Tuesday, December 29, 2009

Dirk Braeckman

Dirk Braeckman. N.P – I.K. (2004)
c) the photography of memory The photography of memory (focussing on the transitory and turbulent nature of our times and culture as living memory) is perhaps the best category used in the book. Grosenick and Seelig characterize it as concerning impressions, experiences and perceptions that are stored in our mind. Photographers today are often concerned with the “cultural function of memory” which plays a different role in transitory and turbulent times.
Gabor Osz’s Prora Project takes us inside the repetitive interiors of twenty apartments in the kind of building Rem Koolhaas has characterized as “basic plan” (one floor of the same on top of the same), sadly a key architectural feature of modernity. OHIO are collectors who have produced an anti-magazine art project that works according to counter-intuitive and anti-hierarchical logics aiming to advocate neither good nor bad photography but to force questions concerning what we value .Challenges to authorship combines with a fascination with the commonplace in photographers such as Peter Piller, Rosangela Renno, and Tacita Dean. An important thrust of these images is that they will expand our collective memory while we negotiate with an ever problematic real. Sometimes these image makers show us that the poetic is right there under our feet. Roy Arden’s photographs taken in stores echo Andy Warhol’s first Pop works while pointing to our culture as one of by-products. In it places like Wal-Mart represent conduits (as do consumer homes) between nature and the landfill. One wonders if the role of our culture is accelerate this process until the world is turned into an boundless garbage dump. The cynicism of running forklifts through a store and leaving the product on wooden skids is telling of the accelerated pace of this process.

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