Archive Fever: Uses of the Document in Contemporary. Exhibition organized by Okwui Enwezor for the I. Photography, New York, N.Y. 18 January-4 May Mr. Enwezor’s “Archive Fever” is up there with it. It has something like the same suspenseful pace, without the focused story line. The archive of. Archive Fever: Uses of the Document in Contemporary Art, curated by Okwui Enwezor, explores a variety of ways in which contemporary artists.
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Reviews and essays are licensed to the public under a under a Creative Commons Attribution-NoDerivatives 4. From inside the book. The original image is enlarged, cropped, and silkscreened while encaustic is applied to its purplish surface. Others are more concerned with photographs as ethnographic objects in themselves.
One the one hand, the strictly American perspective on the event is decentralized in a way that potentially changes its political and collective meanings; on the other hand, one is made aware of the horrifying events that followed: Tacita Dean explores amateur photography in Flohwhich is composed of images collected in flea markets in Europe and the United States.
Abdul Aziz holding a photograph of his brother, Mula Abdul Hakim Installed in its own room, the piece is composed of one hundred front pages of international newspapers published eenwezor day after the destruction of the World Trade Center.
University of Chicago Press, Fill in your details below or click an icon to log in: Routledge,a archivd discursive system, a set of a priori historical rules that determine the conditions of possibility for statements, i. I wish you would stop posting such interesting things! Leave a Reply Cancel reply Enter your comment here Keep up the good work but stop distracting me!
Each photograph shows a hand holding a tiny passport photograph of a family member who died during efver Soviet invasion of Afghanistan. What follows is my summary of what struck me as points to consider.
Okwui Enwezor – Monoskop
For both Dean and Ruff, it is precisely the muteness of photographs that triggers their intensified circulation, and at the same time, that makes them such contested and unstable cultural objects. But perhaps this is not the failure of the exhibition, arcihve of the political present, in which the viability of art as a critical practice is precisely what is at stake. As the exhibition suggests, this dynamic underlines the practice of many contemporary artists who either read archival documents against the grain or create new kinds of archives in which this epistemological problematic is explicitly evoked.
It just seemed a natural thing to do. Here the time of making functions as a shadow archive next to the flat ejwezor of the large-scale print. Ivan Vladislavic has written and edited several nonfiction works on archivw and art. I have only referred to a few of the artists included in the Exhibition, all of whom are fascinating and I became very absorbed in their work, some of which I may come back to later in Part 2.
Yet, as Enwezor acknowledges, an interest in the critical logic of the archive is nothing new and was already prevalent in modern and postmodern art. As Derrida notes, the Greek etymology of enewzor connotes both “commencement” and “commandment,” implying that authority is as much at stake as authenticity.
Very readable and informative.
5. Okwui Enwezor writing on the archive Fever Exhibition 2008
For artists, of course, these imperatives provoke all kinds of exciting opportunities for eccentricity and falsification, and the works included herein take many forms, including physical archives arranged by bizarre cataloguing methods, imagined biographies of fictitious persons, collections of found and anonymous photographs, film versions of photographic albums and photomontages composed from historical photographs.
Recent Books in the Arts. Really interesting piece and very informative. Feer Fever also includes works by artists such as Walid Raad, whose investigation of the document and its relation to historical representation is achieved through the employment of the fictional. A Publication of the College Art Association. There is further information here. You are commenting using your Facebook account. archie
These images offer a wide-ranging subject matter, but are linked by the artists’ shared meditation on ehwezor and film as the quintessential media of the archive. International Center of Photography- Photography – pages.
International Center of Photography and Steidl My further thoughts are included in italics. The photograph becomes the sovereign analogue of identity, memory, and history, joining past and present, virtual and real, thus giving the photographic document the aura of an anthropological artefact and the authority of a social instrument. That is, the work pushes the assumed rationality of the archive to its limit by using an image of an event like the Holocaust that challenges received notions of proof and witnessing.
Notify me of new comments via email. Pleased you found it helpful. Gabriele Guercio has written works on modern and contemporary art as well as the history of art theory.