Hunting grounds for painters

This article focuses on the intersection of the hunt and art as it is reflected in three early modern depictions of artists as successful hunters: Gabriel Metsu’s Hunter getting dressed after bathing, Ary de Vois’s Self-portrait as a hunter, and Rembrandt’s A dead bittern held high by a hunter. These three self-referential paintings show different ways in which the hunt and dead animals were used to characterise artistic practice, and to what extent they were underpinned by the semantics of other forms of ‘the chase’: the pursuit of love, knowledge, and power.

Trauma and allegory: truthfulness in fact and fiction. Making a private archive productive

Herengracht 401 (H401), until 2019 known as Castrum Peregrini, represents the complex and intriguing history of a hermetic community of artists and scholars in Amsterdam which was formed in the years of the Nazi occupation of The Netherlands, 1940–1945.This article attempts to take stock on what we have learned in these ten years about the history of the place, as an indicator of memory politics. It also reflects on the hermeneutic gap of what we cannot know of H401’s history as we lack experiential knowledge of eyewitnesses. As the author argues below, the site of H401 shows how the ‘hermeneutic gap’ can offer a chance to make an archive, such as in the case of ‘the house on Herengracht 401’, productive and meaningful through the artistic practice of research.

DEEP FLOW: an embodied materiality of dance, technology, and bodily experience

In this research article, I argue that Deep Flow is an embodied materiality that may be experienced by exploring performative phenomenologies, entwining two different sets of research practice: phenomenological methodologies and artistic practice. In Deep Flow the practitioner entangles phenomenological methodologies, methods and research practices performatively such as embodied dance practice, the felt senses, drawings, verbal feedback and their analyses in relation to biometric data, from an embodied heart rate monitor. By looking inwardly, the practitioner experiences embodied phenomena and reveals these experiences in artistic practices in relation to the worlding in which they find themselves. These outcomes are considered as being differing materialities, flowing and converging through relational and phenomenological practice, Deep Flow and through this they become embodied by the practitioner, where new forms of embodied materialities emerge. I argue that in my practice, this is an experiential state, Deep Flow, where all human and non-human elements of the dance practice flow and course through the practitioner as an embodied materiality.

GL�RIA FERREIRA: MILIT�NCIA CR�TICA / Gl�ria Ferreira: critical militance

O texto apresenta brevemente a trajet�ria de Gl�ria Ferreira, cr�tica de arte, professora, pesquisadora,�editora de livros, guerrilheira, aborda sua import�ncia no campo art�stico brasileiro e discute as escolhas que definiram a sele��o do material reunido no dossi� dedicado ao seu�legado. A autora identifica as quest�es recorrentes no pensamento de Gl�ria Ferreira, referentes �s profundas transforma��es operadas na pr�tica de artistas e no sistema de arte a partir do que ela nomeia ?colapso nervoso do modernismo?, que determina a crise dos valores associados �modernidade e o universo de experimenta��o que caracteriza a arte contempor�nea a partir de ent�o, abordadas nos textos reunidos na parte II do dossi�. A apresenta��o situa ainda o in�cio da atua��o de Ferreira no contexto dos movimentos pela redemocratiza��o do Brasil na d�cada�de 1980 e enfatiza o tr�nsito entre arte e pol�tica como algo estruturante de sua trajet�ria como�cr�tica a partir de textos e imagens integrantes da parte I do dossi�, referentes � funda��o doClubinho Experimental Saci Perer�, uma experi�ncia na interface entre arte, cultura e educa��o,�e a sua participa��o no grupo feminista C�rculo de Mulheres Brasileiras durante seu ex�lio na Fran�a. Esse tr�nsito se objetiva n�o apenas nos temas de pesquisa privilegiados pela autora,�mas, sobretudo, em seu modo de fazer, determinando ainda o car�ter p�blico e engajado de sua atua��o, a qual a autora se refere como ?milit�ncia cr�tica?.Palavras-chave:Gl�ria Ferreira. Arte. Pol�tica. Cr�tica. Milit�ncia.�Abstract�In the text, the author briefly introduces the trajectory of Gl�ria Ferreira, art critic, professor, researcher, editor,�insurgent, talks about her importance in the Brazilian artistic field and discusses the choices that defined the selection of materials presented in the dossier she composed, dedicated to Ferreira?s legacy. The text�identifies the author?s recurring concerns, referring to the deep transformations that impacted artistic practice and the art system, starting from what she nominates as the ?nervous breakdown of modernism?, as addressed by the texts in the second part of the dossier. The text also places the beginning of Ferreira?s work in the context of the movements for the re-democratization of Brazil in the 1980s and emphasizes the transition between art and politics as something that gave structure to her trajectory as a critic, from�the texts and images presented in the first part of the dossier, which refer to the foundation of the ?Clubinho Experimental Saci Perer�?, an experimentation with the interface between art, culture and education, to her participation in the feminist group ?Circulo de Mulheres Brasileiras? during her exile in France. That transit is an object not only for the themes the author privileges in her research, but, most of all, for her way of doing, also defining the public and the commitment of her work, to which the author refers as ?critical militance?.Keywords:Gl�ria Ferreira. Art. Politics. Critic. Militance.

Over and Over and Over Again

Over the last twenty years, reenactment has been appropriated by both contemporary artistic production and art-theoretical discourse, becoming a distinctive strategy to engage with history and memory. As a critical act of repetition, which is never neutral in reactualizing the past, it has established unconventional modes of historicization and narration. Collecting work by artists, scholars, curators, and museum administrators, the volume investigates reenactment's potential for a (re)activation of layered temporal experiences, and its value as an ongoing interpretative and political gesture performed in the present with an eye to the future. Its contributions discuss the mobilization of archives in the struggle for inclusiveness and cultural revisionism; the role of the body in the presentification and rehabilitation of past events and (impermanent) objects; the question of authenticity and originality in artistic practice, art history, as well as in museum collections and conservation practices.