/s/1B4tQc2Xl3TewsF" target="_blank" >https://owncloud.cesnet.cz/index.php/s/1B4tQc2Xl3TewsF</a>

DOI - Digital Object Identifier

—

Jazyk výsledku

angličtina

Název v původním jazyce

Mnemotops

Popis výsledku v původním jazyce

A curatorial project dealing with the cultural memory studies of the relationship between individual and collective memory in the context of contemporary visual art. The exhibition was conceived a curatorial project with an aim to gather artists, specially focused on younger generation of artists who are born on the territory of former Yugoslavia and countries of ex Eastern Bloc, who in their work, are involved in questions of memory, accordingly in questions regarding identity, history and its (un)official narrative, and other sociopolitical aspects of the past. Geopolitical frame for the selection of artists is imposed due to interest for former countries of that territory, coming from younger generations born a little before the fall of Berlin Wall, but also from those born during the period of transition from communist i.e. socialist regulated systems to democratic conceived states. Besides all the real and symbolic changes that amalgamation of the two worlds has brought (J. Denegri), not only future was questionable, but also the past was put under reconsideration; collective memory which was developed during existence of ex socialist countries, seemed problematic in relation to autobiographical memories (T. Kuljić). Antagonism of individual and collective memory, in this context, is somehow still visible today, thirty years after the end of the Cold War and disintegration of SFRY. Generations born during the late 1980&apos;s, and those born during the 1990&apos;s, are familiar with those collective memories which are transmitted to them by stories from a family, media, educational system, or actual political power. However, it doesn&apos;t have to mean that a certain memory, created under the same circumstances, would have any overlapping points between these diverse sources. The idea is to gather works whose foundation is based in the dichotomy of memory into individual and collective, as well as in a hiatus of these two memories, which are most often seen in transmitters (objects) of memory that are absent from both of its ?ow. By analytical approach, selected works examine the transferred memory by revising the past and locating new objects as memory transmitters, or by anew semiotizing those that are already known. This type of indication on uno?cial lieux de memoire (P. Nora) creates a kind of monumentalisation of informal objects, that is, of objects of memory, and determines the topos of certain memories. The title of the exhibition implies on the review of individual and collective memories using the term mnemotop, which most adequately describes interest and comprehension of spatial, or subject matter in the work of Maurice Halbwasch (J. Assmann). Finally, the exhibition was therefore conceived as a kind of review of collective and individual memories and their representation in the practice of visual arts, primarily with the focus on the media of photography.

Název v anglickém jazyce

Mnemotops

Popis výsledku anglicky

A curatorial project dealing with the cultural memory studies of the relationship between individual and collective memory in the context of contemporary visual art. The exhibition was conceived a curatorial project with an aim to gather artists, specially focused on younger generation of artists who are born on the territory of former Yugoslavia and countries of ex Eastern Bloc, who in their work, are involved in questions of memory, accordingly in questions regarding identity, history and its (un)official narrative, and other sociopolitical aspects of the past. Geopolitical frame for the selection of artists is imposed due to interest for former countries of that territory, coming from younger generations born a little before the fall of Berlin Wall, but also from those born during the period of transition from communist i.e. socialist regulated systems to democratic conceived states. Besides all the real and symbolic changes that amalgamation of the two worlds has brought (J. Denegri), not only future was questionable, but also the past was put under reconsideration; collective memory which was developed during existence of ex socialist countries, seemed problematic in relation to autobiographical memories (T. Kuljić). Antagonism of individual and collective memory, in this context, is somehow still visible today, thirty years after the end of the Cold War and disintegration of SFRY. Generations born during the late 1980&apos;s, and those born during the 1990&apos;s, are familiar with those collective memories which are transmitted to them by stories from a family, media, educational system, or actual political power. However, it doesn&apos;t have to mean that a certain memory, created under the same circumstances, would have any overlapping points between these diverse sources. The idea is to gather works whose foundation is based in the dichotomy of memory into individual and collective, as well as in a hiatus of these two memories, which are most often seen in transmitters (objects) of memory that are absent from both of its ?ow. By analytical approach, selected works examine the transferred memory by revising the past and locating new objects as memory transmitters, or by anew semiotizing those that are already known. This type of indication on uno?cial lieux de memoire (P. Nora) creates a kind of monumentalisation of informal objects, that is, of objects of memory, and determines the topos of certain memories. The title of the exhibition implies on the review of individual and collective memories using the term mnemotop, which most adequately describes interest and comprehension of spatial, or subject matter in the work of Maurice Halbwasch (J. Assmann). Finally, the exhibition was therefore conceived as a kind of review of collective and individual memories and their representation in the practice of visual arts, primarily with the focus on the media of photography.

Druh

E_nekrit - Výstava

CEP obor

—

OECD FORD obor

60401 - Arts, Art history

Projekt

—

Návaznosti

S - Specificky vyzkum na vysokych skolach

Rok uplatnění

2020

Kód důvěrnosti údajů

S - Úplné a pravdivé údaje o projektu nepodléhají ochraně podle zvláštních právních předpisů

Místo konání akce

SVILARA Cultural Station Novi Sad

Stát konání akce

RS - Srbská republika

Datum zahájení akce

—

Datum ukončení akce

—

Celkový počet účastníků

6

Počet zahraničních účastníků

6

Typ akce podle státní přísl. účastníků

EUR - Evropská akce