The Anarchival Impulse

This board features a growing number of 'anarchival' (art) practices. It is a supplement to Mnemoscape Magazine issue1, "The Anarchival Impulse". We welcome suggestions to add to the collection. Send a message or email us at mnemoscape[at]gmail.com
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Gustav Metzger, Recreation of First Public Demonstration of Auto-Destructive Art, 1960, remade 2004

Gustav Metzger Recreation of First Public Demonstration of Auto-Destructive Art remade 2004 Hydrochloric acid, white nylon, glass, found objects 3000 x 2500 x 1000 mm

Daniel Spoerri, Use a Rembrandt as an Ironing Board (Marcel Duchamp), 1964.

archives-dada: Daniel Spoerri, Utiliser un Rembrandt comme planche à repasser…

Gustav Metzger, First Public Demonstration of Auto-Destructive Art, 1960

Gustav Metzger, 'Recreation of First Public Demonstration of Auto-Destructive Art, remade 2004

MANUEL SALVISBERG, Fragments of History, 2012, three gelatin silver prints, each 100 × 70 cm. Courtesy the artist.

ArtAsiaPacific magazine is the leading English-language periodical covering contemporary art and culture from the Middle East and Asia-Pacific.

Arman (Armand Fernandez), Conscious Vandalism, 1975, happening at John Gibson Gallery, New York

Arman (Armand Fernandez), Conscious Vandalism, happening at John Gibson Gallery, New York

AI WEIWEI, Dropping a Han Dynasty Urn, 1995, three gelatin silver prints, each 148 × 121 cm. Courtesy the artist.

AI WEIWEI, Dropping a Han Dynasty Urn, three gelatin silver prints, each 148 × 121 cm. Courtesy the artist.

Ai Weiwei, Coca Cola Vase, 1997

Collective Identity // Ai Wei Wei, Han Dynasty Urn with Coca-Cola Label, 1994

MANUEL SALVISBERG, Fragments of History, 2012, three gelatin silver prints, each 100 × 70 cm. Courtesy the artist.

ArtAsiaPacific magazine is the leading English-language periodical covering contemporary art and culture from the Middle East and Asia-Pacific.

MANUEL SALVISBERG, Fragments of History, 2012, three gelatin silver prints, each 100 × 70 cm. Courtesy the artist.

ArtAsiaPacific magazine is the leading English-language periodical covering contemporary art and culture from the Middle East and Asia-Pacific.

AI WEIWEI, Dropping a Han Dynasty Urn, 1995, three gelatin silver prints, each 148 × 121 cm. Courtesy the artist.

Ai Weiwei // Ai Weiwei dropping a Han Dynasty Ceramic

AI WEIWEI, Dropping a Han Dynasty Urn, 1995, three gelatin silver prints, each 148 × 121 cm. Courtesy the artist.

AI WEIWEI, Dropping a Han Dynasty Urn, three gelatin silver prints, each 148 × 121 cm. Courtesy the artist.

Susan Hiller, "Hand Grenades", 1972.  From 1972 Hiller transformed earlier paintings by burning them and storing the ashes in jars, test tubes and burettes. Hand Grenades 1972 contains individually labelled paintings from 1969. The artist describes her annual burning and reconfiguring of paintings in quasi-scientific formats as a ‘ritual’.

Susan Hiller, "Hand Grenades", 1972. From 1972 Hiller transformed earlier paintings by burning them and storing the ashes in jars, test tubes and burettes. Hand Grenades 1972 contains individually labelled paintings from 1969. The artist describes her annual burning and reconfiguring of paintings in quasi-scientific formats as a ‘ritual’.

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