四川大学本科毕业论文 “实物档案”相关问题探究 can perform. Hence it is imperative to include our own archival practices within the metadata archived and communicate our logics to the next generation of users.
JW: Paul talks of performance turning to the archive at a point of disciplinary crisis,as if it might provide a place of refuge, a place where 'ontological principles are held'.But the archive itself is troubled; recent technological developments are subjecting it to what Derrida describes as an 'archival earthquake . . . transform[ing] history from top to bottom and in the most initial inside of its production, in its very events'. My responsibility to shape an archive from a messy mass of four hundred large boxes, the disorganised leftovers from 45 years of visual art exhibitions and live performances, is often fraught with acts of decision-making (see Figure 1). Delving through the boxes is such a pleasure; but what to keep, how to keep it, and what gives me the right to make these decisions? As the archivist at the Henry Moore Institute,Victoria Worsley said recently, 'When I receive an archive and it is in a mess, it is so exciting. We sort it, clean it, package it, order it and catalogue it and the frenetic energy of the original disorder goes.' I sometimes imagine leaving it as it is. Derrida speaks of 'run[ning] after the archive'.At times I want to run away. Carolyn Steedman describes sleepless nights in dusty digs, anxious about the responsibility to the dead, and for the objects they have bequeathed us. Arnolfini was founded in 1961. My troublesome responsibility is to the living.
The standard records management approach is not to leave a record's survival to chance, and for good reason in organisations where economic efficiency and legislative concern rules. However, unlike most companies, Arnolfini is not run for the financial benefit of its stakeholders. Rather, it remains a creative organisation with experimental arts practice at its core, and various curators, arts administrators and their successors have made their own decisions as to whether to hang on to this scrap of paper or that set of information, to reshuffle or bin them, without recourse to any set records management policy. The fluctuations and subjectivities of the different series that have resulted, in both the over-accumulations and the gaps, are as telling of the administrative histories and people involved in the production of an exhibition or live event as they are of the art to which they refer.
Anecdotal evidence suggests that other similar, and perhaps better organised,visual arts organisations have tended to single out the printed sets of advance publicity, together with the documentary photographs and press cuttings that follow after the exhibition or event, as the record for their archives, keeping little else. The convention for these documentary photographs is to focus on the art object, and perhaps its position within the gallery. As collections, they seem more art-historicalpicture-library than archive, where the photograph is presented as a 'stand-in', not just for the art object but also for the live event. As Schneider suggests, it is 'usually given to say: This is what you missed. . . It sings of remove.'
But I like to think that there is something intrinsic to Arnolfini, with its longstanding commitment to the ephemeral live event in particular, that wants to resist reducing its programmes to a photographic or video lamentation. Retaining many more records than other similar organisations might deem necessary seems to me indicative not so much of ill-discipline or bad management as perhaps a desire to sustain the transient encounter; an acknowledgement that we do not return to these events in the way that we might presume to when re-visiting an art work held in a permanent museum collection. These documents, now described as archival,continue to hang on as supplements, never quite removed from the organisation or the event of which they are part, keeping the work undone and unfinished,Incomplete.
Having not been considered until now as archive material, what has collected remains in a state of disorganisation, or at least differently organised—full of pre-catalogued potential. The contents of the boxes are not yet delimited by a hierarchical, contextualising catalogue, and they remain open to what has accumulated rather than what has deliberately been kept for the future. Arbitrary juxtapositions inside a box make for contingent encounters that could offer new and unpredictable pathways for research, if only the
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四川大学本科毕业论文 “实物档案”相关问题探究 right historian or researcher was able to be there too. Of course, the catalogue may prove useful to them, but only if they already know what to look for. My temptation to leave the boxes as they are comes from the desire not to limit these contingencies. Where and when does the archive commence? How is it circumscribed and how might we keep this frame open, along with enabling direct engagement with the objects?
