Chronopolitical approaches address a changed way of dealing with the structuring of time and can be found in both art-historical discourses and in contemporary artistic working methods. They share a scepticism towards forms of historical coherence and evidence, and they exemplify temporal processes by means of non-linear strategies of repetition, shifting, deconstruction and translation of time. In particular, artistic reconstructions of historical events, so-called “reenactments”, lead to an exciting overlap between past, present and future, through which earlier perspectives on the history of the image can potentially be re-formed. Fundamental to the chronopolitical impulse in art is the question of whose history is forgotten and whose history is remembered. The research project takes up time-related strategies in art by inquiring into history’s “sense of possibility”, i.e. what significance is accorded to art in balancing the relationship between present and past towards an “alternative present”. Against this backdrop, it is asked how current and historical events, through their interaction, bring about new ways of looking at history: What “alternative present” emerges on the basis of a time-based artistic experiment? To what extent are chronopolitical approaches in art capable of critically questioning linear concepts of time and hegemonic images of history? How can artistically mediatized voices from different geographical and political systems be recognized as “shared histories”?