This paper examines the interrelations between the collective memory, liminality, and landscape related to the Pinochet regime that had place in Chile between the 1970s and the 1990s. Focusing on...Show moreThis paper examines the interrelations between the collective memory, liminality, and landscape related to the Pinochet regime that had place in Chile between the 1970s and the 1990s. Focusing on the contemporary artworks of Enrique Ramírez, Patricio Guzmán, and Cecilia Vicuña, this study argues that the depiction of the memory of the military regime in the contemporary Chilean visual art is strongly related to the representation of the landscape with an impact of liminality. It also proves that the collective memory affects the perception of a site-specific landscape related to the regime. All discussed artworks: Los Durmientes, El Botón de Nácar, and Kon Kon present a different take on these concerns proving however, that the depiction of the collective memory in contemporary Chilean art is closely correlated to landscape and liminality.Show less
This research paper examines the role of digitalisation technologies, specifically 3D laser scanning and photogrammetry, for the conservation and formation of collective cultural memory in the...Show moreThis research paper examines the role of digitalisation technologies, specifically 3D laser scanning and photogrammetry, for the conservation and formation of collective cultural memory in the digital age. By utilising the Lviv-based digitalisation company Skeiron’s #SaveUkrainianHeritage as a case study, we investigate how these digital tools contribute to the conservation and dissemination of cultural memory in the context of the Russo-Ukrainian war (2022-). We employ a methodology based on interdisciplinary literature review and close analysis of primary and secondary texts, primarily building upon Jan and Aleida Assmann’s collective memory and Pierre Nora’s lieux de mémoire through a contemporary, digital-focused perspective. The digitalisation of cultural heritage objects is seen as a conservation strategy that ensures the retention of the memory value of heritage objects. The #SaveUkrainianHeritage project exemplifies how digital tools may effectively conserve and transmit cultural memory in the face of conflict, providing a platform for wider engagement and appreciation of cultural heritage.Show less
Where industrial pollution on Curaçao is readily visible in its refineries and petrochemical installations, other contaminations go unnoticed by visitors to the island; however, the locals such as...Show moreWhere industrial pollution on Curaçao is readily visible in its refineries and petrochemical installations, other contaminations go unnoticed by visitors to the island; however, the locals such as Yubi Kirindongo are aware of how pervasive the presence of this ‘forgotten’ refuse is and where it can be found. Drawing from this inspiration, Yubi Kirindongo created various artworks including Collage, Muralla de Botellas, and Porta di Industria. These artworks show that something as waste, unwanted and useless, can be transformed into pieces of art highlighting the severity of the issue. The confrontational artworks remind viewers of their passive but ever-present roles in production and consumption of waste that inevitably makes its way into the environment and daily life of the consumer. However, through the creation of this art, it leads to a beautification of something destined to be usually seen as ugly.Show less
The following paper investigates the immersive characteristics of the interactive digital installation Worlds Unleashed and then Connecting, created by the Japanese collective teamlab in 2015. The...Show moreThe following paper investigates the immersive characteristics of the interactive digital installation Worlds Unleashed and then Connecting, created by the Japanese collective teamlab in 2015. The analysis utilizes the concept of aesthetic illusion, developed by Werner Wolf, and the notion of play. Through the analysis of the multi-sensory experience, this paper will demonstrate how the theory of aesthetic illusion can be enhanced with the concept of participation, specifically notion of play.Show less
In her photographic project Traces, Weronika Gęsicka appropriates American stock photographs from the ’50s and ’60s, modifying their features and transforming the effects from wholesome to uncanny,...Show moreIn her photographic project Traces, Weronika Gęsicka appropriates American stock photographs from the ’50s and ’60s, modifying their features and transforming the effects from wholesome to uncanny, with the aim of cracking false memories of the past that reinforce oppressive ideals and stereotypes to this day. In Traces, one is confronted with weird and unsettling individuals, a result of digital modification and the incorporation of different strategies that could be considered iconoclastic. This thesis will examine the artwork with respect to the topic of iconoclasm and the condemnation of memory, identifying nuanced, contemporary forms of iconoclastic tactics that reach beyond the traditional. Specifically, this research illustrates how Gęsicka utilizes uncanniness to evoke psychoanalytical processes in the viewer and how she employs the concept of cutting as a destabilizing tool.Show less
A holy place, a war monument, a tourist site, and a museum. All these words define a structure that stands today in the center of Moscow: The Cathedral of Christ the Saviour. Built as a...Show moreA holy place, a war monument, a tourist site, and a museum. All these words define a structure that stands today in the center of Moscow: The Cathedral of Christ the Saviour. Built as a reconstruction of an 18th-century cathedral destroyed during the Soviet regime, the building became a site of heated discussions on the topics of politics, memory, and history in post-communist Russia. While many see it as a static national monument, its agency is left out of these discussions. Drawing on the theories of memory developed by Edward Casey and Katharine Hodgkin with Susannah Radstone, the multiple facets of the cathedral are discussed. By examining the role of the public, the operation of memory, and the digital space, the dichotomy between the “restorative” and the “reflective” forms of nostalgia articulated by Svetlana Boym is challenged. The ubiquitousness of the cathedral is then highlighted and its discourse complicated. Through investigating the cathedral’s current position within the socio-political situation of Russia, the thesis will conclude with a discussion on the role of monuments within the urban landscape and in forming an individual as well as national identity.Show less
