"History is not given it has to be constructed, it's pure fiction, like in a novel."


 Actions accomplished

Action #1: Ich Lubbe Berlin!

Reichstag, Berlin
Germany, Dec. 2005

Action #2: Das KAPITAL

Wenceslaw Square, Prague
Czech Republic, Oct. 2006

Action #3: C'était un rendez-vous (déja vu)

Paris city center, Paris
France, May 2007

Action #4: VD as VB

Kapelica gallery, Ljubljana
Slovenia, June 2007

Action #5: Mount Triglav on Mount Triglav

Mount Triglav,
Slovenia, August. 2007

Action #6: Slovene National Theatre

Old Power Station, Ljubljana
Slovenia, October 2007

Action #7: Synthetic Performances

Artists Space, New York, USA
November 2007

Action #8: SS-XXX | Die Frau Helga

Nova gallery, Zagreb
Croatia, November 2007

Action #9: Il porto dell'amore

Rijeka's harbour , Rijeka
Croatia, 2008

Action #10: The Day São Paulo Stopped

São Paulo
Brazil, 2009

Action #11: In The Long Run

UK, 2010

photo: Luciano Bibulić

Reconstruction, Re-enactment, Re-reporting

Exhibition curated by: Domenico Quaranta

MMSU - Museum of Modern and Contemporary Art Rijeka
Dolac 1/II, Rijeka, Croatia
28 May – 21 June 2009

Panel discussion: 28 May 2009 at 17:00
Exhibition opening: 28 May 2009 at 20:00

Featured artists:
  Lucas Bambozzi, Vaginal Davis, Quentin Drouet, Janez Janša, Janez Janša, Janez Janša, Irwin, Eva and Franco Mattes (aka 0100101110101101.ORG), OHO group, SilentCell Network (Mare Bulc, Janez Janša, Bojana Kunst, Igor Štromajer).

MMSU - Museum of Modern and Contemporary Art Rijeka is proud to announce “RE:akt! Reconstruction, Re-enactment, Re-reporting”, the world preview of the works realized in the last three years within the platform “RE:akt!” produced by the Slovenian cultural institution Aksioma.

During recent years the term re-enactment and the practices it refers to have enjoyed increasing success in the artistic context. On one hand, the success of re-enactment appears to be connected to a parallel, vigorous return to performance art, both as a genre practiced by the new generations, and as an artistic practice with its own historicization. On the other hand the term re-enactment accompanies two phenomena that at least at first glance have very little in common: re-staging artistic performances of the past, and revisiting, in performance form, “real” events – be they linked to history or current affairs, past or present.

RE:akt! Reconstruction, Re-enactment, Re-reportingtries both to research on the complexity of this concept and to get rid of it, approaching re-enactment not merely as “live action role-playing” or “living history” but rather as a strategy for cultural critique, analysis and artistic expression. “RE:akt!” – meaning not only “to act again” but also “to respond to / to react upon” and “Regarding: act!”– confronts current ideological and intellectual canons, power structures, policies, and distribution channels by re-enacting selected historical and culturally relevant events. Through processes of analysis, deconstruction, re-enactment and re-reporting, the intermedia research and presentation project “RE:akt!” examines media’s roles in manipulating perceptions and creating postmodern historical myths and contemporary mythology.

