Download Dissonant Archives: Contemporary Visual Culture and by Anthony Downey PDF

By Anthony Downey

Data are usually considered as ordered collections of ancient files that checklist information regarding humans, locations and occasions. This view however obscures an important aspect: the archive, when topic to the vagaries of time and heritage, can be fascinated by picking out the long run. This element has received urgency in modern day North Africa and the center East the place the archive has come to the fore as a domain of social, old, theoretical, and political contestation.Dissonant information is the 1st ebook to contemplate the ways that modern artists from North Africa and the center East―including Emily Jacir, Walid Raad, Jananne Al Ani, Basel Abbas and Ruanne Abou-Rahme, Mariam Ghani, Zineb Sedira, and Akram Zaatari―are using and disrupting the functionality of the archive and, in so doing, also are highlighting a systemic and maybe irrevocable main issue in institutional and state-ordained archiving around the area.

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Additional info for Dissonant Archives: Contemporary Visual Culture and Contested Narratives in the Middle East

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Institutions as archives, and museums as repositories of knowledge, are subjected to forms of institutional critique that have subsequently become archives in their own right. Burak Arıkan’s On Networks of Dispossession (2013) is a collective data-compiling and mapping project about urban transformation in Turkey that closely examines the relationships that exist among corporations, capital and power in the country. This effort to hold corporations and institutions to account is likewise a significant feature of Gulf Labor’s 52 Weeks (2013–14), which reproduces a digital archive of artists’ responses to the subject of coercive recruitment and the deplorable living and working conditions of migrant labourers in Abu Dhabi’s Saadiyat Island (Island of Happiness).

This prevalent tradition of artists interrogatively engaging with the archive as an institution, and the ideological contexts they give rise to, is key to Guy Mannes-Abbott’s reflections on the work of Emily Jacir. We return here to the conceptualization of the archive as an extra-juridical space, a realm of contested and contestable knowledge production and historical consciousness. In Rona Sela’s ‘Rethinking National Archives in Colonial Countries and Zones of Conflict’, she considers the archive as an ideological tool for constructing national, historical and political narratives that shape a country’s modern-day perception and presentation of itself.

26 The underlying point in Foucault’s The Archaeology of Knowledge, 1969, is not, strictly speaking, concerned with the reproduction of knowledge and subjects; it is about the production of future knowledge and nascent forms of propositional subjectivity. 27 In this reading, as we will see throughout Dissonant Archives, the archive is not only contingent, existing within the vagaries of time and events (and reacting to them), it is formative and performative, enunciative and secretive, future-oriented and chronic and, ultimately, an anxious, dissonant structure.

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