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Archive, Memory, Performance INFINITE RECORD: ARCHIVE, MEMORY, PERFORMANCE edited by maria magdalena schwaegermann and karmenlara ely Excerpt for promotional use only, not for sale or resale. introduction The Project ................................................................. 008 ......... Karmenlara Ely and Maria Magdalena Schwaegermann The Idea of an Archive ...................................................................................... 012 .................. Claire MacDonald the rabbit hole Infinite Record: Archive, Memory, Performance — Archive Work and Artistic Research: A Plea for Ambiguity .................................................. 016 ............. Maria Magdalena Schwaegermann and Dirk Hartwig Norwegian Theatre Academy and Muthesius Academy of Fine Arts and Design Students’ Works, Based on the Essay Dictionary of Winds .................................. 028 ................................ Students Ask me, I’m still here, and a Memory-teasing Game Based on the Dictionary of Winds ........................................... 064 ................................................. Anna Köhler, with Joan Jonas The Art of Time ................................................ 070 ........................................................................ Erin Manning memory mountain Memory Mountain ..................................................................................................... 078 ................................ Wen Hui Wilding the Archive ......................................... 084 ..................................................................... Karmenlara Ely Afterlife of the Flowered Pink Fabric ........................................................................... 092 ..................... Karmenlara Ely Grandpa Charlie ............................................... 096 ............................................................................ Sxip Shirey The Archive of Everything that Exists in the World ..................................................... 100 ..................... Eleonora Fabião Trinidad Carnival: Mas as a Living Museum ...................................................... 114 ............................... Tony Hall No Musketeers ........................................................... 118 ................................................................. Bunky Echo-Hawk You Say, We Say… ............................................ 120 ............................................... Claire Hind and Gary Winters wunderblock Connecting the Dots ................................................................................................... 130 ................... Arnold Dreyblatt Uriel Orlow’s Unmade Film: A Multidirectional Archive for Palestinian and Israeli Traumatic Memory .......................................................................... 136 ............. Astrid Schmetterling On John Jesurun’s Serial Performance Chang in a Void Moon ....................................... 144 ..... John Jesurun, Don Shewey Aesthetics as Dividual Affections ..................... 148 .......................................................................... Michaela Ott no escape Timepiece .................................................................. 158 .......................................................................... Louise Höjer Connectivity Chorus ........................................ 162 ..... Maiya R. Geddes, with Arnold Dreyblatt and Anna Köhler Living Archive: Artistic Concepts that Topographize the Ephemeral .......................... 166 ................. Petra Maria Meyer Documents Are Things ..................................................................................... 188 ............ Camilla Eeg-Tverbakk Method*OS (after Dreyblatt, Höjer, Hui) ....................... 192 ................................................................................... Joe Pan Acknowledgements, Photo Credits, Imprint ............................................................... 195 .............................................. Excerpt for promotional use only, not for sale or resale. INFINITE RECORD: ARCHIVE, MEMORY, PERFORMANCE!—!ARCHIVE WORK AND ARTISTIC RESEARCH: A PLEA FOR AMBIGUITY maria magdalena schwaegermann and dirk hartwig1 Heidelberg Castle. – Ruins jutting into the sky can appear doubly beautiful on clear days when, . in their windows or above their contours, the gaze meets passing clouds. Through the transient spectacle it opens in the sky, destruction reaffirms the eternity of these fallen stones.2 : Kleine Prosa, 1 This quotation from Walter Benjamin’s (1892 – 1940) fragmentary work “One-Way Street” places the Heidelberg Castle in a state of eternal existence. The decayed castle rises up like a stage; the wind and t Books, 1979. P. 81. Print.) 