PC: Let us consider Charles Merewether's suggestion that, 'what passes by leaves a trace of what has past': traces of disappearance. An event must pass on, into the past, in order to produce a trace. Is it the case that, whilst the trace remains, the event has passed? As Merewether implies, these residues might be produced by the very act of disappearance. But, if the trace is part of the performance work, a performance product, rather than a dislocated supplement, does it continue? Where and when does the outside of the artwork commence, how is it circumscribed and are archival objects exterior to this?
Schneider argues that the archive is founded on loss, its logic emphasises disappearance and forgetting in order to justify the project of conserving remains—material traces, objects that it can house, 'regulate, maintain and institutionalise'.18 Remains are produced by, and become themselves through the disappearance of performances, which (according to archival logic) have gone before: archives and the documents they hold gain their cultural value as 'relics' from the position that the event is lost, from the occulting of performance, forgetting memory and its immaterial or fleshy traces.
For Schneider, the photograph or document, which appears to survive the 'live' and stand-in as evidence of what was there but is no longer, can be re-thought as performative, it does something, carries something of the work's affects. The document that is not separated from the event is 'a performance of duration'.19 What if performance is both immediate and includes its mediated traces, which are more durable but also fade? Schneider proposes opening the temporal frame of the event to what comes after. A performance takes place though the dissemination of its eventful documents, our time-based encounters with them in archives or beholding them in displays; the work continues through oral accounts that are passed-on, rumours,hearsay, reviews and reinterpretations in print. It remains live through research,review, re-use, remediation, re-performance and re-enactment, circulating and recirculating in the cultural scene.
JW: As Heike Roms recently pointed out at the workshop 'Conserving and Archiving Ephemeral Artworks', perhaps Live Art has become too hung-up on the photograph of the event as the privileged art-historical document.21 Coming into circulation afterwards, and in lieu of the preceding script that is theatre's norm, it has become customary to rely upon the photograph as its document, readily available for redistribution in publications. Performance Studies claims exceptional circumstances,but life is similarly ephemeral, leaving social historians to study collected ephemera and oral testimony as evidence. Many documents in Arnolfini's archive come before and circulate around its events much more than the photographic record. Arnolfini has amassed accumulations of ephemera, including photographic documents,between which it might be possible to better remember the event.
PC: These performance marginalia also open the work to our various re-stagings.As viewers of performance photographs—like those reprinted here—you 'attend to the event' and take each document's invitation to collaborate, charged with 'mak[ing]
it a performance' again;25 you extend the work to the present by producing some resemblance in your imagination. These virtual versions, scripted by its documents,are not the performance itself but subjective instances of its reproduction. Each apparently discrete object acts as a mnemonic for the past and an inspiration for the future, around which a multiplicity of subjective recollections, imaginings and heterogeneous interpretations gather.
JW: Which virtual performance do you, our reader, imagine? At dinner tonight, which might you remember, restage and tell again. Triggered perhaps by a white tablecloth: the sheep's heads; the pigs' heads; the
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四川大学本科毕业论文 “实物档案”相关问题探究 horses' heads? Are you exercising your cultural memories?
PC: It is important to ask whether photographs of performance act as memory objects, whether they carry traces of the events that produced them. Do they transmit something of the memory of being there or do they make other effects present? Do these documents disseminate the practical knowledges held by performances between times and generations? Or are these put away elsewhere?
A constellation of residues are produced by performance, a network of relations between bodies and objects, which remain live.
JW: For example, in the collective or cultural memories of those present at the event. I remember being there at Alastair's performance. The awful smell of blood. This overpowering and inescapable stench of death that sent audience members outside to Retch.
PC: I was there too, and the somewhat traumatic memory that returns to me relates to the too-close-resemblance of drinking a free glass of book-launch wine and the pouring of buckets of blood. Does Arnolfini's audience, as a social body, house a cultural memory of works witnessed there—a fleshy archive of 'invisible inscriptions',held between them and supplementary to the institution's official records?Art events are disseminated as rumours, hearsay and spectators' stories.
JW: In many ways, the audience is absent from Arnolfini's archive except as statistics.
