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Conferences

  • Conference: Russian Art: Building Bridges between East and West. In Memoriam Dmitry Sarabyanov (Bremen; 26-27 November 2015)

    Department of Humanities and Social Sciences, Jacobs University, Campus Ring 1, Bremen, Germany, Room 32/33, Lab III (Laboratory for Behavioral and Social Sciences) November 26 - 27, 2015
    Registration deadline: Nov 19, 2015

    RUSSIAN ART: BUILDING BRIDGES BETWEEN EAST AND WEST
    IN MEMORIAM DMITRY SARABYANOV

    Russian Art and Culture Group, Third Graduate Workshop

    Dmitry Sarabyanov (1923–2013), long-time head of the Department of Russian Art History at Moscow State University, was among the first scholars in the USSR to reconsider the so-called “formalist” artists, who had been denounced for ideological reasons, thus marking a turn in postwar Soviet thinking about Russian art. The third graduate workshop of the Russian Art and Culture Group focuses on a key aspect of Sarabyanov’s scholarship, the artistic dialogues between Russia and its neighbors to the west and to the east.

    FOR THE COMPLETE CONFERENCE PROGRAM, SEE FULL POST

  • Conference: Avant-garde Migrations (Lisbon; 19-20 November 2015)

    International Symposium: Avant-Garde Migrations
    Calouste Gulbenkian Foundation, Lisbon, November 19 - 20, 2015

    Organised by: Art History Institute, Universidade Nova de Lisboa
    Calouste Gulbenkian Foundation, Lisbon
    with the support of RIHA (International Association of Research Institutes in the History of Art)

    Keynote speakers:
    Nina Gourianova - Northwestern University, Chicago
    Enric Bou - Università Ca Foscari Venezia
    Béatrice Joyeux-Prunel - École normale supérieure, Paris

    The Symposium proposes an interdisciplinary and cross-cultural analysis on avant-garde forced and deliberate migrations in the twentieth century, in particular during the so-called “interwar” period (1918-1939). It seeks to debate the significance of artistic migrations for both avant-garde formations and individual artists (painters, illustrators, poets, writers, architects, designers, photographers, film makers, etc) by considering not only major “émigré” movements from “peripheries” to well established artistic centres, as Paris, Berlin or Moscow, but also lesser known nomadic tendencies and circuits within regions and continents, those caused by the two world conflicts, and those triggered by less accounted for political, social, cultural, or personal circumstances.

    This is not just another forum on art in emigration, the topic well researched in the past two decades. Instead, while discussing the diversity of the twentieth century “migration phenomenon”, and the prevailing international character of the avant-garde movement, the Avant-garde Migrations Symposium aims at observing the significance of cultural and artistic circuits, transfers, collaborations, dialogues and confrontations within groups and formations that cannot be entirely considered under the umbrella of straightforward centre/periphery dichotomies. We would like to question the validity of the well-established methodological frameworks strictly operating within the concepts of “artistic influences” or “assimilation of pre-fixed styles”, which often feel outdated and dogmatic when applied to the arts being produced.

    This Symposium will address the effects of avant-garde artists’ motion between places, its contingent and historical factors, the national and trans-national grounds of artistic production, as well as cultural and artistic intersections, meetings, discoveries, paradoxes and exchanges streaming from translations, travel, escape, dislocation and exile.

    FOR THE COMPLETE SYMPOSIUM PROGRAM, SEE FULL POST

  • Conference: Framing Regionalist Art Forms in Late Empires - 1900-1950 (Vienna; 3-5 December 2015)

    Vienna, Austria, December 3 - 05, 2015
    Registration deadline: Dec 1, 2015
    http://www.asia-europe.uni-heidelberg.de/en/the-picturesque-eye

    The Picturesque Eye. Investigating Regionalist Art Forms in late Empires (1900–1950)

    Austrian Museum of Folk Life and Folk Art & Austrian Academy of Sciences, Vienna

    The international conference is a collaborative exercise between the Cluster of Excellence „Asia and Europe in a Global Context – The Dynamics of Transculturality” at Heidelberg University (and its project „Picturesque Modernities“, Michael Falser), the Austrian Museum of Folk Life and Folk Art (Herbert Justnik) and the Institute of Culture Studies and Theatre History of the Austrian Academy of Sciences (with its research cluster “Cultures of Knowledge”, Johannes Feichtinger and Cornelia Hülmbauer). The conference is planned in association with the DFG-Research Group „Transcultural Negotiations in the Ambits of Art“ at the Institute of Art History, Freie Universität Berlin.

