Bratislava, Slovak National Gallery, October 1 - 02, 2015
Registration deadline: Sep 30, 2015
http://www.biedermeier.sng.sk

October 1 / Thursday

9:00 – 9:30
registration

9:30 – 10:00
opening – Katarína Chmelinová (Head of the Institute of Art History, Faculty of Arts, Comenius University, Bratislava);
Dušan Buran (Head of the Old Masters Collections, Slovak National Gallery)
International Connections of Biedermeier

10:00 – 10:20
Anikó Dworok (Institut für Geschichte,Universität Würzburg, Würzburg)
About the influence of Biedermeier at Viennese and Budapest historical painting

10:20 – 10:40
Agnieszka Rosales Rodriguez (Institute of Art History, University of Warsaw)
Polish Biedermeier: National Discourse and European Relations

10:40 – 11:00
Júlia Papp (Research Centre for the Humanities of the Hungarian Academy of Sciences, Institute for Art History, Budapest)
Family, Home and Fashion in the First Third of the 19th Century in the Mirror of the Book Illustrations by Johann Blaschke (1770-1833)

11:00 – 11:20
Nóra Veszprémi (University of Birmingham, UK)
Ideal Beauty and Earthly Love in Biedermeier Book Illustrations and Portraits

11:30 – 12:00
coffee break

Lifestyle in Biedermeier
12:00 – 12:20
Katarína Beňová (Institute of Art History, Faculty of Art, Comenius University, Bratislava)
Album of the Zichy Family from Rusovce as a Example of Relation between the Aristocrat Families in Biedermeier

12:20 – 12:40
Eva Hasalová (Slovak National Museum – Historical Museum)
Aristocrat versus Merchant. Fashion Ideals in Biedermeier

12:40 – 13:00
Július Barczi (SNM – Museum of Betliar, Betliar)
At the service of Count Andrássy. Emanuel Andrássy as a Customer and Author of Biedermeier Paintings

13:30 – 15:00
lunch break

Pluralism of Ideas – case studies I.
15:00 – 15:20
Zuzana Labudová (Department of Monument Protection, Košice / Institute of Art History, Faculty of Arts, Technical University, Košice)
Bellaagh (Belágh) Album of Košice Drawing School and the contemporary Style Plurality

15:20 – 15:40
Pavel Štěpánek (Institute of Art History, Palacký University, Olomouc)
Biedermeier Environment of the Castle of Čechy pod Kosířem, the Seat of Portugal Family Silva Tarouc, the Basis for Josef Mánes by His Journeys to Slovácko and Slovakia

15:40 – 16:00
Petr Tomášek (Moravian Gallery in Brno, Brno)
Biedermeier or Romanticism? Style and Ideological Pluralism at the early Stage of Work of Peter Fendi

16:00 – 16:20
Katarína Tánczosová (Bratislava)
Biedermeier in Life and Work of Jozef Božetech Klemens

16:20 – 16:40
Anna Schirlbauer (Vienna)
Aspects of Central-European Artistic Career at the Example of Female-painter Anna Zmeškalová (1813 – 1880)

17:00 – 18:30
Biedermeier – Exhibition tour with the curators Katarína Beňová, Jana Švantnerová and Silvia Seneši Lutherová

October 2 / Friday
Biedermeier at Gallery and Museum Collections

9:30 – 9:50
Jana Švantnerová (Slovak National Gallery, Bratislava)
Towards Equality. Curatorial Selection of Judaica echoing seven main themes of „Biedermeier“exhibition

9:50 – 10:10
Alena Krkošková (Moravian Gallery in Brno, CZ)
Hair Jewelry as a Specialty of Biedermeier Style and the Examples from the Moravian Gallery in Brno and other Collections

10:10 – 10:30
Zuzana Francová (Municipal Museum, Bratislava)
Porcelain and Glass from Biedermeier Period from the Collection of the Municipal Museum in Bratislava

10:30 – 11:00
Marta Janovíčková (Municipal Museum, Bratislava)
Furniture in Biedermeier Style from the Collection of the Municipal Museum in Bratislava

