Book
Over and Over and Over Again
Reenactment Strategies in Contemporary Arts and Theory
Ed. by
Cristina Baldacci
Clio Nicastro
Arianna Sforzini
Clio Nicastro
Arianna Sforzini
Cultural Inquiry, 21
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
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.
Related Events |
---|
Book Presentation: Over and Over and Over Again, Zoom, 28 Feb 2022 |
Part of Cultural Inquiry |
ICI Berlin Press print publications are available world-wide through various online sellers and at some Berlin booksellers.
You can use our webshop to purchase them directly from us. The green buttons below will transfer you to PayPal, placing the selected item in a shopping cart. Use one of the checkout options to pay via PayPal or credit card and enter a shipping address.
We can usually ship items within a week of your order. You will receive an email confirming the shipment and providing a bill for your records. If you have any concerns or questions, you can contact us at publishing@ici-berlin.org.
If you have published with ICI Berlin Press, you are eligible for a 50% author’s discount. Please use the buttons below.Title |
Over and Over and Over Again
|
Subtitle |
Reenactment Strategies in Contemporary Arts and Theory
|
Editor(s) |
Cristina Baldacci
Clio Nicastro
Arianna Sforzini
|
Identifier | |
Description |
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 | |
Place |
Berlin
|
Publisher |
ICI Berlin Press
|
Date |
4 January 2022
|
Number in Series |
21
|
Subject |
cultural inquiry
reenactment
contemporary art
art theory
archive
museum
|
Rights |
© by the author(s)
Except for images or otherwise noted, this publication is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License.
|
Language |
en-GB
|
number of pages |
xii, 298
|
Table Of Contents |
The Reactivation of Time | CRISTINA BALDACCI, CLIO NICASTRO, and ARIANNA SFORZINI | ix–xii
From Re- to Pre- and Back Again | SVEN LÜTTICKEN | 1–16
\EXPAND{-4} I. UNCOVERING THE HISTORICAL PAST, PERFORMING THE POLITICAL PRESENT
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
II. AESTHETIC FORMS OF REHABILITATION
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
III. RESISTANCE AND RECONCILIATION IN THE MUSEUM
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
|
- ‘1975–1987: Rudi Fuchs, Exhibition- and Acquisition Policy’, Van Abbemuseum museum website <https://vanabbemuseum.nl/en/about-the-museum/building-and-history/1975-1987-rudi-fuchs/> [accessed 11 December 2019]
- Abel, Marco, ‘The Cinema of Identification Gets on My Nerves: An Interview with Christian Petzold’, Cineaste, 33.3 (Summer 2008) <https://www.cineaste.com/summer2008/the-cinema-of-identification-gets-on-my-nerves> [accessed 20 February 2021]
- Abel, Marco, The Counter-Cinema of the Berlin School (Rochester, NY: Camden House, 2013)
- Abramović, Marina, and James Kaplan, Walk through Walls: A Memoir (London: Penguin, 2017)
- Agamben, Giorgio, ‘Difference and Repetition: On Guy Debord’s Films’, trans. by Brian Holmes, in Guy Debord and the Situationist International: Texts and Documents, ed. by Tom McDonough (Cambridge, MA: MIT Press, 2002), pp. 313–19
- Agamben, Giorgio, Homo Sacer: Sovereign Power and Bare Life, trans. by Daniel Heller-Roazen (Stanford, CA: Stanford University Press, 1998)
- Agamben, Giorgio, Stasis: Civil War as a Political Paradigm, trans. by Nicholas Heron (Stanford, CA: Stanford University Press, 2015)
- Agnew, Vanessa, Jonathan Lamb, and Juliane Tomann, eds, The Routledge Handbook of Reenactment Studies: Key Terms in the Field (London: Routledge, 2020) <https://doi.org/10.4324/9780429445637>
- Albers, Josef, ‘Creative Education’ (1928), in Hans Maria Wingler, The Bauhaus: Weimar, Dessau, Berlin, Chicago, ed. by Joseph Stein, trans. by Wolfgang Jabs and Basil Gilbert (Cambridge, MA: MIT Press, 1969), pp. 142–43
- Albers, Josef, ‘The Meaning of Art’, paper presented at Berea College, Berea, Kentucky, and Black Mountain College, 12 March 1940
- Albers, Josef, ‘On Education and Art Education’, online publication, website of the Josef and Anni Albers Foundation <https://albersfoundation.org/teaching/josef-albers/lectures/#tab1> [accessed 14 November 2017]
- Alonso-Buenaposada, Marta, ed., Kobro & Strzemiński: Avant-Garde Prototypes (Madrid–Łódź: Museo Nacional Centro de Arte Reina Sofía–Muzeum Sztuki, 2017) <https://www.museoreinasofia.es/sites/default/files/publicaciones/textos-en-descarga/kobro_ing.pdf> [accessed 18 March 2019]
- Anceschi, Giovanni, Dichiarazione Miriorama 1 (Miriorama 1 Declaration), Preliminary manuscript version, Archivio Giovanni Anceschi, Milano
- Anceschi, Giovanni, ‘How Programmed Art Was Born’, in Arte riprogrammata. Un manifesto aperto. Reprogrammed Art: An Open Manifesto, ed. by Serena Cangiano, Davide Fornari, and Azalea Seratoni (Milan: Johan and Levi, 2015), pp. 74–79
- Antoine, Jean–Philippe, Farces et Attrapes. Inventer les images (Genève: MAMCO; Dijon: Les presses du réel, 2017)
- Appelbaum, Barbara, Conservation Treatment Methodology (Lexington, KY: CreateSpace, 2010)
- Arnell, Malin, Reflect Soft Matte Discourse, performance, with Clara López Menéndez and Ulrika Gomm, 58 min, part of ‘LIKA – a performance evening’ at KAMARADE, Stockholm, 24 May 2011
- Arns, Inke, and Horn Gabrielle, History Will Repeat Itself: Strategies of Reenactment in Contemporary (Media) Art and Performance (Frankfurt a.M.: Revolver, 2007)
- Arns, Inke, Igor Chubarov, and Sylvia Sasse, eds, Nikolai Evreinov & andere: ‘Sturm auf den Winterpalast’ (Berlin: Diaphanes, 2017)
- Artaud, Antonin, The Theater and its Double, trans. by Mary Caroline Richards (New York: Grove, 1958)
- The Atlas Group (1989–2004), artist website <https://www.theatlasgroup1989.org/> [accessed 20 January 2021]
- Auslander, Philip, ‘The Performativity of Performance Documentation’, in Perform, Repeat, Record: Live Art in History, ed. by Amelia Jones and Adrian Heathfield (London: Intellect, 2012), pp. 47–58
- Austin, J. L., How To Do Things with Words (Oxford: Clarendon Press, 1962)
- ‘Az információs munka elméleti és módszertani kérdései [The Theoretical and Methodological Questions of Information Work], Állambiztonsági Szolgálatok Történeti Levéltára Budapest [Historical Archive of the State Security Services Budapest], 2 vols. (1977), I:ÁBTL A-3005/30/1
- Balbi, Clara, ‘Em nova exposição, Cildo Meireles questiona morte de Marielle’, GZH, 29 September 2019 <https://gauchazh.clicrbs.com.br/cultura-e-lazer/noticia/2019/09/em-nova-exposicao-cildo-meireles-questiona-morte-de-marielle-ck0zgmjkd00oh01mtlaq1b9mm.html> [accessed 12 February 2020]
- Baldacci, Cristina, ‘For the Future: The Archive as an Artistic Gesture of Resilience’, in Present Archives: Reflections from a Collection of Prints, ed. by Beatrice Zanelli and Ersilia Rossini (Foligno: Viaindustriae Publishing, 2019), pp. 53–58
- Baldacci, Cristina, ‘Recirculation: The Wandering of Digital Images in Post-Internet Art’, in Re-: An Errant Glossary, ed. by Christoph F. E. Holzhey and Arnd Wedemeyer (Berlin: ICI Berlin Press, 2019), pp. 25–33
- Baldacci, Cristina, ‘Reenactment: Errant Images in Contemporary Art’, in Re-: An Errant Glossary, ed. by Christoph F. E. Holzhey and Arnd Wedemeyer (Berlin: ICI Berlin Press, 2019), pp. 57–67
- Baldacci, Cristina, and Susanne Franco, eds, On Reenactment: Concepts, Methodologies, Tools (Turin: Accademia University Press, forthcoming)
