Fake it or re-mix It: Performance art history on the peripheries

I am showing two examples of artistic re-enactment from Eastern Europe. The first one is Fake It! (2007) by Slovenian artist Janez Janša; the second one is the RE//MIX project (2010–2013) organised by Komuna Warszawa from Poland. The two projects are based on the idea of reconstruction, repetition, or re-mix of important artistic practices that defined a whole generation of artists from Eastern communist bloc. But the starting point is the reflection that they have often never seen it live. It turns out that on the peripheries, not infrequently, we only have access to the archive. Against this background, I would like to ask about the relation between body and archive. From the peripheral perspective, it is not only the body that escapes the rule of the archive, but the archive, too, escapes into the body and transforms into an emancipatory performance.