Rethinking Archives: History, Media and Memory

这些讲习班将首次任命一名档案员到布里斯托尔的当代艺术中心Arnolfini作为机会，探讨与当代艺术展览、现场艺术和其他形式的无形或基于事件的文化的存档有关的问题和问题。利用从过去45年阿尔诺菲尼的节目中收集的原材料，这些研讨会将把档案学家、理论家、艺术家、历史学家和阿尔诺菲尼的观众聚集在一起，探索一系列相互关联的问题和问题。(标题是临时标题，表示内容)研讨会1：观众记忆与历史有关的记忆的作用是什么？这次研讨会聚焦于阿诺尔菲尼档案中的两个事件(表演或展览)(一个来自很久以前，一个来自最近)，将探索和记录观众对这些事件的记忆，利用口述历史学家和记忆理论家的专业知识来解决如何引发这些记忆并将其纳入档案。讲习班2：数字化与修复媒体理论家、档案管理员和艺术家将讨论媒体在保存中的作用、艺术品如何通过将其翻译成不同的媒体而发生变化、档案的重要性以及数字化的影响。探讨的问题将包括去情境化和补救问题。研讨会还将考虑用户主导的在线存档软件的潜力，通过该软件，档案的用户可以检查其他人从档案中的选择，并询问这对知识层次结构的意义，以及档案与文本/展览之间的关系。研讨会3：时间与艺术品第三个研讨会将考虑与时间和艺术品的临时性有关的问题--特别是保存作品的讽刺和伦理，这是现代主义对博物馆、档案馆或艺术市场攻击的一部分，旨在通过内置的半衰期来拒绝商品化或存档，被设计成腐烂的或只存在于当下的。工作坊4：重复和重建本工作坊将研究美术馆或博物馆或艺术家自己在改编和重建中使用的档案材料。真实性的问题，真实和复制之间的关系，以及观众体验的变化，都将被讨论。在所有讲习班中，与具体活动有关的档案材料将作为个案研究使用，并在届会期间添加，讲习班本身将被记录下来，并成为档案的一部分。讲习班将连续四个月举行，参加者包括来自地区博物馆、艺术组织和档案馆的特邀参与者、特邀国际理论家和艺术家，以及公开邀请阿尔诺菲尼的观众参加。讨论的结果将影响阿尔诺菲尼档案未来的发展方式。

These workshops take the appointment of an archivist for the first time to Arnolfini, the centre for contemporary arts in Bristol, as an opportunity to explore issues and questions relating to the archiving of contemporary art exhibitions, live art and other forms of intangible, or event-based culture. Using raw materials gathered from the past forty-five years of Arnolfini's programmes, the workshops will bring together archivists, theorists, artists, historians and members of Arnolfini's audience to explore a series of interconnected problems and questions.(titles are working titles to indicate content)Workshop 1: Audience MemoriesWhat is the role of memory in relation to history? Focussing on two events (performances or exhibitions) from Arnolfini's archive (one long past, one from the recent past), this workshop will explore and record audience memories of those events, using the expertise of oral historians and theorists of memory to address how these memories are to be elicited and included in the archive. Workshop 2: Digitisation and RemediationMedia theorists, archivists and artists will address the role of media in preservation, how the artwork changes through its translation into a different medium, the materiality of the archive and the impact of digitization. Issues explored will include questions of decontextualisation and remediation. The workshop will also consider the potential of on-line software for user-led archiving, through which users of an archive can examine others' selections from the archive, and ask what is the significance of this for hierarchies of knowledge, and the relationship between archive and text/exhibit.Workshop 3: Time and the ArtworkThe third workshop will consider questions relating to time and the temporality of the artwork - notably the irony and ethics of preserving work which is part of a modernist attack on the museum, the archive or the art market and which is intended to refuse either commodification or archiving by having a built-in half-life, being designed to decay or to exist only in the present moment. Workshop 4: Repetition and ReconstructionThis workshop will examine the uses of archival material in restagings and reconstructions either by the gallery or the museum or by artists' themselves. Questions of authenticity, the relationship between the real and the copy, and the changes in audience experience, will all be addressed. In all the workshops, archival materials relating to specific events will be used as case studies and added to during the session, and the workshops themselves will be recorded and become part of the archive. The workshops will be held over four consecutive months and participants will be a combination of invited participants from regional museums, art organizations and archives, invited international theorists and artists, and an open call for participation from members of Arnolfini's audience. The discussions that result will influence the ways in which Arnolfini's archive is developed for the future.