Archive
The discussions about archives today mostly begin with Archive Fever published by French Philosopher Jacques DERRIDA (1930-2004) in 1995. In this book, DERRIDA traced the etymological root of the word “archive” to “arkhe” and re-interpreted the concept of “archive” through the power relation behind. Art critic Hal FOSTER (1955-) described the internal force that drove the archival art with the phrase “archival impulse.” In the context of the Chinese-speaking community, archive has been translated as “wen xian” (文獻), for example, the Asia Art Archive (亞洲藝術文獻庫) founded in Hong Kong in 2000.
In an interview in Modern Art issued by the Taipei Fine Arts Museum, the curator of the 2016 Taipei Biennial, Corinne DISERENS, stated that the activation of archive might have brought retrospective, prospective and epistemological connections between history and the present while involving inter-referencing between history, cultural production, archiving and memory mode, as well as interpretation and usage. At the same time, archive has also been a result of production emerging in the process of art practice. When an artwork cannot be exhibited due to its reality of being site-specific or damaged, archive sometimes takes the place of the artwork, which also causes the issue of archival fetishism. In the catalogue of this biennial, art and film critic HSU Ming-Han, on the other hand, looks at the Greek root of archive, “arkheion,” which carries a series meaning including law enforcement, filing and institutionalization, to point out the concern over the fact that “archive interpretation” might be a re-manipulation of archives.
SING Song-Yong who curated “Rewind: Video Art in Taiwan” stated that the deficiency of video art archive in Taiwan required “a turn to archive” to satisfy the substantial condition of physical material and historical context before “the archival turn” could be realized. In terms of the discourses about establishing infrastructure of art archives, there have been various related research publications in the 90s, including the Taiwan Fine Arts Series published by Artist Publishing Co. in 1992; the Taiwan Art Criticism Series co-published by NI Tsai-Chin, the former director of the Taiwan Province Museum of Fine Arts (now the National Taiwan Museum of Fine Arts), and Artist Publishing Co. in 1999; and the Taiwan Contemporary Art Series and the Taiwan Modern Art Series published by the Council for Cultural Affairs, Executive Yuan (now the Ministry of Culture) during 2003 and 2004. However, due to the restrictions of practical conditions, a more comprehensive mode of archiving is still needed.
Having recognized the absence of archives caused by the lack of historical consciousness has therefore become a crucial lead-in in projects involving the practice of “archives.” For example, artist YAO Jui-Chung has felt that researchers often utilize Western theories because there is a lack of private archives established with first-hand materials of the art history of Taiwan. Other examples include the online archive – the website of IT Park, planned and organized by one of the founding members of IT Park, CHEN Hui-Chiao, and Contemporary Art Curating in Taiwan 1992-2012 edited by LU Pei-Yi. Furthermore, artists have also filled up the absence in a fictional way by means of self-archiving, which also forms a critique of the colonial historical archives in national institutions, for example, YEH Wei-Li’s Antiquity-like Rubbish Research & Development Syndicate and LIU Chih-Hung’s Sound Geography. (Text/ Li Kuei-Pi/ 2021)
References
In an interview in Modern Art issued by the Taipei Fine Arts Museum, the curator of the 2016 Taipei Biennial, Corinne DISERENS, stated that the activation of archive might have brought retrospective, prospective and epistemological connections between history and the present while involving inter-referencing between history, cultural production, archiving and memory mode, as well as interpretation and usage. At the same time, archive has also been a result of production emerging in the process of art practice. When an artwork cannot be exhibited due to its reality of being site-specific or damaged, archive sometimes takes the place of the artwork, which also causes the issue of archival fetishism. In the catalogue of this biennial, art and film critic HSU Ming-Han, on the other hand, looks at the Greek root of archive, “arkheion,” which carries a series meaning including law enforcement, filing and institutionalization, to point out the concern over the fact that “archive interpretation” might be a re-manipulation of archives.
SING Song-Yong who curated “Rewind: Video Art in Taiwan” stated that the deficiency of video art archive in Taiwan required “a turn to archive” to satisfy the substantial condition of physical material and historical context before “the archival turn” could be realized. In terms of the discourses about establishing infrastructure of art archives, there have been various related research publications in the 90s, including the Taiwan Fine Arts Series published by Artist Publishing Co. in 1992; the Taiwan Art Criticism Series co-published by NI Tsai-Chin, the former director of the Taiwan Province Museum of Fine Arts (now the National Taiwan Museum of Fine Arts), and Artist Publishing Co. in 1999; and the Taiwan Contemporary Art Series and the Taiwan Modern Art Series published by the Council for Cultural Affairs, Executive Yuan (now the Ministry of Culture) during 2003 and 2004. However, due to the restrictions of practical conditions, a more comprehensive mode of archiving is still needed.