11:00 – 11:20
coffee break

Toward the Modernization of the Biedermeier Era
11:20 – 11:40
Silvia Seneši Lutherová (Department of Theory and History of Art, Academy of Fine Arts and Design, Bratislava)
Biedermeier Ideal of Modern Interior

11:40 – 12:00
Lucia Almášiová (Slovak National Gallery, Bratislava)
The Beginnings of the Photography Media in Slovakia

12:00 – 12:20
Ivana Komanická (Institute of Art History, Faculty of Arts, Technical University, Košice)
Pottery from Upper Hungary: Democratic Inversion or Forming of Consume Society?

Pluralism of Ideas – case studies II.
12:20 – 12:40

Viera Bartková (Institute of Esthetic, Faculty of Arts, Comenius University, Bratislava)
Ethno Motives in Painting of the first half of the 19th century in Slovakia

12:40 – 13:00
Silvia Lorinčíková (SNM – Museum of Betliar, Betliar)
Count George Andrássy. Between the City and Village

final discussion

Participants are kindly asked to register by e-mailing katarina.benova@sng.sk

Deadline for registration: September 30, 2015

Public conference with talks and artistic performances.

Performance Art East, Northeast, West will explore the development of performance art in Eastern Europe, North America, and the Northeast of Scotland, highlighting connections between artists that occurred along the way. The conference will feature a roster of researchers who specialise in the performance art, as well as performances by artists from Eastern Europe.

It is free and open to the public, but registration is essential. Book your place here
More information on the conference is available on the conference website: https://performancenortheastwest.wordpress.com

Speakers and performers include Jana Pisarikova (Czech Republic), Luchezar Boyadjiev (Bulgaria), Catherine Spencer (St. Andrews), Bozidar Jurjevic (Croatia) and Branko Miliskovic (Serbia).

Time and Location: Friday 30 October, 9.00am - 3.00pm, Linklater Rooms, King’s College, University of Aberdeen
Saturday 31 October, 9.00am - 2.30pm, 7th floor of Sir Duncan Rice Library, King’s College, University of Aberdeen

Contact: Dr. Amy Bryzgel
https://www.abdn.ac.uk/events/8018/

Basel, 02. - 03.10.2015

Das Schweizer Nachwuchsforum Bildforschung östliches Europa ist eine schweizweite akademische Plattform für die Begegnung, den Austausch und die Vernetzung von Schweizer Nachwuchsforscher/innen, die sich in ihren aktuellen Forschungsprojekten mit Aspekten der Kunst- und Bildgeschichte sowie mit visuellen Medien und Kulturen im östlichen Europa beschäftigen.

In letzter Zeit erreichte der „visual turn“, die ikonische Wende, verstärkt auch die Area Studies wie die Ost- und Südosteuropaforschung. Das zunehmende fachübergreifende Interesse für die visuelle Geschichte und Kultur des östlichen Europas und der angrenzenden Regionen des Nahen Ostens, des Kaukasus und Zentralasiens spiegelt sich in der wachsenden Zahl an Forschungsarbeiten mit einem Schwerpunkt auf der Analyse von visuellen Medien des östlichen Europas, die derzeit vor allem von einer jungen Generation Schweizer Wissenschaftler/innen durchgeführt werden. Diese in den verschiedenen geisteswissenschaftlichen Disziplinen zu beobachtende Hinwendung zu den vielfältigen Phänomenen von Visualität im östlichen Europa bietet eine grosse Chance für die Formierung einer schweizweiten interdisziplinären Bildforschung zum östlichen Europa und den angrenzenden Regionen. Das Spektrum der sich gegenwärtig stellenden wissenschaftlichen Fragen und untersuchten visuellen Medien ist äusserst vielfältig: Sie erstrecken sich von der Geschichte der Fotografie im russischen Zarenreich über die Kunstgeschichte der 1970er und 80er Jahre im ehemaligen Ostblock bis hin zur visuellen Kriegsberichterstattung der Jugoslawienkriege – um nur einige Facetten zu nennen, welche eine kritische Auseinandersetzung mit dem östlichen Europa aus einer dezidiert bildwissenschaftlichen Perspektive dringlich machen. Umso mehr lohnt es sich, durch die Schaffung eines Forums die derzeit vorhandenen Potenziale der Nachwuchsforschung zu bündeln und mit ihnen die Theorie und Geschichte der Bilder im östlichen Europa in den Mittelpunkt der akademischen, aber auch der öffentlichen Aufmerksamkeit zu rücken.

