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Which clippings match 'Reenactment' keyword pg.1 of 2
27 JANUARY 2014

BEAUTY: animating Western romantic paintings

CREDITS: Director RINO STEFANO TAGLIAFIERRO Assistant Director LAILA SONSINO 2nd Assistant Director CARLOTTA BALESTRIERI Editing – Compositing – Animation RINO STEFANO TAGLIAFIERRO Sound Design ENRICO ASCOLI Art Direction RINO STEFANO TAGLIAFIERRO Historiographer GIULIANO CORTI.

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TAGS

2D space • Adrien Henri Tanoux • Albert Bierstadt • Andrea Vaccaro • animated painting • Arnold Bocklin • art history • Asher Brown Durand • Augustin Theodule Ribot • beauty • Carlotta Balestrieri • Caspar David Friedrich • classical subjects • Claude Lorrain • Correggio • Elizabeth Jane Gardner Bouguereau • enliven • Enrico Ascoli • Enrique Simonet • Felice Boselli • figuration • figure painting • Franz von Stuck • Fritz Zuber-Buhle • Gabriel Cornelius von Max • Gabriel von Max • Gioacchino Pagliei • Giuliano Corti • Guido Reni • Guillaume Seignac • Gustave Dore • Herbert Draper • homage • Hugues Merle • Ilya Repin • interpretation • Ivan Shishkin • Jacques-Luois David • Jakub Schikaneder • James Sant • Jan Lievens • Jan van Huysum • Johannes VermeerJohn Everett Millais • John William Godward • Joseph Rebell • Jules Joseph Lefebvre • Laila Sonsino • living paintingliving pictures • Louis Jean Francois Lagrenee • Luca Giordano • Luis Ricardo Falero • Marcus Stone • Martin Johnson Heade • Martinus Rorbye • Michelangelo Merisi da Caravaggio • motion painting • movementmoving paintingpainting • Paul Delaroche • Paul Hippolyte Delaroche • Paul Peel • Peter Paul Rubens • Pierre Auguste Cot • Pieter ClaeszreenactmentRembrandt van Rijnremediation • Rino Stefano Tagliafierro • Roberto Ferri • salon painter • Sophie Gengembre Anderson • tableau vivanttableaux changeanttableaux mouvantsTheodore Gericault • Thomas Cole • Thomas Eakins • Thomas Hill • Tiziano • Victor Karlovich Shtemberg • William-Adolphe Bouguereau

CONTRIBUTOR

Simon Perkins
11 NOVEMBER 2011

The Greeting is a film which pretends to be a painting

Bill "Viola's The Greeting is pretending to be a picture, hanging on the wall of the National Gallery, as part of 'The Passions' exhibition in 2003. The context of the gallery space and the badging of The Greeting as a picture give the work something different, making it more than just a film. The significance is in the context of where it is shown and the pretence occurring that this is a picture. Indeed, when walking downstairs in the National Gallery towards 'The Passions' exhibition, it is seeing it hanging on the wall that strikes immediately; I am being invited to believe that this animated film is pretending to be a picture. The analogy is of the picture becoming an actor, pretending to be something else. In terms of form, The Greeting is a film. Therefore, what is it that makes it now defined as an exhibition, a part of Viola's 'The Passions' in 2003? It is only the fact that it's part of a gallery that makes it an exhibition, although in reality it is also actors directed by a video artist into this film, slowed down and with no sound, which is pretending to be a painting. Therefore, it is conceptual art, in that what the artist is doing is not just making a painting, or having the idea for a painting, but having the idea of where it should be staged. The inscribed text of the space in which it is viewed makes a difference to what the viewer or spectator sees, and what is going on."

(Alison Oddey, 2007, p.70)

3). Alison Oddey (2007). "Re–Framing". In: "Re–Framing the Theatrical", Palgrave Macmillan. 1–21.

Fig.1 Bill Viola (1995). "The Greeting".
Fig.2 Jacopo Carucci da Pontormo "The Visitation".

