precisely the editor's role as the first and most critical reader that he emphasised; the curator was compared to an active reader who affects the final form of the text.
Within archive theory and texts on archive art, the archive is often described as a connector between different elements, enabling or enforcing a particular kind of cross-reading – for example when Hal Foster referred to the archivalimpulse as ‘a will to connect’.
sorts of paper and celluloid matter, including thousands of works of Mail Art, itself became an
exhibit at the São Paulo Biennial in 2004.41 However, the archivalimpulse
in modern art can be seen everywhere.42 The installation artist Christian
Boltanski’s haunting imagery of the lost property of the inhabitants of
Munich or the workers of Halifax, and his Les Archives de C. B. 1965–1988
(1989), which Kate Albers argues is not an archive, are but the best known
of many interpretations of the visual archive.43 Thomas Demand’s Archive
(1995) is a photographic print of a
a future through the discrete terms given by a title
and by documentation. If known at all to those who do not know Farquhar personally,
it is by her legend. This is the case for much of Farquhar’s work, which continues to
be fleeting, incidental, resistant to archivalimpulses and incorrigible in its durations
A further performance of extremity of the 1970s, John Duncan’s Scare (1976)
stages the inflammatory nature of reckless performance as both explosive and
inflammatory. A written statement by the artist (exhibited as part of the work) reads
between a traumatic past and an unwritten but daunting future.
Concerns of this kind are also relevant to the ‘archivalimpulses’ (to borrow
Hal Foster’s term94) evident in video work by Miriam de Búrca. Her practice has
included recorded encounters with places and people that range from deadpan
studies of deserted urban spaces to, for example, a filmed conversation with a
veteran Belfast taxi driver who adds an anecdotal commentary as the artist records
an afternoon’s journey through key ‘troubles’ territories –de Búrca taking one of
the informal, historical ‘terror
. N. Nilsson, ‘The Memory of a Person’, trans. A. Crozier, Comma , 1 (2004), pp. 179–82.
Walter Benjamin is mentioned in, to name only a few, Schaffner, ‘Deep Storage’; Simon, ‘Introduction: Following the Archival Turn’; Foster, ‘An ArchivalImpulse’; Merewether (ed.), The Archive ; Spieker, The Big Archive ; O. Enwezor, ‘Archive Fever: Photography between History and the Monument’, in Archive Fever: Uses of the Document in
As noted, when Claire Bishop argued that Hal Foster's list of artists working within an archivalimpulse should be supplemented, Zoe Leonard was one of the suggested additions, and Foster did indeed add her when the text was republished in 2015. Zoe Leonard was also part of Okwui Enwezor's Archive Fever (text and exhibition), albeit not with Analogue but with The Fae Richards Photo Archive
essay ‘An ArchivalImpulse’ was republished in 2015. Spieker, The Big Archive , pp. 152–61; van Alphen, Staging the Archive , pp. 232ff.; Jones, Installation Art and the Practices of Archivalism , p. 138.
S. Gade, ‘Performing Histories: Archiving Practices of Rimini Protokoll and The Atlas Group’, in Borggreen and Gade (eds), Performing Archives/Archives of Performance , pp. 386