Horror vacui: hidden photographs and the counter-archive
Horror vacui – the fear of the void, is overcome in the two instances of counter-archival practice examined here: Real Pictures, an installation by the artist Alfredo Jaar, and Holocaust Museum, by the poet Robert Fitterman. Both works have at their center, photographs from the realm of atrocity tha...
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| Format: | Elektronisch Artikel |
| Sprache: | English |
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2024
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| Online-Zugang: | Abstract Volltext |
| Zusammenfassung: | Horror vacui – the fear of the void, is overcome in the two instances of counter-archival practice examined here: Real Pictures, an installation by the artist Alfredo Jaar, and Holocaust Museum, by the poet Robert Fitterman. Both works have at their center, photographs from the realm of atrocity that are, in different ways, rendered invisible to viewers or readers – a representational void is staged. This article is an exploration of the implications of this perverse mode of representation. The archive, conceived here following the Foucauldian idea, as an engine of epistemic regulation has one of its primary mechanisms – the binding of text to image – removed. The resulting (counter-archival) effect is the disruption of superimposed logic, and the opening up of both invisible image and decontextualized words to active forms of imagining. |
| Beschreibung: | 1 Illustration |
| ISSN: | 2184-9218 |
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| spelling | Grace, Paul Verfasser aut Horror vacui hidden photographs and the counter-archive Paul Grace 2024 1 Illustration txt rdacontent c rdamedia cr rdacarrier Horror vacui – the fear of the void, is overcome in the two instances of counter-archival practice examined here: Real Pictures, an installation by the artist Alfredo Jaar, and Holocaust Museum, by the poet Robert Fitterman. Both works have at their center, photographs from the realm of atrocity that are, in different ways, rendered invisible to viewers or readers – a representational void is staged. This article is an exploration of the implications of this perverse mode of representation. The archive, conceived here following the Foucauldian idea, as an engine of epistemic regulation has one of its primary mechanisms – the binding of text to image – removed. The resulting (counter-archival) effect is the disruption of superimposed logic, and the opening up of both invisible image and decontextualized words to active forms of imagining. Atrocity, Representation, Counter-archive, memorial, museum volume:4 year:2024 pages:51-68 Archivo papers [Erscheinungsort nicht ermittelbar], 2024 Vol. 4 (2024), Seite 51-68 (DE-604)BV049568100 2184-9218 (DE-600)3178680-7 https://archivopapersjournal.com/ojs/index.php/apj/article/view/109 Verlag kostenfrei Abstract https://archivopapersjournal.com/ojs/index.php/apj/article/view/109/109 Verlag kostenfrei Volltext |
| spellingShingle | Grace, Paul Horror vacui hidden photographs and the counter-archive Atrocity, Representation, Counter-archive, memorial, museum |
| title | Horror vacui hidden photographs and the counter-archive |
| title_auth | Horror vacui hidden photographs and the counter-archive |
| title_exact_search | Horror vacui hidden photographs and the counter-archive |
| title_full | Horror vacui hidden photographs and the counter-archive Paul Grace |
| title_fullStr | Horror vacui hidden photographs and the counter-archive Paul Grace |
| title_full_unstemmed | Horror vacui hidden photographs and the counter-archive Paul Grace |
| title_short | Horror vacui |
| title_sort | horror vacui hidden photographs and the counter archive |
| title_sub | hidden photographs and the counter-archive |
| topic | Atrocity, Representation, Counter-archive, memorial, museum |
| topic_facet | Atrocity, Representation, Counter-archive, memorial, museum |
| url | https://archivopapersjournal.com/ojs/index.php/apj/article/view/109 https://archivopapersjournal.com/ojs/index.php/apj/article/view/109/109 |
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