Art, History, and Anachronic Interventions Since 1990

Description

This book examines contemporary artistic practices since 1990 that engage with, depict, and conceptualize history. Examining artworks by Kader Attia, Yael Bartana, Zarina Bhimji, Michael Blum, Matthew Buckingham, Tacita Dean, Harun Farocki and Andrei Ujica, Omer Fast, Andrea Geyer, Liam Gillick and Philippe Parreno, Hiwa K, Amar Kanwar, Bouchra Khalili, Deimantas Narkevičius, Wendelien van Oldenborgh, Walid Raad, Dierk Schmidt, Erika Tan, and Apichatpong Weerasethakul, Art, History, and Anachronic Interventions since 1990 undertakes a thorough methodological reexamination of the contribution of art to history writing and to its theoretical foundations. The analytical instrument of anachrony comes to the fore as an experimental method, as will (para)fiction, counterfactual history, testimonies, ghosts and spectres of the past, utopia, and the "juridification" of history. Eva Kernbauer argues that contemporary art―developing its own conceptual approaches to temporality and to historical research―offers fruitful strategies for creating historical consciousness and perspectives for political agency. The book will be of interest to scholars working in art history, historiography, and contemporary art. The Open Access version of this book, available at http://www.taylorfrancis.com, has been made available under a Creative Commons Attribution-Non Commercial-No Derivatives 4.0 license. Cover Half Title Series Page Title Page Copyright Page Table of Contents List of Figures Acknowledgements Introduction Art and History in a Time out of Joint The Historiographic Turn in Contemporary Art Shared Contemporaneity in the Global Present Notes Chapter 1: Art as Historiography Depicting History Understanding History Performing History Creating History Notes Chapter 2: Ready for History: The Explosion of the Documentary History, Now: Harun Farocki and Andrei Ujica, Videograms of a Revolution (1992) Film as Seminar Ready for History: Film, Video, Television Notes Chapter 3: The Crux of Authorship The “I” in History: Tacita Dean History by Proxy: Erika Tan and/or Halimah Geography, History, Language: Dialogue and Diglossia in Bouchra Khalili’s Foreign Office (2015) Notes Chapter 4: Archiving, Recording Nothing to See Here: Walid Raad and the Negative Documents of The Atlas Group The Archive in Excess: Matthew Buckingham At the Bottom of History: Dierk Schmidt, SIEV-X—On a Case of Intensified Refugee Politics (2001–2005) Notes Chapter 5: Showing, Telling, Picturing Gathering Evidence: Amar Kanwar, The Lightning Testimonies (2007) I Will Always Be Here: Zarina Bhimji’s Out of Blue (2002) and Yellow Patch (2011) Trapped in Narration: Omer Fast, Nostalgia (2009) Notes Chapter 6: Performing History on Stage: Wendelien van Oldenborgh’s Maurits Script (2006), Instruction (2009), and Cinema Olanda (2017) The Medium Film: Apichatpong Weerasethakul, Primitive (2009) A Transmedial and Transnational “Cinema of Passages” Notes Chapter 7: Counterfactual History, Parafiction, and the Critical Ends of Utopia Sensing Possibility, Sensing Probability: Michael Blum’s A Tribute to Safiye Behar (2005) History in Reverse: Yael Bartana’s … And Europe Will Be Stunned (2007–11) Notes Chapter 8: Testing Truth: Tribunal, Script, Trial History as Trial: Andrea Geyer, Criminal Case 40/61: Reverb (2009) History as Script: Philippe Parreno and Liam Gillick, The Trial of Pol Pot (1998) Truth Distorted in Perspective: Hiwa K, View from Above (2017) Notes Chapter 9: Anachronism and Anachrony Real and Existing Anachronism: Deimantas Narkevičius’s His-story  (1998), Once in the XX Century (2004), The Head (2007), and Into the Unknown (2009) Kader Attia, The Repair from Occident to Extra-Occidental Cultures (2012) Notes Chapter 10: No End of History: Art and History in the Anthropocene Notes Bibliography Repositories and Project Websites Unprinted Sources Index