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DESCRIPTION:Keynote SpeechWith: Vinzenz Hediger (Cinematèque suisse) In the
  modern ‘Western’ world\, artworks are valued for their novelty and origin
 ality – for the risk that artists take when they challenge aesthetic and\,
  by extension\, social norms. As the polymath John Ruskin wrote in the 19t
 h century\, taste is not a question of morality: it is the only morality.H
 ow are archival practices being shaped by the pervasive concept of risk as
  an aesthetic virtue? Is regarding risk in this way a coercive or\, conver
 sely\, a liberating framework for archival practices? Does it result in wo
 rks of the historical avant-garde being given preference at the expense of
  other parts of film heritage? Or does it\, on the contrary\, open a space
  for archival risk-taking beyond the canon of modernity? And which histori
 cal narratives of shared provenance and futures will be produced as a resu
 lt of archival risk-taking?‘Risking the archive’ can mean putting the arch
 ive at risk\, i.e. taking risks with the archive\; but it can also mean ta
 king risks within the archive itself. This presentation explores these two
  aspects with a view to both archival practices and heritage policy.In Eng
 lish
DTSTART;TZID=Europe/Berlin:20261022T170000
DTEND;TZID=Europe/Berlin:20261022T170000
LOCATION:Kinemathek – Hall
SUMMARY:Risking the Archive: Film Heritage and the Aesthetic Virtue of Chal
 lenging Norms
TRANSP:OPAQUE
X-ALT-DESC;FMTTYPE=TEXT/HTML:Keynote SpeechWith: Vinzenz Hediger (Cinematèq
 ue suisse)&nbsp\;In the modern ‘Western’ world\, artworks are valued for t
 heir novelty and originality – for the risk that artists take when they ch
 allenge aesthetic and\, by extension\, social norms. As the polymath John 
 Ruskin wrote in the 19th century\, taste is not a question of morality: it
  is the only morality.How are archival practices being shaped by the perva
 sive concept of risk as an aesthetic virtue? Is regarding risk in this way
  a coercive or\, conversely\, a liberating framework for archival practice
 s? Does it result in works of the historical avant-garde being given prefe
 rence at the expense of other parts of film heritage? Or does it\, on the 
 contrary\, open a space for archival risk-taking beyond the canon of moder
 nity? And which historical narratives of shared provenance and futures wil
 l be produced as a result of archival risk-taking?‘Risking the archive’ ca
 n mean putting the archive at risk\, i.e. taking risks with the archive\; 
 but it can also mean taking risks within the archive itself. This presenta
 tion explores these two aspects with a view to both archival practices and
  heritage policy.In English
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