The Producer as Author
Graciela Carnevale’s Texts about Her Archive
DOI:
https://doi.org/10.24215/24516643e047Keywords:
archive, Graciela Carnevale, contemporary artAbstract
From the multiplicity of materials that make up the Graciela Carnevale Archive, in this paper I address the texts in which the artist reflects on her archive and the life experiences that underlie the drive to collect these documents. For its analysis, I introduce, first, a delimitation of the figures of artists in relation to an expanded notion of the archive; secondly, I proceed to expose the potential and problems of considering the producers’ reflections on their personal archives; finally, I propose an approach to the texts based on their predominant tones.References
AGN. (2021). Directriz para la implementación de la norma ISAD-G. https://www.argentina.gob.ar/sites/default/files/isad_g_final.pdf
Artières, P. y Kalifa, D. (2012-2013). El historiador y los archivos personales: paso a paso. Políticas de la Memoria, 13, pp. 7-11.
Benjamin, W. (2019). El autor como productor. Iluminaciones. Taurus.
Bernabé, M. (2022). Humedal Arde. Derivas fluviales en el Archivo Carnevale (2009-2019). Heterotopías, 5(10), pp. 28-42. https://revistas.unc.edu.ar/index.php/heterotopias/article/view/39746
Buchloh, B. (1999). Gerhard Richter’s “Atlas”: The Anomic Archive [El Atlas de Gerhard Richter: elarchivoanómico]. October, 88, pp. 117-145.
Caimari, L. (2020). El momento archivos. Población y sociedad. Revista de estudios sociales, 2 (27), pp. 222-233. https://doi.org/10.19137/pys-2020-270210
Derrida, J. (1997). Mal de archivo. Una impresión freudiana. Trotta.
Ernst, W. (2018). El archivo como metáfora. Del espacio de archivo al tiempo de archivo. Nimio, 5, pp. 1-11. http://sedici.unlp.edu.ar/handle/10915/71824
Foster, H. (2017). Un impulso (an)archivístico. En Bernabé, M. (comp.). En el borde del mundo. Vanguardias de archivo en América Latina (pp. 163-196). HyA Ediciones.
Groys, B. (2014). Los trabajadores del arte, entre la utopía y el archivo. Volverse público: las transformaciones del arte en el ágora contemporánea (pp. 133-148). Caja Negra.
Guasch, A. M. (2011). Arte y archivo, 1920-2010. Genealogías, tipologías y discontinuidades. Akal. Longoni, A. y Mestman, M. ([2000] 2018). Del Di Tella a «Tucumán Arde». Vanguardia artística y política en el 68 argentino. EUdeBA.
Mendoza, J. J. (2019). Los archivos_Papeles para la nación. Eduvim
Downloads
Published
How to Cite
Issue
Section
License
This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License.
The acceptance of the manuscript by the magazine means the non-exclusive cession of the property rights of the authors in favour of the editor, who allows the reuse, after publication (post print), under a license Attribution-NonCommercial-NoDerivatives 4.0 International.
According to these terms, the material can be copied and redistributed by any means or in any format as long as a) the author and original source of the publication are quoted (magazine and URL of the work), access to the license is provided and whether changes have been made is mentioned; and b) the material is not used for commercial purposes.
The cession of non-exclusive rights means that after the publication (post print) in Metal the authors can publish their work in any language, means and format; in such cases it must be mentioned that the material was originally published in this magazine. Such cession also means the authorization of the authors for the work to be collected by SEDICI, the institutional archive of the Universidad Nacional de La Plata, and to be spread in the databases that the editorial team considers appropriate to increase the visibility of the publication and its authors.
Moreover, the magazine encourages the authors to deposit their productions in other institutional and thematic archives under the principle that offering the society the scientific and academic production without any restrictions contributes to a greater exchange of the global knowledge.
