An Archival Impulse
An Archival Impulse
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档案冲动
DOI：
10.1162/0162287042379847
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发表时间：
2004
期刊：
影响因子：
0.3
通讯作者：
Hal Foster
中科院分区：
文献类型：
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作者：
Hal Foster
2004年10月110日，秋季，pp. 3-22.© 2004年哈尔福斯特。想象一下，一个临时的展览是用工作日的材料，如纸板、铝箔和包装胶带拼凑而成的，就像一个自制的学习圣地，里面摆满了一系列混乱的图像、文本和献给激进艺术家、作家或哲学家的推荐信。或者是一个时髦的装置，将一个失落的雕像模型与民权运动的口号和/或当时传奇摇滚音乐会的录音并列在一起。或者，在一个更原始的记录，一个简短的电影沉思的巨大的声学接收器，建于世界大战之间的肯特海岸，但很快被遗弃的过时的军事技术。尽管这些作品在主题、外观和影响上各不相同，但瑞士人托马斯赫什霍恩、美国人萨姆杜兰特和英国人塔西塔迪恩的作品都有一个共同的艺术实践概念，即对现代艺术、哲学和历史中特定人物、物体和事件的独特探索。这样的例子还可以增加很多倍（其他的从业者开始可能是苏格兰人道格拉斯·戈登、英国人利亚姆·吉利克、爱尔兰人杰拉德·伯恩、加拿大人斯坦·道格拉斯、法国人皮埃尔·休伊和菲利普·帕雷诺、美国人马克·迪翁和蕾妮·绿色。. .），但这三个单独的点档案冲动在国际上工作的当代艺术。这种普遍的冲动并不新鲜：它是不同的活跃在战前时期时，剧目的来源是扩大了政治和技术（例如，在亚历山大罗琴科的照片档案和约翰哈特菲尔德的照片蒙太奇中），在战后时期，它甚至更加活跃，特别是当适当的图像和连续格式成为常见的习惯用法时（例如，在独立组的钉板美学，从罗伯特劳森伯格通过理查德王子，以及概念艺术，制度批判和女权主义艺术的信息结构修复表示）。然而，一种具有独特性质的档案冲动再次普遍存在，足以被视为一种趋势，仅此一点就受到欢迎。
OCTOBER 110, Fall 2004, pp. 3–22. © 2004 Hal Foster. Consider a temporary display cobbled together out of workday materials like cardboard, aluminum foil, and packing tape, and filled, like a homemade studyshrine, with a chaotic array of images, texts, and testimonials devoted to a radical artist, writer, or philosopher. Or a funky installation that juxtaposes a model of a lost earthwork with slogans from the civil rights movement and/or recordings from the legendary rock concerts of the time. Or, in a more pristine register, a short filmic meditation on the huge acoustic receivers that were built on the Kentish coast between the World Wars, but soon abandoned as outmoded pieces of military technology. However disparate in subject, appearance, and affect, these works—by the Swiss Thomas Hirschhorn, the American Sam Durant, and the Englishwoman Tacita Dean—share a notion of artistic practice as an idiosyncratic probing into particular figures, objects, and events in modern art, philosophy, and history. The examples could be multiplied many times (a list of other practitioners might begin with the Scotsman Douglas Gordon, the Englishman Liam Gillick, the Irishman Gerard Byrne, the Canadian Stan Douglas, the Frenchmen Pierre Huyghe and Philippe Parreno, the Americans Mark Dion and Renee Green . . . ), but these three alone point to an archival impulse at work internationally in contemporary art. This general impulse is hardly new: it was variously active in the prewar period when the repertoire of sources was extended both politically and technologically (e.g., in the photofiles of Alexander Rodchenko and the photomontages of John Heartfield), and it was even more variously active in the postwar period, especially as appropriated images and serial formats became common idioms (e.g., in the pinboard aesthetic of the Independent Group, remediated representations from Robert Rauschenberg through Richard Prince, and the informational structures of Conceptual art, institutional critique, and feminist art). Yet an archival impulse with a distinctive character of its own is again pervasive—enough so to be considered a tendency in its own right, and that much alone is welcome.1