Vinsamlegast notið þetta auðkenni þegar þið vitnið til verksins eða tengið í það: http://hdl.handle.net/1946/36582
In this essay I will explore two main concepts, that of ‘memory’ and ‘identity’, and their use in the narrative of art as well as in my own artistic practise. The first chapter will deal with the concept of memory, and is based around the question: “how do we remember things?” Here, I will underline how experiences and “facts” are passed through generations in terms of a ‘collective memory’, something on which the notions of ‘identity’ and ‘heritage’ depend. Through this analysis, I hope to show the importance of understanding the way in which the past manifests itself in the now. This will lead me to the second chapter, where the discussion will turn to exploring the concept of ‘identity’, that is the politics of how we see ourselves, and the (positive and negative) use of identity for a political cause. Here, I will look at how political systems influence the identity of the individual, from which I hope to reach a better understanding of these effects.
As a research methodology, I have used books written about artists that my own practises relate to conceptually and aesthetically. These include books about Elin Brotherus, Pipilotti Rist, Mona Hatoum, Tracey Emin and Do Ho Suh, as well as essays written by the art historian Amelia Jones and the Italian thinker and media theorist Franco Berardi. Writings from these scholars are accompanied in this thesis by extracts from interviews with artists on Louisiana Channel web page.