Oxford Art Journal, March 2010

In “Towards a New Image of Politics: Chris Marker’s Staring Back,Vered Maimon writes about Marker’s 2007 exhibition and book:

 What distinguishes Marker’s long-term interest in the complexities and paradoxes of memory is precisely the way he uses images to insist on their own autonomy in relation to the workings of personal memory, while, at the same time, pointing to the non-subjective aspects of memory by turning his own oeuvre into a dynamic global map that is actualised through an encounter with users – an ‘Immemory’ that exists between different identities, spaces, and points in time.

Furthermore, in the same way in which Immemory challenges the prevalent assumption among art historians and culture theorists that digital new media are inherently incapable of representing processes of remembrance either because they evoke a sense of perpetual present or because they function as mere repositories of information, Marker’s return to the modesty of the still-image in Staring Back points out that for him analogical photography exists alongside digital imagery and that photography did not simply become obsolete in the face of computer technology.