    Regionalism – a means of stabilizing the centre? With this as an overarching question, the conference intends to focus on scientific approaches and artistic projects in the inner-European border areas and outer-European colonies between ca. 1900 and 1950 that tried to stabilize the imperial project mostly through two strategies: a deliberate “re-valuing” of existing regional cultural forms and a centrally governed initiation of new, regionalistically shaped art forms.

    Both of these strategies involve actors who – according to the first working hypothesis of the conference – drew on picturesque, i.e. selective, segmented and ‘agreeable’ directions of the eye. With the intention of broad aesthetic consent among the respective target audience, it was above all geared towards establishing political consensus between periphery and centre.

    Grouped around the wider context of the two world wars , the different case studies investigate late-colonial Empires with two overlapping regions: border areas within the European colonial powers themselves and overseas colonies.

    The case studies of different regionalist forms of culture and art are devoted to three thematic areas:
    a) the methods applied at the time in disciplines like art and architecture history, archeology, anthropology, etc., which were particularly influential in the colonies
    b) the institutional regimes and individual actors specifically involved in the regionalist projects, and
    c) the primarily visually oriented methods of selection and documentation (e.g. sketch book and inventory) and techniques governing the picturesque steering of the eye (e.g. photography and film).

    As an overall framework, the case studies either investigate the concrete procedures of mapping and recording, collecting, salvaging, and displaying of existing ‘regional’ art forms; or discuss newly commissioned regionalist projects. The papers focus on those visually constructed and at the same time (culture-)politically consensus-oriented approaches that manifested themselves mostly in architecture, sculpture, painting, arts and crafts, costumes, theatre, dance, photography, film and literature.

    FOR THE COMPLETE CONFERENCE PROGRAM, SEE FULL POST

  • Conference: Collecting and Empires (Florence; 5-7 November 2015)

    The creation and dissolution of empires has been a constant feature of human history from ancient times through the present day, especially if one passes from a historical to a theoretical definition of empire as an open expanding global frontier. Establishing new identities and new power relationships to coincide with changing political boundaries and cultural reaches, empires also destroyed and/or irrevocably altered social structures and the material culture on which those social structures were partly based. The political activities of empires—both formal and informal to use Doyle’s definition—find their material reflection in the creation of new art forms and the reevaluation of old art forms which often involved the movement of objects from periphery to center (and vice versa) and promoted the formation of new collections. New mentalities and new social relationships were represented by those collections but they were (and are) also fostered through them.

    In recent decades such issues surrounding objects and empire have become important components of our understanding of British colonialism, and to a lesser extent of anthropological approaches to colonial studies more broadly conceived. Concurrent with these developments, comparative studies of the political forms of empires have also appeared, though the baseline for such comparisons is invariably the Roman Empire, from whose imperium we derive our word, but which is ill-suited to describe post-WW-II hegemonies or even Asian historical examples. This conference seeks to cast a wider net temporally, spatially and conceptually by exploring the impact of the expansion and contraction of empires on collecting, collections, and collateral phenomena such as cultural exchange in a selection of the greatest empires the world has known from Han China to Hellenistic Greece to Aztec Mexico to the Third Reich without privileging particular political models and always with an eye to how these historical situations invite comparisons not only with each other but also with contemporary imperial tendencies.

