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Architectural Archives: A Variable Beast 建筑档案:一只可变的野兽
IF 0.1 4区 艺术学 Q3 Arts and Humanities Pub Date : 2020-06-28 DOI: 10.5749/futuante.15.2.0081
J. Parks
Abstract:The surge of interest in architectural archives coincides with the development of the historic preservation profession in the United States. Indeed, successive federal laws establishing guidelines for preservation in the twentieth century explicitly mandate the collection of documentation. As public as a finished work of architecture can be, the architectural archive—the one maintained by the architect, not the publicly mandated building records—is a variable beast, subject to many internal and external factors: from the care the architect gave to the material, to the time between creation and collection, and the number of players involved. How do architectural archives develop, what are some of the variables of collecting, how might historic preservationists engage in this process? In the end, the story is less professional and more personal, less like Walter Benjamin and more like the psychological novels of Henry James.
摘要:人们对建筑档案的兴趣高涨,与美国历史保护行业的发展不谋而合。事实上,20世纪确立保存指导方针的连续几部联邦法律明确要求收集文件。就像一件完成的建筑作品可以公开一样,建筑档案——由建筑师维护的,而不是公开授权的建筑记录——是一个可变的野兽,受到许多内部和外部因素的影响:从建筑师对材料的关注,到创作和收藏之间的时间,以及参与其中的参与者的数量。建筑档案是如何发展的,收集的一些变量是什么,历史保护主义者如何参与这个过程?最后,这个故事不那么专业,更个人化,不像沃尔特·本雅明,更像亨利·詹姆斯的心理小说。
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引用次数: 0
On Archiving Rubble 关于碎石的归档
IF 0.1 4区 艺术学 Q3 Arts and Humanities Pub Date : 2020-06-28 DOI: 10.5749/futuante.15.2.0033
Leen Katrib
Abstract:When archaeologists work to preserve a monument, a values-based system is employed to determine what is worth preserving and what will be destroyed in the process of allocating monuments as abandoned "ruins." To think of "ruin" as a noun emphasizes the artifacts of empire as passive remnants of a defunct regime, effectively implying that imperial governance is over. To focus on processes of ruination, however, allows us to trace the lingering effects of empire, what people are left with—or without. This essay proposes to shift the reader's gaze away from the "ruins" of monument and toward processes of ruination that produce a category of remnants that has largely slipped the attention of scholarship and has remained absent from imperial archives—rubble. Unlike the "ruins" of monument, the "rubble" of monument is formless, bearing no trace of its original creation. Examples in the history of archaeological restorations point to a consistent pattern in the management of rubble, where it's obliterated rather than preserved, documented, or archived. This pattern has yet to be addressed as more monuments face processes of ruination beyond just archaeology: economic, natural, terrorist. This essay seeks to unpack the implications of obliterating the "rubble" of monuments on the process of historical production, and to argue for novel management and the potential afterlife of rubble. It concludes by hypothesizing the archivization, as opposed to the museumization, of rubble to reframe this historically marginalized, formless material as an agent of ruination that can open history up for reexamination and can democratize the storage, retrieval, production, and indexing of new forms of knowledge.
摘要:考古学家在保护古迹时,在将古迹分配为废弃“废墟”的过程中,采用一种基于价值观的系统来确定哪些值得保存,哪些将被破坏。把“废墟”看作名词,强调了帝国的文物是一个已消亡政权的被动残余物,有效地暗示了帝国统治的结束。然而,关注毁灭的过程,可以让我们追溯帝国遗留下来的影响,人们留下了什么——或者没有。这篇文章建议将读者的目光从纪念碑的“废墟”转移到产生了一种残余的毁灭过程,这种残余在很大程度上逃过了学术界的关注,在帝国档案中也一直没有出现——废墟。与纪念碑的“废墟”不同,纪念碑的“瓦砾”是无形的,没有其最初创造的痕迹。考古修复史上的例子表明,在废墟管理中存在一种一致的模式,即将其抹去,而不是保存、记录或存档。这种模式还有待解决,因为越来越多的纪念碑面临着经济、自然、恐怖主义等不仅仅是考古方面的破坏过程。本文试图揭示抹去纪念碑“瓦砾”对历史生产过程的影响,并为瓦砾的新管理和潜在的来世辩护。它的结论是假设瓦砾的档案化,而不是博物馆化,以重新构建这种历史上被边缘化的、无形的材料,作为一种毁灭的代理,可以打开历史的重新审视,可以民主化存储、检索、生产和索引新形式的知识。
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引用次数: 2
Prosthetic Landscapes: Place and Placelessness in the Digitization of Memorials 假体景观:纪念馆数字化中的场所与无场所
IF 0.1 4区 艺术学 Q3 Arts and Humanities Pub Date : 2020-06-28 DOI: 10.5749/futuante.15.2.0113
A. Gabrielian, Aroussiak Alison B. Hirsch
Abstract:Can landscapes be moved? What does it mean for a landscape not to have a place when the former is often equated with the latter in geographical terms? The essay considers the relevance and resonance of place (and space) as related to landscapes of memory. By considering the increasing digitization of memory via the burgeoning geoweb, the authors aim to explore the future of memorial-making, which has long been a physical and material practice that treats site as a remnant of authenticity. While monuments often commemorate events that occurred elsewhere, landscapes themselves are frequently all that remains of histories long forgotten. The essay considers whether these landscapes can be captured, transported, and inscribed in the social imagination (as cultural memory) as an ex-situ experience. It concludes with three illustrative memorial propositions and emphasize how geospatial media might be harnessed in contemporary memorial-making to transport us virtually to sites of memory and transport memorial landscapes into the space of our everyday lives. These propositions rely on the adaptability and accretional nature of new media technologies to commemorate ongoing processes of loss. Rather than commemorate the singularity of sites as uniquely sacred, these technologies enable awareness of larger networks of memory that draw people together across geographies and "chasms of difference."