- Bangma, Anke, Steve Rushton, and Florian Wüst, eds, Experience, Memory, Re-enactment (Frankfurt a.M.: Revolver, 2005)
- Bann, Stephen, Romanticism and the Rise of History (New York: Twayne, 1995)
- Bargu, Banu, Starve and Immolate: The Politics of Human Weapons (New York: Columbia University Press, 2014) <https://doi.org/10.7312/columbia/9780231163408.001.0001>
- Bataille, Georges, La Notion de dépense (Paris: Lignes, 2011)
- Bataille, Georges, La Part maudite (Paris: Minuit, 1949)
- Baumgartner, Frédérique, ‘Reviving the Collective Body: Gina Pane’s Escalade Non Anesthésiée’, Oxford Art Journal, 34.2 (June 2011), pp. 247–63 <https://doi.org/10.1093/oxartj/kcr020>
- Becker, Howard, Art Worlds (Berkeley: University of California Press, 1984)
- Benjamin, Walter, The Arcades Project, ed. by Rolf Tiedemann, trans. by Howard Eiland and Kevin McLaughlin (Cambridge, MA: Harvard University Press, 1999)
- Benjamin, Walter, ‘Ausgraben und Erinnern’, in Benjamin, Gesammelte Schriften, ed. by Rolf Tiedemann and Hermann Schweppenhäuser, 7 vols (Frankfurt a.M.: Suhrkamp, 1972–91), IV.1: Kleine Prosa, Baudelaire-Übertragungen (1972), pp. 400–01
- Benjamin, Walter, Gesammelte Schriften, ed. by Rolf Tiedemann and Hermann Schweppenhäuser, 7 vols (Frankfurt a.M.: Suhrkamp, 1972–91), V: Das Passagen-Werk (1982)
- Benjamin, Walter, ‘On the Concept of History’, trans. by Harry Zohn, in Benjamin, Selected Writings, IV: 1938–1940, ed. by Howard Eiland and Michael W. Jennings (2003), pp. 389–400
- Benjamin, Walter, Selected Writings, 4 vols (Cambridge, MA: Harvard University Press, 1996–2003)
- Benjamin, Walter, ‘The Task of the Translator’, trans. by Harry Zohn, in Benjamin, Selected Writings, I: 1913–1926, ed. by Marcus Bullock and Michael W. Jennings (1996), pp. 253–63
- Benjamin, Walter, ‘What Is Epic Theatre? [First version]’ and ‘What Is Epic Theatre? [Second Version]’, in Benjamin, Understanding Brecht, trans. by Anna Bostock, intro. by Stanley Mitchell (London: Verso, 1998), pp. 1–22
- Benjamin, Walter, ‘The Work of Art in the Age of Mechanical Reproduction’, in Benjamin, Illuminations: Essays and Reflections, ed. by Hannah Arendt, trans. by Harry Zohn (New York: Schocken, 1968), pp. 217–51
- Bester, Rory, ‘Trauma and Truth’, in Experiments with Truth: Transitional Justice and the Processes of Truth and Reconciliation: Documenta 11_Platform 2, ed. by Okwui Enwezor (Ostfildern: Hatje Cantz, 2002), pp. 155–73
- Bester, Rory, and Okwui Enwezor, eds, Rise and Fall of Apartheid: Photography and the Bureaucracy of Everyday Life (Munich: Prestel, 2013)
- Bishop, Claire, Artificial Hells: Participatory Art and the Politics of Spectatorship (London: Verso, 2012)
- Bishop, Claire, ‘Delegated Performance: Outsourcing Authenticity’, October, 140 (Spring 2012), pp. 91–112 <https://doi.org/10.1162/OCTO_a_00091>
- Bishop, Claire, ‘Rise to the Occasion’, Artforum, 57.9 (May 2019), n.p. <https://www.artforum.com/print/201905/claire-bishop-on-the-art-of-political-timing-79512> [accessed 12 February 2020]
- Blanchot, Maurice, Michel Foucault as I Imagine Him, transl. by Brian Massumi and Jeffrey Mehlman (New York: Zone Books, 1990)
- Blanchot, Maurice, ‘Reading Kafka’, in Blanchot, The Work of Fire, trans. by Charlotte Mandell (Stanford, CA: Stanford University Press, 1995), pp. 1–11
- Blanchot, Maurice, The Space of Literature, trans. by Ann Smock (Lincoln: University of Nebraska Press, 1989)
- Bolter, Jay D., and Richard Grusin, Remediation: Understanding New Media (Cambridge, MA: MIT Press, 1999)
- Borggreen, Gunhild, and Rune Gade, eds, Performing the Archive/Archives of Performance (Copenhagen: Museum Tusculanum Press, 2013)
- Bourriaud, Nicolas, The Radicant, trans. by James Cussen and Lili Porten (New York: Lukas & Sternberg, 2009)
- Brost, Amy, ‘From “Certificates of Authenticity” to Authentic Iterations in Variable Media Art’ (unpublished master’s thesis, New York University, 2016)
- Bruguera, Tania, ‘Notes on Political Timing Specificity’, Artforum, 57.9 (May 2019), n.p. <https://www.artforum.com/print/201905/notes-on-political-timing-specificity-79513> [accessed 12 February 2020]
- Buchloh, Benjamin H. D., ‘Allegorical Procedures: Appropriation and Montage in Contemporary Art’, Artforum, 21.1 (September 1982), pp. 43–56
- ‘Büyük Direniş 2000–2007 Ölüm Orucu’ (Great Resistance 2000–2007 Death Fast), Yürüyüş, 12 October 2008, p. 10
- Burrows, Jonathan, A Choreographer’s Handbook (London: Routledge, 2010)
- Buskirk, Martha, Amelia Jones, and Caroline A. Jones, ‘The Year in “Re-”’, Artforum, 52.4 (December 2013), pp. 127–30
- Caillet, Aline, ‘Le Re-enactment: Refaire, rejouer ou répéter l’histoire?’, Marges. Revue d’art contemporain, 17 (2013), special issue Remake, reprise, répétition, pp. 66–73 <https://doi.org/10.4000/marges.153>
- Calvino, Italo, The Castle of Crossed Destinies, trans. by William Weaver (New York: Harcourt Brace Jovanovich, 1977)
- Cangiano, Serena, Davide Fornari, and Azalea Seratoni, eds, Arte riprogrammata. Un manifesto aperto. Reprogrammed Art: An Open Manifesto (Milan: Johan and Levi, 2015)
- Carpo, Mario, The Alphabet and the Algorithm (Cambridge, MA: MIT Press, 2011)
- Castellucci, Romeo, ‘Il silenzio dell’eroe’, interview by Anna Bandettini, La Repubblica, 29 September 2016
- Castriota, Brian, ‘Meditating Meanings: Conservation of the Staffordshire Hoard’, Postmedieval, 7.3 (2016), pp. 369–77 <https://doi.org/10.1057/s41280-016-0003-5>
- Cavell, Stanley, ‘Aversive Thinking: Emersonian Representations in Heidegger and Nietzsche’, in Cavell, Emerson’s Transcendental Etudes, pp. 141–70
- Cavell, Stanley, ‘Being Odd, Getting Even (Descartes, Emerson, Poe)’, in Cavell, In Quest of the Ordinary (Chicago: University of Chicago Press, 1988), pp. 105–30
- Cavell, Stanley, ‘An Emerson Mood’, in Cavell, Emerson’s Transcendental Etudes, pp. 20–32
- Cavell, Stanley, Emerson’s Transcendental Etudes (Stanford, CA: Stanford University Press, 2003)
- Cavell, Stanley, ‘The Philosopher in American Life (Toward Thoreau and Emerson)’, in Cavell, Emerson’s Transcendental Etudes, pp. 33–58
- Celant, Germano, ed., The Small Utopia: Ars Multiplicata (Milan: Progetto Prada Arte, 2012)
- Center for Historical Reenactments and the Johannesburg Workshop for Theory and Criticism, eds, PASS–AGES, References & Footnotes (Johannesburg: Center for Historical Reenactments, 2010)
- Charmatz, Boris, and Isabelle Launay, Entretenir: A propos d’une danse contemporaine (Dijon: Les presses du réel, 2003)
- Cixous, Helene, ‘The Laugh of the Medusa’, trans. by Keith Cohen and Paula Cohen, Signs: Journal of Women in Culture and Society, 1.4 (Summer 1976), pp. 875–93 <https://doi.org/10.1086/493306>
- Cobbett, Richard, for Daedalic Entertainment, Long Journey Home (2017), Microsoft Windows
- Collingwood, R. G., Human Nature and Human History, Proceedings of the British Academy, 22 (London: British Academy, 1937)
- Crimp, Douglas, ‘The Photographic Activity of Postmodernism’, October, 15 (Winter 1980), pp. 91–101 <https://doi.org/10.2307/778455>
- Crimp, Douglas, ‘Pictures’, October, 8 (Spring 1979), pp. 75–88 <https://doi.org/10.2307/778227>
- ‘Dag Hammerskjöld about “Quiet Diplomacy” (1955)’, Dag Hammerskjöld Project, Youtube <https://youtu.be/2T4YrDCe5Yc> [accessed 20 November 2020]
- Davies, Nick, ‘The $10bn Question: What Happened to the Marcos Millions’, Guardian, 7 May 2016 <https://www.theguardian.com/world/2016/may/07/10bn-dollar-question-marcos-millions-nick-davies> [accessed 22 February 2021]