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2003actorsallusionart historyartistartistic experience • Bill Viola • conceptual artcontextexhibitionfigurationfilmgallery • gallery space • hanging on the wall • homage • inscribed text of the space • interdisciplinaryliving picturesmetatheatricalityNational Gallerypainting • Passions (exhibition) • performancepicturepretence • pretending • pretending to be a painting • re-framing • reenactmentreflexive foregroundingremediationspacespectatorspectatorship • staged • stagingtableau vivant • The Greeting • The Passions • the role of the spectator • the viewer • theatre-art • theatricaltime slowed downvideo artvideo artistviewer

CONTRIBUTOR

Simon Perkins
07 SEPTEMBER 2011

Digital History: Colonial Williamsburg Foundation

"Lisa Fischer is Director of the Colonial Williamsburg Foundation's Digital History Center (DHC). Located in the John D. Rockefeller, Jr. Library, the DHC was created to harness new technologies to help in engaging the public in the continuing conversation about the American Revolution, citizenship, and democracy. The DHC is currently working on a several complementary projects ranging from the creation of a new comprehensive website on the on the American Revolution to 'Virtual Williamsburg,' an initiative to create an interactive 3D model of the town as it looked in 1776 in collaboration with the University of Virginia's Institute for Advanced Technology in the Humanities (IATH)."

(16 February 2010)

Fig.1 Tom Ellis (2010 ). presentation by Lisa Fischer, Director of the Colonial Williamsburg Foundation's Digital History Center.

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1700s • 177618th century3D model3D visualisationarchaeologycolonial • Colonial Williamsburg Foundation • costumecultural heritagecultural history • DHC • digital historydigital toolshistorical interpretationhistorical maphistorical reenactmenthistorical research • IATH • interactive 3D • interactive environmentsinteractive map • Lisa Fischer • living history museummuseummuseum of cultural historyNorth America • North American Revolution • open-air museumperiod lifereconstructed buildingsreconstructionreenactmentrestorationtheme park • town • University of Virginia • Virginia • virtual heritage • virtual models • Virtual Williamsburg • visualisation

CONTRIBUTOR

Simon Perkins
02 SEPTEMBER 2011

The Norsk Folkemuseum living history museum in Norway

"The Norsk Folkemuseum is Norway's largest museum of cultural history. With collections from around the country, the museum shows how people lived in Norway from 1500 to the present.

The more than 150 buildings in the Open–Air Museum represent different regions in Norway, different time periods, as well as differences between town and country, and social classes. The Gol Stave Church dating from 1200 is one of five medieval buildings at the museum. The contemporary history is presented through exhibitions and documentation projects focusing especially on children, youth and the multicultural population. Permanent indoor exhibitions include folk art, folk costumes, toys and Sami culture."

(Astrid Santa, Norsk Folkemuseum)

[Actors are located in some of the buildings to provide visitors with a sense of the life of the original inhabitants.]

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1200 • 1500 • anthropologybuilding • contemporary history • costumecultural heritagecultural historyeverydayfolkfolk art • folk costumes • folk museum • Gol Stave Church • heritagehistorical reenactment • household • indoor exhibitions • living farm museum • living history museumliving museummedieval • medieval buildings • middle ages • multicultural population • museummuseum of cultural historyNordic • Norsk Folkemuseum • Norway • Norwegian Museum of Cultural History • open-air • open-air museumOslooutdoorperiod costumeperiod lifereenactment • Sami culture • ScandinaviasettlementSimon Perkins

CONTRIBUTOR

Simon Perkins
02 AUGUST 2011

1970 reconstruction of Oskar Schlemmer's 1926 Triadisches Ballett

"Video de la reconstrucción del Ballet triádico hecha por Margarete Hastings en 1970. El video completo dura 32 minutos. Esta versión contó con la asesoría de Ludwig Grote y Xanti Schawinsky (alumnos de Schlemmer en la Bauhaus) y de Tut Schlemmer, la viuda de Oskar Schlemmer. La música es de Erich Ferstl. Está dividido en tres partes: amarillo, rosa y negro. Esta versión es una reconstrucción basada en la documentación sobre el ballet triàdico."

(http://triadicos.wordpress.com)

Fig.1–3 Marianne Hasting, Franz Schömbs (1970). "Triadisches Ballett", Dancers: Edith Demharter, Ralph Smolik and Hannes Winkler

Fig.4 Triadic Ballet costumes by Oskar Schlemmer, Metropol Theatre, Berlin 1926

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19261970artavant-gardeballetBauhaus SchoolBerlinblackchoreographycolourcostumecostume designcreative practicedancedesign formalism • Edith Demharter • Erich Ferstl • experimentalfigures in space • Franz Schombs • Hannes Winkler • Ludwig Grote • Marianne Hasting • Metropol Theatre • movement • Oskar Schlemmer • performancepink • Ralph Smolik • reconstructionrecorded movementreenactment • Triadic Ballet • Triadisches Ballett • Tut Schlemmer • visual designvisual spectacleXanti Schawinskyyellow

CONTRIBUTOR

Simon Perkins
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