https://doi.org/10.37050/ci-21

Copy to Clipboard. Add italics as necessaryCite as: 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) <https://doi.org/10.37050/ci-21>

Over and Over and Over Again

Reenactment Strategies in Contemporary Arts and Theory

Edited by
Cristina Baldacci
Clio Nicastro
Arianna Sforzini

Berlin: ICI Berlin Press, 2022

Cover Over and Over and Over Again — Cover design: Studio Bens

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.

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

Cultural Inquiry, 21
ISSN (Print): 2627-728X
ISSN (Online): 2627-731X

DOI: https://doi.org/10.37050/ci-21

Contents

The Reactivation of Time

From Re- to Pre- and Back AgainSven Lütticken1-16

I. Uncovering the Historical Past, Performing the Political Present

The Reenacted Double: Repetition as a Creative ParadoxArianna Sforzini19-27

‘The Reconstruction of the Past is the Task of Historians and not Agents’: Operative Reenactment in State Security ArchivesKata Krasznahorkai29-36

The Collection of Jane Ryan & William Saunders: Reconstruction as ‘Democratic Gesture’Pio Abad37-46

Insistence: The Temporality of the Death Fast and the PoliticalÖzge Serin47-55

‘Interrupting the Present’: Political and Artistic Forms of Reenactments in South AfricaKatja Gentric57-67

Resounding Difficult HistoriesJuliana Hodkinson69-80

Archival Diffractions: A Response to Le Nemesiache’s CallGiulia Damiani81-89

Archival Reenactement and the Role of Fiction: Walid Raad and the Atlas Group ArchiveRoberta Agnese91-98

II. Aesthetic Forms of Rehabilitation

Unintentional Reenactments: Yella by Christian PetzoldClio Nicastro101-111

Everyday Aesthetics and the Practice of Historical Reenactment: Revisiting Cavell’s EmersonUlrike Wagner113-120

Speculative Writing: Unfilmed Scripts and Premediation EventsPablo Gonçalo121-129

Reenactment in Theatre: Some Reflections on the Philosophical Status of RestagingDaniela Sacco131-140

Re-search, Re-enactment, Re-design, Re-programmed ArtSerena Cangiano, Davide Fornari and Azalea Seratoni141-150

In the Beginning There Is an End: Approaching Gina Pane, Approaching Discours mou et matMalin Arnell151-159

Performance Art in the 1990s and the Generation GapPierre Saurisse161-169

III. Resistance and Reconciliation in the Museum

Re-Presenting Art History: An Unfinished ProcessCristina Baldacci173-182

Reconciling Authenticity and Reenactment: An Art Conservation PerspectiveAmy Brost183-192

UNFOLD: The Strategic Importance of Reinterpretation for Media Art Mediation and Conservation Gaby Wijers193-203

Unfold Nan Hoover: On the Importance of Actively Encouraging a Variable Understanding of Artworks for the Sake of their Preservation and MediationVera Sofia Mota and Fransien van der Putt205-218

Living Simulacrum: The Neoplastic Room in Łódź: 1948 / 1960 / 1966 / 1983 / 2006 / 2008 / 2010 / 2011 / 2013 / 2017 / ∞Joanna Kiliszek219-229

‘Repetition: Summer Display 1983’ at Van Abbemuseum: Or, What Institutional Curatorial Archives Can Tell Us about the MuseumMichela Alessandrini231-238

‘Political-Timing-Specific’ Performance Art in the Realm of the Museum: The Potential of Reenactment as Practice of MemorializationHélia Marçal and Daniela Salazar239-254

‘We Are Gathering Experience’: Restaging the History of Art EducationAlethea Rockwell255-260

Notes on the Contributors

© by the author(s)

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© 2022 ICI Berlin Press