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HOME > ISSUES

42: Traces

42-2

| Fall 2010 |

Edited by Chloë Brushwood Rose and Mario Di Paolantonio

Contents:

  • Editors’ Introduction, ‘Traces’
  • Vikki Bell, ‘On Shoes and Shadows: Political Ethics in the Art of Graciela Sacco’
  • Elke Grenzer, ‘Material Losses’
  • Sara Matthews ‘Tracing the Human: Memory and the Visual Frame in The Hero Book’
  • Angela Failler with artwork by Eisha Marjara, ‘“Remember Me Nought”: The 1985 Air
    India Bombings and Cultural Nachträglichkeit’
  • Kenneth Allan, ‘Grounds of Forgetting and Intermediaries for Memory: Some
    Photographs by David M.C. Miller’
  • Amber Dean, ‘Can Names Implicate Us? The memorial-art of Rebecca Belmore and
    Janis Cole’
  • Roger Simon, ‘Artwork, Aesthetics and Public Memorialization’
  • Ian Balfour, ‘Quaking’
  • Reviews by Warren Crichlow, Jenny Florence, Charlene Lau, Spy Denommé-Welch

Artist’s projects include:

  • Renay Egami’s “Picnic”
  • Blake Fitzpatrick & Vid Ingelevics’ “Freedom Rocks”
  • Elle Flanders & Tamira Sawatsky’s “What Isn’t There”
  • Anita Glesta’s “Gernika/Guernica”
  • David M.C. Miller’s “The Museum”
  • Graciela Sacco’s “M2”
  • Avelino Sala’s “Derocar”
  • elin o’Hara slavick’s photo essay on “Memorials in the After Aftermath”
  • Francesc Torres’ “Dark is the room where we sleep”
  • Excerpts from Scott Waters’ “The Hero Book”

Overview:

Through the work of more than 20 artists and writers, PUBLIC 42: Traces explores varying artistic attempts to publicly mark and give memorial significance to past collective and/or state sanctioned wrongs that remain still unsettled and unsettling. Of particular interest here are the debates, contestations, and proposals that surround artistic attempts to recover, preserve, and publicly mark those sites, buildings, and objects associated with individual and collective experiences of trauma. In distinction to the erection of monuments or to the demarcation of commemorative spaces, the art projects and essays that inhabit this collection explore the uses of art, artistic practices, and aesthetic experiences in representing, working through, and learning from traumatic events. The contributions to Traces grapple with the very possibility of representation and remembrance, and at the same time reflect a commitment to the notion that encounters with art can solicit something that exceeds the desire for representation and may offer a connection to the past that reorients us to new possibilities for being in the present. How might the register of artistic works allow for a complex and dynamic negotiation with a difficult past and the ends and limits of commemorative practices and spaces?

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