Leigh Backhouse, Kathy Bossinakis, Moira Corby, Greg Deftereos, Mimi Dennett, Rozalind Drummond, Antonis Garifalakis, Jacqueline McDonald, Stephen O'Connell, Kenneth Pleban, andrew Sully, Brett Vallance, Elke Varga & Daniel Von Sturmer
Mnemosyne or, Do humans dream in negative strips?, investigates the relationship between the nature of photography and time based media, being and the phenomenon of memory. Taking Ridley Scott's Blade Runner (1982) as a starting point, the exhibition traces connections between photographs, memory and notions of being. The replicant figures in Scott's film are a case in point. They receive memory implants that cause them to believe they are human. Within this schema, the photograph assumes a primary role, providing tangible evidence of memory, and therefore subjectivity. If a memory is an impression made precarious by the fact that it is an animate replication then a photograph might be an impression made precarious by its lack of context, by it's mute mechanical genesis. If photographs are analogous to memory can we take this one step further, citing photographic prints as analogous to consciousness and the undeveloped negative as a dream state of possibilities, of suspended narration awaiting an awakening to form? What part does the photographic image play in relation to the formation of the human subject? The artists in Mnemosyne or, Do Humans Dream in Negative Strips? investigate notions of memory in relation to photographic, post-photographic and time-based works asking what is the relationship between technological reproduction and human memory?
Centre for Contemporary Photography
404 George St, Fitzroy Victoria 3065, Australia
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Seven nights after dark