81. P. 1979. Books, t clouds drift past the set like protagonists and move along the parcours of forgetting and remembering. The f scenario is thus the epitome of an archive in which the different splintered fragments all act on equal foot- ing. This snapshot opens up a melancholy gaze on a scene that is often found in literature and art; inevita- 3 ble transience is commemorated here. The “melancholy gaze,” which has been consciously implemented Frankfurt am Main: Suhrkamp Verlag, since the Romantic age,4 also allows for a revaluation of “the ruins” and a complete switch to an opposite meaning. In this “trick,” destruction in the form of ruins is emphasized and “becomes (a sign of ) “faith” Gesammelte Schriften, Bd. IV, IV, Bd. Schriften, Gesammelte towards unique, necrotic things.”5 The oscillation between the poles of physically limited human mem- ory — remembering and forgetting — are dependent on one another in the history of cultural memory (i.e., . Eds., and trans. Edmund Jephcott and Kingsley “remembering not only counters forgetting, but is also always accompanied by forms of forgetting: obscu- The Powers of ScholarshipPhilology: Dynamics of Textual ration and suppression).”6 An archive must first be understood as an institution that documents traditions, that entrusts the past to the present and future. In addition, archives primarily collect, register, and store relevant — his- toric, religious, legal, political, economic, or culturally meaningful — material; they thus create an im- pression of absolute knowledge. The hunt for this absolute knowledge and the imperative acceptance of the status quo in the sense of an almost “sacred promise of progress” is rooted in the period of the Benjamin, Walter. “Einbahnstraße.” Benjamin, “Einbahnstraße.” Walter. Cf. Cf. Gumbrecht, Hans Ulrich. Essay translated by Christopher Langer. Christopher by translated Essay Urbana: University of Illinois Press, 2003. P. 9. Print. 2003. P. of Illinois Press, Urbana: University Shorter, with an introduction by Susan Sontag. London: New Le New London: Sontag. Susan by introduction an with Shorter, Baudelaire Übertragungen, Tillmann Rexroth. hg. v. One-Way Street One-Way and Other Writings 3 1 2 1979. Pp. 83 — 148, here p. 123. Print. (English translation according to: Benjamin, Walter. — 83 Pp. 1979. 016 Excerpt for promotional use only, not for sale or resale. beginning of the 18th century. A desire to establish an updated and comprehensive catalogue of all fields of knowledge could be sensed; the human spirit’s progress in all areas of activity was to be accounted for in the century. This is especially identifiable in the great encyclopedia L’Encyclopédie ou Dictionnaire rai- sonné des sciences, des arts et des métier, published in seventeen text and eleven illustrated volumes between 1751 and 1772.7 The great encyclopedists Denis Diderot (1713 – 1784) and Jean Baptiste le Rond d’Alembert (1717 – 1783) served as publishers and employed another 142 authors, among them Jean-Jacques Rousseau, who formulated over 70,000 individual contributions and thus created one of the Enlightenment’s in- . Eds. Anette von comparable major works.8 The dark Middle Ages were considered overcome; the age of light, the Enlightenment, followed. In 1782, the Enlightenment philosopher Marie Jean Antoine Nicolas Caritat (1743 – 1794) summarized it again: The truth has triumphed; mankind has been saved (La vérité a vaincu; le genre humain est sau- vé!)! Each and every century will add new lights (lumières) to the previous one. And these steps towards progress, which cannot be stopped or slowed from now on, will have no other boundaries than those set by the duration of the universe (n’auront d’autres bornes que celles de la durée de l’univers).9 — 1778), better known— by the name Voltaire, called this The Infinite Record: Archive, Memory, Performance project (2012 – 2014) once again discusses these poetic ideas and insights of cultural theory in the context of “artistic research” while simultaneously examining the role of remembering and forgetting, knowledge and ignorance as a matrix of artistic processes, especially in the performing arts.10 Diderots Enzyklopädie: Mit Kupferstichen aus den Tafelbänden “SURVEYING” AND “AUDACITY” IN THE WAKE OF CULTURAL CRITICISM In 1749, the Academy of Dijon organized an essay competition and posed the bold question on whether or Francois-Marie Arouet (1694 Cf. also: Cf. monstrous work of the Enlightenment “the monument of the progress of the human mind.” e.g.Cf. Voltaire’s correspondence with Charles Joseph Panckoucke, Oct./Nov. Beck Verlag, 1999. Print. 1999. Beck Verlag, Moldenhauer, and Sabine Müller. Berlin: Die Andere Bibliothek, 2013. Print. Bibliothek, 2013. Berlin: Die Andere and Sabine
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