- Davila, Thierry, ‘Endurance de la répétition, surgissement de l’invention: Le Remake et la fabrique de l’histoire’, in Remakes (Bordeaux: CAPC-Musée d’art contemporain, 2003), pp. 26–46
- De Keersmaeker, Anne Teresa, and Bojana Cvejić, A Choreographer’s Score: Fase, Rosas danst Rosas, Elena’s Aria, Bartók (Brussels: Mercatorfonds–Rosas, 2012)
- deLahunta, Scott, ed., Capturing Intention: Documentation, Analysis and Notation Research Based on the Work of Dance Company Emio Greco|PC (Amsterdam: AHK-Amsterdam University of the Arts, 2007)
- Deleuze, Gilles, Difference and Repetition, trans. by Paul Patton (New York: Columbia University Press, 1994)
- Deleuze, Gilles, The Logic of Sense, trans. by Mark Lester and Charles Stivale (New York: Columbia University Press, 1990)
- Demand, Thomas, ed., L’image volée (Milan: Fondazione Prada, 2016)
- Depocas, Alain, Jon Ippolito, and Caitlin Jones, eds, ‘Variable Media Glossary’, in The Variable Media Approach: Permanence Through Change (New York: Guggenheim Museum Publications, 2003), pp. 123–37 <https://www.variablemedia.net/e/preserving/html/var_pub_index.html> [accessed 12 March 2021]
- Derrida, Jacques, Aporias, trans. by Thomas Dutoit (Stanford, CA: Stanford University Press, 1993)
- Derrida, Jacques, Archive Fever: A Freudian Impression, trans. by Eric Prenowitz (Chicago: University of Chicago Press, 1996) <https://doi.org/10.2307/465144>
- Derrida, Jacques, Demeure: Fiction and Testimony, trans. by Elizabeth Rottenberg (Stanford, CA: Stanford University Press, 2000)
- Deutsche Bank AG, Art, Culture & Sports, Thorsten Strauß, and Franziska Kunz, eds, Kemang Wa Lehulere, Bird Song (Berlin: Hatje Cantz, 2017)
- Devecchi, Gabriele, A proposito delle ipotesi Miriorama, Arte programmata e cinetica 1953/1963. L’ultima avanguardia, ed. by Vergine Lea (Milan: Mazzotta, 1983)
- Didi-Huberman, Georges, Glimpses, online video recording of a public open lecture for the students of the Division of Philosophy, Art & Critical Thought at the European Graduate School EGS, Saas-Fee, Switzerland, 26 May 2015 <https://egs.edu/lecture/georges-didi-huberman-glimpses-2015/> [accessed 25 February 2018]
- Didi-Huberman, Georges, The Man Who Walked in Color, trans. by Drew S. Burk (Minneapolis, MN: Univocal, 2017)
- ‘Directory entry Van Abbemuseum’, Art & Education <https://www.artandeducation.net/directory/82357/van-abbemuseum> [accessed 11 March 2021]
- Donald, James, ed., Chamber’s Etymological Dictionary of the English Language (Edinburgh: William Chambers, 1868)
- Dophijn, Rick, and Iris van der Tuin, ‘Matter Feels, Converses, Suffers, Desires, Yearns and Remembers: Interview with Karen Barad’, in Dophijn and van der Tuin, New Materialism: Interviews & Cartographies (Ann Arbor, MI: Open Humanities Press, 2012), pp. 48–70 <https://dx.doi.org/10.3998/ohp.11515701.0001.001>
- Dray, William H., History as Re-enactment: R. G. Collingwood’s Idea of History (Oxford: Oxford University Press, 2005)
- Dunca, Paul, ‘Public Collection: An Interview with Alexandra Pirici and Manuel Pelmu ş’, Rivista Arte, 14 December 2014 <https://revistaarta.ro/en/public-collection/> [accessed 23 March 2021]
- Duncan, Carol, Civilizing Rituals: Inside Public Art Museums (London: Routledge, 1995)
- Eco, Umberto, and Bruno Munari, Arte programmata. Arte cinetica. Opere moltiplicate. Opera aperta (Milan: Officina d’Arte Grafica Lucini, 1962)
- ‘Egyptian Foreign Minister Tells U.S. Not to Impose Its Will’, PBS NewsHour, February 2011, Youtube <https://youtu.be/TBXVHf_cIEM> [accessed 20 November 2020]
- Emerson, Ralph Waldo, The Collected Works of Ralph Waldo Emerson, ed. by Alfred R. Ferguson and others, 7 vols to date (Cambridge, MA: Harvard University Press, 1971–)
- Emerson, Ralph Waldo, The Early Lectures of Ralph Waldo Emerson, ed. by Stephen E. Whicher, Robert E. Spiller, and Wallace Williams, 3 vols (Cambridge, MA: Harvard University Press, 1959–1972)
- Emerson, Ralph Waldo, The Journals and Miscellaneous Notebooks of Ralph Waldo Emerson, ed. by William H. Gilman and others, 16 vols (Cambridge, MA: Harvard University Press, 1960–1982)
- Enstice, Wayne, ‘Performance’s Art Coming of Age’, in The Art of Performance, ed. by Gregory Battcock and Robert Nickas (New York: Dutton, 1984), pp. 142–56
- ‘F Tipi Tabutluk Gerçeği’ (Truth of the F-Type Coffin), Ekmek ve Adalet, 5 June 2002, p. 5
- Fanon, Frantz, Peau noire, masques blancs, in Fanon, Œuvres (Paris: La Découverte, 2011), pp. 45–257 <https://doi.org/10.1522/030294726>
- Farocki, Harun, ‘“Minimale Variation” und “semantische Generalisation”’, film. Eine deutsche Filmzeitschrift, 7.8 (August 1969), pp. 10–11
- Feldman, Allen, Archives of the Insensible: Of War, Photopolitics, and Dead Memory (Chicago: University of Chicago Press, 2015) <https://doi.org/10.7208/chicago/9780226277479.001.0001>
- Feldman, Allen, Formations of Violence: The Narrative of the Body and Political Terror in Northern Ireland (Chicago: University of Chicago Press, 1992) <https://doi.org/10.7208/chicago/9780226240800.001.0001>
- Feldman, Avi, ‘An Interview with Milo Rau’, OnCurating, 28 (January 2016), pp. 50–53
- Fisher, Jaimey, Christian Petzold (Urbana: University of Illinois Press, 2013) <https://doi.org/10.5406/illinois/9780252037986.001.0001>
- Fisher, Jamey, and Robert Fischer, ‘The Cinema is a Warehouse of Memory: A Conversation Among Christian Petzold, Robert Fischer, and Jaimey Fisher’, Senses of Cinema, 84 (September 2017) <https://www.sensesofcinema.com/2017/christian-petzold-a-dossier/christian-petzold/> [accessed 20 February 2021]
- Fiske, Tina, ‘White Walls: Installations, Absence, Iteration and Difference,’ in Conservation: Principles, Dilemmas and Uncomfortable Truths, ed. by Alison Richmond and Alison Bracker (Amsterdam: Elsevier, 2009), pp. 229–40
- Flores, Patrick, ‘Total Community Response: Performing the Avant-Garde as a Democratic Gesture in Manila’, Southeast of Now: Directions in Contemporary and Modern Art in Asia, 1.1 (2017), pp. 13–38 <https://doi.org/10.1353/sen.2017.0001>
- Fondazione Prada Team, Journalists, and Friends, ‘Why and How: A Conversation with Germano Celant’, in When Attitudes Become Form: Bern 1969/Venice 2013, ed. by Germano Celant (Milan: Progetto Prada Arte, 2013), pp. 393–421
- Forsythe, William, Improvisation Technology: A Tool for the Analytical Dance Eye (Ostfildern: Hatje Cantz, 1999)
- Foucault, Michel, ‘Ariane s’est pendue’, in Dits et écrits, I: 1954–1975, text no. 64, pp. 798–99
- Foucault, Michel, Boîte 53, Foucault Archives, Bibliothèque nationale de France (NAF 28730)
- Foucault, Michel, Dits et écrits, ed. by Daniel Defert, François Ewald, and Jacques Lagrange, 2 vols (Paris: Gallimard, 2001)
- Foucault, Michel, ‘The History of Sexuality’, in Foucault, Power/Knowledge: Selected Interviews and Other Writings, 1972–1977, ed. by Colin Gordon (New York: Pantheon Books, 1980), pp. 183–94
- Foucault, Michel, ‘Le Langage à l'infini’, in Dits et écrits, I, text no. 14, pp. 287–88
- Foucault, Michel, ‘Les Ménines de Picasso’, in Michel Foucault, ed. by Philippe Artières, Jean-François Bert, Frédéric Gros, and Judith Revel, Cahiers de l’Herne, 95 (Paris: L’Herne, 2011), pp. 14–32
- Foucault, Michel, The Order of Things: An Archaeology of the Human Sciences, trans. by Matthew Chrulew and Jeffrey Bussolini (London: Routledge, 2002)
