AIAN Archive of anonymous narrated image (ceci c’est pas an interview archive)

The AIAN is, mainly, a micro-history of the private management of the photographic image that uses the scene of the narration and its registry as support. It is an author file which uses as departure point the construction of a data base with audio-visual registries of the moment at which different people, requested of by the project, illustrate their private photographic images -coming from their familiar albums- with an oral narration. Around this main file other data bases or sub-files are built. Sub-files are constructed to cross these registries, deepening in the relations between image, word, memory, forgetfulness, construction of the reality and relation between the great cultural stories and the narrative and construction of the intimate memory.

According to several authors it is not possible to talk just about photography since the photographic practice includes all a series of human performances before and after “click” of the camera. There is one second photographic practice, that that goes since it is decided if a photography is conserved or not, and that happens through all a series of behaviors essential to understand the complex verb “to photograph”. To the light of these ideas “to photograph” becomes a complex act that includes all these practices: to reveal or not to reveal the image, to organize it next to others, to teach it, to narrate it, to trim it, to manipulate it and the practice that interest more here, the scene in which an individual uses the photography as a mean, when meet people and talk on the photography or through the photography.

First stage of the AIAN, sgce (section Spanish Civil War), produced by the Museum Patio Herrariano of Valladolid (Spain), has been a project of travel and registry by the Spanish State looking for places and people to create narrative scenes with photographies of the time of the Civil War as means. The conversations have been registered in video and later edited. These conversations have been oriented to the relation of the proprietor with the photography and that performance could framed within that second photographic practice to which we talked about.

Para más, en AIAN, parte del muy interesante proyecto amateur archivist.

Unofficial Deposited Records; Elsebeth Jørgensen and Pia Rönicke, 2005

Elsebeth Jørgensen and Pia Rönicke: Unofficial Deposited Records (2005–> )
A commission for the hoardings on Tate Modern’s south landscape.
From 25 November 2005 —>

Tate Modern - Press release: 21 November 2005

On 25 November Tate and EDF Energy will unveil an art project specially commissioned from Danish artists Elsebeth Jørgensen and Pia Rönicke for the hoardings on the south perimeter of Tate Modern. The artists have created a gigantic bulletin board, or montage, from a fascinating array of material including old photographs, newspaper clippings, historical documents and maps which all relate to the Southwark area. The material has been selected from their research in the archives of the Southwark Local History Library on nearby Borough High Street. Jørgensen and Rönicke have also invited members of Tate Modern’s Community Film Club to contribute material which will add to the project’s visual narrative about Southwark such as photographs, texts and reminiscences.

The project, Unofficial Deposited Records, questions how we represent history, demonstrating how fact and fiction can combine to provide fertile ground for imaginative exploration.

Elsebeth Jørgensen and Pia Rönicke’s interest in archives focuses on how facts and narrative interweave with official and unofficial records. Like museums, archives contain cultural data and can be viewed as deposits for memories, where meanings are constantly shifting in relation to the context in which material is seen. The artists’ montage suggests narratives by triggering the viewer’s imagination and highlighting the tenuous link between fact and fiction in our reading of history.

Más en la página de Elsebeth Jørgensen, Mapping memory.