aAccademia

L'articolo è stato aggiunto al tuo carrello

aAccademia

19,00
aggiungi al carrello (cod: 9791255000174)
cartaceo, ISBN 9791255000174
GRATIS
download
PDF 1.1 MB, ISBN 9791255000181
On Reenactment Concepts, Methodologies, Tools
a cura di Cristina Baldacci, Susanne Franco

collana Mimesis Journal Books
anno di pubblicazione 2022
pp. 208
ISBN cartaceo 9791255000174
ISBN pdf 9791255000181

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 overture and prelude, 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).

OUVERTURE
Represencing Performance, Dance, and Visual Art Cristina Baldacci, Susanne Franco

SOLOS
UNFOLD: Dan Graham’s Audience/Performer/Mirror Reenacted Gabriella Giannachi

(Re)Making Dance History Together: Working Towards a Collaborative Historiography of Dance Timmy De Laet

Watching Dances from the Past: Considering Performance Analysis in the Realm of Reenactments Susanne Foellmer

Five Conceptual Actions for a Sensible Archaeology of the Gesture in Dominique Brun’s Sacre #2 Aurore Després

The Matter of Reenactment: A Materialist Inquiry into Cambodia’s Contemporary Monumental Practices Stéphanie Benzaquen-Gautier

PRELUDE
Under the Sign of Reenactment Stefano Mudu

DUETS
The Archives of La Biennale di Venezia as the Seventh Muse: Revisiting (Art) History Cecilia Alemani, Cristina Baldacci

Witnessing Versus Belatedness: Representation, Reconstruction, and Reenactment Mark Franko, Lucia Ruprecht

Reenacting Human-Algorithm Relations: Computational Art Between Today 
and Yesterday Francesca Franco, Daniel Temkin

Has Reenactment Reached an End? Gerald Siegmund, Susanne Traub

Postcolonial Swings of Memory: The Center for Historical Reenactments 
as a Starting Point Gabi Ngcobo, Matteo Lucchetti

Time Seems Pliable: Historical Strategies of Narration, Preservation, and Transmission Susanne Franco, Sven Lütticken

Notes on the Contributors

Instagram INSTAGRAM