- Foucault, Michel, ‘Les Rapports de pouvoir passent à l’intérieur des corps’, interview with Lucette Finas, La Quinzaine littéraire, 247 (January 1977), pp. 4–6 (repr. in Foucault, Dits et écrits, ed. by Daniel Defert, François Ewald, and Jacques Lagrange, 4 vols (Paris: Gallimard, 1994), III: 1976–1979, pp. 228–36)
- Foucault, Michel, ‘Theatrum philosophicum’, in Dits et écrits, I, text no. 80, pp. 885–908, English as ‘Theatrum philosophicum’, trans. by Donald F. Brouchard and Sherry Simon, in Essential Works of Foucault, 1954–1984, ed. by Paul Rabinow, 3 vols (New York: New Press, 1998–2001), II: Aesthetics, Method, and Epistemology, ed. by James D. Faubion (1998), pp. 343–68
- Foucault, Michel, ‘What is Enlightenment’, in The Foucault Reader, ed. by Paul Rabinow (New York: Pantheon Books, 1984), pp. 32–50
- Franko, Mark, ed., The Oxford Handbook of Dance and Reenactment (Oxford: Oxford University Press, 2017) <https://doi.org/10.1093/oxfordhb/9780199314201.001.0001>
- Fraser, Andrea, ‘Performance or Enactment’, in Performing the Sentence: Research and Teaching in Performative Fine Arts, ed. by Carola Dertnig and Felicitas Thun-Hohenstein (Berlin: Sternberg Press, 2014), pp. 122–27
- Freud, Sigmund, Beyond the Pleasure Principle, trans. by James Strachey (New York: Liveright, 1989)
- Freud, Sigmund, ‘Remembering, Repeating and Working-Through’, in The Standard Edition of the Complete Psychological Works of Sigmund Freud, ed. and trans. by James Strachey, 24 vols (London: Hogarth, 1953–74), XII (1958), pp. 145–57
- Freud, Sigmund, ‘Weitere Ratschläge zur Technik der Psychoanalyse: II. Erinnern, Wiederholen und Durcharbeiten’, in Freud, Studienausgabe, ed. by Alexander Mitscherlich, Angela Richards, James Strachey, and Ilse Gubrich-Simitis, 11 vols (Frankfurt a.M.: Fischer, 1969–75), Ergänzungsband: Schriften zur Behandlungstechnik (1975), pp. 205–15
- Gallissà, Núria, Maite Muñoz, and Marta Vega, Folding the Exhibition (Barcelona: MACBA–Museu d’Art Contemporani de Barcelona, 2014 <https://www.macba.cat/en/learn-explore/publications/folding-exhibition> [accessed 11 March 2021]
- ‘The Game and the Players’, exhibition press release, Van Abbemuseum, museum website <https://vanabbemuseum.nl/en/programme/programme/play-van-abbe/> [accessed 11 March 2021]
- Geldern, James von, Bolshevik Festivals, 1917–1920 (Berkeley: University of California Press, 1993)
- Giannachi, Gabriella, ‘At the Edge of the “Living Present”: Re-enactments and Re-interpretations as Strategies for the Preservation of Performance and New Media’, in Histories of Performance Documentation: Museum, Artistic, and Scholarly Practices, ed. by Gabriella Giannachi and Jonah Westerman (London: Routledge, 2018), pp. 115–31 <https://doi.org/10.4324/9781315645384-13>
- Ginzburg, Carlo, ‘Morelli, Freud and Sherlock Holmes: Clues and Scientific Method’, trans. and intro. by Anna Devin, History Workshop, 9 (Spring 1980), pp. 5–36 <https://doi.org/10.1093/hwj/9.1.5>
- Giusti, Francesco, ‘Passionate Affinities: A Conversation with Rita Felski’, Los Angeles Review of Books, 25 September 2019 <https://lareviewofbooks.org/article/passionate-affinities-a-conversation-with-rita-felski/> [accessed 25 February 2021]
- Glassberg, David, American Historical Pageantry: The Uses of Tradition in the Early Twentieth Century (Chapel Hill: University of North Carolina Press, 1990)
- Goldberg, RoseLee, Performance: Live Art, 1909 to the Present (London: Thames & Hudson, 1979)
- Goldberg, RoseLee, ‘Performance: The Golden Years’, in The Art of Performance: A Critical Anthology, ed. by Gregory Battcock and Robert Nickas (New York: Dutton, 1984), pp. 71–94
- Gombrich, Ernst, Aby Warburg: An Intellectual Biography (London: Warburg Institute, 1970)
- Goodman, Nelson, Languages of Art: An Approach to a Theory of Symbols (Indianapolis, IN: Hackett, 1976)
- Graevenitz, Antje von, ‘Then and Now: Performance Art in Holland’, Studio International, 192 (July–August 1976), pp. 49–53
- Greenberg, Reesa, ‘“Remembering Exhibitions”: From Point to Line to Web’, Tate Papers, 12 (Autumn 2009) <https://www.tate.org.uk/research/publications/tate-papers/12/remembering-exhibitions-from-point-to-line-to-web> [accessed 11 December 2019]
- Grimm, Herman, Fünfzehn Essays, 3rd, rev. and enlarged edn (Berlin: Dümmler, 1884)
- Grimm, Herman, ‘Ralph Waldo Emerson – Ein Nachruf’, in Der Briefwechsel Ralph Waldo Emerson / Herman Grimm und die Bildung von Post-mortem-Gemeinschaften, ed. by Thomas Meyer, trans. by Helga Paul, Europäer-Schriftenreihe, 14 (Basel: Perseus, 2007), pp. 64–78
- Grusin, Richard, ‘Premediation’, Criticism, 46.1 (Winter 2004), pp. 17–39 <https://doi.org/10.1353/crt.2004.0030>
- Gule, Khwezi, ‘Center for Historical Reenactments: Is the Tale Chasing its Own Tail?’, Afterall: A Journal of Art, Context and Enquiry, 39 (2015), pp. 88–100 <https://doi.org/10.1086/682839>
- Gura, Philip F., American Transcendentalism: A History (New York: Hill and Wang, 2007)
- Hamacher, Werner, ‘Afformative, Strike’, Cardozo Law Review, 85 (1991–1992), pp. 1133–57
- Hantelmann, Dorothea von, ‘The Experiential Turn’, in Living Collections Catalogue, 4 vols to date (Minneapolis: Walker Art Center, 2014–), I: On Performativity, ed. by Elizabeth Carpenter (2014) <http://walkerart.org/collections/publications/performativity/experiential-turn/> [accessed 13 July 2021]
- Hantelmann, Dorothea von, How to Do Things with Art: What Performativity Means in Art (Zurich: JRP Ringier; Dijon: Les presses du réel, 2010)
- Haraway, Donna, Modest−Witness@Second−Millennium.FemaleMan−Meets−OncoMouse (London: Routledge, 1997)
- Harman, Graham, ‘Seventy-Six Theses on Object-Oriented Philosophy’, in Harman, Bells and Whistles: More Speculative Realism (Winchester: Zero Books, 2013), pp. 60–70
- Haugbolle, Sune, War and Memory in Lebanon (Cambridge: Cambridge University Press, 2010) <https://doi.org/10.1017/CBO9780511676598>
- Hengel, Louis van den, ‘Archives of Affect: Performance, Reenactment, and the Becoming of Memory’, in Materializing Memory in Art and Popular Culture, ed. by Laszlo Muntean, Liedeke Plate, and Anneke Smelik (London: Routledge, 2017), pp. 125–42 <https://doi.org/10.4324/9781315472171-17>
- Hilton, Guy, ‘Fifty Is Just the Beginning’, Make, 73 (December 1996–January 1997), pp. 3–5
- Historical Papers (The Library, University of the Witwatersrand) and South African History Archive, Traces of Truth: Documents Relating to the South African Truth and Reconciliation Commission <http://truth.wwl.wits.ac.za/about.php> [accessed 6 April 2018]
- Historical Papers (The Library, University of the Witwatersrand) and South African History Archive, ‘Traces of Truth: Select Bibliography of the South African Truth and Reconciliation Commission (TRC)’, Traces of Truth, 2006 <http://truth.wwl.wits.ac.za/TRCBIB.pdf> [accessed 9 April 2021]
- HMKV Exhibition Magazine 2/2019, ed. by Inke Arns, Kata Krasznahorkai, and Sylvia Sasse (Dortmund: Hartware MedienKunstVerein, 2019) <https://www.hmkv.de/files/hmkv/ausstellungen/2019/AGENTS/05_Publikation/HMKV_AGENTS_Magazin_DE-EN.pdf> [accessed 20 February 2020]
- Hodkinson, Juliana, ‘Creating Headspace: Digital Listening Spaces and Evolving Subjectivities’, Musicology Research, 3 (Autumn 2017), special issue Music on Screen: From Cinema Screens to Touchscreens, Part ii, ed. by Sarah Hall and James B. Williams, pp. 163–77 <https://www.musicologyresearch.co.uk/publications/julianahodkinson-creatingheadspace> [accessed 31 March 2018]
- Hodkinson, Juliana, Prompt, Immediate, Now / Very Restrained and Cautious (Copenhagen: Edition Wilhelm Hansen, 2013)
