Alexandra Anagnostopoulou
visual artist


On archive_2015
about moralization_2013
Stymphalia presents Στυμφαλία_2012
Prenez soin de vous_my interpretation_2012
The shrew-man _2012
Note of Hand no12_2011

Slightly paraphrasing Tacita Dean, procedures have a beginning and an end, and exist as a recorded passage of time. My own procedure follows no such linear narrative. It has meandered ever since it started, through unchartered research and to no obvious destination. It moves along the line that divides fact from fiction, and is more like a journey through an underworld of chance intervention and epic encounter than any place I recognize.

(Tacita Dean, talking about Girl Stowaway)

The archives are not necessarily databases; they are recalcitrantly material, fragmentary rather than fungible, and as such they call out for human interpretation.1 Besides, it is not the documents themselves that are at the focus of an archive, but their reactivation and their performativity.

In this regard archival art is concerned less with absolute origins than with obscure traces. It not only draws on informal archives but produces them as well, and does so in a way that underscores the nature of all archival materials as founded yet constructed, factual yet fictive, public yet private.2

Artist as archivist is often drawn to unfulfilled beginnings or incomplete projects that might offer points of departure again. Thus the procedure often becomes a “chain” of procedures, a dynamic structure that produces forms apart from itself.


1,2 Hal Foster, An Archival Impulse