The transition of media from analog to digital and global reach greatly changes our perception and memory. Personal information has thus become public and recording of personal life gained a new meaning and purpose.

Until the End of Memory brings together a video and an audio recording. The video consists of publicly obtained autobiographical footage of people from all over the world. It covers various periods of life from birth to death, which is also the premise of an audio recording made up of computer read questions about life. The title and formal features refer to the film Until the End of the World (Wim Wenders, Bis ans Ende der Welt).

“..the artist's minimal gesture of appropriation of foreign material directs us from the content to observing the very processes of perception, capturing, sharing and appropriation. Until the End of Memory can thus be viewed as an explication of the technological and cultural frameworks that shape our media and online activities and the discursive and material manifestations of memory that are created and articulated precisely in the relationship between the collective and the personal, the public and the private.” ¹

1- BURJA Maja, Until the End of Memory (exhibition text), Kino Šiška, Ljubljana, 201

The basic function of personal recordings is no longer triggering memory and restoring it. With unlimited possibilities for recording everything around us, whatever/whenever we transfer memories to devices, and the process of remembering along with them. Above all, we are transferring the responsibility for remembering to devices, preferring to digitalize rather than experience.

‘’The ability of photographic objects to evoke personal memories, is increasingly giving way to its communicative and experimental uses. In addition to photographs’ function as material keepsakes, once primarily intended for veneration or ritual use-stored in the family archive or exposed on the walls of the home gallery-photographs metamorphose into virtual objects of exchange and versatile coded artifacts.’’

Jose van Dijck, Mediated Memories in the Digital Age, 2007