- Hölling, Hanna, ‘An Aesthetics of Change: On the Relative Durations of the Impermanent and Critical Thinking in Conservation’, paper presented during the symposium ‘Authenticity in Transition’, Glasgow School of Art/University of Glasgow, 1–2 December 2014, documented online at <https://seminesaa.hypotheses.org/7948> [accessed 16 December 2019]
- Holert, Tom, ‘Exhibiting Investigation: The Place of Knowledge Production in the Visual Arts Dialogue/Discourse/Research, 1979’, in Troubling Research: Performing Knowledge in the Arts, ed. by Carola Dertnig, et al. (Berlin: Sternberg Press, 2014), pp. 28–81
- Horowitz, Frederick A., and Brenda Danilowitz, Josef Albers: To Open Eyes (London: Phaidon, 2006)
- Horwitz, Tony, Confederates in the Attic: Dispatches from the Unfinished Civil War (New York: Vintage, 1998)
- Huyssen, Andreas, ‘The Search for Tradition: Avant-Garde and Postmodernism in the 1970s’, New German Critique, 22 (Winter 1981), pp. 23–40 <https://doi.org/10.2307/487862>
- Iggers, Georg G., ‘Historicism: The History and Meaning of the Term’, Journal of the History of Ideas, 56.1 (January 1995), pp. 129–52 <https://doi.org/10.2307/2710011>
- Ippolito, Jon, ‘Accommodating the Unpredictable: The Variable Media Questionnaire’, in Permanence Through Change: The Variable Media Approach, ed. by Alain Depocas, Jon Ippolito, and Caitlin Jones (New York: Guggenheim Museum Publications, 2003), pp. 46–53
- Ippolito, Jon, ‘Death by Wall Label’, in New Media in the White Cube and Beyond: Curatorial Models for Digital Art, ed. by Christiane Paul (Berkeley: University of California Press, 2008), pp. 106–33
- Jameson, Fredric, Postmodernism, or, The Cultural Logic of Late Capitalism (Durham, NC: Duke University Press, 1991) <https://doi.org/10.1215/9780822378419>
- Janicot, Christian, ed., Anthologie du cinéma invisible. 100 scénarios pour 100 ans de cinéma (Paris: Jean-Michel Place, 1995)
- Jones, Amelia, ‘The Artist Is Present: Artistic Re-enactments and the Impossibility of Presence’, TDR: The Drama Review, 55.1 (2011), pp. 16–45 <https://doi.org/10.1162/DRAM_a_00046>
- Jones, Amelia, ‘The Now and the Has Been: Paradoxes of Live Art in History’, in Perform, Repeat, Record: Live Art in History, ed. by Amelia Jones and Adrian Heathfield (Bristol: Intellect Books, 2012), pp. 9–25
- Jones, Amelia, ‘“Presence” in Absentia: Experiencing Performance as Documentation’, Art Journal, 56.4 (Winter 1997), pp. 11–18 <https://doi.org/10.1080/00043249.1997.10791844>
- Jullien, François, Près d’elle: présence opaque, présence intime (Paris: Galilée, 2016)
- Kaiser, Céline, ‘Auftritt der Toten. Formen des Re-, Pre- und Enactment in der Geschichte der Theatrotherapie’, in Szenotest. Pre-, Re- & Enactment zwischen Theater und Therapie, ed. by Céline Kaiser (Bielefeld: transcript, 2014), pp. 44–58 <https://doi.org/10.14361/transcript.9783839430163.44>
- Kaprow, Allan, Assemblage, Environments & Happenings (New York: Abrams, 1966) <https://doi.org/10.2307/1125226>
- Kassir, Samir, ‘Dix ans après, comment ne pas réconcilier une société divisée?’, Monde Arabe Maghreb Machrek, 169 (2000), pp. 6–22
- Kelmachter, Hélène, ‘Interview with Takashi Murakami’, in Takashi Murakami: Kaikai Kiki, ed. by Hélène Kelmachter (Paris: Fondation Cartier pour l'art contemporain, 2002), pp. 72-105
- Kermode, Deborah, and Jonathan Watkins, eds, Oleg Kulik: Art Animal (Birmingham: Ikon Gallery, 2001)
- Kesting, Marietta, Affective Images: Post- Apartheid Documentary Perspectives (New York: State University of New York Press, 2017)
- Khoza, Mbali, ‘What Difference Does It Make Who Is Speaking?’ (unpublished master’s thesis in Fine Art, University of the Witwatersrand, Faculty of Humanities, School of Art, 2016)
- Kierkegaard, Søren, Fear and Trembling/Repetition, ed. and trans. by Howard Hong and Edna Hong (Princeton, NJ: Princeton University Press, 1983)
- Kobro, Katarzyna and Władysław Strzemiński, ‘Kompozycja przestrzeni: Obliczenia rytmu czasoprzestrzennego’, Sztuka i filozofia, 13 (1997), pp. 88–99 <https://monoskop.org/images/9/9c/Kobro_Katarzyna_Strzeminski_Wladyslaw_Kompozycja_przestrzeni_1931_1997_fragmenty.pdf> [accessed 20 October 2017]
- Krasznahorkai, Kata, ‘Heightened Alert: The Underground Art Scene in the Sights of the Secret Police — Surveillance Files as a Resource for Research into Artists’ Activities in the Underground of the 1960s and 1970s’, in Art Beyond Borders: Artistic Exchange in Communist Europe (1945-1989), ed. by Jérôme Bazin, Pascal Dubourg Glatigny, and Piotr Piotrowski (Budapest: Central European University Press, 2015), pp. 125–39
- Krasznahorkai, Kata, ‘Surveilling the Public Sphere: The First Hungarian Happening in Secret Agents Reports’, in Performance Art in the Second Public Sphere: Event-based Art in Late Socialist Europe, ed. by Katalin Cseh-Varga and Adam Czirak, Routledge Advances in Theatre & Performance Studies (London: Routledge, 2018), pp. 127–38 <https://doi.org/10.4324/9781315193106-10>
- Krasznahorkai, Kata, and Sylvia Sasse, eds, Artists & Agents. Performancekunst und Geheimdienste (Leipzig: Spector Books, 2019)
- Krauss, Rosalind, ‘The Originality of the Avant-Garde: A Postmodernist Repetition’, October, 18 (Autumn 1981), pp. 47–66 <https://doi.org/10.2307/778410>
- Kulik, Oleg, ‘Return Tickets’, in Live: Art and Performance, ed. by Adrian Heathfield (London: Tate Publishing, 2004), pp. 50–57
- LaBelle, Brandon, Background Noise: Perspectives on Sound Art (London: Continuum, 2006)
- Ładnowska, Janina, ‘Sala Neoplastyczna: z dziejów kolekcji sztuki nowoczesnej w Muzeum Sztuki w Łodzi’, in Muzeum Sztuki w Łodzi: Monografia, ed. by Aleksandra Jach, Katarzyna Słoboda, Joanna Sokołowska, and Magdalena Ziółkowska, 2 vols (Łódź: Muzeum Sztuki w Łodzi, 2015), I, pp. 326–43
- Lambert-Beatty, Carrie, Being Watched: Yvonne Rainer and the 1960s (Cambridge, MA: MIT Press, 2008)
- Laplanche, Jean, Essays on Otherness, ed. by John Fletcher, trans. by Luke Thurston, Leslie Hill, and Philip Slotkin (London: Routledge, 1999)
- Laplanche, Jean, ‘Notes on Afterwardsness’, in Laplanche, Essays on Otherness, pp. 264–69
- Laplanche, Jean, ‘The Unfinished Copernican Revolution’, in Laplanche, Essays on Otherness, pp. 53–86
- Laurenson, Pip, ‘Authenticity, Change and Loss in the Conservation of Time-Based Media Installations’, Tate Papers, 6 (Autumn 2006), n.p. <http://www.tate.org.uk/download/file/fid/7401> [accessed 17 July 2019]
- Le Nemesiache, ‘Manifesto per la riappropriazione della nostra creatività’ (Manifesto for the Appropriation of our Creativity), trans. by Giulia Damiani (2020), available in the pamphlet from the exhibition From the Volcano to the Sea: The Feminist Group Le Nemesiache in the 1970s and 1980s Naples, Rongwrong, Amsterdam (2020)
- Leeb, Susanne, ‘Flucht nach nicht ganz vorn, Geschichte in der Kunst der Gegenwart’, Texte zur Kunst, 76 (December 2009), pp. 28–45
- Lepecki, André, ‘The Body as Archive: Will to Re-enact and the Afterlives of Dance’, Dance Research Journal, 42.2 (Winter 2010), pp. 28–48 <https://doi.org/10.1017/S0149767700001029>
- Lepecki, André, Singularities: Dance in the Age of Performance (London: Routledge, 2016) <https://doi.org/10.4324/9781315694948>
- Leszkowicz, Paweł, ‘Gina Pane — Self-Inflicted Pain Is You! Today Photographs Are All That Remain. We Can Only Imagine the Hurt’, trans. by Timothy Williams, Czas Kultury ( Time of Culture), 20.1 (2004), 20.1 (2004), pp. 42–55.
