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
Immersion
Winter 2026
This issue is interested in all forms of immersion in contemporary art. How are artists critically engaging with immersive technologies? Conversely, what kinds of practices are challenging technology in their pursuit of immersion? How are these experiences breaking down the boundaries between spectator, body, and art? We put forward proposals that rely on listening and sustained attention rather than on amplification and sensory overload – works using devices that are sometimes relatively simple and non-invasive, sometimes a little more elaborate, but in which participation is, with a few nuances, neither passive nor devoid of critical thinking.
Cover: doux soft club
bleu de lieu, 2023-2024.
Photo: Cléo Sjölander, courtesy of the artists