Written by: Lee Hang Kuen, Zhaoming Yuan, Marwa Magdy, Esraa Eissa – The University of British Columbia, Canada
Memories through the Serendipitous Walking
We walk through the thematic paths of “memory” in the exhibition “Viceversa” at the Modern Art Museum of Bogota (MAMBO) because we are interested in the qualities of memories and often use them in our artistic practice. Particularly, the investigation of the past is a powerful way of interacting with the present. As Alun Munslow (2015) points out, “the past is always explained in its own terms,” (1) underscoring the imperative to engage with primary sources and embrace the dynamic process. Within this exhibition, we explore the performance by Luz Adriana Vera entitled Held Up (2014), and a photographic by Oscar Muñoz entitled Dry Narcissus (1996-2000), each of us navigating the tension between these two artworks, leading us down unique paths.
Initially, guided by our unique perspectives on “memories,” our journeys of discovery were not synchronized. We decided to take our impressions of these two artworks and begin our own search for information about these two artists and the similarities between them and our respective artistic journeys. What we expected was to explore if and how our paths might have crossed then, revealing new insights into “memories”. We call this process Serendipitous Walking.
Encounters with memories
While watching the performance Held Up, we feel suffocation and discomfort as if we are experiencing traumatic experiences and feelings. The artist tried hard to sew as she was forced to fulfill the social norms and ended up caging herself.
“I can’t escape from them. I can only distract myself. These threads are sharp and painful, they hurt me, and I’m still holding on to them,” Esraa Eissa responds to Held Up.
Hyunji Kwon (2022) suggests that trauma extends beyond personal experiences, morphing into a shared, societal memory shaped by the cultural and social contexts of those involved. (2) “Held Up” explores the challenge of reconciling the female identity with societal norms Vera discusses the struggle of self-recognition and acknowledging one’s desires within a Christian patriarchal society. (3) Through this artwork, we feel an emotional and thoughtful response that transcends mere shock to a deeper connection to historical trauma.
“I am melting in the memories through time. Who am I? Which version of self is me?” Hang Kuen responds to Held Up.
In a poetic and metaphorical manner, Muñoz’s artwork intricately intertwines his own past with the various material phases of the image (4). The images of “Dry Narcissus” appear to be dissolving, decaying or disintegrating in our senses, as well as the subtle nature of memories and the elusive quest for frozen time. As these fleeting images fade, they also call us to engage in an experience that is both knowing and sensual.
“In every image of the face, I feel the fading of some memories through the fading of facial features,” Marwa responds to Dry Narcissus.
“When I recall a particular moment from the past when that moment reappears in my mind countless times, it is as if they are condensing in front of me,” Zhaoming responds to Dry Narcissus.
Overall, we perceived that Vera and Muñoz both utilize a technique that densifies their materials, turning an otherwise fluid state into something more permanent—Vera with her use of rope and Muñoz through the “drying” of images that shift on water, capturing fleeting moments. These artistic choices crystallize the fluid and fleeting quality of memories into a tangible, lasting form, turning it into a vessel for commentary and introspection.
As viewers, we experience a personal connection to historical trauma, a process that transcends mere shock or superficial engagement. This bridge between individual and shared histories reveals the deep interconnectedness between personal traumas and the broader cultural and social contexts that forge them, urging a critical reevaluation and transformation of conventional narratives. Such a perspective prompts us to combine our own artistic creation through a collaborative video that vividly projects the serendipitous convergence of our path with a reflection on the profound impact of societal norms and historical narratives on our personal identities and experiences.
Memories assemblages through artistic reflections
Hang Kuen’s journey begins with observing cracks in the road, reflecting life’s hidden traumas through a mixed-media drawing of an egg interwoven with childhood relics. Esraa Eissa aims to capture fleeting joy amidst life’s turmoil, blending trauma and happiness into a “frozen” tapestry of memories. Zhaoming sees memories as fluid, using experimental video to explore an imaginary escape during quarantine in 2020, with the illusion of a potted plant echoing his breath. Marwa believes that creativity emerges from memories, infusing her art with mythological rabbits and personal stories, suggesting that the transformation of memories into anthropomorphic figures can address man-made environmental threats.
Serendipity shows up when we meet…
About the authors
References
1. From “Managing the past,” by A. Munslow, 2015, in The Routledge companion to management and organizational history, Routledge, pp. 129-142. 2. From “Art for ‘Sense Generation’: Historical traumas in Armenia and Korea, and discourses of art creation, curation and education,” by H. Kwon, 2022, in Living histories: Global conversations in art education, Intellect, pp. 262–274.
3. From “Espacio El Dorado,” by L. Vera, retrieved March 4, 2024. https://www.espacioeldorado.com/luz- adriana-vera
4. From “Oscar Muñoz. Protographs”, by Jeu de Paume, retrieved March 17, 2024. https://jeudepaume.org/en/evenement/oscar-munoz-protographs/
5. Screenshots from “Visual rendering: Encountering artworks of Luz Adriana Vera and Oscar Muñoz,” by H. K. Lee, Z. Yuan, E. Eissa, & M. Magdy, 2024.