摘要:景观可以移动吗?当前者在地理上常常等同于后者时,一个景观没有位置意味着什么?本文认为地点(和空间)的相关性和共鸣与记忆的景观有关。考虑到通过蓬勃发展的geoweb不断增加的记忆数字化,作者旨在探索纪念制作的未来,这是一种长期以来将场地视为真实性残余的物理和材料实践。虽然纪念碑通常是为了纪念发生在别处的事件,但风景本身往往是被遗忘已久的历史的遗迹。本文考虑了这些景观是否可以被捕捉、运输,并作为一种迁地体验被铭入社会想象(作为文化记忆)。它以三个说明性的纪念命题作结,并强调如何利用地理空间媒体在当代纪念制作中将我们虚拟地运送到记忆地点,并将纪念景观运送到我们的日常生活空间中。这些主张依赖于新媒体技术的适应性和增值性,以纪念正在进行的损失过程。这些技术并没有将遗址的独特性作为独特的神圣纪念,而是使人们意识到更大的记忆网络,这些网络将跨越地域和“差异的鸿沟”的人们聚集在一起。
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引用次数: 0
Back Matter 回到问题
IF 0.1 4区 艺术学 Q3 Arts and Humanities Pub Date : 2020-01-01 DOI: 10.5749/futuante.17.1.bm
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引用次数: 0
Introduction to Contemporary Art and the Deconstruction of Heritage: Preservation By Other Means: Contemporary Art and Contested Heritage 当代艺术概论和遗产的解构:以其他方式保存:当代艺术和争议遗产
IF 0.1 4区 艺术学 Q3 Arts and Humanities Pub Date : 2019-05-22 DOI: 10.5749/FUTUANTE.15.1.0III
Chad Elias, M. Coffey
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引用次数: 0
Artist Intervention: All That Refuses To Vanish 艺术家的介入:一切拒绝消失
IF 0.1 4区 艺术学 Q3 Arts and Humanities Pub Date : 2019-05-22 DOI: 10.5749/FUTUANTE.15.1.0065
Akram Zaatari
Abstract:Akram Zaatari is one of the founders of the Arab Image Foundation, a nonprofit organization established to collect, preserve, and study photographs from the Middle East, North Africa, and the Arab diaspora. Over the past two decades, Zaatari has used material from this collection as the basis for a larger artistic inquiry on archival practices and the social and material life of photographic images. In this text, Zaatari questions the desires and motivations that underpin the established preservation protocols. As opposed to the impulse to protect photographs from deterioration, he asks what it means to embrace their ephemerality. Zaatari looks for what remains after something inadvertently vanishes in a photographic negative, or what gets reconfigured by environmental and chemical processes over which we have no ultimate control. He tries to learn from these accidents or phenomena and deploys them as tools into the making of what he calls "informed objects," or things that can speak of what they have been through. Here, it is not simply the image that bears historical information but the material on which it is ingrained.
