By Wessel Reinink, Jeroen Stumpel (auth.), Wessel Reinink, Jeroen Stumpel (eds.)
Memory is a topic that lately has attracted many students and readers not just within the normal ancient sciences, but additionally within the exact box of paintings historical past. besides the fact that, during this ebook, during which greater than a hundred thirty papers given on the XXIXth foreign Congress of the historical past of artwork (Amsterdam) 1996 were compiled, Memory can also be juxtaposed to its counterpart, Oblivion, therefore producing additional pleasure within the trade of principles. The papers are awarded in 11 sections, each one of that is dedicated to a unique point of reminiscence and oblivion, starting from basically fabric points of renovation, to social phenomena in regards to paintings accumulating, from the reminiscence of the artwork historian to workshop practices, from artwork in antiquity, to the most recent media, from Buddhist iconography to the Berlin Wall. The publication addresses readers within the box of heritage, background of paintings and psychology.
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Additional resources for Memory & Oblivion: Proceedings of the XXIXth International Congress of the History of Art held in Amsterdam, 1–7 September 1996
88-100. George Kubler's quotation comes from The Shape of Time, New Haven 1962, p. 38. The story of Phrynichos is amply discussed by Nicole Loraux, "De l'amnistie et de son contraire" in: Usages de l'oubli, Paris 1988, pp. 23-47 (Colloque de Royaumont). For the series of eight canvases entitled "Vivre et laisser mourir ou la mort tragique de Marcel Duchamp", made in 1965 by Eduardo Arroyo, Antonin Recalcati and G. Aillaud, and since lost from sight, see Amelia Jones, Postmodernism and the En-Gendering of Marcel Duchamp, Cambridge 1994, p.
Rescued from oblivion by the allied forces, they returned to Germany some time ago to fall into another kind of oblivion. Their physical presence endures. Their time will come just as the social realism of the Stalinist era is reappearing in temporary exhibitions. Strongly contrasting with the Athenian custom, artist-survivors like Josef Beuys and lIya Kabakov perpetuate the memory of grim times, but expiate it by means of innovative techniques and a new set of values. Other manifestations of enforced oblivion, or at least a deliberate attempt to forget, might be called the aesthetic Damnatio Memoriae, practised by artists struggling to rid themselves of the memory of their predecessors.
It proves to be extremely difficult for artists to master the appropriate rhetoric. It seems that the Athenian injunction not to remember past injuries has lost its validity. Memory lives on through those who have survived. And we have learned that this kind of memory can last for many generations. On the other hand it is precisely the generation gap that begets a diversity of memorial experiences. The memories of those who have witnessed in their lifetime the breakthrough of modem movements in art are different from those who have it only from hearsay.
Memory & Oblivion: Proceedings of the XXIXth International Congress of the History of Art held in Amsterdam, 1–7 September 1996 by Wessel Reinink, Jeroen Stumpel (auth.), Wessel Reinink, Jeroen Stumpel (eds.)