04.05.18 – 15.06.18

The Memory Appendix


‘Time…was by far the most artificial of all our inventions, and in being bound to the planet turning on its own axis was no less arbitrary than would be, say, a calculation based on the growth of trees or the duration required for a piece of limestone to disintegrate, quite apart from the fact that the solar day which we take as our guideline does not provide us any precise measurement, so that in order to reckon time we have to devise an imaginary […]’
W.G. Sebald ‘Austerlitz’

Each film in the exhibition The Memory Appendix deals with the relationship between time and memory. How we gather and interpret meaning through the memory of our experiences. As individuals, as partners, as a society. Each occurring in their own sense of time and therefore within their own truth. Yet this truth never becomes absolute, as the memory of certainty never seems final. It is always fluctuating and being appended. With stories, with doubt, with interpretation, with imagination.

The Memory Appendix is an exhibition hosting works that are exclusively time-based, both in the literal and figurative sense. Each film deals with the relationship between time and memory. How we gather and interpret meaning through the memory of our experiences.

Like in Bojan Fajfrić’s film Unfinished Business (2017) the filmmaker’s father takes the role of the artist whose story could simultaneously represent a possible future or a different version of his past. The studio is used as a cinematic space where the artist’s daily routine is a choreographed performance in an attempt to make sense of his desires and traumas.

In a similar way Maija Blåfield’s On Destruction and Preservation (2017) takes a look at our fears and desires in relationship to the concept of the end of things in apparently independent but secretly connected tableaus. In doing so, the film indirectly awakens new beginnings. Beginnings that can only take shape when our understanding of what is past and/or now present has been confronted. When its story has been told, only then can we start to remember it.

Arthur Kleinjan’s Above Us Only Sky (2017) plays a similar game of memory and belief, only here seemingly surreal logic as well as repetition involved in the story being told - based on how it has been remembered - create the circumstance of uncertainty. Passing images of the result of the forces of nature position this feeling of doubt to seeming cyclical, and our role as participants of our own fate impossible.

In Emilio Moreno’s Stone Acrobatics (2015) the artist is interested in what happens to the value of a historical building – a church that once stood in his hometown in Spain – afterward being moved stone by stone to New York City as a historical object. Does the building mean the same thing? Does language and architecture, mean the same to us as words and bricks when constructing our past, present and future?

Maija Blåfield, Emilio Moreno, Arthur KleinjanBojan Fajfrić

4 May 2018
17:00 – 19:00

5 May – 15 June 2018
Mon – Fri: 9:00 – 17:00


Image: Maija Blåfield, On Destruction and Preservation (2018), film still



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