Tuesday 13 December 2011

Raymond Depardon

"Setting out to lose himself in each place, the resulting photographs show unguarded images of people going about their everyday lives" The Guardian


http://www.guardian.co.uk/travel/gallery/2010/apr/23/raymond-depardon-cities-photography-exhibition#/?picture=361809760&index=9


Raymond Depardon: A personal vision of France

Raymond Depardon is famous for his illustrated reports on socially deprived inner city areas, for his numerous books presenting images interwoven in the text, but also for his films about everyday life in a changing society. The artist definitely knows no limits. Film-maker as well as photographer, he never sacrifices ethics to images.

A traveller through and through, Depardon set himself the task which has been leading him around the country since 2004. According to the seasons and quality of light, he wishes to portray regions that everyone would long to see « as much as » unattractive places.

He focuses on the consequences of urban development in the second half of the 20th century: factories for sale on the periphery of cities surrounded by dozens of car parks, peri-urban areas that swallow up small cities and villages, overexploitation of coastal and high mountain areas...
« I visited very different places, with very different stories. I’ve made it a rule to keep a distance from the subject which allowed me to consider regionalistic specificities and try to tell our common story of everyday life. »
The main features of Depardon’s full of empathy former works were the contrast effects of black and white photographs and the use of a dynamic depth of field. This time, he preferred frontality and the use of the photographic chamber, colour, and a soft, neutral and unique light. The photographer sometimes preferred landscapes to human beings; however, it is a way« to focus on human influence which modified landscapes throughout history. »
Taken from online article: http://www.bnf.fr/en/cultural_events/anx_exhibitions/f.france_depardon_eng.html

Pierre Nora: Between Memory and History

Memory Seized by History


  • What we call memory today is therefore not memory but already history. The quest for memory is the search for one's history.
  • Even as traditional memory disappears, we feel obliged assiduously to collect remains, testimonies, documents, images, speeches, any visible signs of what has been, as if this burgeoning dossier were to be called upon to furnish some proof to who knows what tribunal of history.
  • It is impossible to predict what should be remembered-whence the disinclination to destroy anything that leads to the corresponding reinforcement of all the institutions of memory. 
  • In just a few years the materialisation of memory has been tremendously dilated, multiplied, decentralised, democratised. But who today does not feel compelled to record his feelings, to write his memoirs.
  • The imperative of our epoch is not only to keep everything, to preserve every indicator of memory.
  • The passage from memory to history has required every social group to redefine its identity through the revitalisation of its own history. The task of remembering makes everyone his own historian.
  • Following the example of ethnic groups and social minorities, every established group has felt the need to go in search of its own origins and identity.
  • The decomposition of memory-history has multiplied the number of private memories demanding their individual histories.
  • An order is given to remember.
  • The transformation of memory implies a decisive shift from the historical to the psychological, from the social to the individual, from the objective message to its subjective reception, from repetition to rememoration.
  • The atomization of a general memory into a private one has given the obligation to remember a power of internal coercion. It gives everyone the necessity to remember and to protect the trappings of identity; when memory is no longer everywhere, it will not be anywhere unless one takes the responsibility to recapture it through individual means. the less memory is experienced collectively, the more it will require individuals to undertake to become themselves memory-individuals, as if an inner voice were to tell each Corsican "you must be Corsican"
  • In the same way that we owe our historical overview to a panoramic distance, and our artificial hyper-realisation of the past to a definitive estrangement, a changing mode of perception returns the historian, almost against his will, to the traditional objects from which he had turned away, the common knowledge of our national memory.
  • Lieux de mémoire are simple and ambiguous, natural and artificial, at once immediately available in concrete sensual experience and susceptible to the most abstract elaboration.
  • the object of a ritual. e.g a classroom manual
  • the observance of a commemorative minute of silence, an extreme example of a strictly symbolic action, serves as a concentrated appeal to memory by literally breaking a temporal continuity.
  • memories are crystalised and transmitted from one generation to the next. 