摘要:Akram Zaatari是阿拉伯影像基金会的创始人之一,该基金会是一个非营利性组织,旨在收集、保存和研究来自中东、北非和阿拉伯侨民的照片。在过去的二十年里,扎塔里将这些收藏中的材料作为对档案实践和摄影图像的社会和物质生活进行更大规模艺术探索的基础。在这篇文章中,Zaatari质疑了支撑现有保存协议的欲望和动机。与保护照片不变质的冲动相反,他问拥抱它们的短暂性意味着什么。扎塔里寻找的是在底片上不经意消失的东西,或者在我们无法最终控制的环境和化学过程中被重新配置的东西。他试图从这些事故或现象中学习,并将它们作为工具,用于制作他所谓的“知情对象”,或者可以讲述它们所经历的事情的东西。在这里,承载历史信息的不仅仅是图像,还有其根深蒂固的材料。
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引用次数: 0
Temporalities of Progress and Protest: Renovation and Artist Interventions at the Mexican National Archive 进步和抗议的时间性:墨西哥国家档案馆的改造和艺术家干预
IF 0.1 4区 艺术学 Q3 Arts and Humanities Pub Date : 2019-05-22 DOI: 10.5749/FUTUANTE.15.1.0001
Mya Dosch
Abstract:Lecumberri prison in Mexico City housed inmates from 1900 until 1976. Among the incarcerated were over 460 political prisoners held after the 1968 massacre of student protesters and bystanders by government officials, transforming the site into a potent symbol of the repressions of the era. In 1982, Lecumberri reopened as the Archivo General de la Nación (National Archive), the most important repository in Mexico. I argue that the preservation and renovation of the structure provided an opportunity for the PRI (Institutional Revolutionary Party) to reclaim the narrative of Lecumberri from the activists who used it as a symbol of state excesses and a node of resistance during and after the 1968 student movement. Through the preservation of Lecumberri as a cultural institution, the Mexican government claimed progress by rhetorically "opening" and "inverting" the site, yet the fundamental power structures of the institution, and their related architectures, remained unchanged. I then show how interventions by artists Gina Arizpe and Ángela Bonadies escaped, exceeded, or confounded these official narratives, staging what Cristina Moreiras-Menor calls "alternative notions of temporality." Their artworks underscore the fact that the repressive, carceral functions of Lecumberri also serve the Archive, questioning the moral narratives implicit in historical preservation.
摘要:墨西哥城的Lecumberri监狱从1900年到1976年一直关押着囚犯。在被监禁的人中,有460多名政治犯是在1968年政府官员屠杀学生抗议者和旁观者后被关押的,这使这里成为那个时代镇压的有力象征。1982年,Lecumberri作为墨西哥最重要的档案馆Nación(国家档案馆)重新开放。我认为,建筑的保存和翻新为革命制度党(PRI)提供了一个机会,从激进分子手中夺回Lecumberri的叙述,这些激进分子在1968年学生运动期间和之后将其作为国家过度行为的象征和抵抗的节点。通过将Lecumberri作为一个文化机构保存下来,墨西哥政府通过修辞上的“开放”和“倒置”来声称取得了进展,但该机构的基本权力结构及其相关建筑却保持不变。然后,我展示了艺术家Gina Arizpe和Ángela Bonadies的干预是如何逃脱、超越或混淆这些官方叙述的,展示了Cristina Moreiras-Menor所说的“时间性的另类概念”。他们的作品强调了这样一个事实,即Lecumberri的压制性、俘虏性功能也为档案馆服务,质疑历史保护中隐含的道德叙事。
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引用次数: 1
The Freedom Wall: Public Art and Negotiations of African American Heritage in Buffalo, New York 自由之墙:纽约布法罗的公共艺术和非裔美国人遗产的谈判
IF 0.1 4区 艺术学 Q3 Arts and Humanities Pub Date : 2019-05-22 DOI: 10.5749/FUTUANTE.15.1.0017
Hannah Quaintance
Abstract:The Freedom Wall (2017) is a mural in Buffalo, New York, commissioned by the Albright-Knox Art Gallery. Planned for the northern entrance of the Michigan Street African American Heritage Corridor, it was proposed that the mural should consist of a series of large-scale portraits of local and national African American civil rights leaders. The combination of its commemorative characteristics and dialogic positioning within this protected landscape framed the project as a potential site of memory for the African American community. However, the initial proposal was met with frustrated public opposition. Led by a renowned art gallery that remained distanced from Buffalo's African American community, the project created an arena for conversations that challenged the role of authorized narratives and cultural organizations in identifying and shaping heritage. Following expansions of its authorship and content, the Freedom Wall provided a valuable demonstration of what Laurajane Smith describes as "heritage as cultural process." Amending the historic landscape of the Corridor, the mural became a place that connects the past with the present, encouraging the passing on of community knowledge.
