State security archives in Eastern Europe are shedding new light on the operative practices of the secret services and their interaction with performance art. Surveillance, tracking, undermining, disruption, writing of reports, and measure plans were different operative methods to be carried out in continuous repetitive processes. This paper argues that, through these repetitive working processes, state security agencies were permanently engaged in different forms of reenactments: of orders, legends, report writing, and inventing measure plans. With this operative reenactment, state security agencies not only tried to track down facts but also created ‘fake facts’ serving their agenda. These `fake-facts` were then again repeated and reenact...
Can reenactments be a way to create counter-narratives in and for the museum? Through the analysis o...
This article makes a case for incorporating the concept of ‘Critical Security History’ (CSH) into se...
How do artist archives survive and stay authentic in radically changed contexts? The volume addresse...
State security archives in Eastern Europe are shedding new light on the operative practices of the s...
Subversion does not belong to anyone. It can come from artists who outwit the state or from intellig...
The article discusses the impact on Western scholarship of the opening of secret police archives in ...
When we use Soviet documentation of political and secret police investigations to write history, to ...
Over the course of the last decade, the disclosure in Poland of information regarding the secret col...
The Soviet state counted people, resources – and secret papers. The need to account for secrets was ...
Since the early 1990s elaborated research on looted WWII cultural assets has mainly focused on the w...
In this text, I will examine the main trains of thought in the narrative of the historical memory of...
The dialogue between Susanne Franco and Sven Lütticken, is axed around the complex and charged lands...
The “twice-looted” archives refer to a vast body of documents that were looted by Nazi agencies duri...
The Soviet state counted people, resources – and secret papers. The need to account for secrets was ...
By distancing it from historical revival (i.e., ‘Living History’), reenactment is here understood as...
Can reenactments be a way to create counter-narratives in and for the museum? Through the analysis o...
This article makes a case for incorporating the concept of ‘Critical Security History’ (CSH) into se...
How do artist archives survive and stay authentic in radically changed contexts? The volume addresse...
State security archives in Eastern Europe are shedding new light on the operative practices of the s...
Subversion does not belong to anyone. It can come from artists who outwit the state or from intellig...
The article discusses the impact on Western scholarship of the opening of secret police archives in ...
When we use Soviet documentation of political and secret police investigations to write history, to ...
Over the course of the last decade, the disclosure in Poland of information regarding the secret col...
The Soviet state counted people, resources – and secret papers. The need to account for secrets was ...
Since the early 1990s elaborated research on looted WWII cultural assets has mainly focused on the w...
In this text, I will examine the main trains of thought in the narrative of the historical memory of...
The dialogue between Susanne Franco and Sven Lütticken, is axed around the complex and charged lands...
The “twice-looted” archives refer to a vast body of documents that were looted by Nazi agencies duri...
The Soviet state counted people, resources – and secret papers. The need to account for secrets was ...
By distancing it from historical revival (i.e., ‘Living History’), reenactment is here understood as...
Can reenactments be a way to create counter-narratives in and for the museum? Through the analysis o...
This article makes a case for incorporating the concept of ‘Critical Security History’ (CSH) into se...
How do artist archives survive and stay authentic in radically changed contexts? The volume addresse...