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STATEMENT


“All history is contemporary history”

Benedetto Croce

How is history being produced?
What is written, what is said and what is physically preserved?
Can history be taught as a single coherent narrative or a series of competing narratives?
Should history be constructed by artists or written by philosophers as Benedetto Croce views it?


Historiography is the study of the history and methodology of the discipline of history and has a number of related meanings

1: Firstly, it can refer to how history has been produced: the story of the development of methodology and practices.
2: Secondly, it can refer to what has been produced: a specific body of historical writing.
3: Thirdly, it may refer to why history is produced: the Philosophy of history. As a meta-level analysis of descriptions of the past, this third conception can relate to the first two in that the analysis usually focuses on the narratives, interpretations, worldview, use of evidence, or method of presentation of other historians.
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How, what, why and who

The theoretical practice of history writing can be treated by different methods as: how, what, why and who. History writing can also be realised through various mediums such as: writing, picture, drawing and installation. This artist statement is a integrated part of the exhibited project (which consists of six works under the overall title: 100 Ways to Relate to History ) and draws parallels to the processes of historical practice and explores historiography by questioning the human production of and interaction with history on a meta-level.

My work is approached by various mediums and methods: A list/a map, signage, (framed) photographs, a line , a reconstruction of a reconstruction and this guide. The titles are:

100 Ways To Relate To History
Events
Adamas
Illusory Areas
Mise en Abyme
The Complete Guide
(advanced artist statement)


My aim is to review historiography

Is the past being reproduced in the present?
How is it possible to proclaim a space, place or event to be something of importance, when there isn’t any first hand evidence or testimony at our disposal?
How does causality influence on historiography?
Who and what decides when history is history – and why?
Is there one truth or many truths? One history or countless ways of telling the history?

I find it compelling to look at the mechanism of when a historical event is transformed into a legend. This text and this specific work activates and addresses topics concerning history writing by de-and reconstructing myth.


”...underneath each picture there is always another picture.”

Douglas Crimp