Das im Herbst 2015 veranstaltete Schweizer Nachwuchsforum Bildforschung östliches Europa bildet den Auftakt für eine Forumsreihe, die einmal jährlich am Kompetenzzentrum Kulturelle Topographien der Universität Basel ausgerichtet werden soll. Die Forumsreihe richtet sich an junge Wissenschaftler/innen aller geisteswissenschaftlichen Disziplinen aus der ganzen Schweiz, die an Fragen einer interdisziplinären Bildforschung des östlichen Europas interessiert sind und diese fachübergreifend diskutieren wollen. Begleitet wird das Forum durch einen öffentlichen Abendvortrag von ausgewiesenen Experten/innen auf dem Gebiet der Kunst- und Bildgeschichte des östlichen Europas. Am Abend des 2. Oktober 2015 hält Prof. Dr. Michaela Marek, Professorin für Kunst- und Bildgeschichte Osteuropas an der Humboldt-Universität zu Berlin, einen öffentlichen Gastvortrag. Das diesjährige Forum setzt sich zusammen aus eingeladenen Doktorand/innen und PostDocs der Kunst-, Geschichts- und Kulturwissenschaften, der Islamwissenschaften, der Volkskunde sowie der Germanistik.

Als Ausrichtungsort des Forums bietet sich die Universität Basel besonders an – sowohl durch die exponierte Rolle der Bildwissenschaften, die der Universität durch eikones NFS Bildkritik zukommen, als auch durch die wachsende Zahl an Forschungsarbeiten in Basel mit Schwerpunkt auf der Bildgeschichte des östlichen Europas.

Programm

Ort: Slavisches Seminar Basel, Nadelberg 8, Seminarraum 13 /Alte Universität Rheinsprung 9, Hörsaal U101

Freitag, 2. Oktober 2015

9:30–9:45
Barbara Schellewald
Begrüssung durch die Dekanin der Philosophisch-Historischen Fakultät

9:45–10:00
Martina Baleva & Frithjof Benjamin Schenk: Einführung

Moderation: Markus Klammer
10:00–10:45

Sandra Bradvi?: Die Gruppe Zvono [Die Glocke]: Mechanismen medialer Selbstinszenierung

10:45–11:30
Uta Karrer: Aus politisch wurde naiv: Bildtransfers zwischen politischen Systemen (Polen und BRD)

11:30–11:45
Kaffeepause

Moderation: Frithjof Benjamin Schenk
11:45–12:30
Kathrin Chlench-Priber: Materiale und visuelle Aspekte in der Überlieferung der Gebete Johanns von Neumarkt

12:30–14:00
gemeinsames Mittagessen

Moderation: Nataša Miškovi?
14:00–14:45
Laura Elias: Bilder des Fremden. Visuelle Repräsentationen von Mulitethnizität im späten Zarenreich

14:45–15:30
Olga Osadtschy: Going Down Memory Lane – Fotografie und die Konstruktion jüdischer Identität um 1900

15:30–16:00
Kaffeepause

Moderation: Eva Ehninger
16:00–16:45
Lenka Fehrenbach: Menschen und Maschinen. Personenaufnahmen in der russischen Industriefotografie vor 1917

16:45–17:30
Natalia Ganahl: Linearperspektive in der Sowjetzeit, zur Archäologie des Dispositivs

18:15–19:45
Öffentlicher Abendvortrag
Ort: Alte Universität, Rheinsprung 9, Hörsaal U101
Begrüssung & Einführung: Martina Baleva

