Summary
79
Re-enactment
Fall 2013
The widespread occurence of rerun, repetition, revival, recycling, reconstruction, and other words prefixed by re liberally called upon in artistic discourse has propelled esse arts + opinions to question the specific meaning and critical import of practices that fall within the scope of "re-enactment".
Editorial
Feature
The Lure of Re-enactment and the Inauthentic Status of the Event
Re-enactment: False Evidence and Dangers
The Case for Art – Legal Re-enactment In Christian Patterson’s Redheaded Peckerwood
Re-enactments versus Re-enactments: European Artists Tackle Populist Aesthetics
A unique experience of re-enactment: DRAGOONED by Sandy Amerio
Living and dead bodies. Performing Ceauşescu, 1978-2007
Continuity Error: Mediatized Re-Enactment in the Work of Kerry Tribe
Remaking the Work
Portfolios
Off-Features
Columns
Reviews
Young Critics
Current Issue
Crip
Spring Summer 2026
While “handi” (short for the term “handicapé” in French) and “crip” (derived from “cripple,” meaning “disabled”) are diminutive forms of stigmatizing terms, the meaning we ascribe to them is by no means reductive. On the contrary, they carry a political weight that provides those who embrace them with a powerful tool for empowerment, offering disabled artists non-normative ways for articulating the strange temporalities of disabled experience and alternative ways for navigating an ableist art world. In this issue, we are interested precisely in this work of social, political, and cultural transformation, and we focus on the ways in which crip authors and artists address the different challenges they face.
Cover: Hac Vinent
Accident, exhibition view, Fundació Joan Miró, Barcelona, 2024.
Photo: Roberto Ruiz, courtesy of the artist & ADN Galeria, Barcelona