By Sven Spieker
The typewriter, the cardboard index, and the submitting cupboard: those are applied sciences and modalities of the archive. To the bureaucrat, documents comprise little greater than rubbish, bureaucracy now not wanted; to the historian, nevertheless, the archive's content material stands as a quasi-objective correlative of the "living" prior. Twentieth-century artwork made use of the archive in quite a few ways--from what Spieker calls Marcel Duchamp's "anemic archive" of readymades and El Lissitzky's Demonstration Rooms to the compilations of photos made via such postwar artists as Susan Hiller and Gerhard Richter. within the vast Archive, Sven Spieker investigates the archive--as either bureaucratic establishment and index of evolving attitudes towards contingent time in technology and art--and reveals it to be a crucible of twentieth-century modernism. Dadaists, constructivists, and Surrealists preferred discontinuous, nonlinear data that resisted hermeneutic interpreting and ordered presentation. Spieker argues that using data through such modern artists as Hiller, Richter, Hans-Peter Feldmann, Walid Raad, and Boris Mikhailov responds to and maintains this assault at the nineteenth-century archive and its objectification of the historic procedure. Spieker considers archivally pushed artwork on the subject of altering media technologies--the typewriter, the phone, the telegraph, movie. And he connects the archive to a very smooth visuality, exhibiting that the avant-garde used the archive as anything of a laboratory for experimental inquiries into the character of imaginative and prescient and its relation to time. the large Archive bargains us the 1st serious monograph on an overarching motif in twentieth-century art.
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Extra resources for The Big Archive: Art From Bureaucracy
Example text
While it is clear, then, that every single component in a dream must be understood as deriving from one or several elements forming part of another, latent archive, this latent archive is far from constituting the hermeneutic horizon that would ground and direct the interpretation of the dream at hand. The significance of a dream must instead be gleaned from the complex set of transformations—Freud names dramatization, condensation, displacement, and care for representability (Rücksicht auf Darstellbarkeit)—that turn the latent dream thoughts into the manifest dream.
The enunciation of the “exact truth,” in matters of administration, does not have consciousness as a prerequisite. On the contrary, the truth of a given record, or a series of such records, was viewed as inversely proportional to the historical awareness that went into its production. 27 Such a collection—itself a kind of archive—contains all the notes, sketches, and drafts that pertain to an administrative decision, but that would not be contained in the final document or letter. In other words, what is present in the file is what the final document excludes.
Droysen’s phrase “material in the present” may be taken to mean that the past we come to inspect in an archive is fully contingent on the conditions (and constraints) of the process of archivization itself, and that to take note of this is to acknowledge the diVerence between historiography and fiction. Much as a photograph shows us the isolated fragments of a past whose existence is inextricably tied to the specific modalities of the technical image, so archives too confronted the nineteenth-century historian not with the past as such but with its remediation in the present.