Le re-enactment : Refaire, rejouer ou répéter l’histoire ?

Caillet, Aline

doi:10.4000/marges.153

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“…D'une part, elle permet d'interroger à la fois l'histoire et son écriture en proposant une interprétation singulière de l'événement ; le re-enactment s'avance ainsi comme une forme-outil au service de l'histoire. D'autre part, il s'enracine dans les traces laissées par l'événement dans la mémoire collective16 .…”

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Les « hétérochronies » photographiques de Stan Douglas

Agnese¹

2022

focales

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Les « hétérochronies » photographiques de Stan Douglas

Agnese¹

2022

focales

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Modernism, Feminism and Science Fiction: Words as Silence, Language as Rhymes by Marwa Arsanios

Atallah

2016

Asiatische Studien - Études Asiatiques

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‘Interrupting the Present’

Gentric¹

2022

Cultural Inquiry

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A sense of repetition pervades contemporary South African political and cultural debate. Several recent studies have drawn attention to the fact that the renewed student protests since March 2015 parallel several features of the resistance and liberation movements of the 1970s and 1980s. At a pivotal position between the two moments of political struggle stands the ‘miracle’ of the peaceful transition in 1994. Within this set of circumstances a group of curators, artists, and writers, Gabi Ngcobo and Kemang Wa Lehulere, amongst others, formed a collective under the name CHR (Center for Historical Reenactments) in Johannesburg in 2010. The CHR has pursued several questions that interrogate the complexity of a shared memory bridging segregated Apartheid legacy: how do readings of the past inform contemporary urgencies, and what are the political potentials of artistic interpretations of histories? How do they participate in the formation of new subjectivities?

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Le re-enactment : Refaire, rejouer ou répéter l’histoire ?

Cited by 6 publications

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Les « hétérochronies » photographiques de Stan Douglas

Les « hétérochronies » photographiques de Stan Douglas

Modernism, Feminism and Science Fiction: Words as Silence, Language as Rhymes by Marwa Arsanios

‘Interrupting the Present’

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