摘要:《自由之墙》(2017)是由奥尔布赖特-诺克斯美术馆委托创作的一幅位于纽约布法罗的壁画。该壁画计划位于密歇根街非裔美国人遗产走廊的北入口,建议由一系列当地和全国非裔美国民权领袖的大型肖像组成。在这个受保护的景观中,它的纪念特征和对话定位相结合,使该项目成为非洲裔美国人社区的潜在记忆场所。然而,最初的提议遭到了公众失望的反对。该项目由一家与布法罗的非裔美国人社区保持距离的知名艺术画廊牵头,为对话创造了一个舞台,挑战了官方叙事和文化组织在识别和塑造遗产方面的作用。随着其作者和内容的扩展,自由墙为劳拉简·史密斯所描述的“作为文化过程的遗产”提供了有价值的展示。壁画修复了走廊的历史景观,成为一个连接过去与现在的地方,鼓励社区知识的传递。
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引用次数: 1
Participatory Art in Kufr Bir'im: Fissures for Suppressed Histories 库夫尔·比尔姆的参与式艺术:被压抑历史的裂缝
IF 0.1 4区 艺术学 Q3 Arts and Humanities Pub Date : 2019-05-22 DOI: 10.5749/FUTUANTE.15.1.0031
Irit Carmon Alona Popper, Alona Nitzan-Shiftan
Abstract:Bar'am National Park in Israel contains both the remains of an ancient synagogue and the ruins of a Palestinian village. The architecture of the synagogue is restored as the central structure of the park, while the remains of the Palestinian village—a closed military area—are restricted and neglected. The existing architectural fabric on site does not reflect a consolidated agenda of preservation but rather a political policy of occupation and discrimination by turning the history of demolition of the agrarian Palestinian land into a seemingly pacified site of national heritage. The village descendants are allowed to enter for ephemeral activities, which they use to perform social and artistic activities on site.The study examines a series of site-specific installations of a contemporary artist and architect, a descendant of the villagers, on site. Through their inherent impermanence and nonrecurring characteristics, the art interventions succeed to break through the fixed boundaries of the dominant heritage and allow hidden layers to surface. We analyze the art practices in light of recent preservation theory. In the context of an intractable national conflict, we further argue, such participatory action opens venues to discuss preservation as an act of civil rights, which challenges the official history as an alternative creative-performative model of preserving heritage.
摘要:以色列的巴拉姆国家公园既有古老犹太教堂的遗迹,也有巴勒斯坦村庄的废墟。犹太教堂的建筑被恢复为公园的中心结构,而巴勒斯坦村庄的遗迹——一个封闭的军事区域——则受到限制和忽视。现场现有的建筑结构并没有反映出一个统一的保护议程,而是一种占领和歧视的政治政策,将巴勒斯坦土地的拆除历史变成了一个看似平静的国家遗产遗址。村庄的后代被允许进入进行短暂的活动,他们利用这些活动在现场进行社会和艺术活动。该研究考察了一系列现场特定装置的当代艺术家和建筑师,一个村民的后裔,在现场。通过其固有的无常和非重复性特征,艺术干预成功地突破了主导遗产的固定边界,并使隐藏的层面浮出水面。我们根据最近的保存理论来分析艺术实践。在棘手的国家冲突的背景下,我们进一步认为,这种参与性行动为讨论作为公民权利行为的保护开辟了场所,这挑战了作为保护遗产的另一种创造性行为模式的官方历史。
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引用次数: 0
Recreating the Past in Our Own Image: Contemporary Artists' Reactions to the Digitization of Threatened Cultural Heritage Sites in the Middle East 以我们自己的形象再现过去:当代艺术家对中东濒危文化遗址数字化的反应
IF 0.1 4区 艺术学 Q3 Arts and Humanities Pub Date : 2019-05-22 DOI: 10.5749/FUTUANTE.15.1.0045
E. Thompson
Abstract:The destruction of archaeological sites in Syria and Iraq by the Islamic State has been widely covered in the Western media, and has launched a flurry of projects with the goal of combatting the destruction through the use of digital technologies. Technologies such as 3D modeling and printing have been hailed as salvific, and their ability to preserve threatened sites, reconstruct destroyed ones, and disseminate knowledge of the past cheaply and easily all over the globe have been called the only possible remedy for destruction by the IS. This article surveys the work of a number of contemporary artists who are questioning these narratives and pointing to potential downsides to digital reconstructions of threatened cultural heritage.
摘要:西方媒体广泛报道了伊斯兰国对叙利亚和伊拉克考古遗址的破坏,并启动了一系列旨在利用数字技术打击破坏的项目。3D建模和打印等技术被誉为救星,它们能够保护受威胁的遗址,重建被摧毁的遗址,并在全球范围内廉价而方便地传播过去的知识,这被称为IS唯一可能的破坏手段。本文调查了一些当代艺术家的作品,他们质疑这些叙事,并指出了对受威胁的文化遗产进行数字化重建的潜在缺点。
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引用次数: 5
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Future Anterior
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