Archival Art and Open Wounds: From Hofmannsthal to Installation Art

Research output: Contribution to journalArticle

Abstract

This article explores the ?archival impulse? (Hal Foster) in the work of Hugo von Hofmannsthal and several installation artists. Revisiting Hofmannsthal?s dramatizations of archival landscapes in his fictive travel report Augenblicke in Griechenland, I show how topographies of wounds introduce an aesthetics and ethics of participation. The article also explores striking parallels between topographies of wounds and contemporary archival art, in particular Thomas Hirschhorns?s video installation Touching Reality (2004), and Saskia Boddeke?s and Peter Greenaway?s exhibition installation Obedience (2015, Jewish Museum Berlin). These topographies expose the potential of archival art to engage with memory as a form of inscription, that is, with the archival impulse as an act of (re)inscribing inscriptions in an event of wounding.

Original languageEnglish (US)
Pages (from-to)234-250
Number of pages17
JournalSeminar - A Journal of Germanic Studies
Volume53
Issue number3
DOIs
StatePublished - Sep 1 2017

Fingerprint

art
geography
contemporary art
obedience
Berlin
artist
museum
aesthetics
video
travel
moral philosophy
participation
event
Installation Art
Art
Topography
Impulse

All Science Journal Classification (ASJC) codes

  • Cultural Studies
  • Literature and Literary Theory

Cite this

@article{a8c95681db4f4989aa937b5602767ee1,
title = "Archival Art and Open Wounds: From Hofmannsthal to Installation Art",
abstract = "This article explores the ?archival impulse? (Hal Foster) in the work of Hugo von Hofmannsthal and several installation artists. Revisiting Hofmannsthal?s dramatizations of archival landscapes in his fictive travel report Augenblicke in Griechenland, I show how topographies of wounds introduce an aesthetics and ethics of participation. The article also explores striking parallels between topographies of wounds and contemporary archival art, in particular Thomas Hirschhorns?s video installation Touching Reality (2004), and Saskia Boddeke?s and Peter Greenaway?s exhibition installation Obedience (2015, Jewish Museum Berlin). These topographies expose the potential of archival art to engage with memory as a form of inscription, that is, with the archival impulse as an act of (re)inscribing inscriptions in an event of wounding.",
author = "Sabine Doran",
year = "2017",
month = "9",
day = "1",
doi = "10.3138/seminar.53.3.04",
language = "English (US)",
volume = "53",
pages = "234--250",
journal = "Seminar - A Journal of Germanic Studies",
issn = "0037-1939",
publisher = "University of Toronto Press",
number = "3",

}

Archival Art and Open Wounds : From Hofmannsthal to Installation Art. / Doran, Sabine.

In: Seminar - A Journal of Germanic Studies, Vol. 53, No. 3, 01.09.2017, p. 234-250.

Research output: Contribution to journalArticle

TY - JOUR

T1 - Archival Art and Open Wounds

T2 - From Hofmannsthal to Installation Art

AU - Doran, Sabine

PY - 2017/9/1

Y1 - 2017/9/1

N2 - This article explores the ?archival impulse? (Hal Foster) in the work of Hugo von Hofmannsthal and several installation artists. Revisiting Hofmannsthal?s dramatizations of archival landscapes in his fictive travel report Augenblicke in Griechenland, I show how topographies of wounds introduce an aesthetics and ethics of participation. The article also explores striking parallels between topographies of wounds and contemporary archival art, in particular Thomas Hirschhorns?s video installation Touching Reality (2004), and Saskia Boddeke?s and Peter Greenaway?s exhibition installation Obedience (2015, Jewish Museum Berlin). These topographies expose the potential of archival art to engage with memory as a form of inscription, that is, with the archival impulse as an act of (re)inscribing inscriptions in an event of wounding.

AB - This article explores the ?archival impulse? (Hal Foster) in the work of Hugo von Hofmannsthal and several installation artists. Revisiting Hofmannsthal?s dramatizations of archival landscapes in his fictive travel report Augenblicke in Griechenland, I show how topographies of wounds introduce an aesthetics and ethics of participation. The article also explores striking parallels between topographies of wounds and contemporary archival art, in particular Thomas Hirschhorns?s video installation Touching Reality (2004), and Saskia Boddeke?s and Peter Greenaway?s exhibition installation Obedience (2015, Jewish Museum Berlin). These topographies expose the potential of archival art to engage with memory as a form of inscription, that is, with the archival impulse as an act of (re)inscribing inscriptions in an event of wounding.

UR - http://www.scopus.com/inward/record.url?scp=85029866500&partnerID=8YFLogxK

UR - http://www.scopus.com/inward/citedby.url?scp=85029866500&partnerID=8YFLogxK

U2 - 10.3138/seminar.53.3.04

DO - 10.3138/seminar.53.3.04

M3 - Article

AN - SCOPUS:85029866500

VL - 53

SP - 234

EP - 250

JO - Seminar - A Journal of Germanic Studies

JF - Seminar - A Journal of Germanic Studies

SN - 0037-1939

IS - 3

ER -