Materiality of the invisible - an exhibition of art/archaeology
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A lecture given to open a wonderful exhibition at the Jan Van Eyck Academie in Maastricht, Netherlands. August 2017. I describe the key components of some current trends in contemporary art towards a fascination with the archaeological imagination - visiting and reworking the past, memory and archive, entropy and materiality.
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Materiality of the invisible - an exhibition of art/archaeology
- 1. Michael Shanks | Stanford University | mshanks.com the materiality of the invisible — an exhibition
- 2. mshanks.com archaeologists are interested in places
- 4. mshanks.com archaeologists collect and organize
- 6. mshanks.com archaeology is not history history — focused on what happened in the past
- 7. mshanks.com archaeologists work with what remains consider “the archaeological” as an adjective — archaeological attitude, perspective, way of thinking archaeological processes the archaeological imagination an archaeological sensibility
- 8. mshanks.com archaeologists work with what remains connecting past and present like memory (which is always re-collection) with a view to the future, a care for the future — and we are all archaeologists now
- 9. mshanks.com exploring the archaeological imagination the artists in the exhibition the materiality of the invisible
- 10. Irene Kopelman
- 11. we attend to the fractal mundanity of the earth, displace, re-present
- 12. Iratxe Jaio and Klaas van Gorkum
- 13. we document in careful technical detail what is argued as evidence Roman shards attesting to ancient Basque ethnicity?
- 14. Lonnie van Brummelen and Siebren de Haan
- 15. we revive fragments of the past as real-time event/performance and offer uncertain documentary futures theater/archaeology
- 16. Daniel Silver
- 17. Mark Manders
- 18. we rework, revive, reinvent, remediate ancient monumental forms
- 19. RoyVillevoye, Jan Dietvorst, Remie Bakker
- 20. we create simulacra — exact copies of originals that never existed a missionary who lived long ago is reincarnated from fragments
- 21. Raewyn Martyn
- 22. we explore negative entropy — the dynamic of creating and maintaining form and life in the face of inevitable entropy ecofacts — methylcellulose forms that melt in the rain
- 23. Sema Bekirovic
- 24. our intervention revives and animates fragments of the past Ovid’s Pygmalion — cold plaster coming alive through the touch of a warm hand
- 25. Imran Chana
- 26. documents are always material and subject to care and erasure — endurance is an option historical photos of traumatic events redrawn and erased
- 28. RAAAF
- 29. what is to be done with monuments to barbarism in the face of a conservation ethic — a duty to respect the past Franco’s yacht | bunkers of the WW2 Atlantic Wall
- 30. Marjan Teeuwen
- 32. Leonid Tsetkov
- 33. we create new worlds out of old circuit boards, plaster, pigment
- 34. Leyla Cárdenas
- 35. our worlds are sedimentary interpenetrations through time and space the stratigraphy of a wall
- 36. Giuseppe Licari
- 37. what becomes of what was post-industrial landscape sublime — Luxembourg
- 38. Alice Miceli
- 39. we document hidden pasts and unseen realities radiographic image — Chernobyl
- 41. we may sometimes succumb to a neurotic desire to reconstruct the unmemorable shards of an IKEA vase
- 42. Leyla Cárdenas
- 43. layered impressions in and of ephemeral moments reweaving (documented) experience
- 44. Iratxe Jaio and Klaas van Gorkum
- 45. how might we read the erasure of the past? a monument to Fascist soldiers?
- 46. archaeological dynamics making present, marking absence distinguishing signal and noise authentication and fakery giving voice and making monument work and neglect negative entropy and decay fragmentation and categorization collecting and discarding
- 47. mshanks.com challenges for the archaeological imagination is this the way it was? it happened here — place/event what becomes of what was staging evidence — at a scene of crime anything might be evidence sorting things out the abjection of entropy what to do when you visit a place figure and ground — what actually matters?
- 49. mshanks.com why is it important to celebrate the archaeological imagination?
- 50. mshanks.com making and connecting past-present-futures is a key aspect of our agency and identity
- 51. mshanks.com the SCHOLARTISTRY of The Materiality of the Invisible so much more than an attenuated historical and academic discourse — “this is what happened” the richness of encounter and assemblage thinking sensing feeling in exploring, experimenting, inquiring, interpreting, explaining, suggesting, intervening, provoking