Book Section
UNFOLD: Mediation by Reinterpretation is a research project and interdisciplinary network initiated by LIMA, Platform for Media Art in Amsterdam, that examines reinterpretation as an emerging practice for artistic production, presentation, and preservation of media works. New elements stretch the boundaries of traditional preservation methods and require insights from both the artist and the curator to decide how pieces can be restaged. This essay investigates how to deal with the changes of digital/media artworks over time, and how to preserve and mediate their performative aspects.
Part of Over and Over and Over Again Containing:
The Reactivation of Time / Cristina Baldacci, Clio Nicastro, Arianna Sforzini
From Re- to Pre- and Back Again / Sven Lütticken
The Reenacted Double: Repetition as a Creative Paradox / Arianna Sforzini
‘The Reconstruction of the Past is the Task of Historians and not Agents’: Operative Reenactment in State Security Archives / Kata Krasznahorkai
The Collection of Jane Ryan & William Saunders: Reconstruction as ‘Democratic Gesture’ / Pio Abad
Insistence: The Temporality of the Death Fast and the Political / Özge Serin
‘Interrupting the Present’: Political and Artistic Forms of Reenactments in South Africa / Katja Gentric
Resounding Difficult Histories / Juliana Hodkinson
Archival Diffractions: A Response to Le Nemesiache’s Call / Giulia Damiani
Archival Reenactement and the Role of Fiction: Walid Raad and the Atlas Group Archive / Roberta Agnese
Unintentional Reenactments: Yella by Christian Petzold / Clio Nicastro
Everyday Aesthetics and the Practice of Historical Reenactment: Revisiting Cavell’s Emerson / Ulrike Wagner
Speculative Writing: Unfilmed Scripts and Premediation Events / Pablo Gonçalo
Reenactment in Theatre: Some Reflections on the Philosophical Status of Restaging / Daniela Sacco
Re-search, Re-enactment, Re-design, Re-programmed Art / Serena Cangiano, Davide Fornari, Azalea Seratoni
In the Beginning There Is an End: Approaching Gina Pane, Approaching Discours mou et mat / Malin Arnell
Performance Art in the 1990s and the Generation Gap / Pierre Saurisse
Re-Presenting Art History: An Unfinished Process / Cristina Baldacci
Reconciling Authenticity and Reenactment: An Art Conservation Perspective / Amy Brost
UNFOLD: The Strategic Importance of Reinterpretation for Media Art Mediation and Conservation
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, Fransien van der Putt
Living Simulacrum: The Neoplastic Room in Łódź: 1948 / 1960 / 1966 / 1983 / 2006 / 2008 / 2010 / 2011 / 2013 / 2017 / ∞ / Joanna Kiliszek
‘Repetition: Summer Display 1983’ at Van Abbemuseum: Or, What Institutional Curatorial Archives Can Tell Us about the Museum / Michela Alessandrini
‘Political-Timing-Specific’ Performance Art in the Realm of the Museum: The Potential of Reenactment as Practice of Memorialization / Hélia Marçal, Daniela Salazar
‘We Are Gathering Experience’: Restaging the History of Art Education / Alethea Rockwell
Title
UNFOLD
Subtitle
The Strategic Importance of Reinterpretation for Media Art Mediation and Conservation
Author(s)
Gaby Wijers
Identifier
https://doi.org/10.37050/ci-21_20
Description
UNFOLD: Mediation by Reinterpretation is a research project and interdisciplinary network initiated by LIMA, Platform for Media Art in Amsterdam, that examines reinterpretation as an emerging practice for artistic production, presentation, and preservation of media works. New elements stretch the boundaries of traditional preservation methods and require insights from both the artist and the curator to decide how pieces can be restaged. This essay investigates how to deal with the changes of digital/media artworks over time, and how to preserve and mediate their performative aspects.
Is Part Of
Over and Over and Over Again
Place
Berlin
Publisher
ICI Berlin Press
Date
4 January 2022
Subject
reinterpretation
media art
conservation
digital art
preservation
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.
http://creativecommons.org/licenses/by-sa/4.0/
Language
en-GB
page start
193
page end
203
Source
Over and Over and Over Again: Reenactment Strategies in Contemporary Arts and Theory, ed. by Cristina Baldacci, Clio Nicastro, and Arianna Sforzini, Cultural Inquiry, 21 (Berlin: ICI Berlin Press, 2022), pp. 193–203
  • 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]
  • 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>
  • 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]
  • 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]
  • 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]