Uber Memoria XIX Part I

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Research Background International developments in video art include questioning the world through the social device of the language of memory and time, from Vasulka and Tarkovsky's theory to more local and new work, such as Julie Gough exploring memory and place in Tasmania. Wilson interrogates how memory can be used to first, represent memory as a device for social narrative; and second, situate this narrative as an advancement of both slow cinema and meta-modernism. Here he addresses this research question in such a way as to find new knowledge and evolve his research by finding the content behind the appearance of emptiness through the devices of metaphor, memory and metonym. Research Contribution Uber Memoria XIX. Part I investigates social narrative aspects of memory by positioning slow motioned sequences based on Proust's differentiation of metaphor as the indicator of memory and a metonym as the condition brought about by memory. Each character in the sequences is posed as in 800 year-old German medieval paintings, representing the metaphor and playing out how this 'memory' of the source painting changes how we may experience the places where the characters are: the metonym. Thus the viewer arrives at a new benchmark in understanding how Proust's deliberations can be interpreted in this medium. This research enables a study that overcomes barriers for visually experiencing the implications and limitations of memory in art. Research Significance This work has been exhibited at 'Pretend it's Nothing', curators Brie Trenerry & Kieran Bolland, (2014); MARS Gallery, Melbourne, Australia (2014); 'House and Home', curator Malcolm Bywaters (2014), along with significant artists such as Michael Doolan and Stephen Hailey, 'Sustainable Empires', (curator Luca Curci) the Palazzo Albritzzi in Venice (2014) with over 40 international artists, inc. Daniel Pestas, Laurence Gartel, and Tarshito. (cont.)