Editorial 25: Archive

The Archive is a concept that has long been of interest to us, so we’re excited to launch 2013 (our 4th year!) with an issue dedicated entirely to this topic. NMP was largely founded through an archival model: a journal as a means of collecting stories not likely found elsewhere, a portal of proclivities.

This is the Archive issue.

Archive as in:

      • a place or collection containing records, documents, or other materials of historical interest
      • a long-term storage area
      • a back-up
      • a repository of traces of lived experiences 
      • a performance of research
      • an impulse
      • a drive
      • an open secret
      • an act of transfer
      • a time machine
      • a site of feminist knowledge production

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An internationally renowned multi-disciplinary artist, Sonia Boyce, together with sound artist Ain Bailey, produced the work Oh Adelaide, a video/sound piece which developed from a found film clip sourced from the Internet of the late performer Adelaide Hall performing “Creole Love Call.” The piece was included in the exhibition There is no archive in which nothing gets lost curated by Sally Frater and held at the Glassell School of Art at the Museum of Fine Arts, in Houston Texas. Exploring the intersection of place, narrative, history, representation, performance, and “the archive”, Frater interviews Boyce about her work for this issue of NMP.

Mary Elizabeth Luka was the founder and executive producer for CBC ArtSpots, a television and internet arts program that was in production for over a decade (until 2008) and involved more than 300 artists. As part of an interview with NMP’s Mél Hogan, Luka talks about how she employs media production methods to dig into the ArtSpots archives, aiming to challenge the potentially totalizing narratives of ArtSpots and its history, and set the stage for a more fluid archiving of the creatively networked dynamics involved.

Using text and images from the Women’s Liberation Music Archive, Nicole Emmenegger introduces readers to the women who founded and currently maintain the archive. Emmenegger explains how the archive follows a DIY ethic, uses non-hierarchical data management, is built from open source software, and allows visitors to the site to participate in this process and contribute to the project. The archive also relies on a touring exhibition that revives ephemeral objects from its collection, further reflecting on the importance of occupying a physical space. Nicole Emmenegger (a.k.a. DJ Jenny Woolworth) is a Swiss/American cultural producer, DJ and on-line archivist of women in punk. She currently lives and works in London, England. (Her own women in punk archive can be found here).

Literary Archivist Catherine Hobbs and PhD student Sarah Kastner exchange thoughts on the challenges and ironies of working with literary archives after working together on the Yvonne Vera archival project (housed at The Public Text Program at Trent University). Together they reflect on Vera’s theorization of silence, naming, and disclosure in her writing as a way of opening her archives to interpretation without closing it off.

As a departure from her work on the queer Archive of Feelings, Ann Cvetkovich reconsiders the traditional archive and the power of the archival box for both assigning value and for its potential to unleash magical connections to the past… Cvetkovich is Ellen Clayton Garwood Centennial Professor of English and Professor of Women’s and Gender Studies at the University of Texas at Austin.

Starting with this Archive issue, we are more tightly curating each journal so that each piece speaks directly to the chosen theme, and most importantly, to every other piece in the issue.

Our next theme is HAUNTED, out March 1, 2013.

If you would like to pitch us an idea for a submission, please consult our Guidelines and use the Submit form (or email us: info at nomorepotlucks dot org).

NMP comes out every 2 months online, and bit later in print-on-demand. To this, we’d like to officially welcome designer extraordinaire, Jayme L. Spinks, to the p.o.d. team and say a giant thank you for your help laying out the last few issues and moving forward – thank you thank you thank you!

As always, huge thank you also to our copy editor, Tamara Shepherd, to all the contributors past and future, and to readers and supporters of the project in so many ways.

Dear readers, we are still and always committed to bringing forward a performative and transmissive journal bimonthly.

Mél Hogan