Issue #14, 2003

Iosif Király

IOSIF KIRÁLY born in 1957, RO. Works singly and since 1990 also as subREAL, in the media of photography, installation and performance. His exhibitions includes: the Museum of Contemporary Art (Chicago), Galérie Nationale du Jeu de Paume (Paris), Moderna Museet (Stockholm), Kunsthal (Rotterdam), Hamburger Banhof (Berlin), Fotogalerie Wien, Galerie Vox (Montreal), Neue Galerie am Landesmuseum Joanneum (Graz), Kunstnernes Hus (Oslo), La Biennale di Venezia, São Paulo Biennial, Foto-Triennale Esslingen etc. He lectures at the University of Arts, Bucharest, as well as internationally; and has been artist in residence at: Kunstlerhaus Bethanien (Berlin); Akademie Schloss Solitude (Stuttgart); KulturKontakt (Vienna); Light Work Syracuse (N.Y.); NIFCA (Helsinki); IASPIS (Stockholm) etc.


Within this project with the help of photography I have attempted to make sections in different personal situations and experiences that took place a longer or a shorter time ago.

“Reconstructions” are compound poly-perspective images whereby each snapshot acts as a byte of information and memory (the time code of the camera being visible). The fact that these snapshots are taken approximately from the same spot (location) but at different moments (after periods of minutes, days, months, years) gives the final image a spatial coherence but a temporal discontinuity.

“... we tend to think of memories as snapshots from family albums that, if stored properly, could be retrieved in precisely the same condition in which they were put away. But we now know that we do not record our experiences the way a camera records them. Our memories work differently. We extract key elements from our experiences and store them. We then recreate or reconstruct our experiences rather than retrieve copies of them. Sometimes, in the process of reconstructing we add on feelings, beliefs, or even knowledge we obtained after the experience. In other words, we bias our memories of the past by attributing to them emotions or knowledge we acquired after the event.” (Daniel L. Schacter, The Seven Sins of Memory – How the Mind Forgets and Remembers, Houghton Mifflin Company, 2001, p. 9.)

Reconstruction is influenced by several factors such as the context where it occurs, the emotional state in the moment of remembering and experiences accumulated from the moments the events took place until the moment it is remembered etc. Thus, some details can be given more importance than others, some elements can be highlighted in time whereas others can diminish or even fade out being replaced with elements taken from ulterior happenings or even indirectly experienced events such as information received from mass-media or other sources and took as our own at a subconscious level.

Translated by Izabella Badiu, proof reading by Kate Smith