Drawing on the Galician tradition of collecting “crebas,” or items washed in by the tide, Francesc Torres immerses the viewer in pivotal moments of Spanish history via its detritus.
For Amos, who died in May due to complications related to Alzheimer’s, photographic preservation was integral to her paintings, suggesting its important function as a mnemonic device.
Aneta Bartos seeks to capture the surreal space of memory, blurring real and imagined worlds in order to represent that which is beyond fact or fiction.
Lieve Oma is a game in which you hunt for mushrooms with your grandmother beneath trees saturated with autumnal colors. It’s also about how a simple conversation can indicate so much more about a relationship, where the words unsaid echo as much as those spoken aloud.
In Alz, you wander as a blank-faced man through a landscape of trees and skyscrapers that stutter and glitch as a strange black box follows. It’s an incredibly short experience, a poem-length immersion in the world of someone caught in the confusion of memory loss.
Upon entering 287 Spring to see Not Past: Old Toys and Lost Friends, a solo exhibition by artist Brian Fernandes-Halloran. one is confronted with two sculptural re-creations of toys the artist remembers playing with when he was growing up, a truck and a red hammer. Fernandes-Halloran’s work is composed of an array of found discarded objects and wax, and based on his memories as well as the broader concept of recalling and formulating memories.
By the ordinary way of reckoning such things, there are considerably fewer artists participating in this year’s Prospect.2 biennial in New Orleans than in the event’s first iteration three years ago. But if artist and provocateur William Pope.L’s piece for the exhibition turns out according to schedule, there will be a lot more artistic visions on view around New Orleans this fall than the smaller number of artists might lead you to expect.