RETURN
(Images survive
like symptoms),
2025-2026
HD
video,
18:34min HD (16:9)
with digital
photography
Filmed inside a storage facility at the
Aberdeenshire Museums Discovery Centre (Scotland), which holds
over a quarter-million items, this experimental work focuses
on objects deemed of minor value and never intended for
display.
Confronted with the vast number of forgotten objects
, I selected several items for professional photographic
documentation, as if they were entering an exhibition
catalogue. This act of documentation functions as an
allegorical operation, turning each object into a lens that
connects it to its cinematic counterpart and extends its
context in relation to twentieth-century cinema. In doing so,
the work reveals fractured histories and the histories of the
oppressed.
Selected objects include:
- Paper banknote, two kunas (1941–45). Issued by the Nazi-allied Independent State of Croatia (NDH). Mistakenly classified as a Bulgarian note.
- Yugoslav female folk doll (1970s). Doll no. 757, mass-produced in Italy by the Eros Company.
- Book of pressed flowers (1912). Titled Jerusalem, containing ornate patterns made of pressed flora from the region of Palestine under the Ottoman Empire. Hebrew and European captions.
- Beggar’s badge (16th century). Issued by the Church to identify beggars and authorize public begging within the parish of Huntly, Aberdeenshire.
- Correspondence of Freda Levson. Letter to D.R., dated 31.05.1953. Freda Levson was an anti-apartheid campaigner and author, active from the 1940s until her death in 2004.
Cinematic counterparts:
- Three — Aleksandar Petrović, 1965
- Love Affair, or the Case of the Missing Switchboard Operator — Dušan Makavejev, 1967
- The Dupes — Tawfiq Saleh, 1972
- Umberto D. — Vittorio De Sica, 1952
- Come Back, Africa — Lionel Rogosin, 1959
Stills
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Excerp
