PROGRAM FOUR: ARCHIVE
FEVER
“Le mal d’archive,” “archive fever” is Jacques Derrida’s term for the necessary
place of disjointedness in the structure of archivization. Any concept in the
process of being formed, of being archived, “always remains inadequate relative
to what it ought to be, divided, disjointed” between the two forces of the death
drive and the pleasure principle. So it is that Breder, Legrady, Piper, and
Woolery seek not simply to validate canonical histories nor even to wrap emergent
histories into canonical archives but to prompt reflection on the enigmatic
residues of colonialism, fascism, and totalitarianism as well as the personal
and social struggle for virtual relocation in the digital era. By stressing
the divide, the disjointedness, and the remainder of the archives of Nazi brutality,
Cold War uniformity, and the varying legacies of African slavery, their digitized
projects permit individual users to engage in an invested journey through the
vestiges of collective account, historical artifact, institutional site, and
encrypted memory. Juxtaposed together on the screen of a computer, these haunting
artworks dwell on the complicated scenario of archive fever in which desire
and identification envelope the atmosphere of representation in something of
the shadowy haze of history and the flickering light of virtual reality.
Hans BREDER, The Nazi Loop,
1996 (USA)
George LEGRADY: An Anecdoted
Archive from the Cold War, 1994 (Canada)
Antoni MUNTADAS /Anne-Marie DUGUET, Muntadas: Media, Architecture, Installations,
1999 (Spain/France)
Keith PIPER: Relocating the Remains,
1997 (Britain)
Reginald WOOLERY, Million Man
March/ World Wide Web, 1997 (USA)