Inke Arn's selected works and readings

Works by the following artists will be discussed:

Guy Ben-Ner (IL/DE), Walter Benjamin (US), Irina Botea (RO), C-Level (US), Jeremy Deller (UK), Rod Dickinson & Tom McCarthy (UK), Rod Dickinson (GB), Nikolai Evreinov (RU), Omer Fast (IL/DE), Iain Forsyth & Jane Pollard (GB), Heike Gallmeier (D), Felix Gmelin (SE), Pierre Huyghe (F), Evil Knievel (US), Frédéric Moser / Philippe Schwinger (CH), Cornelia Sollfrank (DE), Kerry Tribe (US), T.R. Uthco & Ant Farm (US), and Artur Zmijewski (PL), a.o.

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Bibliography:

Inke Arns, „History Will Repeat Itself. History Will Repeat Itself. Strategies of reenactment in contemporary (media) art and performance“, in: History Will Repeat Itself. Strategies of reenactment in contemporary (media) art and performance, ed. by Inke Arns und Gaby Horn for Hartware MedienKunstVerein and KW Institute for Contemporary Art, Frankfurt am Main: Revolver – Archiv für aktuelle Kunst, 2007, pp. 37-63 [1]

Inke Arns, „Tripping into Art (Hi)Stories: Genealogy and/as Fiction. On the exhibition What is Modern Art? (Group Show)”, in: What is Modern Art? (Group Show), ed. by Inke Arns / Walter Benjamin, Frankfurt am Main: Revolver – Archiv für aktuelle Kunst 2006, Vol. 2 ISBN 3-86588-298-6 (critical edition), pp. [2]

Walter Benjamin, “On Copy”, in: What is Modern Art? (Group Show), ed. by Inke Arns / Walter Benjamin, Frankfurt am Main: Revolver – Archiv für aktuelle Kunst 2006, Vol. 1, pp. [[3]]

“My Dear, this is not what it seems to be”, Walter Benjamin interviewed by Beti Zerovc, in: What is Modern Art? (Group Show), ed. by Inke Arns / Walter Benjamin, Frankfurt am Main: Revolver – Archiv für aktuelle Kunst 2006, Vol. 2 ISBN 3-86588-298-6 (critical edition), pp. [[4]]

Jorge Luis Borges, Pierre Menard, Author of the Quixote (1939), English translation by James E. Irby, [5]

Gilles Deleuze, Difference and Repetition, Columbia University Press, New York 1994, translated by Paul Patton (Introduction: Repetition and Difference, pp. 1-27

Gilles Deleuze, "Postscript on the Societies of Control" (1990), in: October 59, Winter 1992, MIT Press, Cambridge, MA, pp. 3-7 [6]

Maria Hlavajova, “The Social Studio”, in: Artur Zmijewski: The Social Studio, BAK Utrecht 2008, pp. 16-22 (Hlavajova_The_Social_Studio_2008.pdf)

André Lepecki, “In the Mist of the Event: Performance and the Activation of Memory in The Atlas Group Archive”, in: Maska, Performing Arts Journal ("History - Experience - Archive"), 117-118, Ljubljana, Autumn 2008, pp. 84-89 (Lepecki_The_Atlas_Group_Archive_2008.pdf)

Tom McCarthy, Remainder (excerpt), in: History Will Repeat Itself. Strategies of reenactment in contemporary (media) art and performance, ed. by Inke Arns und Gaby Horn for Hartware MedienKunstVerein and KW Institute for Contemporary Art, Frankfurt am Main: Revolver – Archiv für aktuelle Kunst, 2007, pp.

Steve Rushton, “Playing Dead”, in: Experience, Memory, Re-enactment, ed. by Anke Bangma, Steve Rushton, Florian Wüst, Rotterdam, Frankfurt am Main (Revolver) 2005, pp. 85-98 (Rushton_Playing_Dead_2005.pdf)

Florian Wüst, “Aesthetics Against Repression. On the Documentary Drama ‘The Investigation’ by Peter Weiss (1965)”, in: Experience, Memory, Re-enactment, ed. by Anke Bangma, Steve Rushton, Florian Wüst, Rotterdam, Frankfurt am Main (Revolver) 2005, pp. 109-128 (Wuest_On_Peter_Weiss_2005.tif)