'the workshop seems to have shifted the way i look at objects and documents, i'm thinking about this in terms of what has neccessitated the production or existence of all these things...'
'The easygoing yet rigorous two days made me reflect on the things that I wished to articulate as opposed to the things that are expected of me by other people...'
'The workshop helped me to develop and to understand a bit more some questions. We have talked about exhaustion, the decrease of information, constraining energy, the feeling of saturation, the absence and refusal. These issues are very important to me...'
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Wednesday, September 30, 2009
The Participants
The Speech and What Archive? brings together a group of people from different backgrounds and levels of experience including professional, young and emerging art historians, curators and artists. They are A Constructed World: Geoff Lowe + Jacqueline Riva, Liv Barrett. Etienne Bernard, Benoît Bourreau, James Deutsher, Christelle Faucoulanche, Marie Gautier, Anna Hess, Marie Husson, Clémence De Montgolfier, Sébastien Pluot, Jean-François Robardet and Pelin Uran.
Tuesday, September 29, 2009
Friday, September 18, 2009
Paris workshop
The first workshop for Speech and What Archive? will be held aboard la maison flottante, Centre de l'estampe et de l'art imprimé, Chatou (Cneai). La maison flottante, a floating studio designed by the Bouroullec brothers, is situated on the river Seine next to the Cneai art centre, and is their floating residency atelier.
This three-day intensive workshop is for participants of the Speech and What Archive? research project exclusively. It will create an opportunity for the group to meet, eat together, to generate knowledge from within the group and identify objectives for collaborative and individual projects.
A Constructed World will design and facilitate the workshop, art historian and curator Sébastien Pluot will run the conversation 'Theoretical Heresay' and each member of the group will speak about interests related to speech and archive.
Dates and schedule:
Monday 21 September
13h lunch, 14h-18h afternoon session
Tuesday 22 September
11h-13h30 morning session, lunch, 14h30-18h afternoon session
Wednesday 23 September
13h lunch, 14h-18h afternoon session, 18h aperitivo, 20h dinner
Locations and directions:
Cneai,Chatou
Maison Levanneur, île des impressionnistes
78400 Chatou
RER A Rueil Malmaison
for further information contact acwprojects@gmail.com
Monday, September 14, 2009
Reader's Archive Projects
Anecdote Archive
The Anecdote Archive is a compilation of short video recordings of word-of-mouth as an alternative to traditional documentation of ephemeral art projects and practices. Focusing on performances, situations, personal encounters, actions and other temporary events, the archive aims to register memorable experiences and their echoes. Anecdote Archive is recorded and organized by Joseph del Pesco
Living Archives
L’École des Beaux Arts d’Angers propose un programme de recherche théorique, d’expérimentation pratique, d’exposition, de performance et de publication : Living Archives. Son objectif est d’approfondir les connaissances sur les enjeux théoriques et les usages du document et de l’archive dans l’art contemporain, la musique, la danse et le cinéma. Programme réalisé par Bernard Calet, Gildas Guihaire, Sébastien Pluot et Raphael Zarka
Future Archive
Curating Degree Zero
Curating Degree Zero was launched to research, present and discuss changes in the practice of freelance curators, artist-curators, new-media curators and curatorial collaborations. Beginning in 1998 with a three-day symposium and an ensuing publication, the project now focuses on an expanding archive about these practices, which is touring as an exhibition, accompanied by a programme of live events and discussions
Archive Contracts
Ben Kinmont wrote these two contracts to preserve the purpose of the project archives. Not easily described by any one object, the projects often begin with an idea or question but include notes; sketches; research; sometimes contact with a curator; sometimes a publication; usually the involvement of strangers....
The Anecdote Archive is a compilation of short video recordings of word-of-mouth as an alternative to traditional documentation of ephemeral art projects and practices. Focusing on performances, situations, personal encounters, actions and other temporary events, the archive aims to register memorable experiences and their echoes. Anecdote Archive is recorded and organized by Joseph del Pesco
Living Archives
L’École des Beaux Arts d’Angers propose un programme de recherche théorique, d’expérimentation pratique, d’exposition, de performance et de publication : Living Archives. Son objectif est d’approfondir les connaissances sur les enjeux théoriques et les usages du document et de l’archive dans l’art contemporain, la musique, la danse et le cinéma. Programme réalisé par Bernard Calet, Gildas Guihaire, Sébastien Pluot et Raphael Zarka
Future Archive
Curating Degree Zero
Curating Degree Zero was launched to research, present and discuss changes in the practice of freelance curators, artist-curators, new-media curators and curatorial collaborations. Beginning in 1998 with a three-day symposium and an ensuing publication, the project now focuses on an expanding archive about these practices, which is touring as an exhibition, accompanied by a programme of live events and discussions
Archive Contracts
Ben Kinmont wrote these two contracts to preserve the purpose of the project archives. Not easily described by any one object, the projects often begin with an idea or question but include notes; sketches; research; sometimes contact with a curator; sometimes a publication; usually the involvement of strangers....
