#lcarolan

Toute la mémoire du monde, Alain Resnais, 1956 (21 mins)

See also: 

another ‘brief survey of several contemporary artists using a similar “cabinet of curiosities” approach to their work’ - http://flavorwire.com/586988/creating-the-wunderkammer-in-contemporary-art

“[In] 1988, Ilya [Kabakov] created the first version of the installation Labyrinth (My Mother’s Album) – a claustrophobic, maze-like corridor with 76 framed works hung along its walls. These showed images taken by Uncle Juda alongside fragments cut from 1950s Soviet postcards and typed excerpts from his mother’s haunting memoirs. Reflecting Ilya's inability to protect his mother from poverty and homelessness, Labyrinth (My Mother’s Album) is a dialogue – a tribute by a son to his mother, but also to all women in Soviet society.”

On Friday last week, a curious restaurant popped up in Tokyo’s Toyosu district. It was called “The Restaurant of Order Mistakes” (注文をまちがえる料理店), a twist on The Restaurant of Many Orders, Kenji Miyazawa’s 1924 tale. Sure, it’s clever, but why a name for a restaurant? Because this pop-up restaurant had an inclusively-driven mission, and had hired waiters with dementia and Alzheimer’s.

Installation view, Hanne Darboven, “Kulturegeschichte 1880–1983 (Cultural History 1880–1983)” (1980–83) at Dia:Chelsea (© 2016 Hanne Darboven Foundation, Hamburg/Artists Rights Society, ARS, New York; photo by Bill Jacobson Studio, New York, courtesy Dia Art Foundation, New York).

“Composed of 1,590 sheets, each measuring fifty by seventy centimeters, and nineteen sculptural objects, Cultural History 1880–1983 is one of the most epic works in Darboven’s oeuvre. Weaving together cultural, social, and historical references with autobiographical documents, it synthesizes personal history with collective memory. Deposited among the vast numbers of postcards, pinups of film and rock stars, references to the first and second world wars, geometric diagrams for textile weaving, images of New York doorways and portals, covers of newsmagazines, the contents of an exhibition catalogue of postwar European and American art, and a kitsch literary calendar are extracts from Darboven’s earlier works and mementos of her previous exhibitions.”

[via http://hyperallergic.com/363596/hanne-darboven-reflects-the-infinite-feeling-of-history/]