ABSTRACT
This chapter takes a closer look at artworks that address the historiographical “scandalon” of anachronism so that the people might consider anachrony and anachronism, and their relationship to each other. Narkevicius was trained as a sculptor but uses film as a medium to investigate history, interweaving his own biography with perspectives on the political past of Eastern Europe. The conjuring of elegiac landscapes is thus only one step away from the fantasies of power and violence rooted in a totalitarian concept of history. Most of the space at the back of the room was taken up by high metal shelving reminiscent of museum storage vaults. Attia’s provocative, shock-inducing montages are even more wilful, producing plausible constellations as well as “false” comparisons that confuse separations of people and objects, art and culture, technology and aesthetics, defacement and embellishment, preservation and destruction, and so forth.