Having recognized the absence of archives caused by the lack of historical consciousness has therefore become a crucial lead-in in projects involving the practice of “archives.” For example, artist YAO Jui-Chung has felt that researchers often utilize Western theories because there is a lack of private archives established with first-hand materials of the art history of Taiwan. Other examples include the online archive – the website of IT Park, planned and organized by one of the founding members of IT Park, CHEN Hui-Chiao, and Contemporary Art Curating in Taiwan 1992-2012 edited by LU Pei-Yi. Furthermore, artists have also filled up the absence in a fictional way by means of self-archiving, which also forms a critique of the colonial historical archives in national institutions, for example, YEH Wei-Li’s Antiquity-like Rubbish Research & Development Syndicate and LIU Chih-Hung’s Sound Geography. (Text/ Li Kuei-Pi/ 2021)
References
- CHUANG Wei-Tzu. “The Ghost of Archive in History—Hsu Chia-Wei and His Image Narrative.” Artist, no. 531, August 2019, pp. 158-63.
- CHIANG, Po-Shin. “Reconstruction of Taiwanese Art History: Starting with Establishing the Infrastructure of Art Archive.” Tainan Fine Arts, no. 6, August 2017, pp. 16-25.
- SING, Song-Yong. “Turning towards Archive—Self-methodologization in Transitioning from Local to Transregional Video Art Study.” Artist, no. 505, June 2017, pp. 178-81.
- The Editorial of Modern Art. “An Interview with Curator Diserens.” Modern Art, no. 183, December 2016, pp. 7-24.
- HSU, Ming-Jan. “Archives as Lesions: Reading the Symptoms of Gestures and Archives of the Present, Genealogies of the Future.” Modern Art, no. 183, December 2016, pp. 25-34.
- KUO, Wen-Hua. “Looking as an Archiving Action: An Outsider's View of the 2016 Taipei Biennial.” Modern Art , no. 183, December 2016, pp. 50-61.
- LAI, Yi-Hsin. “Confronting Reality: A Realm of Archive.” Modern Art, no. 181, June 2016, pp. 23-34.
- LIN, Yi-Hsiu. “From Object Collecting to Cloud Storage – Gleaners of Contemporary Art Archives.” Modern Art, no. 163, August 2012, pp. 14-23.
檔案（Archive）
