Lexicon for an Affective Archive

Description

To study an archive or archival materials is to encounter an affective and critical practice involved in the construction of memory. Lexicon for an Affective Archive, edited by Giulia Palladini and Marco Pustianaz, is an international collection of these encounters, offering glimpses into the intimate relations inherent in finding, remembering (or imagining) and creating an archive. Bringing together voices from a variety of fields across the humanities, performance studies and contemporary art, and engaging in a multidisciplinary analysis, this beautifully designed and fully illustrated volume advances the idea of an “affective archive” as a useful conceptual tool – a tool which contributes to an understanding of an expanded notion of an archive and its central role in contemporary visual and performing arts.



A co-publication with NInA and Live Art Development Agency.

Boxes

Alessandra Violi

 

Vnučka (Granddaughter)

Kateřina Šedá

 

Kres (Limit)

Dorota Krakowska

 

Warning

Rabih Mroué

 

Ordigno (Device)

Claudia Castellucci

 

Bewegung (Movement)

Franz Anton Cramer

 

SIDA (AIDS)

Elisabeth Lebovici

 

Recombinations

Bettina Knaup

 

Einmachglas (Preserve Jar)

Erik Göngrich

 

Cardboard Box

Zdenka Badovinac

 

Schubladen (Drawers)

Annemarie Matzke, She She Pop

 

Index Cards

Tim Etchells

 

Steward

Paul Clarke

 

Biel (Whiteness)

Małgorzata Szczęśniak

 

Drzazg (Splinters)i

Małgorzata Dziewulska

 

Immemorial

Graeme Miller

 

Testigos (Witnesses)

Heidi & Rolf Abderhalden, Mapa Teatro

 

Condominio (Condominium)

canecapovolto & Elisa Abela

 

Volver (Return)

Paola Di Cori

 

Unanswered

Joe Kelleher

 

Stasis

Tina Campt

 

Specchio (Mirror)

Alina Marazzi

 

Tumbas (Graves)

Paolo Vignolo

 

Ephemera

Ann Cvetkovich

Sujets

• Loisirs
• Histoire de la photographie
• Personal Memoirs
• Essays
• Live Art
• Photography
• Anthropology
• Cultural Studies
• History

Informations

• Publié par: Intellect Books
• Date de parution: 15 juin 2017
• Nombre de lectures: 0
• EAN13: 9781783207794
• Langue: English
• Poids de l'ouvrage: 10 Mo

Extrait

Zdenka Badovinac • Tina Campt • canecapovolto & Elisa Abela • Claudia Castellucci • Paul Clarke • Heidi & Rolf Abderhalden / Mapa Teatro • Paola Di Cori • Franz Anton Cramer • Ann Cvetkovich • Małgorzata Dziewulska • Tim Etchells • Erik G ö n g r i c h • J o e K e l l e h e r • B e t t i n a K n a u p • Dorota Krakowska • Elisabeth Lebovici • Alina Marazzi • Annemarie Matzke / She She Pop • Graeme Miller • Rabih Mroué • Kateřina Šedá • Małgorzata Szczęśniak • Paolo Vignolo • Alessandra Violi • Ida & Henry Wilde (Keren Ida Nathan & Antonia Baehr)

Edited by

Giulia Palladini

and Marco Pustianaz

Lexicon for an affective archive

Lexicon for an affective archive

GIulIà PàllàdINI àNd MàRCO PusTIàNàz

Note to the Englîsh edîtîon

Thîs voume straddes an unusuay compex înguîstîc andscape. One of the very irst decîsîons we took as edîtors, whose mother tongue îs not Engîsh (athough over the ast years we have both wrîtten and worked extensîvey în Engîsh), was to gîve each contrîbutor the chance to wrîte her or hîs entry în the anguage of theîr choosîng: be ît theîr mother tongue, or the anguage whîch, for practîca or affectîve reasons, they thought woud best “beong” to the entry îtsef. In approachîng the work of revîsîon în preparatîon for thîs voume, we have returned to the transated texts wîth the orîgîna versîons at hand, wîshîng — as much as possîbe — to brîdge the gap between the standard varîety of Engîsh, as we perceîved ît, and the hybrîd înguîstîc form often resutîng from mutîpe border-crossîngs. In some cases, we fet the need to întervene rather more substantîay on the text deîvered by the transator whose name you wî see assocîated wîth each entry în the Appendîx. Wîth thîs note, we aîm to take fu responsîbîîty for such înterven- tîons. On the one hand, thîs wî account for the bîgger or smaer changes that the transator(s) wî ind compared to theîr orîgîna texts. On the other, thîs note îs here to acknowedge the often învîsîbe, but uttery materîa engagement whîch any act of transatîon împîes as an uninîshed busîness of cutura medîatîon.

Gîuîa Paadînî and Marco Pustîanaz Berîn / Verceî, October 2016

KàTEřINà ŠEdá

recombinations

warning

ordigno d e v i c e

tIm eTCHElls

21

27

Lexicon for an affective archive

65

35

53

59

BETTINà KNàup

einmachglas P r e s e r v e j a r

bewegung m o v e m e n T

vnuČka g r a n d da u g h T e r

ZdENkà BàdOVINàC

c o n t e n t S

fRàNz aNTON cRàmER

index cards

eRIk GöNgRICH

KàTàRzyNà tóRz Foreword

alEssàNdRà vIOlI

DOROTà KRàkOwskà

89

95

sida a i d s

cardboard box

83

77

8

10

ràbIH MROué

GIulIà PàllàdINI àNd MàRCO PusTIàNàz The making oF our Lexicon a TaLe oF Terror. or, archive by Fire (mP) a TaLe oF deLighT. or, jouissance d’archive (gP)

