Elizabeth Geerts, het tegenovergestelde van vergeten
master beeldende kunsten - fotografie
Our memory fails us more often than not, it is horribly untrustworthy. That’s exactly the reason why we photograph, images provide us with visual evidence of the past but at the same time are only a part of reality. To picture is not necessarily to remember. A remembered image is a construction of the past through the lens of the present. Nowadays we’re able to photograph anywhere, any time. That way we easily collect hundreds of images. How do we cope with this constant urge to make visual memories? What happens to memories when there are over 10 000 images available? And what if there aren’t any images at all? What is pictured, what is remembered and what do we want to remember?
Our memory fails us more often than not, it is horribly untrustworthy. That’s exactly the reason why we photograph, images provide us with visual evidence of the past but at the same time are only a part of reality. To picture is not necessarily to remember. A remembered image is a construction of the past through the lens of the present. Nowadays we’re able to photograph anywhere, any time. That way we easily collect hundreds of images. How do we cope with this constant urge to make visual memories? What happens to memories when there are over 10 000 images available? And what if there aren’t any images at all? What is pictured, what is remembered and what do we want to remember?
‘1438. This is what you leave me with’ in samenwerking met Laetitia Geerts