    While some scholars would argue that the term empire no longer applies to today’s global and transnational environment, others have redefined ‘empire’ in terms of contemporary capitalism and a developing post-modern global order. Exclusively based on political and economic concerns (including identity politics) and for the most part distressingly Eurocentric, these analyses of empire or its evolution into something else yet to be defined, also neglect the impact of material culture, even though material culture studies have made great strides in recent decades by addressing issues of the migration of objects and people for both political and non-political reasons. Therefore by investigating empires and imperialism in a comparative manner through the lens of collecting practices, museum archetypes and museums proper, it is hoped that this conference workshop will help shape our understanding of what is indeed imperial about our own approach to material culture.

    Contribution to Scholarship: While individual empires have been studied extensively, it is only in recent decades that they have been examined from comparative political, social and cultural perspectives. It is also only recently that scholarship in history of collecting and anthropology has begun to address the role imperial expansion on collecting and museums in reference to European and particularly British colonialism. Still there is very little written on the history of collecting from any perspective outside of the European tradition or from before the Renaissance. This conference would—for the first time—approach the subject of collecting and empires from a global and inclusive comparative perspective, from which it is hoped that significant conclusions may be drawn about the social, cultural and political impact of collecting and display across the centuries and down to present times.

    FOR THE COMPLETE CONFERENCE PROGRAM, SEE FULL POST

  • Conference: Ecrits et paroles d'artistes dans la Guerre froide (Paris; 4-5 November 2015)

    Institut d’études de l’Islam et des sociétés du monde musulman (EHESS), Paris, France, November 4 - 05, 2015
    http://iismm.ehess.fr/index.php?1611

    ECRITS ET PAROLES D’ARTISTES D’AFRIQUE DU NORD DU MOYEN-ORIENT ET DE L’EUROPE DE L’EST DANS LA GUERRE FROIDE (1947-1989)

    Journées d’études organisées par Catherine Fraixe (ENSA, Bourges) et Monia Abdallah (UQÀM, Montréal) avec le soutien du ministère de la Culture et de la Communication

    Institut d’études de l’Islam et des sociétés du monde musulman
    École des Hautes Études en Sciences Sociales
    Salle Lombard (rez-de-chaussée)
    96, avenue Raspail 75006 Paris

    PROGRAMME

    Mercredi, 4 Novembre

    9h30 Accueil

    10h Introduction
    Catherine Fraixe (ENSA, Bourges) et Monia Abdallah (UQÀM, Montréal)

    Session 1 Ecrits et paroles d’artistes. Contextes

    10h30 Magda Predescu (Musée national d’Art contemporain, Bucarest)
    Le dialogue interculturel par l’intermédiaire des structures transnationales pendant la Guerre froide

    11h Yang Wang (Luther College, Iowa)
    Solidarity of Ancients : Shi Lu’s Art Theory and China’ s Alignment With the Third World

    11h30 Fanny Gillet (EHESS, Paris)
    Constructions sociales et solidarités tiers- mondistes dans l’ Algérie post-indépendante (1960-1980): pour un art «nécessairement» politique

    12h Débat

    Session 2 Ecrits et paroles d’artistes. Positionnements

    14h Clare Davies (Metropolitan Museum of Art, New York)
    Decolonizing Culture: Third World, Moroccan, and Arab Art in Souffles/Anfas, 1966-1972

    14h30 Nadia Yaqub (University of North Carolina, Chapel Hill)
    Palestine and Third Cinema in the Arab World of the 1970s

    15h Alia Nakhli (Université de La Manouba, Tunis)
    Le colloque sur les styles contemporains des arts plastiques arabes (septembre 1972): thèmes et enjeux

    15h30 Morad Montazami (Tate Modern, Londres)
    Hamed Abdalla: entre les lignes du modernisme, se réinventer

    16h Entretien: Latifa Toujani (artiste plasticienne, Maroc) – Monia Abdallah (UQÀM, Montréal)

    17h Débat

    Jeudi, 5 novembre

    Session 3 Ecrits et paroles d’artistes. Circulations

    10h Perin Emel Yavuz (ARVIMM, Paris)
    Le(s) tournant(s) de l’ art stambouliote, importation ou appropriation du modèle européo-américain? Lecture des écrits du Sanat Tanimi Toplulugu (The Art Definition Group)

