How do we reconcile our present identity with continuous movement of time, the incessant production of personal history? How do medium and genre modulate the expressions of this existential quandary?
A fictional museum exhibit spins a narrative from documents related to a money transfer end of the Fatimid caliphate. The interpretation casts history as an institution that permanently exists in the present.
When I began my time at an early twentieth-century historic house museum, I was expecting to find a lot of things—furniture, yellowing diaries, shelves and shelves of vintage clothes—but I never imagined I would find my grandmother.