How do you bring oral histories of performances into the archive such that they continue to remain live in culture and circulate from one generation to another, from place to place? Once captured as recordings, would these memories carry on being filtered, condensed and distorted, through time and through the (creative) agency of those who use them and pass them on?
PC: Performance experiences are held in the body as memory. John Cage wrote, 'we
carry our homes within us'.We keep the treasury of practices, or stock-in-trade domiciled in our flesh. Practical knowledges are held embodied in performers and spectators, passed-on experientially in and through practice and tactile, body-to-body encounters. A palette of practical, bodily know-how is accumulated and transmitted through performance, spectatorship, pedagogical workshops and instances of collaborative exchange.
In The Archive and the Repertoire, Diana Taylor proposes 'taking performance seriously as a system of learning, storing, and transmitting knowledge',imprinted in what Pierre Bourdieu calls the 'body as memory',knowledge kept in and by the knower, not put in another, exterior place. Knowledge learnt by copying and recitation, distributed in and through iterative practice.
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四川大学本科毕业论文 “实物档案”相关问题探究
附录2 译文
蜉蝣5:实体档案和事件之间
Paul Clarke 6& Julian Warren7
这篇文章是在一个热烈的跨学科的存档会议中阿尔诺菲尼的档案保管员与发表“执行归档：过去的未来”的研究员之间的对话的基础上产生的（威尔士大学，阿伯里斯特威斯大学，2008年7月）。这次会议为档案管理者和专业学者一起讨论在交叉领域和共同领域的探索方式并使之有利于双方未来发展提供了机遇。他们的对话开始于两段互相挑衅：
“如何保持表现力？它们如何产生记录，或者用文件证明（它们自己）？” “文件是如何执行，档案是如何表述行为的？它们起什么作用？”
他们的回应质问了档案和文档的不连续性，而且（它们的）表现结果就是（它们的）的物体本身，质询了记录、存档和使用档案之间的区别。在这种表现力的情况下，不能将艺术品当做原始对象收集，只有（一些）痕迹，例如人名和蜉蝣会保存下来。
这篇文章呈现了理论和实践关于从现在所拥有的生活艺术和阿尔诺菲尼档案实体中选择实体之间的对话。
Paul Clarke:就像德里达在“档案热”的空白处提议的一样，我们会在开始前引用??（为这次讨论）定一个基调??用著作来抛砖迎玉。
城市和记忆
拥有六条河流和三座山脉的卓拉城是一座人们见过就不会忘记的城市。 这座城市就像一个电力枢纽和蜂巢一样不能从人们的心中删除
· · ·
Julian Warren:在2006年的10月，阿尔诺菲尼，位于布里斯托尔的现代艺术中心，指定了它的第一个档案管理者。自20世纪60年代以来，阿尔诺菲尼已经创造出了视觉艺术临时展览和现场艺术表演。档案的一个新的发展是努力协同，除了与保罗·克拉克教授一起工作外，我还曾在负责阿尔诺菲尼的在线项目的副馆长杰夫·考克斯博士旁边工作。
PC:创新和反对的（档案）从业者一起创新的场面成为了过去式，历史上敌对关系的和解是在纪录片上敌对的记录工作和现实工作中发生的。不同类型的档案正在逐渐增多。 从20世纪60年代以来，（档案）功能的最初的定义就趋于遗忘。实物档案的产生使档案的定义更加模糊，布劳断言，实物档案的功能会逐渐消失而且不能记录。
丽贝卡·施耐德激烈地反驳了实物档案的本体论，认为（实物档案）应当能够保持相应的功能。对（实物档案）功能进行存档的挑战是：“（实物档案）使用功能的消失”和实体的存留。（实物档案）利用价值的消失是由于其实用功能的部分性能消失，（实物档案）过去的价值决定了将其放置在哪个 56
蜉蝣：指的是那些转瞬即逝的东西
Paul Clarke:伦敦教育圣玛丽大学的档案学教授。 7
Julian Warren:阿尔诺菲尼艺术中心档案馆馆长
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