    10h30 Mohieddine Hadhri (Université de La Manouba, Tunis)
    Les Journées Cinématographiques de Carthage: une plateforme de promotion culturelle du Sud à l’ époque de la Guerre froide (1966-1989)

    11h Christa-Maria Lerm Hayes (University of Amsterdam)
    Avoiding Texts and Statements: Art in Eastern European Peripheries During the Cold War and Its Mediation

    11h30 Débat

    Session 4 Ecrits et paroles d’artistes. Archives

    14h Kristine Khouri et Rasha Salti (History of Arab Modernities in the Visual Arts Study Group, Beyrouth)
    In the Labyrinths of Exhibition Histories : The International Art Exhibition for Palestine, Beirut 1978

    15h Vali Mahlouji (Archaeology of the Final Decade, Londres)
    An Archaeological Guide for the Deployment of an Archive

    15h30 Maud Houssais (L’ appartement 22, Rabat)
    L’ espace de documentation de L’ appartement 22

    16h Magda Predescu (Musée national d’Art contemporain, Bucarest)
    La revue électronique docu.magazin

    16h30 Débat

    17h Conclusion
    Monia Abdallah et Catherine Fraixe

  • CFP: 2016 NESEEES Conference (NYU Jordan Center, New York; April 2, 2016)

    CALL FOR PAPERS

    NORTHEAST SLAVIC, EAST EUROPEAN, AND EURASIAN STUDIES CONFERENCE

    Submit a proposal for an individual paper or for a complete panel for the 37th annual Conference of the Northeast Slavic, East European, and Eurasian Studies (NESEEES, a regional affiliate of ASEEES). The Conference will be held on Saturday, April 2, 2016 at the NYU Jordan Center for the Advanced Study of Russia.

    NYU Jordan Center for the Advanced Study of Russia
    19 University Place, 2nd floor
    New York, NY 10003
    http://jordanrussiacenter.org/
    Phone 212.992.6575
    Jordan.russia.center@nyu.edu

    Yanni Kotsonis, Director of the Jordan Center, will be the President of the 2016 Conference.

    Scholarly papers and panels are welcome on any aspect of Slavic, East European, and Eurasian Studies. Complete panels will receive preference over individual paper submissions. Proposals must include the following:

    1. Title and a one-paragraph abstract
    2. Any requests for technical support (very important!)
    3. Presenter’s email and surface mail addresses
    4. Presenter’s institutional affiliation and professional status (professor, graduate student, etc.)
    5. The name and contact information for the panel organizer, where applicable.

    Undergraduate students under the guidance of a faculty mentor may present a paper at the Conference if the faculty mentor submits the information listed above.
    Please send your proposals via electronic format to NESEEES@yahoo.com not later than December 31, 2015. (Note that this is a new email address, and not the one used last year.)

    Professionals in the field are strongly urged to volunteer to serve as chairs and/or discussants. Much of the benefit of the Conference depends on active participation and informed commentary by participants. Graduate students are encouraged to participate. Two juried awards of $200 for first prize and $150 for second prize are made annually for the best graduate papers presented at the NESEEES Conference judged according to the following criteria:

    · clarity of main research question outlining the scholar’s approach to the topic

    · importance of the research to the profession

    · amount of support for the argument

    · use of primary sources

    · adequate and interesting content

    · readiness for publication: use of English, readability and style

    Following the Conference, graduate students may submit revised papers to the competition for review. Visual materials accompanying the presentation at the Conference should be submitted along with the written text for evaluation. The first prize paper will be entered in the national ASEEES competition.

