introduction
This work embodies concepts that have
concerned me during the last three years of my studies in department of Fine
and Applied Arts at university of West Macedonia in Florina. This search began
with the observation of an individual's boundaries in the society. The initial
quest was concerned with the position of the individual in relation to the
whole. The road from introversion to communication and the transformation of a
closely-knit network to an open network that involved uncertainly or perhaps
even insecurity.
The process was developed on the basis
of questioning the concepts of subjectivity and objectivity. Attempting to
grasp non-identification was through focusing on parts that concern the
evolution of humanity closed to theories of empiricism movement.
The main dipoles during this process
were : private-public, past-future, destruction-creation, anarchy-order, memory-oblivion,
virtual-real, self-Other, subjectivity-objectivity. Those poles visualized as
part of daily banality. In this way the complexity of scientific or
philosophical questions is simplified that allows me to interpret daily reality
from various viewpoints.
Although the polarity of the concepts
may distract someone from the basic objective which is discussing and understanding
the evolution of communication taking into consideration the in-between values
of dipoles and not only the extreme absolutes of them.
This work comprises a part of
above-mentioned total experience and turns into a kind of simulation experience
for the audience. Through this archive an individual observer can create his
own identity through another person.
archive
At first glance, the archive might
appear as a passive exhibit. In fact its "passiveness" is the driving
force behind the free, subjectively-center narratives. Its main negotiating characteristics
are the safety of memory and the registration of truth.
The etymological term of the archive
by Derrida includes both the concepts of inception and authority. In the Greek
language the etymological term is the same.
The archive does not take on the title
of authority, its only properties are close to the concept and act of
documentation. This process demands a state of destruction being by
"rebirth" or "recreation".
Its identity is incomplete since its
interactive shape varies in accordance with the reader or reading conditions
that may vary too.
The authority of the archive has a
"site-deterministic" character. The exhibited place of an archive is
its passage from the private to the public domain. The privacy that characterises
the archive before its exposure to the public is not necessarity connected with
secrecy. The archive is a public institution that constantly evolves. It does
not preserve the future memory instantly but on many occasions it destroys its
authenticity through its unique property of metamorphosis. The archive replaces
the original as an anti-memorial.
The archive is an institution that has
also preoccupied psychoanalysis to a great extent. Freud was concerned by his personal
archive of notes and himself made an effort to clarify this archive fever. Anyway,
the archive is linked to the death drive or else of destruction or loss or any
other versions of it we can come across. His property of safeguarding memory
provides a sense of security, while even the destruction of reality and the
creation of an archive can be linked to the science of psychoanalysis. Derrida mentions[1]:
(Derrida,1996:
7)
""The
death drive tends thus to destroy the hypomnesic archive, except if it can be
disguised, made up, painted, printed, represented as the idol of its truth in
painting. Another economy is thus at work, the transaction between this death
drive and the pleasure principle, between Thanatos and Eros, but also between
the death drive and this seeming dual opposition of principles, of arkhai, for
example the reality principle and the pleasure principle. The death drive is
not a principle. It even threatens every principality, every archontic primacy,
every archival desire. It is what we will call, later on, le mal d'archive,
archive fever."
Archive
fever realises archival technique and determines the institutionalisation of
archival compatibility not as a simple registration or recording but as a
"performing
archive".
archive art
The archive art make its appearance at
the end of the 20th century, begging of 21st. In particular, since the 90s Arts
more often include terms that concern the archive. In essence, Art has
exploited the constant nature of the archival content to pattern new accounts
or descriptions on it. The archive in itself has the attribute of giving rise
to new accounts which are secondary true stories of records.
Many artists who concerned themselves
with the archive art used the photography as their main medium, rejecting the
claim of the photographer being an artist as photography served only the
purpose of collecting pictures and not for the sake of pictures themselves.
Those two arts had no other connection than the medium itself.
Usually the works of archive art (archival
installations) are in the form of directed spaces where procedural research
notes, document, objects are exhibited. The objective of connecting art and
archive is the involvement of the audience in forming the plot of the play.
Every work of art can be consider and developed as an archive depending on the
approach process.
outline
title
The title of the installation is the
Greek word "ekphora". This particular word "ekphora" is
used in two ways. The first one refers to the transportation of the dead to
his/her burial site whereas the second is used as a synonym of expressing
opinion or thought. The title is representative of both concept as one. The
first one is about the catastrophe that the creation of this archive calls for,
and the second about the attributes of it that are mentioned above.
This work is based on the total
documentation of an apartement in Florina that had be used as my residence in
the past. Initially, the way of treating this space or dealing with it caused
me a lot of concern as its functions were numerous.
process
Memory and oblivion were the first
stage-concept for approaching this research with regard to the past of this
space. The two basic features that provided a connection with this space were
the people -moments- and certain objects. Interpreting those memories was
erratic and that complicated the way that I perceived this space on more
conscious level as well as the documentation of thoughts and memories.
