This study aims to outline the rules of a new analytical model called “migratory cycle of images”. This is supposed to act as an orientational tool among those visual objects seen as strategic reactivations of past materials that have been studied until now within the so-called “re-enactment studies”. The thesis takes away from a historical and critical discourse about the pioneers of a similar approach and, by retracing the history of art during the last Century, specifically focuses on the artistic production from the last twenty years. According to the principles outlined by one of the most contemporary philosophical theories such as the Object- Oriented Ontology, the author takes the perspective of a compositional approach to analyse the works realized by a group of established artists, including Alexandra Pirici, Rayyane Tabet, Mathilde Rosier, Anthea Hamilton, Goshka Macuga and Camille Henrot. This path, theoretical and historical at the same time, allows the thesis to question the vocabulary currently used to describe the object of research, to formulate new nomenclatures and, finally, to outline the potential of a new field of study: namely the “enactment studies”.

Questo studio intende delineare le regole di un nuovo modello analitico denominato “ciclo migratorio delle immagini”, utile a orientarsi tra quegli specifici oggetti visuali che, finora studiati nell’ambito dei cosiddetti “re-enactment studies”, si presentano come strategiche riattivazioni di materiali pregressi, artistici e no. La tesi si sviluppa a partire da un discorso storico-critico tra i pionieri di questo approccio e, dopo aver ripercorso la storia dell’arte del Novecento, si concentra sulla produzione artistica degli ultimi vent’anni. Ricorrendo a un filtro analitico di tipo compositivo supportato dalle più contemporanee teorie filosofiche come la Object-Oriented Ontology, l’autore analizza il lavoro di un gruppo di artiste/i intermediali, tra cui Alexandra Pirici, Rayyane Tabet, Mathilde Rosier, Anthea Hamilton, Goshka Macuga e Camille Henrot. Tale operazione permette alla tesi di mettere in discussione la terminologia attualmente utilizzata negli studi sull’argomento, approdare alla formulazione di nuove nomenclature e, infine, delineare il perimetro applicativo di un nuovo contesto di indagine: gli “enactment studies”.

RE / OVER / HYPER-ENACTMENTS Strategie di riattivazione nelle produzioni artistiche contemporanee / Mudu, Stefano. - (2022 Jul 21). [10.25432/mudu-stefano_phd2022-07-21]

RE / OVER / HYPER-ENACTMENTS Strategie di riattivazione nelle produzioni artistiche contemporanee

MUDU, STEFANO
2022-07-21

Abstract

This study aims to outline the rules of a new analytical model called “migratory cycle of images”. This is supposed to act as an orientational tool among those visual objects seen as strategic reactivations of past materials that have been studied until now within the so-called “re-enactment studies”. The thesis takes away from a historical and critical discourse about the pioneers of a similar approach and, by retracing the history of art during the last Century, specifically focuses on the artistic production from the last twenty years. According to the principles outlined by one of the most contemporary philosophical theories such as the Object- Oriented Ontology, the author takes the perspective of a compositional approach to analyse the works realized by a group of established artists, including Alexandra Pirici, Rayyane Tabet, Mathilde Rosier, Anthea Hamilton, Goshka Macuga and Camille Henrot. This path, theoretical and historical at the same time, allows the thesis to question the vocabulary currently used to describe the object of research, to formulate new nomenclatures and, finally, to outline the potential of a new field of study: namely the “enactment studies”.
21-lug-2022
34
ARCHITETTURA, CITTA' E DESIGN
RE / OVER / HYPER-ENACTMENTS Strategie di riattivazione nelle produzioni artistiche contemporanee / Mudu, Stefano. - (2022 Jul 21). [10.25432/mudu-stefano_phd2022-07-21]
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Descrizione: MUDU S., RE / OVER / HYPER-ENACTMENTS. Strategie di riattivazione nelle produzioni artistiche contemporanee
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Utilizza questo identificativo per citare o creare un link a questo documento: https://hdl.handle.net/11578/319396
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