Monday 12 December 2011

Pierre Nora: entre mémoire et histoire: pages 7-12


Pierre Nora : Entre mémoire et histoire

p. 7 Accélération de l’histoire […] = un passé définitivement mort. La perception globale de toute chose comme disparue. Remnants of experience still exist in the La chaleur de la tradition dans le mutisme de la coutume. […] on ne parle tant de mémoire que parce qu’il y en a plus. […] La curiosité pour les lieux ou se refugie la mémoire. […] Il y a des lieux de mémoire parce qu’il n’y a plus de milieux (background/middle ground/environement) de mémoire

Cette mutilisation (wound/permanent injury/damage) qui a représentée la fin des paysans, cette collectivité-mémoire par excellence dont la vogue comme objet d’histoire a coïncidé avec l’apogée (culmination) de la croissance industrielle. Cette effondrement central de notre mémoire n’est portant qu’un exemple. 

This collapse of memory is an example of the movement globalisation, democratisation, massification and mediatisation (mass culture). Independence of nations has recently awoken from their ethnological slumbers by the ‘viol colonial and also the movement of ‘décolonisation interieure’ has affected ethnic minorities/families/groups that reserves of memory but little or no historical capital. 

We have saw the end of societies possessing collective remembered values and the end of ideologies that allowed the passage from the past to the future or that had indicated what the future should keep from the past, for reaction/progress or revolutionary purposes. Dilation of our historical perception, with the help of the media, has created a memory ‘entwined in the intimacy of a collective heritage the ephemeral film of current events’ 

p.8 Acceleration of history= confronts us with the brutal reality of the difference between real memory (social and unviolated, retained as the secret of primitive/archaic societies) and history, which is how our hopelessly forgetful modern societies, propelled by change, organize the past.

On one hand we have an integrated dictatorial memory – a memory without a past, constantly reinventing tradition and linking its history to times of heroes, origins and myths- and our memory, nothing more than sifted and sorted historical traces. The gulf between the two has deepened in modern times with the growing belief in the right/duty to change

Conquest and eradication of memory by history, an effect of a revelation, as if an ancient bond of identity has been broken down and something has ended that we had experienced as self-evident, the equation of memory and history. There is only one French word to describe both the lived history and the intellectual operation that renders it intelligible, this is a weakness of the language that has often been noted. 

Yet, it delivers a profound truth; the process that carries us forward and our representation of that process are of the same kind. If we could live within memory, we wouldn’t have to consecrate ‘lieux de memoire’ in its name. 
Each everyday gesture would be ritual repetition. With trace, meditation and distance, we are not in the realm of memory but of history. Eg. Jews of disapora were bound in daily devotion to traditional rituals and found little use in historians until their forced exposure to modern world.

Memory and history are far from being synonymous, are in fundamental opposition.
Memory is life, borne by living societies, in permanent evolution, susceptible to remembering and forgetting, susceptible to dormant and revival, vulnerable to manipulation and appropriation. It is magical, only accommodates those facts which suit it. Nourishes recollections that may be out of focus, global or detached, particular or symbolic and responsive to avenues of conveyance or phenomenal, to every censorship or projection.

p.9 History is an intellectual and secular production, calls for analysis and criticism.
Memory installs remembrance in the sacred and history releases it again.
 It is blind to all but the group it binds: there are as many memories as groups, memory is multiple and yet specific, collective, plural and yet individual

History belongs to everyone and no-one, universal authority.
Memory is absolute while history can only conceive the relative.

History, a critical discourse, is opposing to spontaneous memory. History is suspicious of memory and is set out to destroy it. History annihilates what has taken place. It preserves some museums, medallions etc but would empty them of what to us would make them ‘lieux de mémoire’. A society living wholly under the sign of history couldn’t anchor its memory. 

   The most tangible sign of the split between memory and history has been the emergence of a history, the awakening of a historiographical consciousness... especially the history of national development.
From the Middle Ages, the whole tradition has been a controlled exercise and automatic deepening of memory, the reconstruction of a past without lacunae or faults. Different historians have represented different memories, be it particular memory, French, Christian, monarchical or ‘people’s memory’. Each historian has been convinced that they are establishing a more positive, all-encompassing and explicit memory. In the last century, the effort to establish critically a ‘true’ memory has intensified. 


p.10 History of history cannot be an innocent operation. Every history by nature is critical. Creating the distinction between memory and history or rather the critique established between the two. “by running a knife between the tree of memory and the bark of history” We are reconstituting its myths and interpretations, implies we no longer unquestioningly identity with its heritage. 

