Hannahannah

24.11.2017 1 Comments

Click here to see the scrolls. Through the layering of decontextualization Hannah questions the dynamics of remembering and forgetting in relation to the society of the spectacle. Like Ian Everard who collects photographs, Hannah collects images as well. Because we are inundated with media images, we seem completely immune to the horror. Typically drawing from images published in the New York Times, Hannah will repetitively paint a chosen image; no image, however, is exactly alike. Memory is a personal experience, and how might we remember something that is detached, and mediated? Hannah was born and raised in Central America, her parents left Germany with the rise of National Socialism.

Hannahannah


There is also a mixing of traditional mediums from those respective spheres, oil paint on rice paper — which has been washed with casein, or graphite, and coated with wax. As the questions regarding personal memory exponentially increase, we have to wonder if our collective memory — what we commonly know as history — has also been compromised? Memory is a personal experience, and how might we remember something that is detached, and mediated? In one of the images seen here bottom image , this image is taken from Saddam Hussein's gas attack against the Kurdish people in Halabja, Northern Iraq. In this case the image is that of three Macedonian women mourning the death of a baby. Paradoxically Hannan attempts to return some of the horror to the images by placing them in what we might consider a decorative background. A mother carrying her baby has been overcome by the gas. These disjunctions, the juxtapositions of content and form, alienate in a Brechtian sense , and in the various degrees of separation, collapse in a common expression of the catastrophic experience. In previous exhibitions of Collapsing Histories Hannah exhited a series of ten hanging scrolls. Hannah draws from media sources e. The flood of images that we receive has no direct relationship to us. Hannah was born and raised in Central America, her parents left Germany with the rise of National Socialism. The United States justifies its violence in Iraq with the images such as this - horror justifying horror. Although seemingly decorative, the effect is almost the exact opposite. The horror is doubled here, Hussein's attack was horrific, there is no question about that, but in the contemporary context, a different sort of horror is found in the image. Like Ian Everard who collects photographs, Hannah collects images as well. Typically drawing from images published in the New York Times, Hannah will repetitively paint a chosen image; no image, however, is exactly alike. Because we are inundated with media images, we seem completely immune to the horror. In fact, the process of collecting and contemplating images, by both artists, are quite similar. Click here to see the scrolls. Through the layering of decontextualization Hannah questions the dynamics of remembering and forgetting in relation to the society of the spectacle. The process of repeated hand-reproduction and situating the image on rice paper scrolls creates a contradiction. And does this notion of detachment and mediation consign an image to what has and will be forgotten, that always already domain of forgetfulness:

Hannahannah


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