It symbolized a place of remembrance that is none other than the family house of the nationalist Ruben Um Nyobé, an important figure in Cameroon’s struggle for independence. DD: Was this the first time you have participated in the SUD triennial? I had the opportunity to take part in some discussions, some exchanges with a number of other artists who’d been selected. I want to condemn modern-day rivalries and controversies, be they political, religious, or cultural in origin. 4.9 out of 5 stars 33. ArtThrob is South Africa’s leading contemporary visual arts publication. DD: Which project did you present at the SUD triennial last year? While De Rooij was researching Nazi persecution of LGBTQ+ individuals and their marginalization in terms of postwar commemoration, he discovered that Dachau’s International Memorial (1968), by Yugoslavian artist Nandor Glid, did not include any reference to them. Artist: Yinka Shonibare CBE Venue: James Cohan, New York Exhibition Title: Earth Kids Date: December 4, 2020 – January 23, 2021 Click here to view slideshow. What Five Years of the Berlin Program for Artists Taught Us, Kwesi Botchway’s Defiant Figures Examine the Black Experience, Olu Ogunnaike’s Radical Revival of London Plane Trees, Teresita Fernández Investigates the Caribbean’s Colonial Past and Natural Forces, Documentation Centre for the History of National Socialism, Munich’s Documentation Centre for the History of National Socialism. View All Available Formats & Editions. In the face of creeping far-right thinking, an exhibition in Munich underscores the role contemporary art can play in ensuring historic atrocities are never forgotten. CONTEMP ART & MEMORY: Images of Recollection and Remembrance | Gibbons, Joan | ISBN: 9781845116194 | Kostenloser Versand für alle Bücher mit Versand und Verkauf duch Amazon. Looking at both personal and public memory, Gibbons explores art as autobiography, the memory as trace, the role of the archive, revisionist memory and postmemory, as well as the absence of memory in oblivion. Paperback. return engagements making memory matter: strategies of remembrance in contemporary art by lisa saltzman chicago: the university of chicago press, 2006 128 pp./$20.00 (sb) In 1927, Siegfried Kracauer warned of the amnesiac potential of photography, imagining a flood of photos overpowering the fragile dams of memory. Both exhibitions are presented as part of Current Seen, the small-venue biennial for contemporary art. Here the artist tells Dagara Dakin more about the two works he exhibited at the SUD triennial Jean David Nkot, www.kolofata.it (Detail), 120x120cm, mixed media, 2015. MoMA The Museum of Modern Art. These three perspectives seem to epitomize the approaches society generally takes to dealing with the burdensome legacy of the past. Lisa Saltzman shows here that nearly two thousand years after this story was first told, contemporary artists are returning to similar strategies of remembrance, ranging from vaudevillian silhouettes and sepulchral casts to incinerated architectures and ghostly processions. JDN: Yes, because my work on the question of violence and its normality in our age pushes me to examine the human condition and man’s place in a dehumanizing period, where people are only regarded as important when they are synonymous with financial gain, and where capital matters more than social issues. Many people who feel pulled in such a direction, face barriers from friends and family who ask them “Why study contemporary art?” Sometimes families struggle to see the valuable role of art in society and the ways that an aspiring artist can contribute to that role. I also attended the conferences that were organized during the preparation phase for this triennial, and before that I took part in the Dakar Biennale, although this was still in the context of the OFF program. The Nazis classified individuals as ‘Asozial’ (antisocials) or ‘Berufsverbrecher’ (career criminals) on an often-arbitrary basis, applying these labels equally to prostitutes, LGBTQ+ people, the homeless, petty criminals, social misfits, those who were allegedly ‘workshy’ and those guilty of serious crimes. Courtesy: the artist and Documentation Centre for the History of National Socialism, Munich. Video art is not necessarily a type of art that individuals would want to own, but rather an experience. Courtesy the artist. This Interview was first published in our latest Print Issue #8. In 2005 he was named as one of the 100 most influential gay and lesbian people in Britain. But, without any inclusion of the black and green triangles worn by those deemed ‘antisocials’ and ‘career criminals’ respectively, remembrance of all holocaust casualties remains incomplete. Its author, the Munich-based doctor and Nazi supporter Johanna Haarer, made only minor alterations to the postwar editions that continued to be issued until the late 1980s. The first part was a spatial installation of a false façade realized on metal and measuring 8.5 by 2 meters. Kito Nedo lives in Berlin where he works as contributing editor for frieze and as freelance journalist for several magazines and newspapers. Special offers and product promotions. The distinctive feature of this work is the highlighting of fragments of this address, which speaks of the human dimension, the theme of the triennial. Making Memory Matter: Strategies of Remembrance in Contemporary Art Lisa Saltzman. 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