How does contemporary photography think memory?

Abstract

If image thinks and thinks in its own terms, as Didi-Huberman states, how can we understand the statute of contemporary photography on memory? If Freud claims that the object is forever lost, what would be the photographic referent in contemporary society? In this paper, from the analysis of recent artistic practices that use and think photography, I will point how the notion of memory is re-formed since its static character to configure new sets of possibility of times and spaces.