User:Elleke Hageman/Trimester1/Thematic/Notes 2

13-10-09

Archive Fever

Archive Fever: photography between history and the monument. Contemporary artists have engaged attention in the active archive regulatory discursive system.

Photography and archive The camera is literally an archiving machine. The photograph has become an object of complex fascination and thus appropriated for myriad institutional, industrial and cultural purposes. “Walter Benjamins Essay on Art” A Feverish pace of pictorial generation and accumulation. A burning with desire to transpose nature into pictorial fact. Many other desires soon followed. The desire to encapsulate a moment make a photograph document an event compose statements, as unique events is directly related to the aspiration to produce an archive.

Photographic image anthropologica; space – family albums Witnessed collapse of the wall between amateur and professional. Unify knowledge from diverse sources. The archival apartness – (criminal photography)

Archive as form Art as archive, faithfully creating reproductions of his work. Broodthaers eagles “post-medium” condition. Collectivation (musea and archives). The arcive is a compensation about the state of photography and as such exists as a representational form of the pictorial multplicity. The archve achieves it's authority, quality and veracity its interpretive power (reality) through a series of design that unite structure and function.. Domiciliation by which the institutional form is achieved, the archive as aphysical entity is manifested in a concrete domain.

Duchamps - reproduction Broodthaers – curratorial Richter -Mnemonic Intelligence faillure/archival dissapointment.

Data are nothing more than the obsessive pronciple of archival formation.

Archive as medium The artists are not concerned simply with accumulation, sorting, interpreting and describing images. They are motivated by a process described by Foucaoult as a tracing back to the original presecursors towards the searc for a new type of rationality and it's various effects. Archival legacies become transformed into aesthetic principles and artistic modls become historicizing constructs. Conceptual system of archival photography. Without photographic or filmic record of events or performances the condition of reality on which their recieved effect as work of art would not have existed.

Archive and public memory Artists have turned photographic archive in order to generate new ways of thinking through historical events and tot transforn traditional ideas surrounding the status of photographic document. How does one resist the aftermath its mediated manifestation. Can it be treated as a work of art or public testimony? Non- photographic images trouble remembering and in their inconsostensy have an influence on the public and private memory. Archives represent unbearable historical weight and therefore open up a productive space for the artist in the form of aesthetic ethical etc speculation.

Homo Sovietus postsoviet archives A heightened sense of urgency surrounds the demands to remember ad commemorate in societies where social codes of communication have been historically unstable or influenced by state reppression. Loss of archive by official attacks.

Ethnographic conditions of archives Domestic photography allows us to see the archive as a site where society and its habits are given shape. The archive today rests in a state of historical incarceration played out in media experiences museums old libraries etc.

Archive fever a freudian expression

Explanation becomes archive. Domiciliation in archive there should not be any heterogenity or secret. An exergue serves to stock in anticipation of prearchive a lexicon. Figure of archive There is no archive without a place of consignation without a technique of repetition and without a certain exteririty. No archive without a certain exterioruty. No archive without outside.

Preamble impression 1 scriptual typographic