- Linder-Gaillard, Inge, ‘Stigmata, Icons and Reliquaries’, in Gina Pane (Southampton: John Hansard Gallery, 2002) pp. 43–54
- Loraux, Nicole, The Divided City: On Memory and Forgetting in Ancient Athens, trans. by Corinne Pache and Jeff Fort (New York: Zone Books, 2006)
- Lubiak, Jarosław, and Maciej Świerkocki, eds, Muzeum jako świetlany przedmiot pożądania/Museum as a Luminous Object of Desire (Łódź : Muzeum Sztuki, 2007)
- Lütticken, Sven, ‘An Arena in Which to Reenact’, in Life, Once More: Forms of Reenactment in Contemporary Art, ed. by Sven Lütticken (Rotterdam: Witte de With, 2005), pp. 17–60
- Lütticken, Sven, History in Motion: Time in the Age of the Moving Image (Berlin: Sternberg Press, 2013)
- Lütticken, Sven, ed., Life, Once More: Forms of Reenactment in Contemporary Art (Rotterdam: Witte de With, 2005)
- Lyotard, Jean-François, The Inhuman: Reflections on Time, trans. by Rachel Bowlby and Geoffrey Bennington (Cambridge: Polity, 1991)
- Madeira, Cláudia, Daniela Salazar, and Hélia Marçal, ‘Performance Art Temporalities: Relationships Between Museum, University, and Theatre’, Museum Management and Curatorship, 33.1 (2018), pp. 79–95 <https://doi.org/10.1080/09647775.2017.1419828>
- Mangiacapre, Lina, ‘Lava, vulcani e sangue’ (‘Lava, Volcanos and Blood’), Il Paese delle donne, May 2004
- Mannheim, Karl, ‘The Problem of Generations’, in Mannheim, Essays on the Sociology of Knowledge, ed. by Paul Kecskemeti (London: Routledge, 1952), pp. 276–322
- Manovich, Lev, The Language of New Media (Cambridge, MA: MIT Press, 2002)
- Marçal, Hélia Pereira, ‘Conservation in an Era of Participation’, Journal of the Institute of Conservation, 40.2 (2017), pp. 97–104 <https://doi.org/10.1080/19455224.2017.1319872>
- Marchart, Oliver, SoDA Lecture 09.07.2014 ‘The Art of Preenactments’, Hochschulübergreifendes Zentrum Tanz Berlin (HZT Berlin), 9 July 2014, online video recording, Vimeo <https://vimeo.com/114242197> [accessed 10 March 2019]
- Mbembe, Achille, Politiques de l’inimitié (Paris: La Découverte, 2016)
- McEvilley, Thomas, ‘Stages of Energy: Performance Art Ground Zero?’, in Marina Abramović: Artist Body: Performances 1969–1998, ed. by Emanuela Belloni (Milan: Charta, 1998), pp. 14–25
- Meillassoux, Quentin, Après la finitude. Essai sur la nécessité de la contingence (Paris: Seuil, 2006)
- Meillassoux, Quentin, ‘Potentiality and Virtuality’, trans. by Robin Mackay, in The Speculative Turn: Continental Materialism and Realism, ed. by Levi Bryant, Nick Srnicek, and Graham Harman (Melbourne: re.press, 2011), pp. 224–36
- ‘MfS-Dictionary: Werbung’, Stasi-Unterlagen-Archiv, ed. by Der Bundesbeauftragte für die Unterlagen des Staatssicherheitsdienstes der ehemaligen Deutschen Demokratischen Republik <https://www.bstu.de/mfs-lexikon/detail/werbung/> [accessed 17 November 2020]
- Miessen, Markus, ‘Safe Haven’, Volume Magazine, 15 (April 2008), n.p.
- Mijares, Barbara, ‘Militants Reenact Escalante Massacre’, ABS-CBN News, 20 September 2017 <https://news.abs-cbn.com/news/09/20/17/militants-reenact-escalante-massacre> [accessed 10 March 2019]
- Mueller-Vollmer, Kurt, Transatlantic Crossings and Transformations: German-American Cultural Transfer from the 18th to the End of the 19th Century (Frankfurt a.M.: Peter Lang, 2015)
- Nakass, Kassandra, ‘Double Miss: On the Use of Photography in the Atlas Group Archive’, in The Atlas Group (1989–2004): A Project by Walid Raad, ed. by Kassandra Nakass and Britta Schmitz (Cologne: König, 2006), pp. 49–52
- Ngcobo, Gabi, ‘Art in Context Africa, Part I: Sabelo Mlangeni’s No Problem, and a Visit to the Site of Michelle Monareng’s Removal to Radium’, Art Review, 66.7 (October 2014) <https://artreview.com/features/october_2014_feature_art_in_context_i_gabi_ngcobo/ > [accessed 6 April 2018]
- Ngcobo, Gabi, ‘Does This Window Have a Memory?’, Other Possible Worlds <http://www.otherpossibleworlds.net/?page_id=453> [accessed 6 April 2018]
- Ngcobo, Gabi, ‘Endnotes. Was It a Question of Power?’, in Condition Report: Symposium on Building Art Institutions in Africa, ed. by Koyo Kouoh (Ostfildern: Hatje Cantz, 2013), pp. 65–67 <http://historicalreenactments.org/documents/condition%20report/condition.pdf> [accessed 31 March 2019]
- Ngcobo, Gabi, ‘Phantom(pain)’, Glossary of Common Knowledge, May 2014 <https://www.youtube.com/watch?v=zqgLd_BdNmI> [accessed 6 April 2018]
- Ngcobo, Gabi, and Kemang Wa Lehulere, ‘Unearthing Skeletons in History’s Shallow Graves’, in PASS–AGES, References & Footnotes, ed. by the Center for Historical Reenactments and the Johannesburg Workshop for Theory and Criticism (Johannesburg: Center for Historical Reenactments, 2010), p. 10
- Nicastro, Clio, ‘Undine’, Filmidee, 24 (October 2020) <https://www.filmidee.it/2020/10/undine/> [accessed 20 February 2021]
- Obrist, Hans Ulrich, ‘Talking with Marina Abramović, Riding on the Bullet Train to Kitakyushu, Somewhere in Japan’, in Marina Abramović: Artist Body: Performances 1969–1998, ed. by Emanuela Belloni (Milan: Charta, 1998), pp. 41–51
- O’Dell, Kathy, Contract with the Skin: Masochism, Performance Art, and the 1970s (Minneapolis: University of Minnesota Press, 1998) <https://doi.org/10.5749/j.ctttv3g6>
- Ojrzyński, Jacek, ‘Historia Muzeum Sztuki w Łodzi’, in Historia Muzeum Sztuki w Łodzi: Historia i wystawy, ed. by Urszula Czartoryska (Łódź: Oficyna Bibliofilów, Towarzystwo Przyjaciół Muzeum Sztuki w Łodzi, 1998), pp. 6–39 <https://msl.org.pl/media/user/Czytelnia/muzeum-sztuki-w-nnodzi-historia-i-wystawy-1998-1000dpi-pdf.pdf> [accessed 10 December 2019]
- Oswald, John, An Etymological Dictionary of the English Language (Philadelphia, PA: Key & Biddle, 1836)
- ‘Over and Over and Over Again: Re-Enactment Strategies in Contemporary Arts and Theory’, symposium held at the ICI Berlin on 16–17 November, 2017 <https://doi.org/10.25620/e171116>
- Oxford University Press (OUP), ‘Definition of Simulacrum’, in Lexico.com <https://www.lexico.com/definition/simulacrum> [accessed 11 July 2021]
- Pane, Gina, Discours mou et mat, performance, Brouwersgracht, 28 June to 17 July 1975 <https://deappel.nl/en/events/gina-pane-discours-mou-et-mat> [accessed: 2 February 2020]
- Pane, Gina, ‘Lettre à un(e) inconnu(e)’, in ArTitudes international, 15–17 (October–December 1974), pp. 26–35
- Pane, Gina, Lettre à un(e) inconnu(e), ed. by Blandine Chavanne, Anne Marchand, and Julia Hountou (Paris: École nationale supérieure des beaux-arts, 2004)
