Zwei neue Bände des Institute for Cultural Inquiry sind jetzt auch auf CompaRe verfügbar: Over and Over and Over again, herausgegeben von Cristina Baldacci, Clio Nicastro und Arianna Sforzini, sowie Medieval Openness, herausgegeben von Manuele Gragnolati und Almut Suerbaum.
Over and Over and Over again
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.
Zu den Einzelbeiträgen:
Baldacci, Cristina; Nicastro, Clio; Sforzini, Arianna: The reactivation of time
Lütticken, Sven: From re- to pre- and back again
Sforzini, Arianna: The reenacted double : repetition as a creative paradox
Hodkinson, Juliana: Resounding difficult histories
Damiani, Giulia: Archival diffractions : a response to Le Nemesiache's call
Nicastro, Clio: Unintentional reenactments : "Yella" by Christian Petzold
Gonçalo, Pablo: Speculative writing : unfilmed scripts and premediation events
Cangiano, Serena; Fornari, Davide; Seratoni, Azalea: Re-search, re-enactment, re-design, re-programmed art
Saurisse, Pierre: Performance art in the 1990s and the generation gap
Baldacci, Cristina: Re-presenting art history : an unfinished process
Mota, Vera Sofia; Putt, Fransien van der: Unfold Nan Hoover : on the importance of actively encouraging a variable understanding of artworks for the sake of their preservation and mediation
Kiliszek, Joanna: Living simulacrum : the Neoplastic Room in Łódź
Marçal, Hélia; Salazar, Daniela: 'Political-timing-specific' performance art in the realm of the museum : the potential of reenactment as practice of memorialization
Rockwell, Alethea: 'We are gathering experience' : restaging the history of art education
Openness in Medieval Europe
This volume challenges the persistent association of the Middle Ages with closure and fixity. Bringing together a range of disciplines and perspectives, it identifies and uncovers forms of openness which are often obscured by modern assumptions, and demonstrates how they coexist with, or even depend upon, enclosure and containment in paradoxical and unexpected ways. Explored through notions such as porosity, vulnerability, exposure, unfinishedness, and inclusivity, openness turns out to permeate medieval culture, unsettling boundaries, binaries, and clear-cut distinctions.
Zu den Einzelbeiträgen:
Gragnolati, Manuele; Suerbaum, Almut: Introduction
Giusti, Francesco: An interminable work? : the openness of Augustine's "Confessions"
Byrne, Philippa: What was open in/about early scholastic thought?
Crisafi, Nicolò: Interrupted and unfinished : the open-ended Dante of the "Commedia"
Sutherland, Annie: Enclosure and exposure : locating the 'house without walls'
Gragnolati, Manuele; Southerden, Francesca: Openness and intensity : Petrarch's becoming laurel in "Rerum vulgarium fragmenta" 23 and 228
Sacco, Damiano: Highest openness : on Agamben's promise
Thompson, Benjamin: The monastic enclosure