Book Section
Kinetic and programmed art has been a trend of contemporary arts that flourished in the 1950s and 1960s. Kinetic artworks often incorporated technology, at that time still immature, and involved the audience in the production of visual, sound, and somatic effects. Gruppo T was the pioneering group at the forefront of this groundbreaking vision of art as reproducible, participatory, and interactive. Through an action research project and the methodological tool of reenactment, a group of researchers, designers, and artists has proposed an alternative way to conserve Gruppo T artworks. The project ‘Re-programmed Art: An Open Manifesto’ originated from the ephemeral and experimental features, as well as fragility, of the works by Gruppo T — that is, from the difficulties of practice, conservation, technology, and market that have confined them for far too long to the margins of mainstream art history. We conceive reenactment not just a mere restaging but as re-designing, re-thinking, updating, and re-programming a series of works by Gruppo T.
Keywords: open design, programmed art, Gruppo T, preservation
Part of Over and Over and Over Again Containing:
The Reactivation of Time / Cristina Baldacci, Clio Nicastro, Arianna Sforzini
From Re- to Pre- and Back Again / Sven Lütticken
The Reenacted Double: Repetition as a Creative Paradox / Arianna Sforzini
‘The Reconstruction of the Past is the Task of Historians and not Agents’: Operative Reenactment in State Security Archives / Kata Krasznahorkai
The Collection of Jane Ryan & William Saunders: Reconstruction as ‘Democratic Gesture’ / Pio Abad
Insistence: The Temporality of the Death Fast and the Political / Özge Serin
‘Interrupting the Present’: Political and Artistic Forms of Reenactments in South Africa / Katja Gentric
Resounding Difficult Histories / Juliana Hodkinson
Archival Diffractions: A Response to Le Nemesiache’s Call / Giulia Damiani
Archival Reenactement and the Role of Fiction: Walid Raad and the Atlas Group Archive / Roberta Agnese
Unintentional Reenactments: Yella by Christian Petzold / Clio Nicastro
Everyday Aesthetics and the Practice of Historical Reenactment: Revisiting Cavell’s Emerson / Ulrike Wagner
Speculative Writing: Unfilmed Scripts and Premediation Events / Pablo Gonçalo
Reenactment in Theatre: Some Reflections on the Philosophical Status of Restaging / Daniela Sacco
Re-search, Re-enactment, Re-design, Re-programmed Art
In the Beginning There Is an End: Approaching Gina Pane, Approaching Discours mou et mat / Malin Arnell
Performance Art in the 1990s and the Generation Gap / Pierre Saurisse
Re-Presenting Art History: An Unfinished Process / Cristina Baldacci
Reconciling Authenticity and Reenactment: An Art Conservation Perspective / Amy Brost
UNFOLD: The Strategic Importance of Reinterpretation for Media Art Mediation and Conservation / Gaby Wijers
Unfold Nan Hoover: On the Importance of Actively Encouraging a Variable Understanding of Artworks for the Sake of their Preservation and Mediation / Vera Sofia Mota, Fransien van der Putt
Living Simulacrum: The Neoplastic Room in Łódź: 1948 / 1960 / 1966 / 1983 / 2006 / 2008 / 2010 / 2011 / 2013 / 2017 / ∞ / Joanna Kiliszek
‘Repetition: Summer Display 1983’ at Van Abbemuseum: Or, What Institutional Curatorial Archives Can Tell Us about the Museum / Michela Alessandrini
‘Political-Timing-Specific’ Performance Art in the Realm of the Museum: The Potential of Reenactment as Practice of Memorialization / Hélia Marçal, Daniela Salazar
‘We Are Gathering Experience’: Restaging the History of Art Education / Alethea Rockwell
Title
Re-search, Re-enactment, Re-design, Re-programmed Art
Author(s)
Serena Cangiano
Davide Fornari
Azalea Seratoni
Identifier
Description
Kinetic and programmed art has been a trend of contemporary arts that flourished in the 1950s and 1960s. Kinetic artworks often incorporated technology, at that time still immature, and involved the audience in the production of visual, sound, and somatic effects. Gruppo T was the pioneering group at the forefront of this groundbreaking vision of art as reproducible, participatory, and interactive. Through an action research project and the methodological tool of reenactment, a group of researchers, designers, and artists has proposed an alternative way to conserve Gruppo T artworks. The project ‘Re-programmed Art: An Open Manifesto’ originated from the ephemeral and experimental features, as well as fragility, of the works by Gruppo T — that is, from the difficulties of practice, conservation, technology, and market that have confined them for far too long to the margins of mainstream art history. We conceive reenactment not just a mere restaging but as re-designing, re-thinking, updating, and re-programming a series of works by Gruppo T.
Is Part Of
Place
Berlin
Publisher
ICI Berlin Press
Date
4 January 2022
Subject
open design, programmed art, Gruppo T, preservation
Rights
© by the author(s)
Except for images or otherwise noted, this publication is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License.
Language
en-GB
page start
141
page end
150
Source
Over and Over and Over Again: Reenactment Strategies in Contemporary Arts and Theory, ed. by Cristina Baldacci, Clio Nicastro, and Arianna Sforzini, Cultural Inquiry, 21 (Berlin: ICI Berlin Press, 2022), pp. 141–50

References

  • Anceschi, Giovanni, Dichiarazione Miriorama 1 (Miriorama 1 Declaration), Preliminary manuscript version, Archivio Giovanni Anceschi, Milano
  • Anceschi, Giovanni, ‘How Programmed Art Was Born’, in Arte riprogrammata. Un manifesto aperto. Reprogrammed Art: An Open Manifesto, ed. by Serena Cangiano, Davide Fornari, and Azalea Seratoni (Milan: Johan and Levi, 2015), pp. 74–79
  • Cangiano, Serena, Davide Fornari, and Azalea Seratoni, eds, Arte riprogrammata. Un manifesto aperto. Reprogrammed Art: An Open Manifesto (Milan: Johan and Levi, 2015)
  • Devecchi, Gabriele, A proposito delle ipotesi Miriorama, Arte programmata e cinetica 1953/1963. L’ultima avanguardia, ed. by Vergine Lea (Milan: Mazzotta, 1983)
  • Eco, Umberto, and Bruno Munari, Arte programmata. Arte cinetica. Opere moltiplicate. Opera aperta (Milan: Officina d’Arte Grafica Lucini, 1962)

Cite as: Serena Cangiano, Davide Fornari, and Azalea Seratoni, ‘Re-search, Re-enactment, Re-design, Re-programmed Art’, in Over and Over and Over Again: Reenactment Strategies in Contemporary Arts and Theory, ed. by Cristina Baldacci, Clio Nicastro, and Arianna Sforzini, Cultural Inquiry, 21 (Berlin: ICI Berlin Press, 2022), pp. 141-50 <https://doi.org/10.37050/ci-21_15>