This paper is to examine Gerhard Richter’s“ Atlas” as an artistic symbol of the memory archive with the theme of aporia which is one of the characteristics of the modern art.“ The Atlas” which is composed of 800 huge tafels reflects Richter’s perspective where we can recognize his psychological and work’s source. It is obtained through examining 10,000 pictures, and is also a unique document that shows the life of the artist. The contents of“ the Atlas” have been added and expanded continuously, which make it said to be finished, but it still remains as a non-complete work. According to Derrida, the desire for an archive is an illness that reaches for the death and is a part of the desire of finding and possessing the beginning or origin of everything. Derrida realized through the archive fever in“ Moses and Monotheism”, Freud’s desire of possessing the beginning of everything. This fever is to be seen in situations where death is urged. Therefore, the archive fever is a journey towards the death. The desire to make an archive comes from the inquiry of repeating something, and according to Freud, this desire for repetition can be seen as going towards death. When Derrida was studying Freud’s“ Moses and Monotheism”, he did not overlook Freud’ s archive fever. This has a connection to Richter’s archive fever in“ the Atlas”, reflected in the war and ideology due to the repetitive compulsion of trauma. Derrida said that the reason for Richter examining the same theme repetitively was the archive fever and is at the same time a movement towards the death. Consequently, trauma exists through the archive, and the archive continues through the trial of finding the beginning. Nothing can stop this except the death and that is why death is to be found at the end of the journey. This paper examines Richter’s memory archive in the three directions. First, I illustrate the repetitive compulsion shown in“ the Atlas” and resulted from trauma in an aporaic way to concentrate only on the archive, and examine the aporaic narrative of the author. Second, I examine the various methods of different modern artists to express their “after death memory” when they overcame their trauma. Finally, I examine the aporaic method that is illustrated through the process of fusing and transforming photographs, which shows the objective truth with art. In other words, I examine the method that is exposed between the photographic truth and artistic creation.

The Purpose of this Study is to find the Modern Movements which had done important roles on the development of modern church architecture and sacred art in the first half of 20th century. I had investigated the background and process of the movements, and analyzed the buildings which represented the movements. And I compared the architectural fruits of 'Riturgical Movement' and 'L' art Sacré Movement. The results are summarized as follows : First, there are two important movements in Catholic church in the backgrounds of the innovative changes of modern church architecture, Those are 'Riturgical Movement' which pursuits to establish a closer relation between clergy and congregation, and to make the positive participants in the service not mere observers and 'L' art Sacré Movement' which pursuits to accept modern secular art into church. Second, both movements had been developed on the bases of the theological studies with tow monasteries - Benedictine Order and Dominican Order - as leader. And the main concept was a kind of revival movement which recovers the Christian tradition. Third, The two movements began from the different themes and in the different regions. But they exerted influences each other, and achieved successful fruits in the Catholic churches of England and Swiss in 1960'. Fourth, 'Riturigical reformation' and 'Acceptance of modern art' had been officialized and generalized through the second Vatican Council(1962-1965).