  • Conference: Globalismes (Paris; 24 October 2015)

    INHA, 2 rue Vivienne, 75002 Paris, October 24, 2015
    Globalismes
    Journée d’étude de la revue Marges
    Samedi 24 octobre 2015

    Le constat d’un « art global » offre, depuis la fin des années 1980, une riche matière de réflexion aux théoriciens et aux historiens de l’art ainsi qu’aux commissaires d’exposition et aux professionnels des musées. Pour cette journée de la revue Marges, il s’agit d’interroger des récents regards qui entendent l’art contemporain comme synonyme de global art, «globalisme» en tant qu’antithese de l’universalisme dans la mesure où il décentre une vision du monde unifiée, en s’orientant vers des modernités multiples. La littérature produite par les Global Studies met en avant deux approches : la première relie l’art contemporain à l’évolution du musée, des biennales, des foires, etc., à la lumière de la globalisation économique, la deuxième dénonce les inégalités dans les modalités d’accès au monde de l’art contemporain et considère que les processus d’institutionnalisation ne fonctionnent pas de la même manière pour tous. Cette dernière dénonce aussi l’assimilation des nouveaux arrivés soumis et réduits par les codes et les formats imposés par le marché international.

    L’art global, serait-il en train de se transformer en nouveau canon contemporain qui, à l’instar des anciens —ismes du XXe siècle, annulerait les complexités et, en codifiant des réalités diverses sous forme d’un récit homogène et stable, légitimerait certaines productions au détriment d’autres? Comment la théorie/la recherche/les pratiques curatoriales peuvent-elles, le cas échéant, intervenir, pour inverser ou conforter cette tendance? Quelles possibilités concrètes y a-t-il de refuser un canon et de créer de nouveaux outils pour penser de nouvelles perspectives pour l’art de notre temps?

    INHA, Salle Giorgio Vasari

    2 rue Vivienne, 75002 Paris (Métro Bourse). Entrée libre.

    9h15 Presentation de Ia joumée

    9h30 : « Too early too late. Modernité et contemporanéité. Moyen Orient », par Michela Gulia (University of Palermo)

    10h : « L’art contemporain comme lieu de production d’un discours post-identitaire » par Metyem Moulay (EHESS)

    10h30 : Discussion

    10h45 : Pause

    11h : « La Stararchitecture » par Camille Rouchi (Université Paris 1)

    11h30 : « De I’Occident en Chine, l’étude de l’expression art abstrait » par Shiyan Li (Aix-Marseille Université, LESA)

    12h : Discussion

    12h30 —14h : Déjeuner

    14h : « Une critique d’art d’un autre genre, la critique d’art chinoise » par Anny Lazarus (Aix-Marseille Université, AMIJ)

    14h30 : « Comment articuler le local dans le global : la traduction Afrique du sud » par Katja Gentric (Université de Bourgogne)

    15h : Discussion

    15h15 : Pause

    15h30 : « Modernidade art brésilien du 20e siècle dislocation et assimilation à l’aube de la globalisation » par Camila Bachelany (EHESS)

    16h : « Permanences et mutations dans les perceptions de l’art est-européen » par Jovan Mrvaljeic (Université Paris 8)

    16h30 : Conclusion de la journée

  • Lecture Series: Russian Realism Revisited (Princeton University; October 6, 2015 - April 12, 2016)

    Lecture Series: Russian Realism Revisited (Princeton University; October 6, 2015 - April 12, 2016)

    http://www.princeton.edu/res/events/lecture-series/

    2016 Lecture Series
    Russian Realism Revisited

    Organized by Katherine Hill Reischl
    Department of Slavic Languages and Literatures

    Taking 19th-century literary realism in Russia as point of departure, this lecture series reconsiders the complex problem of mimesis across media: literature, painting, photography, film and beyond. The subjects of the lectures range from 19th-century painting to Socialist Realism to post-Socialist space, as the collected interdisciplinary scholars illuminate both the universal problem of representation and the specificity of artistic realism in the Eastern European context.

