Remember Me, 2000



Installation view, Shoreditch Townhall, 2000

The six faces of Remember Me were taken from the Internet, in particular from sites with pornographic content. Showing faces only, Remember Me focuses on the sexual promise that is traditionally female. The female promise is most potent when the gaze is direct and empty. The images are then a screen for the projections of the spectator; a certain emptiness is needed to evoke these projections. In a portrait of a real person the reality of that person prevents the viewer from projecting his ideas onto the image. The spectator is the creator of a desire of which he or she is at the same time the victim. Remember Me uses all the rules of photography without any representational reference to a reality (that would protect the spectator from his or her involvement) from which the photograph is taken. Now, in the desire of the spectator’s gaze distance is vanquished.

Artists like Sherrie Levine or Richard Prince re-defined photography as a medium for appropriation. With Remember Me, however, I managed to transpose the photographic practice that forms our visual reality into the wider field of digital imaging. Whereas rephotographing imposes an additional perspective onto the image, the technique I used condenses the perspective into the indeterminate nebula of the blurred face. The blurring gives an essentially different impression in comparison with an out-of-focus photograph which is still spatial. In Remember Me, the blurring is flat bringing the image’s qualities onto its surface. After having cut out the face from the downloaded picture, I reduced its resolution to a point where the characteristics of the face have almost vanished. Having done that, I used Photoshop’s bicubic interpolation feature to increase the resolution drastically. That means that only 0.001% of the dots are actually ‘real’ dots originating from the picture I downloaded from the Internet.

The title ‘Remember Me’ brings together a variety of connotations. It is left open whether it is a question (‘Do you recognise me?’) or an exclamation (‘Keep me in mind!’). In both cases it is reference to history we allegedly have forgotten about (Jameson). The loss of history corresponds to the defeat of the subject pierced by the sexual gaze of the ‘Me’ that is seducer and questioner at once. Taken individually, the faces impersonate the personality of the ‘Me’ that cannot be sustained. Taken universally, the ‘Me’ falls back onto the spectator as the creator of his own seduction.


 Test Page by Julian S.

Michael Schwab

CV

Documents

 

News

Wieviel Wissenschaft bekommt der Kunst?
Oesterreichische Forschungsgemeinschaft, Wien

4 & 5/11/2011

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Imagining Imagination
Royal College of Art, London

10 & 11/06/2011

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Suspense - International Symposium
on Rethinking Research
Cinema Zuid, Antwerp

04/05/2011

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Modes of Collaboration between
the Arts and Sciences,
ZHdK, Zurich

29/04/2011

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Architecture + MIT 150

25-27/04/2011

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Drawing in an Expanded Field
Academie Royale des Beaux Arts
de Bruxelles

25-27/02/2011

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Habitus in Habitat III
Synesthesia and Kinaesthetics
ZfL, Berlin

22-24/10/2010

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Unexpected Variations
Orpheus Research Center in Music, Ghent

15-17/09/2010

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Please support the
Journal for Artistic Research (JAR)

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Arts Research: Publics and Purposes,
GradCam, Dublin

15-19/02/2010

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Components of the Image
Exhibition 036 at SWG3 in Glasgow

09-18/10/2009

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Sensuous Knowlege Conference 6
Bergen, Norway

23-25/09/2009

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International Walter Benjamin Association
Antwerp, Belgium

14-17/09/2009

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First, the Second:
Walter Benjamin's theory of reflection
and the question of artistic research

Journal of Visual Arts Practice (7.3)

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International Seminar 'Light Touches'
Figures of Touch Research Project
University of Art and Design, Helsinki

10-11/06/2009

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The Difference between Art
and Art Research
Züricher Hochschule der Küste

23-24/04/2009

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Creative Practice, Creative Research
York St. John University


Download my paper in the 'Documents' section.

25-17/04/2009

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The Art of Research: Research Narratives
Chelsea College of Art and Design

28-30/10/2008

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Research into Practice conference
Royal Society of Arts

31/10/2008

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/seconds issue 9
vanishing point, the vicious and virtuous circle

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Conference Contribution and Exhibition

'Figurations of Knowledge'
5th Biannual European Conference of the Society for Literature, Science, and the Arts (SLSA), Berlin

02 - 07 June 2008


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Paris

Book Launch

18 May 2008

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The Full Circle
A collaborative project by Eduardo Padilha and Michael Schwab

Studio 1.1, London

11/05 - 01/06/2008

Private View:
10/05/2008 6-8pm


Artists' Talk:
25/05/2008 3.30pm

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Full Circle Family Workshops

Gasworks, London

19 - 22 February 2008

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Keynote Paper and Exhibition

'Art and Research: How?'
International Conference at the Estonian Academy of Arts, Tallinn


14/15 February 2008

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Artist Talk

'figure' at the Tramdepot Gallery, London

3 February 2008, 2pm

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Figure

The Tramdepot

Private View Friday 25 January 7 - 11 pm

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As if something once mentioned, now plain to see

Book by COLONY, Birmingham

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The Full Circle
A collaborative project by Eduardo Padilha and Michael Schwab

Huisrechts, Amsterdam

13.9 - 16.10 2007

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Political Art 2007 Almanac
Reunion Projects

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Artistic Research and the Role of Critique.

In: van Koten, H. (ed), Proceeds of Reflections on Creativity, 21 and 22 April 2006.

Dundee: Duncan of Jordanstone College, 2007. ISBN:  1 899837 56 6.