The Last Analog Revolution, a Memory Box
The Last Analog Revolution, a Memory Box is a project initiated by Stefan Constantinescu and Xandra Popescu, consisting of an installation that brings together work by artists from former Eastern and Western Europe. The project reflects on the ideas of geo-political division and on the relationship between technological change, revolution, and the idea of political divide through walls and barriers.
If the recent wave of changes sweeping North Africa and the Middle East have been referred to as the 鈥楧igital Revolution鈥� given the free flow of information, and media technology鈥檚 ability permeate boundaries and extend networks, the events surrounding the revolutions of 1989 can be grouped under the generic title of 鈥楢nalog Revolution鈥�. In the case of the 1989 revolutions, it was television that played the key role, enabling that first contact between divided worlds.
The Berlin Wall was perceived as a filter of human representation separating two spaces marked by collective images that could only be represented as one in relationship to 鈥榯he other鈥�. Against the backdrop of propaganda and isolation, these representations combined elements such as fear, fiction, and seduction. In the 鈥楨ast鈥�, blue jeans and rock n鈥� roll music constructed the mirage of the 鈥榃est鈥�. At the same time, KGB espionage or the performances of Eastern gymnasts captured the imagination of the Western world. It is the very condition of representation and the distance between two subjects that requires mediation.
More than twenty years after the fall of the Berlin Wall, other walls and barriers are still standing or emerging around the world. By reconsidering the past, the initiators of the project open the door to consider the politics of walls and borders in a wider sense.
The Last Analog Revolution, a Memory Box is rooted in the mistrust of history鈥檚 grand narratives and national history as a succession of great events performed by great men, leading to the emergence of the nation state. These workings of ideology, however, are not limited to the so-called 鈥楨astern Block鈥� and this project seeks to complicate the binary opposition of 鈥榃est鈥� versus 鈥楨ast鈥�, claiming that there is no neutral territory but that the personal is always political.
The project consists of six videos, a sculpture, and a sound piece brought together as an installation. The artists involved in the project are Stefan Constantinescu who lives and works in Sweden and Romania, P茅ter Forg谩cs from Hungary, Zuzanna Janin from Poland, Via Lewandowsky from Germany, Deimantas Narkevicius from Lithuania, Liliana Moro from Italy, Yvez Netzhammer from Switzerland, and Karen Mirza and Brad Butler from United Kingdom.
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The Last Analog Revolution, a Memory Box is a project initiated by Stefan Constantinescu and Xandra Popescu, consisting of an installation that brings together work by artists from former Eastern and Western Europe. The project reflects on the ideas of geo-political division and on the relationship between technological change, revolution, and the idea of political divide through walls and barriers.
If the recent wave of changes sweeping North Africa and the Middle East have been referred to as the 鈥楧igital Revolution鈥� given the free flow of information, and media technology鈥檚 ability permeate boundaries and extend networks, the events surrounding the revolutions of 1989 can be grouped under the generic title of 鈥楢nalog Revolution鈥�. In the case of the 1989 revolutions, it was television that played the key role, enabling that first contact between divided worlds.
The Berlin Wall was perceived as a filter of human representation separating two spaces marked by collective images that could only be represented as one in relationship to 鈥榯he other鈥�. Against the backdrop of propaganda and isolation, these representations combined elements such as fear, fiction, and seduction. In the 鈥楨ast鈥�, blue jeans and rock n鈥� roll music constructed the mirage of the 鈥榃est鈥�. At the same time, KGB espionage or the performances of Eastern gymnasts captured the imagination of the Western world. It is the very condition of representation and the distance between two subjects that requires mediation.
More than twenty years after the fall of the Berlin Wall, other walls and barriers are still standing or emerging around the world. By reconsidering the past, the initiators of the project open the door to consider the politics of walls and borders in a wider sense.
The Last Analog Revolution, a Memory Box is rooted in the mistrust of history鈥檚 grand narratives and national history as a succession of great events performed by great men, leading to the emergence of the nation state. These workings of ideology, however, are not limited to the so-called 鈥楨astern Block鈥� and this project seeks to complicate the binary opposition of 鈥榃est鈥� versus 鈥楨ast鈥�, claiming that there is no neutral territory but that the personal is always political.
The project consists of six videos, a sculpture, and a sound piece brought together as an installation. The artists involved in the project are Stefan Constantinescu who lives and works in Sweden and Romania, P茅ter Forg谩cs from Hungary, Zuzanna Janin from Poland, Via Lewandowsky from Germany, Deimantas Narkevicius from Lithuania, Liliana Moro from Italy, Yvez Netzhammer from Switzerland, and Karen Mirza and Brad Butler from United Kingdom.
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