    Schedule

    Time: 4:30 p.m.
    Location: 219 Aaron Burr Hall

    Tuesday, October 6
    Realism and Socialist Realism in Soviet Cinema
    Elizabeth Papazian, University of Maryland, College Park

    Tuesday, November 10
    Everythingism 2113/2013/1913, Etc.
    Matthew Jesse Jackson, University of Chicago

    Tuesday, December 1
    Vasily Surikov and Russian Painting’s Point of View
    Molly Brunson, Yale University

    Tuesday, February 9
    Lure or Decoy? Komar and Melamid’s ‘Apelles Ziablov’ (1972) and the Impossibility of Abstraction
    Jane Sharp, Rutgers University

    Tuesday, March 1
    The Senses and Mimesis in Early Soviet Cinema
    Emma Widdis, University of Cambridge

    Tuesday, March 29
    Fin de siecle Socialist Realism: Aesthetics of Socialism in Eastern Europe and the USSR After Stalin
    Evgeny Dobrenko, The University of Sheffield

    Tuesday, April 12
    Teaching the Real: What is Didactic About Realism?
    Sven Spieker, University of California, Santa Barbara

    Co-sponsored by the Department of Art and Archaeology, the Department of Slavic Languages and Literatures, the Comparative Literature Department, the Council of the Humanities, the University Center for Human Values, the Program in European Cultural Studies, and the Program in Media and Modernity.

  • Conference: Shared Practices (Tallinn; 22-24 October 2015)

    Kumu Art Museum, Auditorium, Tallinn, October 22 - 24, 2015

    Shared Practices: The Intertwinement of the Arts in the Culture of Socialist Eastern Europe

    The Kumu Art Museum’s fall conference 2015
    In cooperation with the Institute of Art History, Estonian Academy of Arts

    Conference programme:

    Thursday, 22 October

    17.30 Registration

    18.00–20.00
    Opening words
    Anu Liivak, Director of the Kumu Art Museum
    Sirje Helme, Director-General of the Art Museum of Estonia

    Introduction
    Anu Allas, Kumu Art Museum

    KEYNOTE LECTURE
    Chair Epp Lankots
    Romy Golan (City University of New York)
    Synthesis Undone

    Friday, 23 October

    10.00–12.00 Ideologies for the Synthesis of the Arts
    Chair Linda Kaljundi

    Nikolas Drosos (Columbia University, New York)
    Applied and Useful Art: The Discourse on the Synthesis of the Arts in the USSR and Poland during the 1950s

    Virve Sarapik (Institute of Art History, Estonian Academy of Arts)
    Visualising World War III

    Stella Pelše (Latvian Academy of Art)
    The Best of the Past on a New Level: Synthesis of the Arts in the Latvian Art Criticism of the 1970s

    12.00–12.30 Coffee break

    12.30–14.00 Experimentation as Critique
    Chair Lolita Jablonskiene

    Maja Fowkes and Reuben Fowkes (Translocal Institute Budapest)
    Putting the Social back into the Socialist City: The Critical Urban Practice of the Group TOK

    Māra Traumane (Humboldt University of Berlin, University of Zurich)
    “Doubts on Art” as a Constructive Project: the Case of the “Unfelt Feelings Restoration Workshop”

    14.00–15.00 Lunch

    15.00–17.00 Dynamics of Collaborative Work
    Chair Klara Kemp-Welch

    Eleonora Farina (Free University of Berlin)
    Ex Oriente Lux: Ion Grigorescu and the Sigma Group in Socialist Romania

    Tomasz Załuski (University of Łódz)
    From Praxeology to the Artists of Other Arts Association: The Integration of Arts and Transmediality in KwieKulik’s “Activities”

    Matteo Bertelé (Ca’ Foscari University of Venice)
    From Narcissus to Collective Performances: The Work of Valera and Natasha Cherkashin

    17.00–17.30 Coffee break

    17.30–18.30 EVENING LECTURE
    László Beke (Budapest)
    Chair Liisa Kaljula
    How to Construct a New Theory of East European Art?

