- A. Nagel & C. Wood, Anachronic Renaissance
On the anachronic and anachronisms:
- Can we look at anachronistic engagement in art as positive and fruitful rather than as something that should be avoided?
- Should an intentional anachronistic approach be avoided?
- How does an anachronic approach to art risk dehistoricizing works?
- How might we lose a sense of politics in an artwork if it becomes dehistoricized as a result of an anachronic methodology?
- How do we as art historians inevitably engage in anachronistic practices when trying to reconstruct or rewrite problematic histories?
- In which ways is our understanding of time conventionalised and contracted (linear time leading to an ultimate and inevitable mortality? What can we make of queer, feminist or racial 'times'?
- How might we approach the historicity of objects so that we take into account the changing reception of it throughout different moments in history?
- Liminal time, purgatory
- How do we document that which is fleeting or ephemeral (performance)? And in which ways do these documents keep alive moments passed? How do they in turn become objects with their own histories?
- (How) can we look non-judgmentally at anachronisms as beyond repeating a past iconography? Does this entail a triangulation of unrelated points and instances?
- Synchronicity
- A non-linear approach to time would propose or imagine an infrastructure of simultaneous and multiple stories. What can we say about this storytelling process?
- What is art object and what is a document or non-aesthetic object? How can we define these?
- How do documents presuppose a future audience, thus mangling its relation with time or presenting objects to be received in a future that is separate from the present or past?
- How does a close analysis of media and materials say something about time?
On the anachronic and anachronisms:
- Can we look at anachronistic engagement in art as positive and fruitful rather than as something that should be avoided?
- Should an intentional anachronistic approach be avoided?
- How does an anachronic approach to art risk dehistoricizing works?
- How might we lose a sense of politics in an artwork if it becomes dehistoricized as a result of an anachronic methodology?
- How do we as art historians inevitably engage in anachronistic practices when trying to reconstruct or rewrite problematic histories?
- In which ways is our understanding of time conventionalised and contracted (linear time leading to an ultimate and inevitable mortality? What can we make of queer, feminist or racial 'times'?
- How might we approach the historicity of objects so that we take into account the changing reception of it throughout different moments in history?
- Liminal time, purgatory
- How do we document that which is fleeting or ephemeral (performance)? And in which ways do these documents keep alive moments passed? How do they in turn become objects with their own histories?
- (How) can we look non-judgmentally at anachronisms as beyond repeating a past iconography? Does this entail a triangulation of unrelated points and instances?
- Synchronicity
- A non-linear approach to time would propose or imagine an infrastructure of simultaneous and multiple stories. What can we say about this storytelling process?
- What is art object and what is a document or non-aesthetic object? How can we define these?
- How do documents presuppose a future audience, thus mangling its relation with time or presenting objects to be received in a future that is separate from the present or past?
- How does a close analysis of media and materials say something about time?
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