Gabi Ngcobo (Johannesburg based Artist, Educator and Curatorial Director at the Javett Art Centre at the University of Pretoria) and Matteo Lucchetti (Curator, Visible Project, Cittadellarte-Fondazione Pistoletto and Fondazione Zegna) started their collaboration ten years ago in the frame of the Center for Historical Reenactments (CHR), a collaborative artistic platform founded in Johannesburg, South Africa. In their conversation, they unpack the short-term history of CHR through key moments ..
Can reenactment both as reactivation of images and restaging of exhibitions be considered an alterna...
During the Cambridge Festival of Ideas (2015) the program Cologni devised Gropius’ Impington, modern...
Attribution 4.0 International (CC BY 4.0) - https://creativecommons.org/licenses/by/4.0/The oral, wr...
A sense of repetition pervades contemporary South African political and cultural debate. Several rec...
This book brings together dance and visual arts scholars to investigate the key methodological and t...
Sven Lütticken (Vrije Universiteit Amsterdam and Universiteit Leiden) and Susanne Franco (Università...
This book brings together dance and visual arts scholars to investigate the key methodological and t...
A sense of repetition pervades contemporary South African political and cultural debate. Several rec...
Mark Franko (Temple University, Philadelphia) and Lucia Ruprecht (Freie Universität Berlin) speak ab...
This book brings together scholars and curators from the visual arts and dance studies to investigat...
Cristina Baldacci (Università Ca’ Foscari Venezia) invites Cecilia Alemani (Director and Chief Curat...
If history is what was collectively decided to be remembered, artists often emphasize what was colle...
Can reenactment both as reactivation of images and restaging of exhibitions be considered an alterna...
This practice-led PhD addresses the possibility of creating archives as an artistic practice able to...
By distancing it from historical revival (i.e., ‘Living History’), reenactment is here understood as...
Can reenactment both as reactivation of images and restaging of exhibitions be considered an alterna...
During the Cambridge Festival of Ideas (2015) the program Cologni devised Gropius’ Impington, modern...
Attribution 4.0 International (CC BY 4.0) - https://creativecommons.org/licenses/by/4.0/The oral, wr...
A sense of repetition pervades contemporary South African political and cultural debate. Several rec...
This book brings together dance and visual arts scholars to investigate the key methodological and t...
Sven Lütticken (Vrije Universiteit Amsterdam and Universiteit Leiden) and Susanne Franco (Università...
This book brings together dance and visual arts scholars to investigate the key methodological and t...
A sense of repetition pervades contemporary South African political and cultural debate. Several rec...
Mark Franko (Temple University, Philadelphia) and Lucia Ruprecht (Freie Universität Berlin) speak ab...
This book brings together scholars and curators from the visual arts and dance studies to investigat...
Cristina Baldacci (Università Ca’ Foscari Venezia) invites Cecilia Alemani (Director and Chief Curat...
If history is what was collectively decided to be remembered, artists often emphasize what was colle...
Can reenactment both as reactivation of images and restaging of exhibitions be considered an alterna...
This practice-led PhD addresses the possibility of creating archives as an artistic practice able to...
By distancing it from historical revival (i.e., ‘Living History’), reenactment is here understood as...
Can reenactment both as reactivation of images and restaging of exhibitions be considered an alterna...
During the Cambridge Festival of Ideas (2015) the program Cologni devised Gropius’ Impington, modern...
Attribution 4.0 International (CC BY 4.0) - https://creativecommons.org/licenses/by/4.0/The oral, wr...