Angela Conquet’s account of the anarchive contests the assumption that curatorial memory must be secured through complete institutional documentation. Her central proposition is that remains can become active scores: fragments, photographs, films, gestures and partial recollections are not defective residues but waystations capable of producing new bodies, events and affects. The anarchive works through transduction rather than preservation alone; material changes medium, scale, ownership and temporal function as it is reactivated by artists, curators and audiences. This loosens memory from the institution that originally commissioned or presented the work and destabilises the fantasy of a single custodian. Methodologically, Conquet treats incompleteness, misremembering, re-framing and decomposition as productive operations rather than archival failure. The wider bridge is to performance studies, media archaeology and process philosophy: memory becomes collective becoming, and curation shifts from maintaining a faithful record of what happened toward designing conditions in which past events can acquire unforeseen futures.
