Enacting a fictitious institution to investigate practices of embodied historization and historical reenactment. I-P-E-R departs from a definition of historical restagings that overflows the authentication of sources to propose new alternatives for the present. By turning nouns into verbs and images into action, the project researches reenactments as knowledge forms that resonate beyond mere repetition, becoming para-enactments.

Methodology & Structure:The "Institute" assembles organizational and discursive positions to act and enact through four pillars:

• I (to) Institute: Converting the noun into a verb to generate new modes of knowledge production and research in visual culture, art, and the curatorial.
• P (to prefix) Para-: Adopting a para-institutional praxis (from the Greek παρά: beside, against, beyond). It defines a subversive gesture that "steals" infrastructure to engage in the struggle for hegemony.
• E (to) Enact: Investigating collective practices of embodied heritage in public space. It explores reenactments as spaces of radical negativity toward present conflicts and as progressive tools for social change.
• R (to) Research: Utilizing Artistic Research (AR) as an epistemic inquiry. It accepts subjectivity and intersubjectivity as tools to analyze the soft power of embodied historicism.

Outcome:Through the compilation of theoretical frameworks and chronological genealogies, I-P-E-R asserts that museums and universities are not the only sites where knowledge is produced. The project validates collectivity, embodiment, and affect as powerful tools to produce heritage and negate hegemonic narrations of the past.