Abstract

Archival art has been discussed so far in spatial terms, as archival installation, emphasizing stability of content and narrativity. Performative archiving is introduced here as intervention practice producing empowered public spheres in the context of a generalized network archival culture. These archiving practices do not produce content, but dispositives that enable the recension of archival data in distributed processes, not unlike oral forms and rituals of transmission of knowledge. Synchronicity of performance, in distant or person-to-person encounters, creates the possibility of contesting co-utterances. Such works experiment on new forms of participation and collective writing, determining the roles and responsibility of subjects during the development of archival time, regulating different levels of interaction among persons, social groups, institutions, practices, thematic areas, media, physical and virtual spaces. They are centrifugal processes that resist the thematization of the archive and its confinement within the discourse of art. Their intervention aims at a different mode of instituting in the world of art, which problematizes the local conditions of social spaces and cultural institutions. They shift our interest away from archival accumulation and preservation, away from the ‘ideology of the trace’, and towards the moment of speech and act that bears the ‘capacity to aspire’. While they are triggered by an intention to actively institute, to organize tactics of action, they insist on the political performance of ‘act and speech’ at the moment when they occur.