Henar Rivière
Henar Rivière is a Postdoctoral fellow at Universidad Complutense de Madrid (UCM) and Research and Project Manager at Archivo Lafuente, Santander (Spain). She was a postdoctoral fellow Juan de la Cierva at UCLM (Spain) in 2018-20. In previous years she was awarded postdoctoral and postgraduate scholarships and grants by The J. Paul Getty Trust (Los Angeles, USA) and the DAAD (German Academic Exchange Service), among others. She is a member of research groups ARTEA, TRAMA and Global Art Archive (GAA). As independent curator she has worked with institutions such as MUSAC (León), CAAC (Sevilla), Galerie Krinzinger (Vienna) or Kunstverein Wolfenbüttel (Germany) among other. She received a PhD "Summa cum laude” in Art History from UCM in 2015.
She is a scholar of Fluxus, Zaj and Intermedia Art, with a special focus on action music, experimental writing, mail art and artist's networks.
She is a scholar of Fluxus, Zaj and Intermedia Art, with a special focus on action music, experimental writing, mail art and artist's networks.
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Journal by Henar Rivière
Books by Henar Rivière
Papers by Henar Rivière
Edited by
Martin Patrick and Dorothee Richter
Contributions by
Simon Anderson, Jordan Carter, Kevin Concannon, Ken Friedman, Natilee Harren, John Held, Jr., Hannah B Higgins, Hanna B. Hölling, Natasha Lushetich, Billie Maciunas, Peter van der Meijden, Ann Noël, Martin Patrick, Dorothee Richter, Henar Rivière, Julia Robinson, Owen F. Smith, Weronika Trojanska, Emmett Williams
Edited by
Martin Patrick and Dorothee Richter
Contributions by
Simon Anderson, Jordan Carter, Kevin Concannon, Ken Friedman, Natilee Harren, John Held, Jr., Hannah B Higgins, Hanna B. Hölling, Natasha Lushetich, Billie Maciunas, Peter van der Meijden, Ann Noël, Martin Patrick, Dorothee Richter, Henar Rivière, Julia Robinson, Owen F. Smith, Weronika Trojanska, Emmett Williams
The purpose of this paper is to show that understanding the archival practice as a creative process aimed at redefining the past, transforming the present, and envisioning the future was inherent to the new artistic developments taking place under the Fluxus umbrella from the early 1960s onwards. The early forms of performative and network-based art practices posed a challenge, both to the historiography and the economy of art, that would naturally extend to the archive as an alternative cultural institution: a sort of foreign body pushing from outside the walls of the official art system that would eventually succeed in opening up a crack by infiltrating established cultural institutions. These, which we can call Other Archives (paraphrasing Ulises Carrión), required, and still do so, other stories and histories of art, other research methodologies, and historiographical constructs, as well as other curatorial and museological practices. Insofar as this step emanates directly from the very artistic practices they bear witness to, these Other Archives can be seen as channeling the transformative power of those artistic practices to the historiographical, curatorial and museographical practices.
A selection of case studies from the Fluxus network, ranging from Mail Art and collective projects to Artists’ Archives and publications, will illustrate how the transformative power of the early forms of performative and network-based art practices was largely based on a documental approach aimed at shifting the rules of the game of the art system.
Rearguard Postmodernism”), Peter van der Meijden (“Permission to Rummage in Knud Pedersen’s Pockets”) and Henar Rivière (“Ripping Up the Present: Wolf Vostell’s magazine dé-coll/age”)
Contemporain de Saint-Étienne, France.
Contributions by Simon Anderson, Jordan Carter, Kevin Concannon, Ken Friedman, Natilee Harren, John Held, Jr., Hannah B Higgins, Hanna B. Hölling, Natasha Lushetich, Billie Maciunas, Peter van der Meijden, Ann Noël, Martin Patrick, Dorothee Richter, Henar Rivière, Julia Robinson, Owen F. Smith, Weronika Trojanska, and Emmett Williams.