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‘Political-Timing-Specific’ Performance Art in the Realm of the Museum
Hélia Marçal and Daniela Salazar
‘Political-Timing-Specific’ Performance Art in the Realm of the Museum: The Potential of Reenactment as Practice of Memorialization
Can reenactments be a way to create counter-narratives in and for the museum? Through the analysis of political performance (or what the artist Tania Bruguera calls ‘political-timing-specific’ artworks), this essay discusses the potential of reenactment as both a practice of materializing memories and narratives of oppression and of rethinking museum policies in terms of preservation and display. Its main argument is that, while the archive can be regarded as a form of materializing the memory of these works, reenactment is more than a way of recovering the past; it is also a device for reconstructing memories of activism and oppression. This essay further suggests that reenactments of political-timing-specific works demand a change in accessioning, conservation, and presentation practices, which might be inclined to erase decentralized art-historical and material narratives.
2022. reenactment; museum; activism; political-timing-specific art; memory
Manuele Gragnolati and Christoph F. E. Holzhey
Active Passivity?: Spinoza in Pasolini’s
Pier Paolo Pasolini’s Porcile (Pigsty) was shown at the Venice Film Festival in 1969 and was harshly criticized for its scandalous and desecrating character. It is indeed a provocative and bleak film, which offers a scathing political critique of ongoing fascism but without seeming to allow for any space for intervention or change. With Porcile, Pasolini continues to distance himself from Marxist engagement and revolutionary politics, and while he characterizes its politics in terms of an ‘apocalyptic anarchy’ that can only be approached with distance and humour, our suggestion is that Porcile proposes abandoning (political) activity and hope for a better future as a paradoxical form of both radical political critique and joy.
2015. Pasolini, Piero Paolo; active passivity; Porcile (film); Spinoza, Baruch