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Allora & Calzadilla, How to Appear Invisible, 16mm film on HD, 2008
The two new works shown by Allora & Calzadilla are the latest in a series of commissioned works that extrapolate on the unfolding historical and social dynamic of the Schlossplatz, the site of the temporary kunsthalle.

Pleasingly, it is the large expanse of the Kunsthalle that is left essentially vacant, with the film work being installed (unfortunately poorly) the entrance area adjacent to the bookshop:

Allora & Calzadilla’s new work ‘Compass‘, 2009, conceived specifically for the Temporäre Kunsthalle Berlin, creates a new spatial and acoustic experience. Dividing the Kunsthalle horizontally, a level is introduced, inaccessible to the viewer and reducing the grand exhibition hall to less than one third. Visitors can only hear the vibrations and sounds of an a capella dancer performing a choreography above their heads. The otherwise empty exhibition space is turned into a huge resonating chamber.
The film is quite beautifully shot on 16mm film, if a little indulgent and overly long in places, documenting the last days of the demolition of the Palast der Republik in late 2008. Its saving grace is its protagonist, a German Shepherd dog who is wearing a headcollar made from a plastic KFC bucket. His curiosity and interestedness, and that of the camera that follows him, distinguishes the film from so much other film work made in recent years that takes Berlin/ communism/ modernistic interiors as its subject and beautiful/melancholic as the mood for its sumptuous, elegant and detached panning shots. The KFC bucket, protecting the dog from licking his wounds, is presumably also a discomfort, an annoyance, and a hindrance to proper vision. However the metaphor isn’t overplayed, and as is typical of Allora & Calzadilla’s work, there is that unique and satisfying contrast between functionality and political poetry.
Exhibition at Temporäre Kunsthalle, Schlossplatz, Berlin-Mitte, July 11th til September 6th 2009
Someone close to me (nearly, very, very nearly) lost my camera at 
the weekend. There were no tears of rage or grief but a pulsating 
sense of loss all the same. The sensation lacked the drama to 
warrant comparison with losing a limb; it was more like a gall 
bladder or an appendix. A kind of phantom loss, difficult to place 
and difficult to determine its necessity.
* Appendix: 1549, “subjoined addition to a document or book,” from L. appendix “something attached,” from appendere (see append). Used for “small outgrowth of an internal organ” from 1615, especially in ref. to the vermiform appendix. Appendicitis is from 1886; appendectomy (1894) is a hybrid, with Gk. -ektomia “a cutting out of.” from the Online Etymology Dictionary
Seven years later, all I have to remember him by are two kitschy shot glasses from Germany.

From Shiny Shiny TV:

Remember a couple months back when we told you the fluffy melt in your mouth chocolate was back on the market? It was reintroduced after numerous campaigns on social networking sites started clamouring for the chocolate. Well a couple months later and Wispa has proved so popular that they are bringing it back FULL TIME (or till sales slump).

Yes, from the 6th October you can now stuff your face with as much Wispa as you like, for the price of 45p. I’m not sure if it will remain as popular as it was when there was a limited supply, as when the novelty has gone, will the true fans remain?

Official Wispa site (image)

The Express

Brand Republic



The ‘Bring Back Cavan Cola’ campaign has almost 1,800 members and we’ve heard from the BBC, Metro Dublin, Irish News, 2FM with Rick O’Shea, Newstalk, UTV 105, Northern Sound, Cavan Post & Cavan Echo !!

Cavan has been robbed of its identity, its lifeblood and we want it back ! Imagine Kerry with no butter ??!!

Cavan Cola is a forgotten symbol of what Cavan stood for – Cavan Cola defines refreshment, coolness & vintage Cavan culture of old. It has been sorely missed !! No more Cavan children should have to grow up not being able to drink ‘Cavan Cola’ from the brown bottle with a bag of Tayto !!

Cavan Cola was born in 1984 & was so popular there that it went national in the early 1990s, becoming something of a nationwide phenomenon. In 1995, Cavan Mineral Water was taken over and some fool started phasing out Cavan Cola. By 2001, Cavan Cola had disappeared.

Bebo page

Facebook group

official website




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My recent work has involved making objects that use ‘technologies of their time’ in order to reflect on questions of memory, nostalgia and the gaps in collective histories. This has sometimes involved recording a sound or image digitally and ‘translating’ it into an analogue technology. (I know I’m treading all kinds of fine lines here).

Typically this gives the recorded image or sound a much more ‘thing’-like’ quality: unreliable memories, expressions and conversations suddenly become more solid and weighty. Vinyl acetates, 35mm slide film, magnetic VHS tape – all these technolgies are thrown into a kind of sculptural relief when imagined alongside the floating ephemera of mp3s, tiffs and jpegs. Read the rest of this entry »

This year is the fortieth anniversary of the student protests and worker strikes that marked 1968. Given contemporary art’s current fascination with tropes of re-enactment and restaging as ways of addressing past political moments and unrealised opportunities, it seems likely that these events will be re-looked at this year.

I discovered recently, quite by accident, that one of the students I lecture in my history of visual culture class attended the same art institution I did, then at a different location, in 1968. It struck me as uncanny, that I am in a position of lecturing such a person about the situationists. Me, who was not even alive in 1968, and she, who actually participated, if only tangentially in the events of time.

I carried out a short interview with her, extracted below, that touches on some of these ideas about memory, particularly its possibiltites and overlaps with fiction. This will likely develop into a more substantial piece of work in the future… many thanks to Linda for her time and conversation.

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In Paul Murnaghan’s Memorious, (14 – 28 January 2006), advertising space was used as a platform to announce that the artist’s memory capacity was for sale. Once the advertisement had been read, the work was completed in that form. If the contacts that were included in the ad were utilized, the work entered a second phase, one in which the activator gained control. At this stage it is necessary for that person to make some decisions. Which memory shall be chosen, why this memory, what is its value?

Memory was the first monument, before drawing, photography or object. Like any ideology or belief, the substance of the monument corrupts over time. Memorious offered a functional placebo of commemorative effect. Of course the purchased certificate will not degrade in the same fashion. The dictated text or monument is wax sealed in a document of personal authenticity. The substance may be a complete fabrication, a dream, a wish or a memorial. Here, all is valid and true. It is intended that these manuscripts will resurface at some stage and that individuals will reengage with the content of the text.

Review in CIRCA

from the artist’s website

*Funes the Memorious is a famous story by Jorges Luis Borges that imagines the risks of perfect memory: it concerns a man who possesses ‘total recall’ and is paralysed by it.


July 2020