Vortrag
Michaela Marek
Gestalten der Vergangenheit. Was Kunstgeschichte über Kunst wissen will (und was nicht)

ab 20:00
gemeinsames Abendessen

Samstag, 3. Oktober 2015

09:30–09:45
Begrüssung: Martina Baleva & Frithjof Benjamin Schenk

Moderation: Kata Krasznahorkai
09:45–10:30
Milanka Mati?: Die Frau – Aushängeschild der Illustrierten. Das gestalterische Konzept von Žena i Svet (Belgrad) und Resimli Ay (Istanbul)

10:30–11:15
Nadine Freiermuth-Samardzi?: Ästhetische Kennung einer belagerten Stadt: Fotografien aus Sarajevo

11:15–11:30
Kaffeepause

Moderation: Martina Baleva
11:30–12:15
Henning Lautenschläger: „Wieglein und Stühlchen“ des Zaren. Die Farbaufnahmen Sergej Prokudin-Gorskijs in Publikationen zum 300-jährigen Thronjubiläum der Romanov-Dynastie 1913

12:15–13:00
Joël László: Die Gesichter des Wahlvolks. Wahlen und ihre fotografische Inszenierung in der frühen Republik Türkei

Conference of the Institute of Slavic Studies at University of Zurich

Mapping Early Soviet Union by “Participant Observation” in Literature, Film, and Photography (1920-1930s)

Programme
Friday, 9th Oct. 2015
Main building, Ramistr. 71, room KOL-H-317
9.00 Sylvia Sasse, Tatjana Hofmann: introduction

Mapping by Photography

9.30 Anja Burghardt (Munich): The presentation of non-Russian ethnicities in the journals Sovetskoe foto and SSSR na stroike
10.15 Martin Hinze (Freiburg): Soviet Union’s topography – horizontal or vertical? Novyi Lef and the discussion on photography in 1928
11.30 Devin Fore (Princeton): Observation and agnosia: Tret’iakov’s photography
12.15 > Lunch <

Production and Cartography
14.00 Igor Chubarov (Moscow): Эстетика производства как прием картографии новой Советской страны – воспитание коллективной чувственности

Mapping by Film
14.45 Barbara Wurm (Berlin): On tracks and facts. Aleksandr Litvinov’s Lesnye ljudi (1928) and Po debrjam Ussurijskogo kraja (1928)
15.30 > Coffee break <
16.00 Franziska Thun (Berlin): Tret’iakov’s texts on Georgia and the movie Sol’ Svanetii
16.45 Discussion

Saturday, 10th Oct. 2015
Institute of Slavic Studies, Plattenstr. 43, room 111

Appropriating the Other: Focus China
9.00 Lars Kleberg (Stockholm): The double view in Tret’iakov’s Deṅ Sǐ -chua (aka A Chinese Testament )
9.45 Mark Gamsa (Tel Aviv), Tatjana Hofmann (Zurich): Sergei Tret’iakov’s Čžungo: Reportage from China in the 1920s.

Observation and Theatre
10.45 > Coffee break <
11.15 Pavel Arseniev (Lausanne/Petersburg): Китайское путешествие С. Третьякова: поэтический захват действительности по пути к “литературе факта”
13.30 Denis Ioffe (Gent): Mapping Sergei Tretyakov’s play Roar China! as a documentary simulacrum. The decorations of truth and the radical theatricality between Tretyakov and Meyerhold
14.15 Edward Tyerman (Barnard College): “I sing on behalf of the Chinese”: Sergei Tret’iakov’s poem Roar China between documentary and myth
15.00 > Coffee break <

In Search of the Soviet Gaze
15.30 Evgeny Pavlov (Canterbury): Mapping the Caucasus (with Goethe and Kant): Andrei Bely’s attempts at Soviet travel writing
16.15 Susanne Stratling (Berlin/Konstanz): The author as researcher. Boris Pil’niak’s writing expeditions
17.00 Concluding discussion