Chris Kraus with Martin Rumsby
This link will take you to SPEECH web magazine and the interview with Chris Kraus. One part of the interview has been selected for your viewing, if you want to watch the entire interview select the other YouTube links. Go to
Sunday, September 13, 2009
Reader's Reader
AAAARG.ORG
*Log in to access texts
Michele Foucault, 'The Order of Things', Routledge London, 2002 edition
*See in particular the Preface and Part 1, Chapter 5, Classifying
Hal Foster, 'An Archival Impulse', October 110, Fall 2004, pp. 3-22
Hal Foster, 'Archives of Modern Art, October 99, Winter 2002, pp. 81-95
Hal Foster, 'The Archive Without Museums', October 77, Summer 1996, pp. 97-119
Charles Merewether, ed, 'The Archive', Cambridge: MIT Press, 2006
Pierre Nora, 'Between Memory and History Les Lieux de Memorie', Representations, No26 Spring 1989
'To be liberated is to pierce the future with a destructive gaze that vanquishes omens and exposes the future as nothing but an illusion. What can be yet to come in a world that is absolutely full, where everything that has ever been still is, and where everything that will ever be, is already here? Let the fire of love devour the future and past and deliver me into the jaws of a perpetual present.'
Roger Gilbert-Lecomte, paraphrased in David Rattray's 'How I Became One of the Invisible', Semiotexte, 1992
Ana Balona de Oliveira, 'The Paradox of an Archive: The Anarchival-Archival Art of Thomas Hirschhorn '
Freud, 'A Note Upon The Mystic Writing Pad', 1925
For Freud, all means of mechanically supplementing the memory suffered from one of two drawbacks. Permanent means of recording, like paper, can only be written on once--they quickly become filled and need to be further supplemented. The alternative (eg: a chalk board) is infinitely receptive, but only if one erases the previous inscriptions. The Mystic Writing Pad, however, represented an admittedly imperfect but illuminating example of how the psyche itself records material.
R. Kennedy, 'Treasures From an Underground Trove', International Herald Tribune, Aug 18 2009
Jacques Derrida, 'Archive Fever, A Freudian Impression', University of Chicago Press, 1996
Okwui Enwezor, 'Archive Fever, Uses of the Document in Contemporary Art', International Center of Photography, New York, 2008
*Log in to access texts
Michele Foucault, 'The Order of Things', Routledge London, 2002 edition
*See in particular the Preface and Part 1, Chapter 5, Classifying
Hal Foster, 'An Archival Impulse', October 110, Fall 2004, pp. 3-22
Hal Foster, 'Archives of Modern Art, October 99, Winter 2002, pp. 81-95
Hal Foster, 'The Archive Without Museums', October 77, Summer 1996, pp. 97-119
Charles Merewether, ed, 'The Archive', Cambridge: MIT Press, 2006
Pierre Nora, 'Between Memory and History Les Lieux de Memorie', Representations, No26 Spring 1989
'To be liberated is to pierce the future with a destructive gaze that vanquishes omens and exposes the future as nothing but an illusion. What can be yet to come in a world that is absolutely full, where everything that has ever been still is, and where everything that will ever be, is already here? Let the fire of love devour the future and past and deliver me into the jaws of a perpetual present.'
Roger Gilbert-Lecomte, paraphrased in David Rattray's 'How I Became One of the Invisible', Semiotexte, 1992
Ana Balona de Oliveira, 'The Paradox of an Archive: The Anarchival-Archival Art of Thomas Hirschhorn '
Freud, 'A Note Upon The Mystic Writing Pad', 1925
For Freud, all means of mechanically supplementing the memory suffered from one of two drawbacks. Permanent means of recording, like paper, can only be written on once--they quickly become filled and need to be further supplemented. The alternative (eg: a chalk board) is infinitely receptive, but only if one erases the previous inscriptions. The Mystic Writing Pad, however, represented an admittedly imperfect but illuminating example of how the psyche itself records material.
R. Kennedy, 'Treasures From an Underground Trove', International Herald Tribune, Aug 18 2009
Jacques Derrida, 'Archive Fever, A Freudian Impression', University of Chicago Press, 1996
Okwui Enwezor, 'Archive Fever, Uses of the Document in Contemporary Art', International Center of Photography, New York, 2008
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