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(1995)
The purpose of any "archaeology" is to ascertain what one can of the difference of the present and the potential of the past. Durant. Like, Man, I'm Tired of Waiting
Or, worse, a culture (to focus on the United States after 9/11) that tropes trauma as the grounds-the Ground Zero, as it were-for so much imperial triumphalism
An Archival Impulse HAL FOSTER Consider a temporary display cobbled together out of workday materials like cardboard, aluminum foil, and packing tape, and ï¬lled, like a homemade studyshrine, with a chaotic array of images, texts, and testimonials devoted to a radical artist, writer, or philosopher. Or a funky installation that juxtaposes a model of a lost earthwork with slogans from the civil rights movement and/or recordings from the legendary rock concerts of the time. Or, in a more pristine register, a short ï¬lmic meditation on the huge acoustic receivers that were built on the Kentish coast between the World Wars, but soon abandoned as outmoded pieces of military technology. However disparate in subject, appearance, and affect, these worksâby the Swiss Thomas Hirschhorn, the American Sam Durant, and the Englishwoman Tacita Deanâshare a notion of artistic practice as an idiosyncratic probing into particular ï¬gures, objects, and events in modern art, philosophy, and history. The examples could be multiplied many times (a list of other practitioners might begin with the Scotsman Douglas Gordon, the Englishman Liam Gillick, the Irishman Gerard Byrne, the Canadian Stan Douglas, the Frenchmen Pierre Huyghe and Philippe Parreno, the Americans Mark Dion and Renée Green .
October – MIT Press
Published: Oct 1, 2004
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