- Pasolini, Pier Paolo, ‘The Screenplay As a “Structure That Wants to Be Another Structure”’, in Pasolini, Heretical Empiricism, ed. by Louise K. Barnett, trans. by Ben Lawton and Louise K. Barnett, 2nd edn (Washington, DC: New Academia Publishing, 2005), pp. 187–96
- Pastore, Enrico, ‘Intervista a Milo Rau’, PASSPARnous Teatro, 22 (September 2014) <http://www.psychodreamtheater.org/rivista-passparnous-ndeg-22---teatro---intervista-a-milo-rau---a-cura-di-enrico-pastore.html> [accessed 24 November 2017]
- Peeters, Jeroen and Meg Stuart, eds, Are We Here Yet (Dijon: Les presses du réel, 2010)
- Petzold, Christian, ‘Interview: Christian Petzold: “Gespenster irren herum”’, Rheinische Post, RP Online, 12 September 2005 <https://rp-online.de/kultur/film/christian-petzold-gespenster-irren-herum_aid-17041845> [accessed 20 February 2021]
- Phelan, Peggy, Unmarked: The Politics of Performance (London: Routledge, 1995)
- Phillips, Joanna, ‘Reporting Iterations: A Documentation Model for Time-Based Media Art’, Revista de História da Arte, 4 (2015), pp. 168–77
- Phillips, Joanna, ‘Shifting Equipment Significance in Time-Based Media Art’, The Electronic Media Review, 1 (2012), pp. 139–54
- Pollock, Griselda, ‘The Image in Psychoanalysis and the Archeological Metaphor’, in Psychoanalysis and the Image: Transdisciplinary Perspectives, ed. by Griselda Pollock (Oxford: Blackwell, 2006), pp. 1–29 <https://doi.org/10.1002/9780470691007.ch1>
- Quaranta, Domenico, ‘RE:akt! Things that Happen Twice’, in RE: akt! Reconstruction, Re-enactment, Re-porting, ed. by Antonio Caronia, Janez Jansâ, and Domenico Quaranta (Brescia: LINK Editions, 2014), pp. 43–52
- Quarantelli, Ezio, and Gina Pane, ‘Travels with St. Francis: A Rare Discussion with the French Artist Who Is One of the Premiere Practitioners of Body Art’, Contemporanea, 1.4 (November–December 1988), pp. 44–47
- Raad, Walid, Miraculous Beginnings (London: Whitechapel Gallery, 2010)
- Rafael, Vicent, ‘Patronage and Pornography: Ideology and Spectatorship in the Early Marcos Years’, Comparative Studies in Society and History, 32.3 (1990) <https://doi.org/10.1017/S0010417500016492>
- Rancière, Jacques, The Emancipated Spectator, trans. by Gregory Elliott (London: Verso, 2009)
- Ranke, Leopold von, Geschichten der romanischen und germanischen Völker von 1494 bis 1535. Erster Band (Leipzig: Reimer, 1824) <https://doi.org/10.1515/9783112438268>
- Rau, Milo, ‘Intervista a Milo Rau’, PASSPARnous, Teatro, ed. by Enrico Pastore <http://www.psychodreamtheater.org/rivista-passparnous-ndeg-22---teatro---intervista-a-milo-rau---a-cura-di-enrico-pastore.html> [accessed 28 September 2019]
- Rau, Milo, Das Kongo Tribunal, ed. by Eva Bertschy, Rolf Bossaert, and Mirjam Knapp (Berlin: Verbrecher Verlag, 2017)
- Real, William A., ‘Toward Guidelines for Practice in the Preservation and Documentation of Technology-Based Installation Art’, Journal of the American Institute for Conservation, 40.3 (2001), pp. 211–31 <https://doi.org/10.1179/019713601806112987>
- Reason, Matthew, Documentation, Disappearance and the Representation of Live Performance (Basingstoke: Palgrave Macmillan, 2006) <https://doi.org/10.1057/9780230598560>
- Rendell, Jane, Site-Writing: The Architecture of Art Criticism (London: I. B. Tauris, 2010) <https://doi.org/10.5040/9780755697533>
- Richards, Mary, ‘Specular Suffering: (Staging) the Bleeding Body’, PAJ: A Journal of Performance and Art, 30.1 (January 2008), pp. 108–19 <https://doi.org/10.1162/pajj.2008.30.1.108>
- Ricoeur, Paul, Hermeneutics and the Human Sciences: Essays on Language, Action, Interpretation, ed. and trans. by John B. Thompson (Cambridge: Cambridge University Press, 2016)
- Roelstraete, Dieter, ‘Make it Re-: The Eternally Returning Object’, in When Attitudes Become Form: Bern 1969/Venice 2013, ed. by Germano Celant (Milan: Fondazione Prada, 2013), pp. 423–28
- Rogoff, Irit, ‘Turning’, e-flux journal, 00 (November 2008) <http://www.e-flux.com/journal/00/68470/turning/> [accessed 14 November 2017]
- Rosenthal, Stephanie, ‘Agency for Action’, in Allan Kaprow: Art as Life, ed. by Eva Meyer-Hermann, Andrew Perchuk, and Stephanie Rosenthal (London: Thames & Hudson, 2008), pp. 56–71
- Rovisco, Vânia, ‘Reacting to Time: The Portuguese in Performance Art’, workshop conducted 19–24 January 2014, online description on the website of the CAAA Centro para os Assuntos da Arte e Arquitectura, Guimarães <https://www.centroaaa.org/index.php/arquivo-2015-jan-fev-mar/reacting-to-time-workshop-transmissao-ii?lang=en> [accessed 11 March 2021]
- Saaze, Vivian van, ‘Authenticity in Practice: An Ethnographic Study into the Preservation of One Candle by Nam June Paik’, in Art Conservation and Authenticities: Material, Concept, Context, ed. by Erma Hermens and Tina Fiske (London: Archetype Publications, 2009), pp. 190–98
- Saaze, Vivian van, ‘From Singularity to Multiplicity? A Study into Versions, Variations, and Editions in Museum Practices’, The Electronic Media Review, 1 (2012), pp. 87–96 <http://resources.conservation-us.org/emg-review/wp-content/uploads/sites/15/2016/07/Vol-1_Ch-12_VanSaaze.pdf> [accessed 12 February 2020]
- Saaze, Vivian van, ‘In the Absence of Documentation: Remembering Tino Sehgal’s Constructed Situations’, Revista de História da Arte, 4 (2015), pp. 55–63 <http://revistaharte.fcsh.unl.pt/rhaw4/RHAw4.pdf> [accessed 13 November 2019]
- Sacco, Daniela, ‘La Jetztzeit del teatro. L’Orestea della Socìetas Raffaello Sanzio/Romeo Castellucci venti anni dopo’, Biblioteca Teatrale, 119–120.2 (2016), pp. 65–84 <https://doi.org/10.1400/256739>
- Sacco, Daniela, ‘Re-enactment e replica a teatro. Riflessioni sullo statuto filosofico della ri-presentazione’, Materiali di Estetica, 4.1 (2017), pp. 340–51
- Sasse, Sylvia, ‘KGB: The Art of Performance. Action Art or Actions against Art?’, Artmargins, 30 December 1999 <http://www.artmargins.com/index.php/2-articles/449-kgb-or-the-art-of-performance-action-art-or-actions-against-art> [accessed 28 February 2019]
- Sasse, Sylvia, ‘Stasi-Dada. Was KünstlerInnen aus ihren Geheimdienstakten machen’, Geschichte der Gegenwart, 16 February 2016 <http://geschichtedergegenwart.ch/stasi-dada-gabriele-stoetzer-las-im-cabaret-voltaire-aus-ihren-akten/> [accessed 20 February 2018]
