| An Anecdoted Archive from the Cold 
            War, 1993 
 
 
 "An Anecdoted Archive from the Cold War" is an interactive 
            CD-ROM and computer-media installation project that explores the inscription 
            of historical narrative through the process of archive construction. 
            Born in Budapest in 1950 near the end of the Stalin era and having 
            grown up in Canada in the sixties' counter culture movement, the "Anecdoted 
            Archive" reflects my particular hybridized history in relation 
            to the Cold War. This non-linear index, or narrative features early 
            1950's East European, personal and official Communist material in 
            the form of home movies, video footage of Eastern European places 
            and events, objects, books, family documents, Socialist propaganda, 
            money, sound recordings, news reports, identity cards, Western media 
            reports, etc. They are part of my collection of things and stories 
            related to the Cold War that I have gathered during the past 20 years. 
            These items, in the form of over sixty stories, have been arranged 
            thematically in eight rooms superimposed on the original floor plan 
            of the former "Workers' Movement" museum in Budapest, the 
            official propaganda museum of the Communist Party. The museum space 
            currently houses the Peter Ludwig collection and the Museum of Contemporary 
            Art. The original contents of the former museum have been placed into 
            storage since 1990 or moved into the Museum of Contemporary History.
 
 
 Concept
 The project's primary intent was to give coherent form to the diverse 
            set of references and "invested objects" at hand that defined 
            my sense of history following the collapse of the Berlin wall which 
            coincided with the death of my father. I am not a historian, sociologist, 
            archivist or museologist but made use of methodologies borrowed from 
            these disciplines to produce this interactive archive. It is not intended 
            as an official history. It is rather about a way to situate stories 
            through technological media. For instance, to create a platform where 
            one's stories can engage in discourse with official history since 
            one of the capabilities of the digitization process is that it reshapes 
            information, erasing differences traditionally easily identifiable 
            as belonging to official or personal documents.
 
 Another component of the project was to explore the transformation 
            of narrative construction and the play between diverse ideological 
            sub-texts effected through the impact of digital, non-linear media. 
            Not only to produce a work that raises questions about the politics 
            of story telling but also to consider the politics of audience reading. 
            Based on chance, and the choices that viewers follow, each viewer 
            walks away with a slightly different story from this Archive based 
            according to their own ideological beliefs (family life, communist 
            propaganda, pro-Western, etc.) In other words, the sequence and choices 
            that each viewer selects becomes a visible reflection of their own 
            cultural/political perspectives.
 
 Interactive media and the digital environment are dependent on metaphor 
            as the mode by which information, transformed back and forth from 
            screen to memory, are given meaning. The "Anecdoted Archive" 
            narrative also functions through a recognizable metaphor that makes 
            access to the information meaningful: the museum as an architectural 
            model and the museum floorplan as a conceptual space. This reference 
            charges the objects and stories in the work as the metaphor reference 
            reminds us of the museum's cultural function, as a site of memory 
            for the inscription of the social collective imagination and as a 
            site of representation and power.
 
 
 Installation
 The Archive requires a semi-enclosed space minimum 3m x 4m, walls 
            painted charcoal gray, Pantone #446. An index of the Archive's contents 
            are featured on the wall in white transfer lettering (Univers 57 Condensed). 
            The computer image is projected large scale on the wall allowing for 
            larger audience access.
 
  Macintosh Powerpc with CD-Rom drive, monitor 
              (for setup only), 2 Fostex amplified speakers or equivalent, LCD 
              data projector. Production Credits
 George Legrady, Rosemary Comella, HyperReal Media Productions, Assisted 
              by Paul Thompkins, Adrian Fernandez, Andrea Schwartz, Judy Sitz, 
              Gordon Saint-Clair
 
 
 Exhibitions
 "Verbindungen/Junctions", Palais des beaux-arts de Bruxelles, 
              Belgium (1998)
 "George Legrady: From Analogue to Digital", National Gallery 
              of Canada, Ottawa (solo, 1997/98)
 "Everybody's Talking", Gemeentemuseum, Helmond, Netherlands, 
              (1996)
 "Burning the Interface", Museum of Contemporary Arts, 
              Sydney, Australia (1996)
 V2 DEAF Festival, Rotterdam, Netherlands (1995)
 "Obsessions: from Wunderkammer to Cyberspace", 20th Foto 
              Biennale Rijksmuseum, Enschede, Netherlands, (1995)
 "George Legrady: Interactive Media Art", Rovaniemi Fine 
              Arts Museum, Rovaniemi, Finland (solo, 1995)
 Interactive Media Festival, Los Angeles (1995)
 "Les Hypermédias: revue virtuelle 12", Centre Georges 
              Pompidou, Paris, France (1994)
 "Artifices 3 Biennale", Salle de la Légion d'Honneur, 
              Saint-Denis, France (1994)
 ISEA'94, Helsinki Museum of Contemporary Arts, Helsinki, Finland, 
              (1994)
 Ars electronica '94, Linz, Austria, (1994)
 "In|Out of the Cold", Center for the Arts, Yerba Buena 
              Gardens, San Francisco, (1993)
   
 
 
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