David Noonan’s film Mnemosyne (2021), named after the Greek goddess of memory, explores the shifting nature of remembrance. The artist assembles personal and public archives, creating a visual atlas reminiscent of the method of art historian Aby Warburg. This constellation of images configures links between events, gestures and beings, treating the video as a meditative wandering. Noonan has long been interested in the perception of time and the circulation of forms, working from images found in books, magazines or online. For Mnemosyne, he selected around fifty images accumulated over two decades. Shot in 16 mm with a Bolex camera, the film incorporates effects produced in a water tank where black and yellow pigments unfold in front of the images. The soundtrack, composed by Warren Ellis, echoes the floating atmosphere. The excavation of these images reveals the construction of history as an act of selection and interpretation. Memory thus appears as a subjective and poetic assemblage, a place to decide what remains and what disappears from our narratives.