- Sasse, Sylvia, Subversive Affirmation (Berlin: Diaphanes, 2022)
- Schaerf, Eran, ‘Scenario Data #39’, in Life, Once More: Forms of Reenactment in Contemporary Art, ed. by Sven Lütticken (Rotterdam: Witte de With, 2005), pp. 9–16
- Schlaffer, Hannelore, and Heinz Schlaffer, Studien zum ästhetischen Historismus (Frankfurt a.M.: Suhrkamp, 1975)
- Schneider, Rebecca, Performing Remains: Art and War in Times of Theatrical Reenactment (London: Routledge, 2011)
- Schneider, Rebecca, ‘Solo Solo Solo’, in After Criticism: New Responses to Art and Performance, ed. by Gavin Butt (Oxford: Blackwell, 2004), pp. 23–47 <https://doi.org/10.1002/9780470774243.ch1>
- Settis, Salvatore, Incursioni: Arte contemporanea e tradizione (Milan: Feltrinelli, 2020)
- Settis, Salvatore, Anna Anguissola, and Davide Gasparotto eds, Serial / Portable Classic: The Greek Canon and its Mutations (Milan: Fondazione Prada, 2015)
- Simondon, Gilbert, Du mode d’existence des objets techniques, 3rd edn (Paris: Aubier, 1989)
- Skłodowska, Marta, ‘Czuła arytmetyka Muzeum Sztuki w Łodzi: Rozmowa z Jarosławem Suchanem’, Obieg (2009) <http://archiwum-obieg.u-jazdowski.pl/rozmowy/9864> [accessed 10 November 2017]
- Spielmann, Yvonne, Video and Computer: The Aesthetics of Steina and Woody Vasulka (Montreal: The Daniel Langlois Foundation, 2004) <https://www.fondation-langlois.org/html/e/page.php?NumPage=456> [accessed 12 March 2021]
- Steyerl, Hito, Die Farbe der Wahrheit. Dokumentarismen im Kunstfeld (Vienna: Turia + Kant, 2008)
- ‘Strange and Close: Play Van Abbe’, project presentation, Van Abbemuseum, museum website <https://vanabbemuseum.nl/en/programme/programme/strange-and-close-1/> [accessed 16 December 2019]
- Taylor, Diana, The Archive and the Repertoire: Performing Cultural Memory in the Americas (Durham, NC: Duke University Press, 2003) <https://doi.org/10.2307/j.ctv11smz1k>
- Telesko, Werner, ‘Der Triumph- und Festzug des Historismus in Europa’, in Der Traum vom Glück. Die Kunst des Historismus in Europa, ed. by Hermann Fillitz, 2 vols (Vienna: Künstlerhaus Wien, 1991), I, pp. 290–96
- Terörle Mücadele Kanunu (Anti-Terrorist Law), Law No. 3713, 12 April 1991 <http://www.mevzuat.gov.tr/MevzuatMetin/1.5.3713.pdf> [accessed 15 November 2017]
- Thomas, Kylie, ‘Decolonisation Is Now: Photography and Student-Social Movements in South Africa’, Visual Studies, 33.1 (2018), pp. 98–110 <https://doi.org/10.1080/1472586X.2018.1426251>
- Thomas, Kylie, ‘Exhuming Apartheid: Photography, Disappearance and Return’, Cahiers d’études africaines, 230 (2018), pp. 429–54 <https://doi.org/10.4000/etudesafricaines.22209>
- Thompson, Jenny, War Games: Inside the World of Twentieth-Century War Reenactors (Washington: Smithsonian, 2004)
- Truth and Reconciliation Commission, The TRC Report <https://www.justice.gov.za/trc/report/index.htm> [accessed 6 April 2018]
- Truth and Reconciliation Commission, , Truth and Reconciliation Commission of South Africa Report, 5 vols (London: Macmillan, 1999)
- UMA Pilipinas, ‘“Cultural Revolution” Pursued in Escalante Massacre Memorial’, 20 September 2016 <https://umapilipinas.wordpress.com/2016/09/20/cultural-revolution-pursued-in-escalante-massacre-memorial/> [accessed 10 March 2019]
- Warburg, Aby, Bilderatlas Mnemosyne: The Original, ed. by Roberto Ohrt and Axel Heil, in cooperation with the Warburg Institute and Haus der Kulturen der Welt (Berlin: Hatje Cantz Verlag, 2020)
- Wardrip-Fruin, Noah, Expressive Processing: Digital Fiction, Computer Games, and Software Studies (Cambridge, MA: MIT Press, 2011)
- Weber, Samuel, Benjamin’s –abilities (Cambridge, MA: Harvard University Press, 2008)
- Weber, Samuel, Theatricality as Medium (New York: Fordham University Press, 2004) <https://doi.org/10.5422/fso/9780823224159.001.0001>
- Weston, Hillary, ‘Missed Connections: A Conversation with Christian Petzold’, The Current: An Online Magazine Covering Film Culture Past and Present, 7 December 2018, hosted by The Criterion Collection <https://www.criterion.com/current/posts/6088-missed-connections-a-conversation-with-christian-petzold> [accessed 20 February 2021]
- Wharton, Glenn, and Harvey Molotch, ‘The Challenge of Installation Art’, in Conservation: Principles, Dilemmas, and Uncomfortable Truths, ed. by Alison Bracker and Alison Richmond (Amsterdam: Elsevier, 2009), pp. 210–22
- Wheeler, Britta B., ‘The Institutionalization of an American Avant-Garde: Performance Art as Democratic Culture, 1970–2000’, Sociological Perspectives, 46.4 (2003), pp. 491–512 <https://doi.org/10.1525/sop.2003.46.4.491>
- Wijers, Gaby, Lara Garcia Diaz and Christian Sancto, eds, UNFOLD: Mediation by Re-interpretation – Annual Project Review Report, March 2016–March 2017 (Amsterdam: LIMA, 2017) <http://www.li-ma.nl/lima/sites/default/files/Unfold_verslag_excl.pdf> [accessed 12 March 2021]
- Wind, Priscilla, ‘L’art du reenactment chez Milo Rau’, Intermédialités, 28–29 (2016) <https://doi.org/10.7202/1041080ar>
- Wood, Catherine, ‘Re-make, Re-model’, Frieze Masters, 1 (October 2012) <https://frieze.com/article/re-make-re-model-0> [accessed 27 September 2019]
- Barbara, dir. by Christian Petzold (Schramm Film Koerner & Weber, 2012)
- The Battle of Orgreave, dir. by Mike Figgis (Artangel Media, 2001)
- Carnival of Souls, dir. by Herk Harvey (Harcourt Production, 1962)
- La carosse d’or ( The Golden Coach) , dir. by Jean Renoir (Panaria Film, 1952)
- Didone non è morta (Dido is not Dead), dir. by Lina Mangiacapre and Le Nemesiache (Le tre ghinee, 1987)
- Ghosts (Gespenster), dir. by Christian Petzold (Schramm Film Koerner & Weber, 2005)
- How to Sing a Prophecy, dir. by Giulia Damiani (2017)
- Nothing Ventured (Nicht ohne Risiko), dir. by Harun Farocki (Harun Farocki Filmproduktion, 2004)
- Parallel, dir. by Harun Farocki (2002) <https://www.harunfarocki.de/installations/2010s/2012/parallel.html> [accessed 20 February 2021]
- The State I Am In (Die Innere Sicherheit), dir. by Christian Petzold (Schramm Film Koerner & Weber, 2000)
- Le Subtil Oiseleur, Foucault de Velázquez à Picasso, dir. by Alain Jaubert (Éditions Montparnasse, 2020)
- Transit, dir. by Christian Petzold (Schramm Film Koerner & Weber, 2018)
- Vesuvius in Eruption, filmed by British Movietone News (29 July 1929) <https://youtu.be/-7W6BAV0wmw> [accessed 21 November 2020]
- Yella, dir. by Christian Petzold (Schramm Film Koerner & Weber, 2007)