    Saturday, 24 October

    10.00–12.00 Monumental, Ritual and Communal Spaces
    Chair Ingrid Ruudi

    Marija Martinovic and Mladen Pesic (Belgrad University)
    Synthesis of Arts and Architecture: Community Centres in Socialist Belgrade

    Raino Isto (University of Maryland)
    Dynamisms of Time and Space: The Synthesis of Architecture and Monumental Sculpture in Socialist Albania’s Martyrs’ Cemeteries

    Marija Dremaite (Vilnius University)
    Architecture of the Soviet Ritual – Wedding and Funeral Palaces in Soviet Lithuania

    12.00–12.30 Coffee break

    12.30–14.00 Debating All-Encompassing Art
    Chair Anu Allas

    Fabiola Bierhoff (Free University of Berlin)
    Multimedia Art in the German Democratic Republic: the Art Festival Intermedia (1985)

    Elnara Taidre (Art Museum of Estonia; Institute of Art History, Estonian Academy of Arts)
    Synthesis of Visual Art Forms as the Total Work of Art: The Case of Tõnis Vint’s Art Practices in Soviet Estonia

    14.00–15.00 Lunch

    15.00–17.00 Translations and Adaptations
    Chair Romy Golan

    Klara Kemp-Welch (Courtauld Institute of Art, London)
    Poetry Beyond Borders

    Ksenya Gurshtein (National Endowment for the Humanities Fellow, Washington, DC)
    Conceptual Artists, Cognitive Film: Artists as Film-makers at the Balázs Béla Studio

    Amy Bryzgel (University of Aberdeen)
    The Adoption and Adaptation of Institutional Critique in Eastern Europe

    17.00–17.30 Coffee break

    17.30–19.00 FINAL DISCUSSION
    Romy Golan, Klara Kemp-Welch, Anu Allas, Epp Lankots

    Additional information:
    Anu Allas
    Kumu kunstimuuseum / Kumu Art Museum
    Weizenbergi 34 / Valge 1
    10127 Tallinn

    The conference is supported by Eesti Kultuurkapital.

  • Conference: New Research on Late Byzantine Goldsmiths' Works (Mainz; 29 Oct-30 Oct 2015)

    Römisch-Germanisches Zentralmuseum, Ernst-Ludwig-Platz 2, 55116 Mainz

    New Research on Late Byzantine Goldsmiths’ Works (13th-15th Centuries)

    Research into late Byzantine goldsmiths‘ works is only at the beginning. This conference, the first of its kind on the subject, brings together acknowledged experts on the medieval art of the goldsmith. The period from the 13th to 15th centuries is especially rewarding for studying and discussing questions of cultural transfer and contact between Byzantium and its neighbours. Following the events of 1204, the influence of the Crusaders, among other things, becomes noticeable in Byzantine art. To mention but a few, the rise of the Seljuk Empire or the Christianization of the Balkans and Russia led to an extensive exchange and mutual influence in art, as well as trade. This was especially so in the 13th century, during which the Byzantine capital Constantinople was occupied by the so-called “Latins” for about 60 years and is very revealing in this respect. For example, elements of Western heraldry in the shape of heraldic shields or lion rampants were taken up and elements of Islamic art were adapted. These complex processes have not been studied sufficiently and will be a focus of this conference. The papers will deal with questions of typology, style, ornaments, materials, techniques and functions, as well as dating and attribution of late Byzantine goldsmiths’ works, especially proposing new dating and interpretation.

    Organisation:
    Dr. Antje Bosselmann-Ruickbie Johannes Gutenberg-Universität Mainz
    Institut für Kunstgeschichte und Musikwissenschaft
    Abteilung Christliche Archäologie und Byzantinische Kunstgeschichte
    Georg Forster-Gebäude (Campus)
    Jakob-Welder-Weg 12
    55128 Mainz

    Programm:

    Donnerstag, 29. Oktober 2015

    10:00 Uhr
    Grußwort
    Univ.-Prof. Dr. Thomas Bierschenk, Dekan der Fakultät für Geistes- und Kultur­wissen­schaften, Johannes Gutenberg-Universität Mainz