Deadline: Sep 30, 2015

Global Art Challenges: Towards an “Ecology of Knowledges”

The International Conference Global Art Challenges: Towards an “Ecology of Knowledges” aims to reformulate established approaches to the study of global art in the face of ongoing challenges in that field. Building on sociologist Boaventura de Sousa Santo’s concept of an “ecology of knowledges” (2007), the conference seeks to go beyond “abyssal thinking in modern Western-based conceptions” of art and to trace lines of inquiry into new epistemological approaches to global art studies. As theorized by de Sousa Santos, ecological thinking, understood as a counter-epistemology, recognizes the plurality of heterogeneous knowledge(s) and highlights the dynamic interconnections that exist between them. Hence, faced with a longstanding monocultural conception of knowledge and art an “ecology of knowledges” conceives of knowledge-as-intervention-in-reality rather than a hierarchical preference of Western knowledge(s) over other forms of knowing.

This approach proposes an emancipatory attempt to supersede predominant epistemological frameworks that continue to reproduce the power structures that have dominated Western thinking since the Renaissance. Despite the spatial turn of global studies, longstanding monocultural (Western) conceptions of knowledge and art continue to impact and shape the study of global art, as well as its theorization and the validation of artistic practices around the world. An “ecology of knowledges”, as suggested by de Sousa Santos, is a useful concept to counteract this perspective. It recognises the plurality of artistic knowledge(s) and its socio-political agency in modern and contemporary global art. This concept grapples with the current debates surrounding the need to reassess global art study’s methodological tools, calling for the importance of a transcultural and horizontal art history that puts the accent on transnational transfers, cultural encounters, circulatory and transformation processes.

This conference seeks to discuss, from a methodological, epistemological and practical perspective, the possibilities of developing an “ecology of knowledges” in art history, regarding also artistic and institutional practices. It looks for ways to overcome Western hierarchies and enter into a proactive dialogue between practices, methods and discourses. Such perspectives, we hope, will contribute to questioning taxonomies, values, temporalities, and dichotomies that have not just been a part of the art historic discipline since its foundation, but that have been imposed as universal and taken-for-granted. Finally, the conference seeks to become a platform for debating the possibilities of breaking that (Western-dominated) view within art history, seeking a starting point for a change of paradigm in the understanding of global art.

FOR COMPLETE CONFERENCE DESCRIPTION AND ABSTRACT SUBMISSION PROCEDURE, SEE FULL POST

Kassák Museum, Fö tér 1, 1033 Budapest, Hungary, September 17 - 19, 2015
Registration deadline: Sep 11, 2015

Local Contexts / International Networks – Avant-Garde Magazines in Central Europe (1910–1935)

The subject of the conference is the ‘Central European avant-garde magazine’, arguably the most important medium of communication for progressive literature and visual arts in the region during and after WWI. Given the multifaceted nature of the phenomenon, the analysis will take an interdisciplinary perspective and employ several different approaches. The avant-garde magazine will be examined as a discursive space of avant-garde communication, as a ‘Gesamtkunstwerk’, and as a historical document. As the recent conjuncture in scholarship positions the art of the region in the international context, our aim is to draw more attention to the interrelationships between the local contexts and international networks of Central European avant-gardes.

How did the different cultural and historical characteristics affect the ‘local’ avant-gardes of Central Europe? How are the avant-garde magazines of Central Europe related to each other? Accordingly, how could ‘Central European avant-gardes’ be described from the perspectives of Kraków, Warsaw, Prague, Bratislava or Budapest? Through detailed case studies, the conference will emphasize the complex and problematic nature of Central European avant-garde magazines regarding the questions of national/local and international/cosmopolitan. The conference includes monographic, thematic and problem-oriented lectures on current research on local avant-garde magazines published during WWI and in the interwar period.

