Archive Abdutions reflect upon the fact that an (art) historian and a critical theorist, as Derrida claims, often tends to be "the first archivist, the first to discover the archive, the archeologist and perhaps the archon of the archive (...) he reads it, interprets it, classes it". The theory of the archive is the theory of institutionalization of certain data, or the right which authorizes them, constructing value systems from the contents of this archive and its inner organizational logic. According to Manowich, the role of perspective as a symbolic form (Panofsky) has been replaced in the information society by a database, giving way to practices of data manipulation in the systematic way, making an archive-abduction act into a social action. Archiving contemporary art as historizing it, providing reference for the information flow withing the artworld, inevitably leaves open holes (or blind spots) in the data architecture, which can be used in contemporary art practices to restate the irreplaceable singularity of any archived material, or work on its repetition and reproduction, each time in its original uniqueness, reframing its content of into an idiomatic statement.

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