Thus, “RE:akt! Reconstruction, Re-enactment, Re-reporting”, curated by the Italian art critic and curator Domenico Quaranta, will collect ten different approaches to the concept of enaction: from Ich Lubbe Berlin! (2005, SilentCell Network), a take on the 1933 burning of the Reichstag building in Berlin, which explores the contemporary meaning of symbols such as the Reichstag itself, and of concepts such as “communism” and “terrorism”; to Das KAPITAL (2006, Janez Janša), a performance which re-stages the 1968 occupation of Czechoslovakia by Warsaw Pact forces with the languages of popular street artists; from C'était un rendez-vous (déja vu) (Janez Janša and Quentin Drouet), a project that plays with the paradigmatic history of a well known artwork, the film C'était un rendez-vous by Claude Lelouch, from “cinema verité” to “media fiction”; to VD as VB (2007), a series of actions in which Vaginal Davis, the “grande dame” of the queer underground in Los Angeles, dialogues with Vanessa Beecroft's performances. In Mount Triglav on Mount Triglav (2007), the three artists Janez Janša, Janez Janša and Janez Janša re-stage a well known performance of the OHO group from the late Sixties, recently appropriated by the IRWIN group for their Like to Like Series (2004), performing it on the Mount Triglav itself, and then translating it into a monumental golden sculpture; while in Slovene National Theatre (2007), Janez Janša translates an infamous fact of recent racism against Gypsies – known in Slovenia as “the Ambrus case” - into a piece of theatre, re-invoicing it as it was featured by the mass media. In their Synthetic Performances (2007), Eva and Franco Mattes aka 0100101110101101.ORG reenact on the virtual platform of Second Life a series of historical performances that are all but virtual, raising issues such as body, violence, sex and pain, thus exploring the meaning of these very issues in a virtual world. In SS-XXX | Die Frau Helga (2007), Janez Janša again adds details and proofs of evidence to an “urban legend” recently circulated on the Net and mainstream media, concerning the presumed creation of a cyber-sex doll by the Nazis. Thus, performance and reenactment are far from being the only strategies adopted in “RE:akt!”, which also involves strategies such as documentation, remix, re-invoicement, reconstruction and remediation (such as in the project The Day São Paulo Stopped 2009 by Brazilian artist Lucas Bambozzi), and media such as photographic print, video, media installation and even architecture (such as in the project Il porto dell'amore, by Janez Janša, an homage to Fiume as an example of pirate utopia).

On Thursday, May 28, MMSU will host a panel discussion featuring Domenico Quaranta, curator of the exhibition; the Italian theoretician Antonio Caronia, co-editor of the book RE:akt! Reconstruction, Re-enactment, Re-reporting, Tomislav Medak, Sunčica Ostojć and Martina Vovk.

Production: Aksioma – Institute for Contemporary Art, Ljubljana
Producer: Marcela Okretič

Co-production: MMSU - Museum of Modern and Contemporary Art Rijeka
Local coordination:
Nataša Ivančević

Supported by

the Ministry of Culture of the Republic of Slovenia
the Municipality of Ljubljana

Thanks to:
Irwin, Claude Lelouch - LES FILMS 13, Moderna galerija Ljubljana,  MGLC - International Centre of Graphic Arts Ljubljana, RPS d.o.o.


Nataša Ivančević
MMSU - Museum of Modern and Contemporary Art Rijeka
Dolac 1/II, Rijeka, Croatia
phone: +385 - (0)51 492 617
e-mail: natasa.ivancevic[AT]mmsu.hr

Marcela Okretič
Aksioma – Institute for Contemporary Art, Ljubljana
Neubergerjeva 25, 1000 Ljubljana, Slovenija
gsm : +386 – (0)41 250 830
e-mail: aksioma4[AT]siol.net

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Reconstruction, Re-enactment, Re-reporting

MMSU - Museum of Modern and Contemporary Art Rijeka
May 28 – June 21, 2009



Domenico Quaranta
RE:akt! Things that Happen Twice

Antonio Caronia
Never Twice in the Same River
Representation, History and Language in Contemporary Re-enactment


reconstruction, re-enactment, re-reporting

Edited by Antonio Caronia, Janez Janša, Domenico Quaranta

Texts by Antonio Caronia, Domenico Quaranta, Jennifer Allen, Rod Dickinson, Jan Verwoert

Published by fpeditions
Distributed by Vice Versa, Berlin
Language: English

Date of release: march 2009



MNAC - National Museum of Contemporary Art Bucharest
January 22 – March 13, 2009

ŠKUC gallery, Ljubljana
March 25 – April 17, 2009

MMSU - Museum of Modern and Contemporary Art Rijeka
May 28 – June 21, 2009

Curator: Domenico Quaranta