The French Revolution : questioning a national tradition, dissociated history from memory.
The national definition of the present imperiously demanded justification through the illumination of the past. It was, however, a present that had been weakened by revolutionary trauma and the call for general re-evaluation of the monarchical past.... the development of a severe documentary learning for the scholarly transmission of memory. 

History transformed from the tradition of memory it had become into the self-knowledge of society, history was able to highlight many memories, but in disclaiming national identity, it also abandoned its claim to bearing coherent meaning and consequently lost its pedagogical authority to transmit values. The memory-nation was the last incarnation of the unification of memory and history.

The study of lieux de memoires lies at the intersection of 2 developments in France : one a reflective turning of history upon itself and the other, the end of a tradition of memory. 

p.12 These two movements send us at once to history’s most elementary tools and to the most symbolic object of our memory: to the archives as well as the libraries, dictionaries, museums, celebrations and monuments. 

These lieux de mémoire are fundamentally remains, the ultimate embodiments of a memorial consciousness that has barely survived in a historical age that calls out for memory because it has abandoned it

A society that values the new over the ancient, the young over the old, the future over the past.
Museums. Monuments, sanctuaries, festivals are the rituals of society without ritual. (beleaguered and cold). Integral particularities of society that levels particularity; signs of distinction and of group membership in a society that tends to recognize the individual only as identical and equal. 

Lieux de mémoire originate with the sense that there is no spontaneous memory, that we must deliberately create archives, maintain anniversaries etc because such activities no longer occur naturally. Without commemorative vigilance, history would soon sweep away. 

We buttress our identities upon such bastions, but what if defended they were not threatened, there would be no need to build them. If enclosed memory was set free, they would be useless, if history did not besiege and transform it, there would be no lieux de mémoire. Lieux de mémoire are moments of history torn away from the movement of history and returned, no longer quite life, not yet death, like shells on the shore when the sea of living memory has receded.

Notes on Todorov: Les abus de la mémoire


p.1 Les usages et abus de la mémoire. Les différentes dimensions de la mémoire : la sélection, la distinction entre le recouvrement et utilisation du passé ; le rapport entre le passé et présent, et la dimension éthique et politique de l’usage de la mémoire.
Memory is a selection rather than an integral preservation. There is an interaction between erasure and conservation of certain elements.
Total restoration of the past is impossible. Somethings forgotten, others remembered.
We have to make a distinction between recovery of the past and its usage. It can be used deceivingly.

p.2 Modern society no longer values tradition and the past; memory is replaced by a focus on the future. There is no place to honour memory which is part of our identity.
The past is no longer thought of as legitimacy.
The author asks if there is a way to distinguish between the good and bad uses of the past.
Memory can be viewed literally or in a way to exemplify, as if to learn a lesson from memory.
Memory serving as an example can be a form of justice.
Nowadays, there is an obsession into memory but the author argues that this has no legitimacy when its use/aim is not specified.

Three principals of memory:
1) Representation of the past = individual identity, or collective identity. The feeling of belonging to a group and the recognition of existence.
Our modern world attempts homogenisation/uniformity whilst also neglecting traditional identities.
Bringing the two together, the need for collective identity and the destruction of traditional identities.
2) To commemorate the victims of the past
3) Giving the right of victims to complain/protest, rather than having a role of receiving compensation for having suffered an offense.

We should maintain the memory of the past to be aware of new situations to come.
History is a true selection process, unconsciously.
Research into memory allows us to see the real link between politics and history.

