• The Korean Journal of Archival Studies
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• no.64
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• pp.27-62
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• 2020

The article has the characteristics of a preliminary writing about how to look at the trend of new archives 'fever' and 'impulsion' emerging around the domestic and foreign art world, which have not been paid much attention yet in the 'mainstream' archive research, and how to accept it independently. Specifically, this study aims to examine how archival art is involved in history and memory with aesthetic attitudes and methods through observation of recent tendency of domestic archive art, and what implications or influence the 'archival impulse' phenomenon in the art world can have on the research trend of 'archival studies.' First, I would like to look at the meaningful movement to reinterpret and actively accept archival impulses in concrete overseas cases, that is, the archive system of a public archive in the United States. This is followed by an attempt to explore the characteristics and characteristics of creative works that are carried out through the medium of archives, that has not yet reached the level of organization of specific archive methods but are sporadically attempted in the domestic art world. It examines how so-called 'archive artists' record unrecorded in a way that is not observed in the existing archival world, and how they summon and include excluded history in aesthetic language. In conclusion, this study explores the possibility of pulling the historical records of tradition out from archival boxes and reinterpreting them as living archives within the contemporary emotional structure from this new artistic trend called 'archival art'.

• The Korean Journal of Archival Studies
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• no.81
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• pp.133-157
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• 2024

This study seeks to examine how to understand the meaning and function of archives from the perspective of deconstruction through a discussion of Derrida's 『Archive Fever』. Derrida argues that the archive is not a space of fixed and absolute truth, but a place open to various interpretations. Archive records are composed of countless meanings constantly created by the people who produce the records and the people who read them. As a result, the archive is not simply a place to store past documents, but a place where meanings are produced, destroyed, and interacted with each other. It must be understood as a complex place. Derrida's view of archives reveals a deconstructive perspective on archives that can be understood separately from the discourse of power and memory. Based on Freud's psychoanalysis, Derrida analyzes the process by which meaning is created and destroyed in archives and the unconscious desires that act on it. Through this, we see that archives are not simply passive records of the past, but memories of the present and future. We must acknowledge that it is an active and complex place that is constantly being reorganized.

• Journal of Korean Society of Archives and Records Management
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• v.24 no.1
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• pp.31-46
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• 2024

This study provides a synthesis of the fundamental concepts of "art archives" and "archival art" while undertaking a reconsideration of the latter. Archival art refers to "artworks or art practices that utilize archival structures or methodologies." Accepted as a new trend in contemporary art, archival art is evaluated as a counternarrative and reconstructs histories that are marginalized and omitted from the public sphere. This approach reveals the contradictory nature of criticizing the contemporary archive from an anti-archival perspective while simultaneously presenting the archive as a core identity of the work. Given the limited research on archival art, often with potential contradictions regarding record authenticity, this study expands the concept of archival art, includes archaeological aspects, classifies types, and analyzes their characteristics. By approaching artists' use of archives from a traditional archaeological lens, this study broadens the scope of the examination.