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This book addresses the preoccupation with memory in contemporary artists'moving image installations. It situates artists'moving image in relation to the transformations of digitalization as hybrid intermedial combinations of analogue film, video and digital video emerge from mid 1990s onwards. While film has always been closely associated with the process of memory, this book investigates new models of memory in artists'remediation of film with video and other intermedial aesthetics. Beginning with a chapter on the theorization of memory and the moving image and the diverse genealogies of artists'film and video, the following chapters identify five different mnemonic modes in artists'moving image: critical nostalgia, database narrative, the ‘echo-chamber', documentary fiction and mediatized memories. Stan Douglas, Steve McQueen, Runa Islam, Mark Leckey and Elizabeth Price are of a generation that has lived through the transition from analogue to digital. Their emphasis on the nuances of intermediality indicates the extent to which we remember through media.

Par un travail d'interprétation des traces matérielles et immatérielles, mais aussi à travers le prisme de l'imaginaire, certains artistes tentent de construire leurs travaux depuis les blancs et lacunes de la mémoire. Pour la photographie, cette recréation serait-elle une voie d'accès à de nouvelles significations? Les images rêvent-elles et comment les faire rêver? Après cette première étape d'interprétation, s'accomplit un travail de montage. Il s'agit alors d'un assemblage qui permet d'établir des correspondances inédites et d'offrir des récits singuliers face à l'histoire. Cet ouvrage propose une réflexion sur la poétique de la mémoire dans certaines pratiques artistiques contemporaines.

The book explores representations of the Holocaust in contemporary art practices. Through carefully selected art projects, the author illuminates the specific historical, cultural, and political circumstances that influence the way we speak—or do not speak—about the Holocaust. The book's international focus brings into view film projects made by key artists reflecting critically upon forms of Holocaust memory in a variety of geographical contexts. Kékesi connects the ethical implications of the memory of the Holocaust with a critical analysis of contemporary societies, focusing upon artists who are deeply engaged in doing both of the above within three regions: Eastern Europe (especially Poland), Germany, and Israel. The case studies apply current methods of contemporary art theory, unfolding their implications in terms of memory politics and social critique.