A carregar...
Projeto de investigação
From the analogue to image retrieval. How the archive has shaped artistic practices. A comparative study on archival and database art.
Financiador
Autores
Publicações
Resonance and Wonder: Susan Philipsz's 'Study For Strings'
Publication . Camacho, Sandra
This article offers a reading of Susan Philipsz's sound work Study for Strings (2012) informed by two notions proposed by Stephen Greenblatt: resonance and wonder. In considering resonance, I present the strong historical influences identified in the location the artwork was first commissioned for — Kassel Hauptbahnhof, during dOCUMENTA 13. I also present the traumatic events that led to the composition of Pavel Haas's Study for Strings Orchestra in Theresienstadt, and its appropriation by Philipsz. The use of silence, or absence, in a sound piece features as a fundamental element in the understanding of the work as a certificate of disappearance. Nevertheless, viewed through the lens of John Cage's 4'33'' (1952), Study for Strings will also be examined as a musical composition in its own right. It is here, and in the spectator's first encounter with the work, that the presence of wonder will surface.
From Analogue to Image Retrieval: Concepts of Archival Art in Daniel Blaufuks
Publication . Camacho, Sandra Gonçalves; Alves, Fernanda Cândida da Mota; Baetens, Jan
From Analogue to Image Retrieval: Concepts of Archival Art in Daniel Blaufuks,
seeks to explore a question first triggered by the viewing of Daniel Blaufuks’s Constellation
series in his exhibition-project, All the Memory of the World, part one (2014): might digital
databases and image retrieval systems be viewed as developments of archival processes and
thinking? Has the touted rupture between analogue and digital occurred, or does archival art
live in them both?
With a career that spans several decades, Blaufuks has been deeply engaged with
questions surrounding the Holocaust, exile, memory and postmemory. Photography, film and
archival material have been the tools chosen for his excavations; nonetheless, it is impossible
to overlook the influence of literature in the artist’s work. Having begun with the
appropriation of physical archival material, such as photographic albums, polaroids or slides,
Blaufuks has also employed digital images and image-retrieval systems such as Google
Image.
In the view to proceed with an analysis on the crucial argument of this thesis, I have
divided it into to three sections. The first, Daniel Blaufuks: The ‘Material’ Archive, as the
name indicates, focuses on considerations on the so-called material archive, meaning the
analogue archive. Daniel Blaufuks: Writing with Images, the second section, is devoted to
two thematic components of the artist’s oeuvre: memory and literature. Here I equally offer a
comparative analysis between Blaufuks and the works of writers Georges Perec and W. G.
Sebald. In Daniel Blaufuks: Traversing the Archive, the final section, I return to the
theoretical frameworks surrounding the archive, yet one founded on 0s and 1s rather than
paper and ink.
In writing From Analogue to Image Retrieval: Concepts of Archival Art in Daniel
Blaufuks, I strive to illuminate the continuities from analogue to digital archives, and
analogue to digital archival art practices. Blaufuks’s ease and breadth in the incorporation of
a variety of media into his projects stands as an ideal case study for the exploration of the
questions I put forward in this thesis.
(re)Reading Index Cards: The archivist as interpreter in susan pui san lok's News
Publication . Camacho, Sandra
Looking at susan pui san lok’s projects News (2005) and RoCH (2013), this paper contemplates
the notions put forward by Michel-Rolph Trouillot and Jacques Derrida on the power of archivists, not solely as
guardians of documents but also as their interpreters. Taking into consideration that photographic and moving image archives present unique difficulties in their cataloguing processes, I examine silences that might be generated by a thematic classification that is not impervious to archivists’ biases. Moreover, I consider if the silences created by manual processes of classification and retrieval might be surpassed through digital technologies, or if it is possible that new technologies simply create different types of silencing.
Unidades organizacionais
Descrição
Palavras-chave
Contribuidores
Financiadores
Entidade financiadora
Fundação para a Ciência e a Tecnologia
Programa de financiamento
OE
Número da atribuição
PD/BD/113723/2015