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GHOST IMAGO
Metal welding, Augmented Reality, Installation
New York, United State
”Ghost Images” like anocratic stories, evolve over time and become a common language. Every image is a little nomadic, and feelings, ideas and stories know no boundaries. The temporal loops of images unveil different layers. We trace images in those layers according to the principles of resemblance and dissemblance.
Even though the images in the portraits of the first and fourth centuries BC were drawn in different parts of the world, they trace resemblance. Because of its anthropological character, the image comes from the tradition of trail-tracking and discusses resemblance.
In her book titled “The Surviving Image,” Aby Walburg focuses on the survival features of images.
This notion of survival paves the way for which art history became a humanistic discipline. The Surviving Image takes Warburg as its main subject but also addresses broader questions regarding art historians’ conceptions of time, memory, and symbols and the relationship between art and the rational and irrational migrations of art and soul.
Art history that addresses anthropology, psychoanalysis and philosophy to understand the “life” of images. In his work, he points out how survival is shaped by ancient nodes, anachronisms, present and future trends of a period despite the difficulty of surviving. An image shaped by the principle of resemblance saves itself from “before” by surviving “before the before,” just like a theory of evolution in itself.
One of the most striking formulations of Warburg's death in 1929 is that he described the type of images he followed as ghost stories for grown-ups.
However, whose ghosts are those?, and when and where do they come from? Warburg's fascinating texts on the portrait of archaeological sensitivity and melancholic empathy suggest, first of all, that those ghosts are a matter of survival after death.