17 January 2013

I started this project as a way to search for memories. A lack of memories could be the lack of a narrative - no ways of connecting experiences nor giving them context. The editing of memories is a constant process. I felt that I had little left to edit.

I decided to take the archive of negatives that my parents kept, as the raw material to base my selection on. The archive is finite, it fades out shortly after my father passed away, when I was 11 years old. While looking back, I realised that few pictures had survived the editing process. I found few memories. The images didn't work like I expected them to, or rather, like I wanted them to. The only pictures I still remembered were the ones hanging in our living room. They were the ones that were constantly shown to us, to our family and friends. They represented our family and were responsible for branding my memory and my past.

We are not always the curators of our own past. However, by selecting and presenting pictures we show others and ourselves a certain image, which affects how we are remembered and how we remember. Errata is an attempt to reclaim this curatorship and to (re)write my personal, visual history. It's an appendix; an annex to the photo albums my parents made. The choices I made are based on the different roles I play: protagonist, author and photographer.

 

Introduction
Ilke Gers

In his work May 1, 2011, Alfredo Jaar projects the official White House press photo of the raid on bin Laden's compound onto a screen. The photo, which depicts the tense expressions on the faces of U.S. leaders as they witness the live event, was circulated in the news media as a representation of the historic political moment of U.S. victory against terrorism. It is questioned by means of a blank screen juxtaposed next to it. What is really being witnessed? The work reveals what is withheld, and how the huge amount of imagery continually flashing past us results in an unquestioning dependency on a small set of mediated images as representations of significant events in history. On a more intimate scale, Paul Graham parallels and recontextualises the disjointed images received through popular media to construct our social history in the photographic series New Europe. His allusion to the European dream slowly reveals the connections between the more subtle expressions of the effect of political change through portraying the ordinary experience of life in Eastern Europe in the late Eighties and early Nineties.

Errata is Jeroen's investigation of his own history, bringing into focus the fragility of a factual and static nature of history from a personal angle. He uses his individual experience as an approach to issues of representation in photography, specifically relating to the vast number of photos of family and friends that people take every day. Jeroen's investigation is on a local scale, with himself as the artist, the subject and the viewer, a perspective based on his unique circumstances. With few childhood memories after the death of his father, Jeroen had been afraid of affecting the memories he did have by looking at undeveloped family photos his mother had taken. Previously he had only seen the small selection of generic family photos his mother had hung on the lounge wall, a constant, yet incomplete picture of his family history, dynamic and identity.

By selecting images from his mother's archive as alternatives to those he encountered every day in the family home, Errata opens the possibility for different stories to emerge. The alternative history is not grouped in the chronological system we have been conditioned to expect from family photo albums, but instead is done by speculative association, leaving us unsure of the underlying logic to the order. The new information we are presented with therefore feels unstable and difficult to label removed from its context. The images ask to be reinterpreted in an active questioning of the tangled connection between memory and moments captured as facts.

"He wrote me: I will have spent my life trying to understand the function of remembering, which is not the opposite of forgetting, but rather it's lining. We do not remember, we rewrite memory much as history is rewritten."

Chris Marker
Sans Soleil

 

 

 

 

 

 

 

Me: It’s one of the last pages of the archive. After that one, there are a couple more,
but it’s not that long from when he passed away.

Mom:Yes, in November.

Me: Then you kind of stopped photographing.

Mom: Yes, I didn’t take that much pictures any more. Or maybe I didn’t archive them well enough.
I think I just didn’t have the time for it, or put time in it. I think that was the reason.

Me: That maybe you also lost a kind of reason to photograph, because he wasn’t there anymore.

Mom: But I took a lot of pictures of the kids alone too.

Me: Always, yes. That’s true.

Mom: When I look back I see a lot of pictures of you guys alone. Rarely one of Bart or me
or of all of us together. I think I just didn’t give it the time anymore.

Me: Having and giving...

Mom: Yes. I can’t think of any other reason. Maybe also because I didn’t feel like it anymore,
but I don’t think I felt like that. It was really busy, with three kids. And it was constantly like that,
even though your father was abroad a lot, he still came back home.
I think he also took a lot of pictures.

[excerpt from one of two interviews]

 

 

 

 

 

 

 

 

 

 

 

 

Errata

"We are not always the curators of our own past. However, by selecting and presenting pictures we show others and ourselves a certain image, which affects how we are remembered and how we remember. Errata is an attempt to reclaim this curatorship and to (re)write my personal, visual history. It's an appendix; an annex to the photo albums my parents made. The choices I made are based on the different roles I play: protagonist, author and photographer."
[excerpt - introduction - 17 January 2013]

Specifications:
- edition of 150
- design: Bosco Hernández (Werkplaats Typografie, Arnhem)
- printing: digital offset on HP Indigo by Netzodruk, Gorinchem
- paper: 80g wood-free offset (images) & K642211 wrapping paper (text)
- binder: saddle stitch by Geertsen handboekbinderij, Nijmegen
- uncut fore-edge
- introduction by Ilke Gers

Price: 25 euro (excl shipping).

Order: contact[at]jeroenlambertyn[dot]be

For a selection of single images: click here