    Einführung
    Dr. Antje Bosselmann-Ruickbie, IKM, Abteilung Christliche Archäologie und Byzantinische Kunstgeschichte der Johannes Gutenberg-Universität Mainz

    10:15-10:45 Uhr
    PD Mag. Dr. Andreas Rhoby, Wien: Gold, Goldsmiths and Goldsmithing in Byzantine Sources

    10:45-11:15 Uhr
    Dr. Paul Hetherington, London: Late Byzantine Enamel: A Period of Transition

    11.15-11.45 Uhr Kaffeepause

    11:45-12:15 Uhr
    Dr. Olga Shashina, Moskau: Two Little-Known Pre-Mongolian Cloisonné Medallions in the Moscow Kremlin Armoury Collection: On Peculiarities of Denominative Inscriptions of the Virgin in the Art of Pre-Mongolian Rus’

    12:15-12:45 Uhr
    Dr. Martin Dennert, Heidelberg: Displaying an Icon: The Mosaic Icon of Saint Demetrios at Sassoferrato and Its Frame

    12:45-14:15 Uhr Mittagspause

    14:15-14:45 Uhr
    Sabrina Schäfer M.A., Mainz: Neue Forschungen zum Trapezunt-Kästchen und seiner Datierung

    14:45-15:15 Uhr
    Dr. Antje Bosselmann-Ruickbie, Mainz: Cultural Transfer Between Byzantium, Russia, Sicily and the Islamic World: The Trier Casket and Its Ornaments Reconsidered

    15:15-15:45 Uhr
    Dr. Anastasios Antonaras, Thessaloniki: Late Byzantine Jewellery from Thessaloniki

    15:45-16:15 Uhr Kaffeepause

    16:15-16:45 Uhr
    Antje Steinert MA, Mainz: Late Byzantine Jewellery and Accessories from Mistra

    16:45-17:15 Uhr
    Dr. habil. Beate Böhlendorf-Arslan: Nicht alles, was glänzt, ist Gold: Mittel- und spätbyzantinischer Schmuck aus Kleinasien

    18.30 Uhr Öffentlicher Abendvortrag

    Markus Engert, Würzburg: Die Restaurierung der byzantinischen Staurothek in Limburg an der Lahn

    Anschließend Empfang in den Sammlungsräumen des Römisch-Germanischen Zentralmuseums

    Freitag, 30. Oktober 2015

    09:00-9:30 Uhr
    Jessica Schmidt M.A., Mainz: Representations of Jewellery in the Late Byzantine Murals of Crete

    9:30-10:00 Uhr
    Dr. Nikos Kontogiannis, Washington: The 14th-Century Chalcis Treasure from Euboea, Greece

    10:00-10:30 Uhr
    Prof. Dr. Silke Tammen, Gießen: Religiöse Schmuckanhänger im Westen (14./15. Jahrhundert): Kleine Medien der Andacht

    10.30-11:00 Uhr Kaffeepause

    11:00-11:30 Uhr
    Dr. Holger Kempkens, Bamberg: Westliche sakrale Goldschmiedekunst des Mittelalters und ihre Rezeption im spätbyzantinischen Kulturraum

    11:30-12:00 Uhr
    Dr. Irina Sterligova, Moskau: On the 15th Century Pendilia (ryasny, Temple Pendants) on the Cover of the Byzantine Mother of God Hodegetria Icon in the Moscow Kremlin Armoury Collection

    12:00-12:30 Uhr
    Dr. Vesna Biki?, Belgrad: Archers’ Rings: Eastern Heritage in the Byzantine Milieu of the Late Medieval Balkans

    12:30-14.00 Uhr Mittagspause

    14:15- ca. 20.00 Uhr
    Exkursion der ReferentInnen nach Limburg an Lahn zur Besichtigung des byzantinischen Kreuzreliquiars

    Während der Tagung Posterpräsentation des Projekts „Der griechische Traktat ‚Über die edle und hochberühmte Goldschmiedekunst‘ – Edition und interdisziplinärer Kommentar“