Respects des Fonts, Erika Tan

Respect  Des  Fonds,  Erika  Tan       Ghosting:   The   Role   of   the   Archive   within   Contemporary   Artists’   Film   and   Video   developed  in  response  to  the  growth  of  artists’  interest  in  archives.       Published  in  2005   ISBN:  0-­‐9539872-­‐8-­‐0  (sold  out)   http://www.picture-­‐this.org.uk/library/print-­‐publications/2006/ghosting       The   publication   explored   the   ways   in   which   the   archive   itself,   or   archival   or   found   materials,   have   been   central   to   the   work   of   a   number   of   artists   whose   practice   deals   with   issues   of   history,  identity  or  memory.  Picture  This  commissioned  essays  and  researched  case  studies   on   individual   works   drawing   together   a   range   of   voices   to   reflect   upon   the   role   of   the   archive  to  contemporary  film  and  video  practice.       Ghosting  contained  essays  by  Eddie  Chambers,  Amna  Malik,  Uriel  Orlow,  Lucy  Reynolds  and   Erika   Tan,   and   illustrated   case   studies   on   works   of   The   Atlas   Group,   Ansuman   Biswas,   Matthew   Buckingham,   Neil   Cummings   and   Marysia   Lewandowska,   Yervant   Gianikian   and   Angela  Ricci  Lucchi,  Douglas  Gordon,  Johan  Grimonprez,  Susan  Hiller,  Patrick  Keiller,  Marcel   Odenbach,   Harold   Offeh,   Uriel   Orlow   and   Ruth   Maclennan,   The   Otolith   Group,   Erika   Tan,   Fiona  Tan  and  Mark  Wallinger.     The  term  ‘Ghosting'  exists  as  both  a  metaphor  and  a  reference  to  technical  terminology.  The   title   alludes  to  the  idea  of  an  apparition,  of  articulating  an  authorial  position  in  re-­‐imagining   or   re-­‐awakening   ghosts   of   the   past.   In   addition   Ghosting   is   a   term   used   to   describe   the   appearance  of  an  overlapping  secondary  image  on  a  television  or  a  display  screen  but  also   refers  to  the  ‘ghost  of  acidification',  the  impact  that  the  ravages  of  time  has  on  nitrate  film.     The   Ghosting   initiative   took   place   over   a   period   of   around   three   years   during   which   substantial  research,  training,  commissioning,  debate  and  exhibition  activity  has  taken  place.   For   more   information   on   the   project   and   worked   produced:   http://www.picture-­‐ this.org.uk/worksprojects/projects/2006/ghosting         NB:   For   a   review   of   the   Ghosting   project,   please   go   to   Amna   Maliks’   essay   History   In   The   Present, on   the   works   (including   Persistent   Visions)   at   http://www.luxonline.org.uk/articles/history_in_the_present%281%29.html          

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