Truth is elusive, motivated by self-preservation. In the film Rashomon (1950) by Akira Kurosawa, various eye-witnesses describe their recollections of a violent crime. The accounts and their outcomes vary, leaving viewers to weigh each version against another. In the process the characters’ stories collectively show the nature of truth as unstable and always susceptible to being shaped. Indeed, we have built-in survival mechanisms that may lead us to selectively edit or even invent memories to forge ‘objectivity.’ Besides showing the often self-centered nature of people, the film suggests a multitude of perspectives is necessary, objectivity impossible.
In a similar spirit, this show calls upon a diverse range of artists and media. Taken together, they reveal a variety of positions, a multiplicity of voices drawing upon their own memories, expressing their own truths. Each has a kind of accuracy, yet are often at odds with grand narratives and official accounts, undercutting neatly kept categories and borders. What emerges is a kind of objectivity that rests less upon tangible reference points, but rather associative recollections. Whether appropriated and reconfigured from popular sources, or registered as pigment on a surface, works in this show explore the crafting of reality, and how memory serves us.