Daniel G. Andújar, Lapses

In front of the photograph of my mother as a child, I tell myself: she is going to die: I shudder,like Winnicott’s psychotic patient, over a catastrophe, which has already occurred.Whether or not the subject is already dead, every photograph is this catastrophe.
Roland Barthes

Başak Şenova*

Today, media collects and distributes images for us with immense speed and magnitude.We are surrounded by these images; and more than ever, all communication technologies -as efficient apparatuses of late capitalism- infuse our lives with vast attacks of images. Nevertheless, we have also learned from the same sources that the meaning of any image is dependent on the context. It is not only the images, but also ideologies and realities behind the images that are being created for us.In this respect, “Postcapital”, as an ironically questioning archive developed by Daniel G. Andújar, shoots back with the same gun by detecting lapses in our perceptionand explanation of political, cultural, economic, social, and even technological conditions and realities. He indexes our cognitive mechanisms. Andújar’s project strives to make sensible connections between mediated images ofan immense and chaotic pile. His intention is building a system that helps the viewer/user to correlate incidents of certain periods of different time slices of a decade via multidirectional links. The links are supposed to work like synapses between neurons: Firing back and forth, carrying information between each and every single image so as to build up consciousness on a neural network… The period between the years of 1989-2001, to which the images refer, is the period when the Internet ascended on the conventional and relatively much slower media. It can be regarded almost as the Big Bang of the media image production and circulation processes, aswell as the lapses caused by overloaded information.

*Başak Şenova, 2009 Venice Biennial Turkish Pavilion curator

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