This book is a sampler of Quarantine’s work since we started in November 1998. Every word and image is from our archive. Some of the material originated with us, the rest was written or spoken with us, the rest was written or spoken by others. The pages may seem disparate, contradictory even; they are fragments of over 20 years, more projects, many voices.

We’ve realised over the years that our work is a form of portraiture. This sampler is a kind of self-portrait of Quarantine.

Jacques Derrida deftly guides us through an extended meditation on remembrance, religion, time, and technology-fruitfully occasioned by a deconstructive analysis of the notion of archiving. Intrigued by the evocative relationship between technologies of inscription and psychic processes, Derrida offers for the first time a major statement on the pervasive impact of electronic media, particularly e-mail, which threaten to transform the entire public and private space of humanity. Plying this rich material with characteristic virtuosity, Derrida constructs a synergistic reading of archives and archiving, both provocative and compelling.

72-82 tells the story of the first ten years of Acme Studios and their ground breaking work providing artists’ housing and studios in London. It also features some of the pioneering exhibitions at the Acme Gallery that was based in Covent Garden from 1976-81. The film comprises visual archive materials brought to life by the voices of the artists involved. Interviewees include: Cosey Fanni Tutti, Jock McFadyen and David Critchley.

This item is part of the ‘Glimpses of before: 1970s UK Performance Art’ Study Room Guide by Helena Goldwater (P2497)

Created in ’78 thanks to the shared interests of a group of artists and intellectuals, Group 78 has as its main aim the promotion, understanding and dissemination of contemporary art. Its activities have been twofold: the promoting art events (especially exhibitions by young artists), which is its fundamental activity, and the promotion of spectacular experimentation, performances, corporeal expression and corporeal education by means of seminars. Maria Campitelli was the curator for all of the exhibitions, which were also accompanied by international catalogues.