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DC Field | Value | Language |
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dc.contributor.author | Modena, Elisabetta | - |
dc.date.accessioned | 2022-10-03T13:21:10Z | - |
dc.date.available | 2022-10-03T13:21:10Z | - |
dc.date.issued | 2022-10 | - |
dc.identifier.issn | 2038-8411 | - |
dc.identifier.uri | https://hdl.handle.net/1889/5078 | - |
dc.description.abstract | In recent years we have been witnessing the realisation of artistic projects that were conceived in a specific situation, not realised and then produced in other contexts, in some cases even by different people. These are not practices of reenactment, i.e. the repetition of a work executed in the past, nor even a Plan B developed by the artist, but the enactment of projects that come to light for the first time in a context subsequent to the one in which they were conceived. In this essay, I propose defining these practices with the term post-enactment, identifying why we will increasingly be seeing projects of this kind, and suggesting a possible taxonomy. One of the aims is to enhance awareness of the state of progress of the artwork project, the contingencies in which it is produced, and the artist's intentions: a series of considerations useful for the valorization of the artist's work and the project as a critical method, rather than only as a work in a state of potentiality. | en_US |
dc.language.iso | Inglese | en_US |
dc.rights.uri | http://creativecommons.org/licenses/by-nc-nd/4.0/ | * |
dc.title | Post-enactment. Realising the unrealised work of art | en_US |
dc.type | Article | en_US |
dc.rights.license | Attribution-NonCommercial-NoDerivatives 4.0 Internazionale | * |
Appears in Collections: | 2022, Dossier 7. The lockdown of the projects |
Files in This Item:
File | Description | Size | Format | |
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MODENA-post.pdf | editorial version | 1.29 MB | Adobe PDF | View/Open |
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