by Anna Salamon
Unforgiving Imprints, or Forgetful?
This talk will seek to materially and linguistically manifest complex temporal dimensions associated with the painterly imprints. Steering away from linear notions of time fundamental to representationalism(s) in Karen Barad terms, it will unveil the temporal collapse evident in the material instantaneity of analogue imprints, combining an artist talk, a scholarly paper and a performative intervention into the duration of the talk.
In my research, painting is understood as a place where material and immaterial processes can be witnessed simultaneously, rather than a signifying or mimetic activity. Consequently, the only two moments which can be justifiably differentiated – the moment of making/touching and the moment of viewing — are variations, variants, fragmentary viewpoints of the same instant.
I will be querying Luce Irigaray’s proposition that painting ‘makes time simultaneous’ in order to focus on tactile relations in time rather than visual relations in space. I will also be referring to Heidegger’s Augenblick, a moment of vision — or a moment of touch – to explore the material remembrance of the analogue imprint in relation to the forgetfulness of digital encoding. How does the material instantaneity of the imprint, deemed technologically obsolete, holds the potential to incarnate paradoxical aspects of new materialist understanding of time and temporality? Non-dialectical clusters and families of words need to be introduced in order to navigate time from a new materialist viewpoint.
This presentation will feature an instantaneous launch and the spatio-temporal distribution of material (im)prints on paper thorough the duration of the talk, as well as documentation of an ongoing work titled Eight Hours (2011-ongoing), composed of a volume of mono-types on archival tissue produced throughout the length of a working day.
Anna Salamon (born 1984, Warsaw, PL) is an artist based in London. Working across painting, printmaking, drawing and installation, she creates painterly objects and architectural exhibits which display various degrees of embodiment. Her research investigates mechanisms of translation between matter and the immaterial, and how these notions are constituted within the post-human and new materialist contexts. She was a finalist of Creekside Open, A.P.T, London (2013) and Kettle’s Yard Open, Kettle’s Yard Cambridge (2008) and a recipient of De Segonzac Award (2012) and Landseer Award (2011). She is currently an active member of New Materialisms Reading Group at Banner Repeater, London. Forthcoming projects include Ceasura et Vide Supra, hosted by Lewisham Arthouse, London (2015) and a group show at Turf Projects (2016). Anna Salamon graduated from the Royal Academy Schools, London (2012) and Cambridge School of Art, Anglia Ruskin University, Cambridge (2008), having previously studied Cultural Studies at the University of Warsaw, Warsaw.