ScholarWorks@숙명여자대학교

초록

This essay is a study on the Archival Art and Ydessa Hendeles’ work Partners (Teddy Bear Project) and her exhibition Partners. The Archival Art refers to the art tendency starting to be created abundantly since 1990 employing archives, historical materials, and Hendele’s work and exhibition are representative of characteristics of the Art. The Archival Art emerged from the times of 1990s because the archive hoarding disorder spread as the memory discourse intensified, as well as the book Archive Fever: A Freudian Impression by Jacques Derrida caused a sensation in the 1990s. Thus the Archival Art employs archives, historical materials, internalizes the archive fever, and manifests the will to encounter the Real of past memory by transferring it to other objects. Ydessa Hendels is the artist in the Postmemory generation, and thus her work and exhibition exemplify the properties of the Archival Art generated from the memory discourse. Above all, Hendeles’ work Patners (Teddy Bear Project) and her exhibition Partners demonstrate the process of tranferring the archive fever to others and restoring the Real through the transference. Therefore, looking into her work and exhibition become synonymous with investigating both the theoretical characteristics and the actual case study of the Archival Art. The essay delves into the public sphere, the heterotopia, and the heterochronia, the fields Hendeles formed from the mixture of disparate objects in order to work through the trauma and to confront the Real. Finally, the thesis deems the Archival Art as the positive art surmounting the traumatic melancholy of past.

키워드