Artpool40Active Archives and Art Networks

International Conference of the Artpool Art Research Center

February 20–21, 2020 Museum of Fine Arts, Schickedanz Hall, Budapest

Agustina Andreoletti | Zdenka Badovinac | David Crowley | Katalin Cseh-Varga | Mela Dávila Freire | Lina Džuverović | Meghan Forbes | Daniel Grúň | Sarah Haylett | John Held | Roddy Hunter – Judit Bodor | Jasna JakšićTihana Puc | Klara Kemp-Welch | Kaja Kraner | Emese Kürti | Karolina Majewska-Güde | Lívia Páldi | Henar Rivière | Sven Spieker | Kristine Stiles | Katalin Timár | Tomasz Załuski | Elisabeth Zimmermann

Roddy Hunter and Judit Bodor [Biography] a user’s guide


Where Artpool’s self-identification as an “active archive” began in 1979, its virtual presence,, emerged online in 1996. Consistent with the self-generating capacity of the “active archive,” was conceived as more than a repository of digitized ephemera of pre-internet network art practices such as mail art. Instead, is arguably itself a technology through which artistic production becomes the dissemination and exchange of information or, as we would be more likely to say today, data. Artpool’s systematic mode of operation depends on György Galántai’s ongoing request, “please send me information about your activity,” through which multidirectional dialogues have occurred. Exchanges which exemplify this networked method of production have included those with artists such as Ray Johnson (“Please Send to …” and “Please Add to & Return”) and Pete Horobin (DATA: Daily Action Time Archive). This focus on information and data as the currency of exchange, systems, and networks suggest Artpool was always primarily digital in conceptual – if not initially material – terms, and in being so augured the ubiquitous digital conditions of cultural production relevant today. Questions concerning the future ontology of are therefore quite distinct from those related to the passing of Artpool’s physical holdings into the Museum. This paper will provide an outline historical, critical and philosophical “sitemap” of to identify its core properties, position within the field of contemporary network art practice and discuss issues and implications of its potential futures.