Wednesday 7 December 2011

Notes from memory research

Thomas Fenenczi
- Can one ever rebuild/reconstruct memory. 
- Interview with Boltanski, p. 268. '' Art fights against death, eg. Giacometti who paints his brother everyday so he will never forgot him. 
- What are the limits of our memory and is a simple memory even possible? p. 290 - ''Le devoir de mémoire et le droit á l'oubli'' - we need to remember our past but we have the right to forget it. (Use this article in the learning journal perhaps)
- At any random point we can remember something from the past, like seeing something from a forgotten life. 
Relating to the Algerian war: ''L'empire perdu, L'Algerie, c'était la France' - it's their lost colony. And how we can have a ''retour de mémoire sur la guerre'', through installations mémorielles, like war memorials, tributes, 11th November etc. ______________________________________________________________________


F.Dosse
- Relationship between memory and history - 'Le futur du passé' - how our past creates our future. 
- What actually is the point in remembering war? Yes, we should remember the suffering but to what extent? And why
- The presence of absence is so important in everyday life, but it's almost like we're between a world of the living and the dead - cannot let go of the past, but need to in order to make a future. 

Sunday 4 December 2011

Lamia Joreige


This is that woman that Heather and I saw at the Tate Modern ... 

Born in Lebanon in 1972, Lamia Joreige is a visual artist and filmmaker who lives and works
in Beirut. She uses archival documents and fictitious elements to reflect on the relation 
between individual stories and collective History. She explores the possibilities of 
representation of the Lebanese wars and their aftermath, and Beirut, a city at the center of 
her imagery. Her work is essentially on Time, the recordings of its trace and its effects on us

She's basically done an exhibition called objects of war. Done a similar thing to Zineb Sadira

in interviewing people and getting their stories but also showcases some personal items.








(Still from one of the videos) 


I didn't put too much stuff up but her art work is brilliant and SO annoying that SHE ISN'T FRENCH! ... maybe we can persuade Amanda otherwise? haha!

Guillaume Herbaut

He was the prize-winner of the Fondation de France in 1999, he has dedicated himself for some years now to historical places, filled with symbols and memory. 


''La Zone''. He did an exhibition in the area in and around the Chernobyl power station where there was the nuclear explosion ten years ago. The link to the videos are here, most of them are videos about different people although some are pretty irrelevant! Here's the link, I reckon we probably need to go through them together as my French isn't so great! But there's a couple I've found that interest me so we'll see! I did find some stills from his work which we might be able to use,  


Here is the link to the videos (there's about 30!) http://www.lemonde.fr/week-end/visuel/2011/04/22/la-zone-retour-a-tchernobyl_1505079_1477893.html

And here's the stills I found, 




This photograph was taken in Slaviutich, about 50 kilometers  from Chernobyl. This city was been built after the Chernobyl explosion for workers of the plant who were left without homes. The Soviet government planned to make it an ideal city, however, after it was built, the surrounding  forest was radioactive. The children wearing masks are in School n°4 in Slaviutich, during an emergency training in case of a nuclear explosion. I’ve returned to Chernobyl numerous times since 2001 and am haunted by the place.” - Herbaut


Chknevna, un village à moitié abandonné à l’intérieur de la zone interdite. Après 17 ans de prison pour actes de barbarie et meurtre, il est revenu vivre dans le village de son enfance.

24 ans après la catastrophe, les cimetières d’engins militaires et la centrale de Tchernobyl en Ukraine font l’objet d’un pillage en règle. Chaque semaine, près de deux cents tonnes de métal radioactif quittent la zone d’exclusion. Guillaume Herbaut a réalisé sur le trafic de métal contaminé.



He also uses urbex within his work which I thought MIGHT be perhaps a good way to link that kind of thing in (as we were talking about it on Friday) ... 



AND...

He ALSO does an exhibition called Urakami. His expos are split into 7 parts, all have themes relating to the past and present ... interesting though. 

One is called Urakami, a place which was hit by the atom bomb in WW2




Website to ''Urakami'' - http://www.guillaume-herbaut.com/en/57-2-urakami/.
This video is the one I think I showed you earlier in the term, with the Japonese man with his shirt on/then off revealing some pretty horrific injuries, it also features a small explanation underneath which I thought would go well in the exhibition. 


The still of this ... 



VICTIM : Sumiteru Taniguchi. IMMEDIATE EFFECTS : burns to the back. LONG-TERM EFFECTS : dead tissue and atrophied muscles after 21 months in hospital lying face-down; incurable chest injuries.

ANYWAY it might not be really that relevant to what we're doing, but he has done so much work on the forgotten people etc ... perhaps we could do a contrast. We've discussed those dead, what about those still alive? 

Let me know what you think!