Rethinking Archives: History, Media and Memory

这些研讨会首次任命档案管理员到布里斯托的当代艺术中心Arnolfini，以此为契机，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存档有关的问题。利用从过去45年的Arnolfini项目中收集的原材料，研讨会将汇集档案学家，理论家，艺术家，历史学家和Arnolfini的观众成员，探讨一系列相互关联的问题和问题。（标题是工作标题，表示内容）工作坊1：观众记忆记忆在历史中扮演什么角色？聚焦于Arnolfini档案中的两个事件（表演或展览）（一个是很久以前的，一个是最近的过去），这个研讨会将探索和记录观众对这些事件的记忆，利用口头历史学家和记忆理论家的专业知识来解决这些记忆如何被引出并包含在档案中。研讨会二：数字化和修复媒体理论家，档案管理员和艺术家将解决媒体在保护中的作用，艺术品如何通过翻译到不同的媒体，档案的重要性和数字化的影响而发生变化。探讨的问题将包括去背景化和补救问题。讲习班还将审议在线软件在用户主导的存档方面的潜力，通过这种软件，档案用户可以审查其他人从档案中挑选的内容，并询问这种做法对知识的层次结构有何意义，以及档案与文本/展品之间的关系。时间和艺术品第三个工作坊将讨论与时间和艺术品的时间性有关的问题-值得注意的是保存作品的讽刺和道德，这是现代主义者对博物馆、档案馆或艺术市场的攻击的一部分，其目的是拒绝商品化或存档，因为它有一个内置的半衰期，被设计为腐烂或只存在于当下。工作坊四：重复与重建本工作坊将探讨档案材料在画廊或博物馆或艺术家自己的重建和重建中的用途。真实性的问题，真实的和复制品之间的关系，以及观众体验的变化，都将得到解决。在所有讲习班中，与具体活动有关的档案材料将被用作个案研究，并在会议期间加以补充，讲习班本身将被记录下来，成为档案的一部分。研讨会将连续举办四个月，参与者将包括来自地区博物馆，艺术组织和档案馆的受邀参与者，受邀的国际理论家和艺术家，以及Arnolfini观众的公开呼吁。讨论的结果将影响阿诺尔菲尼的档案是为未来发展的方式。

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.