At first, the route of an object in
space rather than the object itself was the main focus of this process which
captured in drawings by memory. Those drawings visualise the alternation of
furniture in space and by extension the movement of objects as well as any
other later additions. Then, the isolation of the objects under observation
began by documenting each and everyone separately.
performing archive
The archival procedure was based on
the following stages: compiling list of the objects, photographing each object,
packaging, storing objects. Emptying or evacuating space was a gradual process
while I lived in this space. The number of recorded or registered objects
reached the number of 4412.
classification
Listing of the object as well as
visual representation of them was based on the spatial and temporal order of
removal from their space.
space custody
The installation follows a part of stages
in space.
1st stage
notes_blog
|
|
This stage comprises drawing, digital
collages and several notes about the place that the archive created. The blog gives a
description of the process that was followed.
2nd stage
in-between
This stage consists of a block of six
pieces of work. These pieces picture objects which have lost their utility
value after their removal from this space. Nevertheless, getting rid of them
was felt to be an "archive error". Automatically this approach became
part of the process.
3rd stage
exergue
Exergue is the typographic part of
this archive in list form. This point named exergue. The explanation for the
name exergue is given in the following excerpt
"archive fever" -A Freudian
Impression-[2].
(Derrida,1996: 5)
According to a proven convention, the exergue plays with
citation. To cite before beginning is to give the key through the resonance of
a few words, the meaning or form of which ought to set the stage. In other
words, the exergue consists in capitalizing on an ellipsis. In accumulating
capital in advance and in preparing the surplus value of an archive. An exergue
serves to stock in anticipation and to prearchive a lexicon which, from there
on, ought to lay down the law and give the order, even if this means contenting
itself with naming the problem, that is, the subject. {..} It is thus the first
figure of an archive{..}
4th stage
archive
This stage features a composition of
50 digital prints on matt photographic paper. The size of each paper is 50x35cm
while the print occupies an area of 46x34cm.The whole composition takes up
together an area of 101x728x130cm.Those digital collages were put together at Photoshop.
This work functions differently
depending on each observation point. Observing it from the furthest possible
distance allows reading of the whole whereas from the nearest possible distance
one can view the unit. Also, every observer can define his/her personal frame
or choose.
purpose
Personal space -even dismembered- highlights
the dipole private-public, through its exhibition. The piece represent the
reality regarding human relations and communication. The incentives in an
interpersonal relationship might not reach this specific number, but are
equally numerous and complicated. The great number of separate parts of an
archive makes the creation of new narratives somewhat complex at first
glance/site.
The Other-audience or any kind of
observer chooses specific clues of himself to create the projective image of
the Other. Even in the potential case that a person could ignore some profounder
clues of the Other I feel the same procedure would be followed.
Considering all the above, the audience
make up a new story about this place with the help of these clues and to regain
their self-images through another person. The story/narrative will be short and
retaining it in memory even shorter. Due to our short working memory retaining
ability in combination with experiences many different impressions or even
false perceptions will be created. The experience of the installation by the
audience or the created narrative are, in reality, no different from the presentation
of one's self image in an interpersonal relationship, in which a lot of parts
are ignored and others take on much of importance.
Overall, this an effort to represent
the way that an individual approaches an Other one, through my impression of
ordinary human behaviour. An archive like this in combination with our
perception could give rise to innumerable new narratives.
bibliography
Karaba, E.(2011) archive art from 20th to 21st century. από την
τέχνη θεσμικής κριτικής σε μια ριζοσπαστική θεσμίζουσα πρακτική. PHD ,University of Patras-Department of architecture
Godfrey, Τ. (2001) conceptual art. translated by Orati, Ε. Kastaniotis
Derrida, J. (1996) Archive Fever. translated by Papagiorgis, Κ., Ekkremes
Kouros,
P & Karaba, E. (2012)Archive public(performing archives in public
art-topical interpositions).cube art editions
Jacques Derrida and Eric Prenowitz, 1995.Archive
Fever.[pdf] Johns Hopkins university press. Available at <
http://newsgrist.typepad.com/files/derrida-archive_fever_a_freudian_impression.pdf>[Accessed
16 March 2015]
[1] Jacques Derrida and Eric Prenowitz, 1995.Archive Fever.[pdf] Johns
Hopkins university press. Available at <
http://newsgrist.typepad.com/files/derrida-archive_fever_a_freudian_impression.pdf>[Accessed
16 March 2015]
[2] Jacques
Derrida and Eric Prenowitz, 1995.Archive Fever.[pdf] Johns Hopkins university
press. Available at <
http://newsgrist.typepad.com/files/derrida-archive_fever_a_freudian_impression.pdf>[Accessed
16 March 2015]
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