On Reenactment: Concepts, Methodologies, Tools
This book brings together dance and visual arts scholars to investigate the key methodological and theoretical issues concerning reenactment. Along with becoming an effective and widespread contemporary artistic strategy, reenactment is taking shape as a new anti-positivist approach to the history of dance and art, undermining the notion of linear time and suggesting new temporal encounters between past, present, and future. As such, reenactment has contributed to a move towards different form...
Éditeur : Accademia University Press
Lieu d’édition : Torino
Publication sur OpenEdition Books : 14 décembre 2022
ISBN numérique : 979-12-5500-019-8
DOI : 10.4000/books.aaccademia.11990
Collection : Mimesis Journal Books
Année d’édition : 2022
ISBN (Édition imprimée) : 979-12-5500-017-4
Nombre de pages : 208
Ouverture
Cristina Baldacci et Susanne Franco
Represencing Performance, Dance, and Visual ArtSolos
Gabriella Giannachi
Unfold: Dan Graham’s Audience/Performer/Mirror ReenactedTimmy De Laet
(Re)Making Dance History Together: Working Towards a Collaborative Historiography of DanceSusanne Foellmer
Michael Thomas Taylor (trad.)
Watching Dances from the Past: Considering Performance Analysis in the Realm of ReenactmentsAurore Després
Ariadne Mikou (trad.)
Five Conceptual Actions for a Sensitive Archaeology of the Gesture in Dominique Brun’s Sacre#2Stéphanie Benzaquen-Gautier
The Matter of Reenactment: A Materialist Inquiry into Cambodia’s Contemporary Monumental PracticesPrelude
Stefano Mudu
Under the Sign of ReenactmentDuets
Cecilia Alemani et Cristina Baldacci
The Archives of La Biennale di Venezia as the Seventh Muse: Revisiting (Art) HistoryMark Franko et Lucia Ruprecht
Witnessing Versus Belatedness: Representation, Reconstruction, and ReenactmentFrancesca Franco et Daniel Temkin
Reenacting Human-Algorithm Relations: Computational Art Between Today and YesterdayGerald Siegmund et Susanne Traub
Has Reenactment Reached an End?Gabi Ngcobo et Matteo Lucchetti
Postcolonial Swings of Memory: The Center for Historical Reenactments as a Starting PointSusanne Franco et Sven Lütticken
Time Seems Pliable: Historical Strategies of Narration, Preservation, and Transmission
This book brings together dance and visual arts scholars to investigate the key methodological and theoretical issues concerning reenactment. Along with becoming an effective and widespread contemporary artistic strategy, reenactment is taking shape as a new anti-positivist approach to the history of dance and art, undermining the notion of linear time and suggesting new temporal encounters between past, present, and future. As such, reenactment has contributed to a move towards different forms of historical thinking and understanding that embrace cultural studies – especially intertwining gender, postcolonial, and environmental issues – in the redefinition of knowledge, historical discourses, and memory. This approach also involves questioning canons and genealogies by destabilising authorship and challenging both institutional and direct forms of transmission.
The structure of the book playfully recalls that of a theatrical performance, with both an ouverture and prélude, to provide space for a series of theoretical and practice-based insights – the solos – and conversations – the duets – by artists, critics, curators, and theorists who have dealt with reenactment. The main purpose of this book is to demonstrate how reenactment as a strategy of appropriation, circulation, translation, and transmission can contribute to understanding history both in its perpetual becoming and as a process of reinvention, renarration, and resignification from an interdisciplinary perspective.
Cristina Baldacci is an associate professor in History of Contemporary Art at Ca’ Foscari University of Venice, where she is also affiliated with THE NEW INSTITUTE Centre for Environmental Humanities (NICHE). Her research interests focus on archiving and collecting as art practices; re-enactment and other “re-” strategies in contemporary arts and theory; rethinking art history, art archives, and artistic processes in relation to the Anthropocene and the Environmental Crisis. She is co-editor-in-chief (with M. De Rosa, S. Franco) of the peer-reviewed book series “The Future Contemporary: Inquiries into Visual, Performing, and Media Arts” (Edizioni Ca’ Foscari). Among her publications are: the monograph Archivi impossibili. Un’ossessione dell’arte contemporanea (2016); the article “Re-Enacting Ecosystems: Jakob Kudsk Steensen’s Environmental Storytelling in Virtual and Augmented Reality”, Piano B. Arti e Culture Visive, 6.1 (2021): 67-86; the co-edited volumes Double Trouble in Exhibiting the Contemporary: Art Fairs and Shows (with C. Ricci, A. Vettese, 2020), Over and Over and Over Again: Reenactment Strategies in Contemporary Arts and Theory (with C. Nicastro, A. Sforzini, 2022). She is also co-editing (with E. Guaraldo) the double issue of the journal Holotipus on the topic of “Archiving the Anthropocene: New Taxonomies Between Art and Science” (2022-2023).
Susanne Franco is an associate professor in Dance, Theater, and Performance Studies at Ca’ Foscari University of Venice, and research associate at Centre transdisciplinaire d’épistémologie de la littérature et des arts vivants (CTEL), based at the Université Côte d’Azur (France). She is a member of the research network CoDa|Cultures of Dance–Research Network for Dance Studies, and she coordinates the Ca’ Foscari Unit for the international research project “Dancing Museums: The Democracy of Beings” (Creative Europe, 2018-2021). Currently, she is the Principal Investigator of the international research project (SPIN) “Memory in Motion: Re-Membering Dance History” (2019-2023). She is the author of Martha Graham (2003), Frédéric Flamand (2004), and numerous essays on modern and contemporary dance and research methodology. She co-edited (with M. Nordera) Dance Discourses: Keywords in Dance Research (2007), Ricordanze. Memoria in movimento e coreografie della storia (2010), and The Oxford Handbook of Dance and Memory (forthcoming); and (with G. Giannachi) Moving Spaces. Enacting Dance, Performance, and the Digital in the Museum (2021). She edited Ausdruckstanz: il corpo, la danza e la critica (2006) and has directed the book series Dance For Word/Dance Forward. Interviste sulla coreografia contemporanea (2004-2011). She is co-editor-in-chief (with M. De Rosa, C. Baldacci) of the peer-reviewed book series “The Future Contemporary: Inquiries into Visual, Performing and Media Arts” (Edizioni Ca’ Foscari).
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