摘要：The Australian photographer Bill Henson described one significant aspect of his work in a 1986 exhibition catalogue that has been republished in the catalogue Mnemosyne. ‘In any sequence no photograph can be extraneous – the entire series should in fact amount to one ‘image’ which has been articulated into a complex of images. For this reason I take some trouble over the installation of a work – everything having its place yet the possibilities remaining inexhaustible.’ The permutations of images, words and ideas, and their migrations from exhibitions to catalogues to art criticism is an appropriate introduction to a discussion of the exhibition and catalogue. The title is resonant for art historians, as Mnemosyne ( – memory) was the title given by the late nineteenth and early twentieth-century art historian Aby Warburg to his research into cultural memory, represented most famously by his extraordinary image archive housed in the Warburg Institute in London. Is there a connection between Henson and Warburg?
