Uber Memoria XIX Part III

Research Background International developments in video art have reflected a questioning of the world through the language of memory as a social device. While this research recognises the significance of such implications, it moves into a research question that interrogates how memory can be used beyond this framework to first, represent memory as a device for social narrative; and second, situate this narrative as an advancement of both slow cinema and metamodernism. Wilson's video artworks Uber Memoria XIX: Part I-V are short pieces that address this research question in different ways in order to find new knowledge and evolve the concept of memory in film into new understandings. Research Contribution Part III differs from Parts I and II by focusing on first, how the notion of film editing impacts on memory through durational sequences, and second, how this contributes to, and advances the questions of narrative. It locates itself through slow cinema, based on the contributions of Murch who argues that longer durational sequences connect the viewer with the image in ways that shorter durations do not. This premise is tested by exploring how memory impacts on an image through both editing and duration. In doing so there is a new reference point for understanding the impact of time on the subject and its perception, and the work challenges barriers to visually experiencing the implications and limitations of memory in art, furthering our understanding of possibilities of narrative. Research Significance Included in the festival program with the works of 36 international artists including Sally Grizzell Larson (USA), Quincy DeBuck (Belgium), and Daniel Toso (Spain). The exhibition was held in collaboration with MECA Mediterraneo Centro Artistico and curator Fernando Barrionuevo