aNNEmàRIE MàTzkE / SHE SHE POp schubladen  d r aw e r s

71

41

boxes

kres L i m i T

clàudIà càsTElluCCI

elIsàbETH LEbOVICI

Pàul clàRkE

idà & hENRy WIldE (KEREN idà nàTHàN & aNTONIà BàEHR) gloss 185 aPPenDix 191

steward

MàłgORzàTà SzCzęśNIàk

drzazgi s P L i n T e r s

biel w h i T e n e s s

specchio m i r r o r

ephemera

stasis

GRàEmE MIllER

CàNECàpOVOlTO & elIsà abElà condominio  c o n d o m i n i u m

179

143

161

155

173

167

131

137

113

123

103

109

tumbas g r av e s

volver r e T u r n

PàOlà DI cORI

unanswered

hEIdI & rOlF abdERHàldEN / Màpà tEàTRO testigos  w i T n e s s e s

PàOlO vIgNOlO

MàłgORzàTà DzIEwulskà

aNN cVETkOVICH

JOE KEllEHER

alINà MàRàzzI

tINà càmpT

immemorial

149

KàTàRzyNà tóRz

FOREWORD

The poînt of departure for thîs book was the înterest shown by the Poîsh Audîovîsua Instîtute (NInA) în the concept of affectîve archîve, whîch the edîtors of thîs voume, Gîuîa Paadînî and Marco Pustîanaz, have been deveopîng and empoyîng în theîr projects and theoretîca relectîon sînce 2010. In 2013, severa years after ît was founded în order to archîve Poand’s audîo-vîsua herîtage, NInA started searchîng for a creatîve and powerfu concept that woud breathe new îfe înto the way we thînk about and work wîth archîves, whîe openîng up a perspectîve that woud transcend merey utîîtarîan or hîstorîographîca approaches. Thîs ed to an învîtatîon to curate a book that woud serve both as an întroductîon to affect and as a test of îts possîbe appîcatîons în the ied of archîvîng. The resut îs a “counter-exîcon” of sorts: by offerîng an exporatîon înto the varîous possîbe facets of such an archîve, thîs book întends to înspîre and învîte the reader to take part în a mutî-ayered encounter. The process of makîng thîs book învoved not ony encounters wîth peope and archîves, but aso wîth îdeas about archîvîng îtsef—a practîce that profoundy shapes our contemporary word, engages ît în dîaogue and argument, and forces us to take a posîtîon. The tangîbe form taken by thîs exîcon îs a natura consequence of the processua nature of îts compîatîon and creatîon. The seected authors were asked to propose an entry or desîgn a vîsua înterventîon în a form of theîr own choosîng. A content, wrîtten în the author’s anguage of choîce, îs pubîshed here for the irst tîme în Engîsh. Thus, the exîcon contaîns pîeces that have been anîmated by an attîtude of mîndfuness, both at a conceptua stage and în the process of reachîng theîr ina form: they share an awareness of becomîng a new archîve by beîng archîved în the exîcon, and a focused attentîon not ony on theîr objects, but aso on the context în whîch theîr affect woud come to rest. By gîvîng authors and artîsts from dîfferent countrîes, contexts, and cutures the opportunîty to meet în the pages of the book, thîs curatorîa approach resembes the process of puttîng together an exhîbîtîon, where the conceptua eement întertwînes wîth the personaîtîes of every partîcî- pant, and îs further compounded by the eement of surprîse învoved în

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commîssîonîng new work. The exîcon encourages îts readers to experîence archîves în a specîa and întîmate way: to approach them at cose range, to take a stance on the words they are openîng up. Sîmîary to the îtems dîspayed at an exhîbîtîon, the entrîes în thîs book have been arranged în a carefuy ordered fashîon accordîng to a path chosen by the curators. However, the choîce of how to expore the exîcon îs up to the reader: she can open ît at random, examîne îts mutîpe facets, re-read favourîte entrîes, whîe eavîng others for ater înspectîon or even skîppîng them. We hope that the exîcon wî spark an înterest în the reatîonshîp between archîve and affect among researchers, artîsts, and vîewers. Archîves transcend the boundarîes of specîaîzatîons, dîscîpînes, and socîa groups; they shape our own îdentîtîes and the way we thînk about hîstory; they are often the chance outcome of sînguar îfe storîes, whîe at the same tîme shapîng the coectîve ayers of cuture. Thîs means that the phenomenon requîres a constant crîtîca examînatîon. Archîves aso pose a chaenge to înstîtutîons, whose task ît îs to adopt the best archîva practîces for proper storage and presentatîon, whîe aso addressîng contemporary sensîbîîtîes. Thîs exîcon îs the resut of the combîned efforts of many peope: curators, wrîters, edîtors, and transators. Severa years în the makîng, thîs project woud not have been possîbe wîthout the openness to înterdîscî- pînary approaches on the part of the partîcîpatîng înstîtutîons. Each of them, în theîr own way, îs înterested în broadenîng the spectrum of debate and the perceptîon of the archîve as an împortant ied of study—an area of fascînatîng artîstîc exporatîon and a crucîa factor în how we as humans are rooted în the word: NInA and słowo obraz/terytorîa (the co-pubîshers of the Poîsh versîon of the book), Inteect (the pubîsher of the Engîsh versîon you are readîng now), the Unîversîty of Roehampton’s Department of Drama, Theatre and Performance (whîch has generousy co-inanced the project), and Lîve Art Deveopment Agency (whîch has sponsored the deveopment of thîs project and supported îts transnatîona îfe).

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