Markus Miessen, Yann Chateigné (Eds.)
Contributions by Stuart Bailey, Bassam El Baroni, Thomas Bayrle, Jeremy Beaudry, Beatrice von Bismarck, Beatriz Colomina, Céline Condorelli, Mathieu Copeland, Dexter Sinister, Joseph Grima, Nav Haq, Sandi Hilal, Nikolaus Hirsch, Thomas Jefferson, Christoph Keller, Alexander Kluge, Joachim Koester, Armin Linke, Julia Moritz, Rabih Mroué, Hans Ulrich Obrist, Seth Price, Walid Raad, Alice Rawsthorn, Patricia Reed, David Reinfurt, Claire de Ribaupierre, Eyal Weizman, et al.
What are the processes that enable archives to become productive? Conventional archives tend to be defined through the content-specific accumulation of material, which conforms to an existing order or narrative. They rarely transform their structure. In contrast to this model of archival practice and preservation, the conflictual archive has an open framework in which it actively transforms itself, allowing for the creation of new and surprising relationships. Illustrating how spaces of knowledge can be devised, developed, and designed, this archive reveals itself as a space in which documents and testimonies open up a stage for productive dispute and struggle.
Exploring nontraditional archives, such as those of Harald Szeemann, Hans Ulrich Obrist, Sitterwerk, and the publishing house Merve, The Archive as a Productive Space of Conflict offers new perspectives on archival practice, interrogating whether archives need spatial permanence, and, if so, which design framework should be applied for the archive to take on more than a singular form of existence. The research project is a collaboration between the Karlsruhe University of Art and Design and the Geneva School of Art and Design (HEAD – Genève).
Copublished with Karlsruhe University of Art and Design and the Geneva School of Art and Design (HEAD – Genève)
Design by Jonas Fechner and Lisa Naujack
- The Archive as a Productive Space of Conflict
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Lars Bang Larsen (Ed.) - Documents of Contemporary Art Series
The dawn of the electronic media age in the 1960s began a cultural shift from the modernist grid and its determination of projection and representation to the fluid structures and circuits of the network, presenting art with new challenges and possibilities. This anthology considers art at the center of network theory, from the 1960s to the present.
Artists have used the “space of flows” as a basis for creating utopian scenarios, absurd yet functional propositions or holistic planetary visions. Others have explored the economies of reciprocity and the ethics of generosity, in works that address changed conditions of codependence and new sites of social negotiation. The “infra-power” of the network has been a departure point for self-organized counterculture and the creation of new types of agency. And a “poetics of connectivity” runs through a diverse range of work that addresses the social and material complexity of networks through physical structures and ambient installation, the mapping of the Internet, or the development of robots and software that take on the functions of artist or curator.
Artists surveyed include
Joseph Beuys, Ursula Biemann, Heath Bunting, Critical Art Ensemble, Fernand Deligny, Peter Fend, Gego, Jobim Jochimsen, Koncern, Christine Kozlov, Pia Lindman, Mark Lombardi, Diana McCarty, Marta Minujín, Aleksandra Mir, Tanja Ostojic, Ola Pehrson, Walid Raad, Artüras Raila, Hito Steyerl, Tomaso Tozzi, Suzanne Treister, Ultra Red, Wolf Vostell, Stephen Willats
Jane Bennett, Hakim Bey, Luc Boltanski, Manuel Castells, ève Chiapello, Guy Debord, Umberto Eco, Okwui Enwezor, Michael Hardt, Bruno Latour, Marshall McLuhan, Marcel Mauss, Reza Negarestani, Antonio Negri, Sadie Plant, Lane Relyea, Craig Saper, Saskia Sassen, Pit Schultz, Steven Shaviro, Tiziana Terranova, Paolo Virno
- NETWORKS (Documents of Contemporary Art)
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