Performative Geschichte, Apódeixis und das Problem der Fürsprache

This text foregrounds performativity as entailed in both academic and artistic approaches to writing or depicting history. Discussing the recent performative and historiographical “turns” in art as complementing and reinforcing each other, the term apódeixis, as conceptualized in Johann Gustav Droysen’s theory of history to connect research and representation, is proposed to describe contemporary artistic engagements with history. The examined works by Wendelien van Oldenborgh, Erika Tan, and Bouchra Khalili critically engage with performativity and historiography. They also address the problem of “speaking for others”, introducing a critical debate from art and cultural theory and thus serving as examples of how art may fruitfully contribute to history writing today

Art, History, and Anachronic Intervenctions Since 1990

This book examines contemporary artistic practices since 1990 that engage with, depict, and conceptualize history, arguing that art offers fruitful strategies for creating historical consciousness and perspectives for political agency. 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.Dieses Buch untersucht zeitgenössische künstlerische Praktiken seit 1990, die sich mit Geschichte auseinandersetzen, sie darstellen und konzeptualisieren, und argumentiert, dass Kunst fruchtbare Strategien bietet, um historisches Bewusstsein und Perspektiven für politisches Handeln zu schaffen. Das analytische Instrument der Anachronie tritt als experimentelle Methode ebenso in den Vordergrund wie (Para-)Fiktion, kontrafaktische Geschichte, Zeugenschaft, Gespenster und Gespenster der Vergangenheit, Utopie und die "Verrechtlichung" der Geschichte

Time goes by ... so slowly. Cyclical Models of Time at the Beginning of Art History

The article studies models of time and history in the historiography of art and cuture since the 16th century on the basis of theoretical comments made by a large number of authors from the 17th and 18th century in particular. Here special attention is paid to cyclical models of time – in the sense of rise and decline. Whereas Vasari still worked along a model of progress, his thought is also informed by the concern that the perfection attained could be followed by decline. In the 17th century the progression model was replaced by various cyclical models which seemed better able to do justce to the developments observed in art and culture. Only with the invention of the museum did time appear to have been brought to a stillstand.The article studies models of time and history in the historiography of art and cuture since the 16th century on the basis of theoretical comments made by a large number of authors from the 17th and 18th century in particular. Here special attention is paid to cyclical models of time – in the sense of rise and decline. Whereas Vasari still worked along a model of progress, his thought is also informed by the concern that the perfection attained could be followed by decline. In the 17th century the progression model was replaced by various cyclical models which seemed better able to do justce to the developments observed in art and culture. Only with the invention of the museum did time appear to have been brought to a stillstand