Notes
1 Interestingly, the renowned Slovenian theater director and performer Janez Jansa deliberately uses the English term “reconstruction” rather than “reenactment” to describe his artistic practice.
Similarly to Polish, the Slovenian language uses the word rekonstrukcija to describe reenactment. For the artist, the term emphasizes that “every historicizing is a construction of the past” (Jansa, 2012, p. 371).2 See Gallanti (2020) for more information about Forensic Architecture.
3 See Agnew (2020) for a discussion of digital tools and VR technologies in the reconstruction of past crimes and the consequences for the understanding of the crime, which, deprived of the context of victims’ suffering, is objectified not in ethical terms but in technological ones.
4 The intermingling of materiality and witnessing is one reason why Susan Schuppli (2020), a member of Forensic Architecture, developed the concept of “material witness,” underlining the performative character of every piece of evidence presented to the public.