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Seeing what is not there: figuring the anarchive
Absences in archives render as impossible access to the fullness of the past. Yet, within the post-apartheid sociopolitical milieu, demands are made of the slivers of evidence in colonial archives to yield more than they contain, to provide material from which counter-colonial narratives may be fash...
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| Format: | Thesis |
| Language: | English |
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Michaelis School of Fine Art
2020
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| _version_ | 1867613244908109824 |
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| access_status_str | Open Access |
| author | Zaayman, Carine |
| author2 | Skotnes, Philippa |
| author_browse | Skotnes, Philippa Zaayman, Carine |
| author_facet | Skotnes, Philippa Zaayman, Carine |
| author_sort | Zaayman, Carine |
| collection | Thesis |
| description | Absences in archives render as impossible access to the fullness of the past. Yet, within the post-apartheid sociopolitical milieu, demands are made of the slivers of evidence in colonial archives to yield more than they contain, to provide material from which counter-colonial narratives may be fashioned. I understand these demands as pressure exerted on archives. In this thesis, I consider this pressure in relation to historical narrations of the lives of two women from the colonial period of the Cape: Krotoa and Anne. Krotoa was a Goringhaicona woman who acted as an interpreter between the Dutch and the Khoekhoe in the early colonial period at the Cape (from 1652). I examine extant literature on Krotoa to show the various ways in which authors have responded to the pressure on the archives in which she appears and how they have dealt with absences within them. I then discuss a number of instances in the archives to demonstrate that the imprint of absence is clearly visible in these archives. Anne was a Scottish noblewoman who lived at the Cape from 1797 to 1802. I investigate the literature about Anne to show how scholars have responded to the pressure on her archive primarily by overlooking the absences within it. I then consider two aspects of Anne’s archive to demonstrate that it, too, bears the imprint of absence. In contrast to approaches to absence that seek to fill in the gaps in archives, I argue that paying attention to the imprints of absence enables us to begin to grasp something of absence in its own right, that is, the negative space of an archive that constitutes a form of absolute absence. I have named this absolute absence in archives the “anarchive”. Identifying the imprints of absences as indicative of the anarchive has led me to instantiate the anarchive through figuration. This is achieved via visual art methodologies in which I systematically avoid reconstruction and instead convene an archive of photographs whose subject, and the curatorial rationale behind their display, is emptiness and transience. My figuring situates the anarchive centre stage and proposes engagement with it as a means of escaping the constraints of archives. When the full extent of the anarchive is brought into view, the limitations of archives are sharply delineated and their ability to control our understanding of the past is rendered absurd. |
| format | Thesis |
| id | oai:open.uct.ac.za:11427/31019 |
| institution | University of Cape Town (South Africa) |
| language | eng |
| last_indexed | 2026-06-10T12:33:04.194Z |
| license_str | Not specified — see source repository |
| provenance_str_mv | Harvested via OAI-PMH from UCTD — University of Cape Town Open Access Repository |
| publishDate | 2020 |
| publishDateRange | 2020 |
| publishDateSort | 2020 |
| publisher | Michaelis School of Fine Art |
| publisherStr | Michaelis School of Fine Art |
| record_format | dspace |
| source_str | UCTD — University of Cape Town Open Access Repository |
| spelling | oai:open.uct.ac.za:11427/31019 Seeing what is not there: figuring the anarchive Zaayman, Carine Skotnes, Philippa Fine Art Absences in archives render as impossible access to the fullness of the past. Yet, within the post-apartheid sociopolitical milieu, demands are made of the slivers of evidence in colonial archives to yield more than they contain, to provide material from which counter-colonial narratives may be fashioned. I understand these demands as pressure exerted on archives. In this thesis, I consider this pressure in relation to historical narrations of the lives of two women from the colonial period of the Cape: Krotoa and Anne. Krotoa was a Goringhaicona woman who acted as an interpreter between the Dutch and the Khoekhoe in the early colonial period at the Cape (from 1652). I examine extant literature on Krotoa to show the various ways in which authors have responded to the pressure on the archives in which she appears and how they have dealt with absences within them. I then discuss a number of instances in the archives to demonstrate that the imprint of absence is clearly visible in these archives. Anne was a Scottish noblewoman who lived at the Cape from 1797 to 1802. I investigate the literature about Anne to show how scholars have responded to the pressure on her archive primarily by overlooking the absences within it. I then consider two aspects of Anne’s archive to demonstrate that it, too, bears the imprint of absence. In contrast to approaches to absence that seek to fill in the gaps in archives, I argue that paying attention to the imprints of absence enables us to begin to grasp something of absence in its own right, that is, the negative space of an archive that constitutes a form of absolute absence. I have named this absolute absence in archives the “anarchive”. Identifying the imprints of absences as indicative of the anarchive has led me to instantiate the anarchive through figuration. This is achieved via visual art methodologies in which I systematically avoid reconstruction and instead convene an archive of photographs whose subject, and the curatorial rationale behind their display, is emptiness and transience. My figuring situates the anarchive centre stage and proposes engagement with it as a means of escaping the constraints of archives. When the full extent of the anarchive is brought into view, the limitations of archives are sharply delineated and their ability to control our understanding of the past is rendered absurd. 2020-02-11T11:36:20Z 2020-02-11T11:36:20Z 2019 2020-01-28T13:08:46Z Doctoral Thesis Doctoral PhD http://hdl.handle.net/11427/31019 eng application/pdf Michaelis School of Fine Art Faculty of Humanities |
| spellingShingle | Fine Art Zaayman, Carine Seeing what is not there: figuring the anarchive |
| thesis_degree_str | Doctoral |
| title | Seeing what is not there: figuring the anarchive |
| title_full | Seeing what is not there: figuring the anarchive |
| title_fullStr | Seeing what is not there: figuring the anarchive |
| title_full_unstemmed | Seeing what is not there: figuring the anarchive |
| title_short | Seeing what is not there: figuring the anarchive |
| title_sort | seeing what is not there figuring the anarchive |
| topic | Fine Art |
| url | http://hdl.handle.net/11427/31019 |
| work_keys_str_mv | AT zaaymancarine seeingwhatisnottherefiguringtheanarchive |