Sonia Jose, a Bangalore (India) based artist says “My photographs served as relics of the past to trigger the memories and re-live the experiences I was too overwhelmed at the actual time they happened to be a part of. What most aided to make sense of the experience however wasn’t that of being in that place or the latter reflection after I came back home, but the time it took between both to make sense of the experience. Just like how when one sends a post card; without the time it takes to travel, the communication would not be complete between sender and receiver.” Here Post/Mortem becomes the re-examination of past experience. A living experience is objectified through photography and then is reconfigured through recollection.
German born Christian Wulffen’s work, as Nikolai Forstbaur puts it, “ proves to be a constant estimation and measurement: of his own action, of the possiblities of artistic utterence, of the location, of the art system. It soon appears that the balance of presentation and analyses loses impact as the presentation itself takes on an analytical character.” Here the process of “Post/Mortem” becomes synchronous with the act of practice and presentation. There is a constant reconsideration present even within the immediacy of the photo.
Jason Yoh, a Cleveland (OH, USA) based artist too explores rememberance as a form of objectification. However the burning Cuyahoga River is a communal memory rather than a personal one. One that is immediately poignant as it brings up issues of industrial pollution and its resultant ecological crisis. A memory that is more easily forgotten than commemorated.
While Sreshta Premnath (Bangalore, India), in Site Seeing attempts to formally deconstruct the place of the postcard, its site constantly shifting one juxtaposed upon the other, Avinash Veeraraghavan (Bangalore, India) explores the blank, black, text-side of his card as both a distillation of the image and a reflective surface upon which every passing scene is reflected – a constant reflector of its shifting site.
H. L. Hix contributes two previously unpublished poems, both of which will be in his next book, Shadows of Houses, which will be published next year by Etruscan Press. “The Prophets” appropriates and manipulates a sentence from each of the biblical prophets, repeating them in a progression; “The Letters” does the same thing with the new testament letters. Since the original authors whose words get deformed in them are long dead, they seemed in some way suitable to the Post/Mortem theme.