ABSTRACT
This chapter explores the implications of Elizabeth Freeman's concept of 'temporal drag' for the chronopolitics of art history, with specific reference to the embodiment of physical art objects through performance and the enactment of documents in gallery contexts, through theoretical reflection on and documentation of Group Show. There were several parts to Group Show: the first work was made by Tom Marshman and drew on interviews with Arnolfini staff and memories of performers who had toured work there. The second was a series of performance interventions by Clare Thornton and Laura Dannequin, which took place in the galleries. Performance Re-enactment Societies work has taken place in the context of re-enactment becoming a prevalent strategy in contemporary visual art, dance and performance, along with the proliferation of performance as a mode of gallery display. A new movement causes the disappearance of the preceding style, which is put out cultural use in the museum or archive, rather than existing simultaneously or synchronously.