今日對於檔案的討論多從法國哲學家德希達（Jacques Derrida，1930-2004）1995年的著作《檔案熱》（Archive Fever）開始。在書中，作者透過 檔案（archive）的字源arkhe，從檔案背後的權力關係，重新理解「檔案」的概念；藝評家哈爾‧福斯特（Hal Foster，1955-）以檔案衝動（Archival impulse）來形容檔案藝術（archival art）的內部推動力。而在中文語境中，曾經以「文獻」翻譯這個概念，如2000年於香港成立的「亞洲藝術文獻庫」（Asia Art Archive）。
2016年台北雙年展的策展人柯琳‧狄瑟涵（Corinne Diserens），在北美館《現代美術》雜誌的專訪中，提及檔案的啟動雖然引發了歷史與當下透過回顧、展望及知識論在方法上的連結，並涉及歷史、文化生產、建檔和記憶模式、解讀與運用間可能的援用關係，但檔案同時也是生產的成果，出現在藝術實踐的過程中。當作品因限時限地或被毀壞等因素無法展示時，檔案有時會代替作品出現，這也引發了檔案的拜物化問題。在同一期的雙年展特輯中，藝術與電影評論人徐明瀚，則透過檔案的希臘原文arkheion，在律法執行、建檔與機構化的系列意涵，提點出「檔案演繹」是否有可能是檔案（庫）形式再度操演的疑慮。
「啟示錄：台灣錄像藝術創世紀」一展的策展人孫松榮提及了臺灣錄像藝術檔案的匱乏，需要先透過「轉向檔案」，在具備物質材料與歷史脈絡的實質條件後，才有辦法實踐「檔案轉向」。在一些藝術檔案基礎建置的討論當中，雖90年代開始便陸續有相關研究出版，如1992年由藝術家出版社出版的《臺灣美術全集》、1999年由時任省美館館長倪再沁與藝術家出版社合作出版的《臺灣美術評論全集》、文建會於2003-2004年出版的《臺灣當代美術大系》與《臺灣現代美術大系》等，但因現實條件的限制，尚待更完備的實踐模式。
認知到因為歷史意識缺乏所引起的檔案空缺，成為臺灣在「檔案」實踐案例當中重要的引子，如藝術家姚瑞中有感於研究者經常套用西方理論，是因為台灣藝術史缺乏第一手資料，所建立起的私人檔案庫；伊通公園創始成員陳慧嶠所規劃的線上資料庫「伊通公園」網站，由呂佩怡主編的《台灣當代藝術策展二十年》一書等。此外，藝術家透過自我檔案的生產，以虛構的方式填補空缺，也形成了對於殖民者歷史裡國家機構檔案的批判力量。相關作品有葉偉立的《骨董級垃圾研發公司》、劉志宏的《聲音地誌》…等。
參考文獻
2016年台北雙年展的策展人柯琳‧狄瑟涵（Corinne Diserens），在北美館《現代美術》雜誌的專訪中，提及檔案的啟動雖然引發了歷史與當下透過回顧、展望及知識論在方法上的連結，並涉及歷史、文化生產、建檔和記憶模式、解讀與運用間可能的援用關係，但檔案同時也是生產的成果，出現在藝術實踐的過程中。當作品因限時限地或被毀壞等因素無法展示時，檔案有時會代替作品出現，這也引發了檔案的拜物化問題。在同一期的雙年展特輯中，藝術與電影評論人徐明瀚，則透過檔案的希臘原文arkheion，在律法執行、建檔與機構化的系列意涵，提點出「檔案演繹」是否有可能是檔案（庫）形式再度操演的疑慮。
「啟示錄：台灣錄像藝術創世紀」一展的策展人孫松榮提及了臺灣錄像藝術檔案的匱乏，需要先透過「轉向檔案」，在具備物質材料與歷史脈絡的實質條件後，才有辦法實踐「檔案轉向」。在一些藝術檔案基礎建置的討論當中，雖90年代開始便陸續有相關研究出版，如1992年由藝術家出版社出版的《臺灣美術全集》、1999年由時任省美館館長倪再沁與藝術家出版社合作出版的《臺灣美術評論全集》、文建會於2003-2004年出版的《臺灣當代美術大系》與《臺灣現代美術大系》等，但因現實條件的限制，尚待更完備的實踐模式。
認知到因為歷史意識缺乏所引起的檔案空缺，成為臺灣在「檔案」實踐案例當中重要的引子，如藝術家姚瑞中有感於研究者經常套用西方理論，是因為台灣藝術史缺乏第一手資料，所建立起的私人檔案庫；伊通公園創始成員陳慧嶠所規劃的線上資料庫「伊通公園」網站，由呂佩怡主編的《台灣當代藝術策展二十年》一書等。此外，藝術家透過自我檔案的生產，以虛構的方式填補空缺，也形成了對於殖民者歷史裡國家機構檔案的批判力量。相關作品有葉偉立的《骨董級垃圾研發公司》、劉志宏的《聲音地誌》…等。
參考文獻
- 莊偉慈，〈歷史中的檔案幽靈--許家維與其影像敘事〉，藝術家，531期，頁158-163，2019.8。
- 蔣伯欣，〈重建臺灣藝術史：從藝術檔案的基礎建置做起〉，台南美術，6期，頁16-25，2017.8。
- 孫松榮，〈轉向檔案--從在地到跨地錄像藝術研究的自我方法化〉，藝術家，505期，頁178-181，2017.6。
- 現代美術編輯部，〈策展人柯琳‧狄瑟涵專訪〉，現代美術，183期，頁7-24，2016.12。
- 徐明瀚，〈檔案演繹，惡病起疹：「當下檔案‧未來系譜」的徵候閱讀
- 郭文華，〈預知檔案記事：一個觀展者的雙年展考古〉，現代美術，183期，頁50-61，2016.12。
- 賴依欣，〈面對真實的檔案國度〉，現代美術，181期，頁24-34，2016.6。
- 林怡秀，〈當代藝術檔案的拾穗者-從物件到雲端〉，現代美術，163期，頁14-234，2012.8。