VIS issue 3, History Now, presents expositions where artistic practices develop and explore historical manifestations in the now. The eight contributions attempt in different ways to recreate and reread the past. In doing so they create possibilities for reconsidering history rather than repeating it.
DAYS IN BETWEEN
In accordance to generic tropes in the way the Balkans are represented, conflicts in the region are repeatedly ‘naturalized’ in their description, and attributed geological-seismological features.
The project Lineage draws lines between the learning practices of experimental dance and somatic work, and personal ‘artistic genealogy’.
DEMMIN, LETTING A CITY SOUND
The project Demmin – eine Stadt zum Klingen bringen (’Demmin – letting a city sound’) explores the history and stories of the German city of Demmin in a dialogue between the local choir, Peenechor, and the site of Haus Demmin.
I KNOW THE SMELL OF FOLKHEMMET
jag vet hur folkhemmet luktar (i know the smell of Folkhemmet) is an interdisciplinary project that attempts to show a more complex picture of the Swedish folkhem (“people’s home” – a term used to describe the vision of a better life for all by Swedish social democracy).
SERIOUS PERSONAL CONVICTION
In Serious Personal Conviction – on measurements of conscience, we encounter two groups of people interviewed on different occasions discussing consciousness and ethics in relation to the military system.
MOUVANCE. APPROACHES TO RE-ENACTING MEDIEVAL MUSIC
This exposition presents three approaches to re-enactment of medieval musical ideas, as explored through the artistic research project Wheels within Wheels. New approaches to interactions between performers and composers.
In contemporary music, the ethos of experimentation and newness is constantly confronted with a strong historical presence. The historical residue in the apparatus of production and dissemination can be found in the instrumentation, institutions and formats of performance.
THE LIFE OF AN ITINERANT THROUGH A PINHOLE
Between 1956 and 1968, the photographer Gholamreza Amirbegi captured a wealth of images from around his neighborhood in southwestern Tehran. At the time the city had just seen a major influx of working-class immigrants from the country’s smaller municipalities.