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  1. Re-presenting art history : an unfinished process
    Autor*in: Baldacci, Cristina
    Erschienen: 22.04.2022

    Can reenactment both as reactivation of images and restaging of exhibitions be considered an alternative way of tackling the critical task to re-present art history (i.e., to present it anew) in the here and now, over and over and over again? The... mehr

     

    Can reenactment both as reactivation of images and restaging of exhibitions be considered an alternative way of tackling the critical task to re-present art history (i.e., to present it anew) in the here and now, over and over and over again? The gesture of restoring visibility to something no longer present, reactivating or reembodying it as an object/image in and for the present, is here proposed as a (political) act of restitution and historical recontextualization. Examining the boundaries between past and present, original and copy (as well as originality and copyright), repetition and variation, authenticity and auraticity, presence and absence, canon and appropriation, durée and transience, the paper focuses on remediation, reinterpretation, and reconstruction as creative gestures and cultural promises in contemporary art practice, curatorship, and museology.

     
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  2. Reconciling authenticity and reenactment : an art conservation perspective
    Autor*in: Brost, Amy
    Erschienen: 22.04.2022

    Locating authenticity in artworks that are remade (all or in part) or re-performed over time presents a unique challenge for art conservators, whose activities have traditionally been oriented toward caring for the material aspects of art objects.... mehr

     

    Locating authenticity in artworks that are remade (all or in part) or re-performed over time presents a unique challenge for art conservators, whose activities have traditionally been oriented toward caring for the material aspects of art objects. The paper offers a brief overview of perspectives on authenticity and discusses various theoretical models that have been developed to conceptualize how media, installation, and performance artworks are displayed and cared for over time. These include the score/performance model, the concepts of autographicity and allographicity, the concept of iteration, and authenticity as a practice. The author proposes a theoretical model based on the ritual aspects of presenting artworks, arguing that authenticity, repetition, and community participation can be reconciled within a ritual context.

     
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  3. UNFOLD : the strategic importance of reinterpretation for media art mediation and conservation
    Autor*in: Wijers, Gaby
    Erschienen: 22.04.2022

    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... mehr

     

    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.

     
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    Quelle: GiNDok
    Sprache: Englisch
    Medientyp: Teil eines Buches (Kapitel); bookPart
    Format: Online
    ISBN: 978-3-96558-029-9; 978-3-96558-028-2
    DDC Klassifikation: Künste; Bildende und angewandte Kunst (700); Fotografie, Fotografien, Computerkunst (770); Literatur und Rhetorik (800)
    Sammlung: ICI Berlin
    Schlagworte: Medienkunst; Computerkunst; Konservierung; Interpretation; Reenactment
    Lizenz:

    creativecommons.org/licenses/by-sa/4.0/

    ;

    info:eu-repo/semantics/openAccess
  4. Unfold Nan Hoover : on the importance of actively encouraging a variable understanding of artworks for the sake of their preservation and mediation
    Autor*in: Mota, Vera Sofia ; Putt, Fransien van der
    Erschienen: 22.04.2022

    To support the practice of preservation and mediation of video works in the LIMA Collection (Amsterdam), the authors explore the possibilities of reinterpretation as a rather common practice in the performing arts. As a choreographer and a... mehr

     

    To support the practice of preservation and mediation of video works in the LIMA Collection (Amsterdam), the authors explore the possibilities of reinterpretation as a rather common practice in the performing arts. As a choreographer and a dramaturge, they establish a correlation between reinterpretation and dramaturgy - as a way to deal with non-objective or transitory aspects of the works - and describe their method in relation to the video and performance artist Nan Hoover.

     
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    Quelle: GiNDok
    Sprache: Englisch
    Medientyp: Teil eines Buches (Kapitel); bookPart
    Format: Online
    ISBN: 978-3-96558-029-9; 978-3-96558-028-2
    DDC Klassifikation: Künste; Bildende und angewandte Kunst (700); Freizeitgestaltung, darstellende Künste, Sport (790); Literatur und Rhetorik (800)
    Sammlung: ICI Berlin
    Schlagworte: Hoover, Nan; Performance <Künste>; Videokunst; Konservierung; Reenactment; Interpretation
    Lizenz:

    creativecommons.org/licenses/by-sa/4.0/

    ;

    info:eu-repo/semantics/openAccess
  5. Living simulacrum : the Neoplastic Room in Łódź: 1948 / 1960 / 1966 / 1983 / 2006 / 2008 / 2010 / 2011 / 2013 / 2017 / ∞
    Autor*in: Kiliszek, Joanna
    Erschienen: 22.04.2022

    The Neoplastic Room at the Muzeum Sztuki in Łódź was originally designed in 1948 by the avant-garde artist Władysław Strzemiński. Destroyed in 1950 and reconstructed in 1960, it became the focal point of the museum, with the 'International Collection... mehr

     

    The Neoplastic Room at the Muzeum Sztuki in Łódź was originally designed in 1948 by the avant-garde artist Władysław Strzemiński. Destroyed in 1950 and reconstructed in 1960, it became the focal point of the museum, with the 'International Collection of Modern Art' by the a.r. group being exhibited there. At the same time, it became a point of reference for contemporary artists and a strategy for building a permanent collection for the museum, as well as a reflection on how the past can give a vision of the future. This essay focuses on the gesture of 're-curating' the Neoplastic Room in relation to the performative practice of the artists involved (e.g., Daniel Buren, Elżbieta Jabłońska).

     
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