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Inke Arns: Battlefield History: Artistic Reenactments as Participatory Deconstructions of History
Battlefield History: Artistic Reenactments as Participatory Deconstructions of History
(p. 281 – 289)
p€ 4,95

Inke Arns

Battlefield History: Artistic Reenactments as Participatory Deconstructions of History

PDF, 9 pages

  • revolution
  • Russia
  • historic documents
  • History of photography

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Inke Arns

Inke Arns, PhD, director of Hartware MedienKunstVerein (HMKV) in Dortmund (www.hmkv.de), has worked internationally as an independent curator and theorist specializing in media art, net cultures, and Eastern Europe since 1993. After living in Paris (1982-1986) she studied Russian literature, Eastern European studies, political science, and art history in Berlin and Amsterdam (1988–1996) and in 2004 obtained her PhD from the Humboldt University in Berlin with a thesis focusing on a paradigmatic shift in the way artists reflected the historical avant-garde and the notion of utopia in visual and media art projects of the 1980s and 1990s in (ex-)Yugoslavia and Russia. She curated many exhibitions, most recently a.o. at Haus der Kulturen der Welt / House of World Cultures (HKW, Berlin). Author of numerous articles on media art and net culture, and editor of exhibition catalogues. www.inkearns.de
Inke Arns (ed.), Igor Chubarov (ed.), ...: Nikolaj Evreinov: »Sturm auf den Winterpalast«
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Other texts by Inke Arns for DIAPHANES
Inke Arns (ed.), Igor Chubarov (ed.), ...: Nikolai Evreinov: »The Storming of the Winter Palace«
b€ 30,00 p€ 30,00

Inke Arns (ed.), Igor Chubarov (ed.), Sylvia Sasse (ed.)

Nikolai Evreinov: »The Storming of the Winter Palace«

Softcover, 320 pages

PDF, 320 pages

In 1920, the third anniversary of the October Revolution, The Storming of the Winter Palace was performed with a cast of 10,000. But as a reenactment this mass spectacle, directed by Nikolai Evreinov, was deceptive. It was intended to recall something—the storming of the Winter Palace as the beginning of the revolution—that it itself produced as a theatrical medium. This volume reconstructs the event with texts, photographs, and drawings, and shows how not only in the Soviet Union did the photograph of the theatrical “storming” become a historical document of the October Revolution.

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