Over and Over and Over Again

Reenactment Strategies in Contemporary Arts and Theory
Ed. by Cristina Baldacci
Clio Nicastro
Arianna Sforzini
Berlin: ICI Berlin Press, 2022
ISBN 978-3-96558-027-5 | Hardcover | 35 EUR | xii, 298 pp. | 22.9 cm x 15.2 cm
ISBN 978-3-96558-028-2 | Paperback | 22 EUR | xii, 298 pp. | 22.9 cm x 15.2 cm
ISBN 978-3-96558-029-9 | PDF | Open Access | 10.5 MB
ISBN 978-3-96558-030-5 | EPUB | Open Access | 9.8 MB
Over the last twenty years, reenactment has been appropriated by both contemporary artistic production and art-theoretical discourse, becoming a distinctive strategy to engage with history and memory. As a critical act of repetition, which is never neutral in reactualizing the past, it has established unconventional modes of historicization and narration. Collecting work by artists, scholars, curators, and museum administrators, the volume investigates reenactment's potential for a (re)activation of layered temporal experiences, and its value as an ongoing interpretative and political gesture performed in the present with an eye to the future. Its contributions discuss the mobilization of archives in the struggle for inclusiveness and cultural revisionism; the role of the body in the presentification and rehabilitation of past events and (impermanent) objects; the question of authenticity and originality in artistic practice, art history, as well as in museum collections and conservation practices.

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Over and Over and Over Again
Reenactment Strategies in Contemporary Arts and Theory
Cristina Baldacci
Clio Nicastro
Arianna Sforzini
Over the last twenty years, reenactment has been appropriated by both contemporary artistic production and art-theoretical discourse, becoming a distinctive strategy to engage with history and memory. As a critical act of repetition, which is never neutral in reactualizing the past, it has established unconventional modes of historicization and narration. Collecting work by artists, scholars, curators, and museum administrators, the volume investigates reenactment's potential for a (re)activation of layered temporal experiences, and its value as an ongoing interpretative and political gesture performed in the present with an eye to the future. Its contributions discuss the mobilization of archives in the struggle for inclusiveness and cultural revisionism; the role of the body in the presentification and rehabilitation of past events and (impermanent) objects; the question of authenticity and originality in artistic practice, art history, as well as in museum collections and conservation practices.
Is Part Of
ICI Berlin Press
4 January 2022
Number in Series
cultural inquiry
contemporary art
art theory
© by the author(s)
Except for images or otherwise noted, this publication is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License.
number of pages
xii, 298
Table Of Contents
From Re- to Pre- and Back Again | SVEN LÜTTICKEN | 1–16
The Reenacted Double: Repetition as a Creative Paradox | ARIANNA SFORZINI | 19–27
​“The Reconstruction of the Past is the Task of Historians and not Agents” : Operative Reenactment in State Security Archives | KATA KRASZNAHORKAI | 29–36
The Collection of Jane Ryan & William Saunders: Reconstruction as ‘Democratic Gesture’ | PIO ABAD | 37–46
Insistence: The Temporality of the Death Fast and the Political | ÖZGE SERIN | 47–55
‘Interrupting the Present’: Political and Artistic Forms of Reenactments in South Africa | KATJA GENTRIC | 57–67
Resounding Difficult Histories | JULIANA HODKINSON | 69–80
Archival Diffractions: A Response to Le Nemesiache’s Call | GIULIA DAMIANI | 81–89
Archival Reenactement and the Role of Fiction: Walid Raad and the Atlas Group Archive | ROBERTA AGNESE | 91–98
Unintentional Reenactments: Yella by Christian Petzold | CLIO NICASTRO | 101–11
Everyday Aesthetics and the Practice of Historical Reenactment: Revisiting Cavell’s Emerson | ULRIKE WAGNER | 113–20
Speculative Writing: Unfilmed Scripts and Premediation Events | PABLO GONÇALO | 121–29
Reenactment in Theatre: Some Reflections on the Philosophical Status of Restaging | DANIELA SACCO | 131–40
Re-search, Re-enactment, Re-design, Re-programmed Art | SERENA CANGIANO, DAVIDE FORNARI, and AZALEA SERATONI | 141–50
In the Beginning There Is an End: Approaching Gina Pane, Approaching Discours mou et mat | MALIN ARNELL | 151–59
Performance Art in the 1990s and the Generation Gap | PIERRE SAURISSE | 161–69
Re-Presenting Art History: An Unfinished Process | CRISTINA BALDACCI | 173–82
Reconciling Authenticity and Reenactment: An Art Conservation Perspective | AMY BROST | 183–92
UNFOLD: The Strategic Importance of Reinterpretation for Media Art Mediation and Conservation | GABY WIJERS | 193–203
Unfold Nan Hoover: On the Importance of Actively Encouraging a Variable Understanding of Artworks for the Sake of their Preservation and Mediation | VERA SOFIA MOTA and FRANSIEN VAN DER PUTT | 205–18
Living Simulacrum: The Neoplastic Room in Łódź: 1948 / 1960 / 1966 / 1983 / 2006 / 2008 / 2010 / 2011 / 2013 / 2017 / ∞ | JOANNA KILISZEK | 219–29
‘Repetition: Summer Display 1983’ at Van Abbemuseum: Or, What Institutional Curatorial Archives Can Tell Us about the Museum | MICHELA ALESSANDRINI | 231–38
‘Political-Timing-Specific’ Performance Art in the Realm of the Museum: The Potential of Reenactment as Practice of Memorialization | HÉLIA MARÇAL and DANIELA SALAZAR | 239–54
‘We Are Gathering Experience’: Restaging the History of Art Education | ALETHEA ROCKWELL | 255–60
has manifestation
ISBN 978-3-96558-027-5 | Hardcover | 35 EUR | xii, 298 pp. | 22.9 cm x 15.2 cm
ISBN 978-3-96558-028-2 | Paperback | 22 EUR | xii, 298 pp. | 22.9 cm x 15.2 cm
ISBN 978-3-96558-029-9 | PDF | Open Access | 10.5 MB
ISBN 978-3-96558-030-5 | EPUB | Open Access | 9.8 MB
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