PROGRAM

THURSDAY, 17 SEPTEMBER 2015

10.00–11.00: Plenary I

Edit Sasvári (Kassák Museum): The Kassák Museum in Central and East European perspective

Eszter Balázs (Kodolányi János University of Applied Arts): ‘Artist and Public Intellectual, Artist or Public Intellectual’ – Polemics of the Hungarian Avant-Garde on New Art, 1915–1918

11.00–11.30: Coffee

11.30-13.30: Session I

Oliver Botar (University of Manitoba, Winnipeg): Moholy-Nagy: Art as Information / Information as Art

Jindrich Toman (University of Michigan, Ann Arbor): Moholy Nagy’s idea of a Synthetic Journal

Sonia de Puineuf (Université de Bretagne Occidentale, Brest): “Syntetische Zeitschrift” – Study cases Nová Bratislava and Nový Svet

13.30–15.00: Lunch

15.00–17.00: Session II

Lucie ?esálková (Masaryk University, Brno): Artuš ?erník between national and media contexts

Vendula Hnídková (Academy of Sciences of the Czech Republic, Prague): Styles of Styl – Platform for Czech modern architecture

Przemysław Strożek (Polish Academy of Sciences, Warsaw): Chaplin goes viral – Avant-garde publications and the images of popular culture

FRIDAY, 18 SEPTEMBER 2015

10.00–11.00: Plenary II

Gábor Dobó – Klára Rudas – Merse Pál Szeredi (Kassák Museum): Curators’ introduction to the exhibition ‘Signal to the World – War - Avant-Garde - Kassák’

Merse Pál Szeredi (Kassák Museum): The politics of artistic utopia – Lajos Kassák and MA in Vienna (1920–1925)

Gábor Dobó (Kassák Museum): “Extraterrestrials in Budapest” – Self-description of Kassák’s avant-garde magazine Dokumentum (1926–1927)

11.00–11.30: Coffee

11.30-13.30: Session III

Kinga Siewior (Jagiellonian University, Kraków): From aesthetics to anthropology – The concept of East in Zenit magazine

Jakub Kornhauser (Jagiellonian University, Kraków): From repulsion to attraction – A long story of surrealism in Romanian avant-garde magazines

Dušan Barok (Monoskop, Bratislava): Body of Thought – Artists’ texts and their contribution to theory

13.30–15.00: Lunch

15.00–16.30: Session IV

Klára Prešnajderová (Slovak Design Museum, Bratislava): Two magazines with two different concepts – Slovenská Grafia and Nová Bratislava

Michał Burdziński (University of Warsaw, Warsaw): How much did our graphic arts fly aloft? On defining the spirit of avant-garde pretensions in an impecunious world

Hanna Marciniak (Charles University, Prague): The D Programme and the Czech avant-garde in the 1940s

16.30–17.00: Coffee

17.00–18.30: Session V

Markéta Theinhardt (Université Paris-Sorbonne, Paris): L’Art et les Artistes: Revue mensuelle d’art ancien et moderne (1905–1939) – Central European art between modernism and conservatism

Vojtěch Lahoda (Academy of Sciences of the Czech Republic, Prague): Global Art History “avant la lettre” – The Case of Um?lecký m?sí?ník (1911–1914)

Lenka Bydžovská (Academy of Sciences of the Czech Republic, Prague): On the extreme left? The Dev?tsil monthly ReD in international networks (1927–1931)

SATURDAY, 19 SEPTEMBER 2015

10.00–12.00: Session VI

Piotr Rypson (National Museum in Warsaw): Tadeusz Peiper’s strategy for Zwrotnica magazine

Michalina Kmiecik (Jagiellonian University, Kraków): The aftermath of Zwrotnica? Kraków avant-garde and its magazines in the 1930s

Michał Wenderski (Adam Mickiewicz University, Poznan): Between Poland and the Low Countries – Mutual relations and cultural exchange between constructivist magazines and avant-garde formations

12.00–13.00: Lunch

13.00–14.30: Roundtable on the research of Central-European avant-garde magazines

The conference is free of charge, however, for organisational reasons we ask to register in advance – before 11 September 2015 – via e-mail to kassakmuzeum@pim.hu.

The conference is supported by the International Visegrad Fund and the Centre français de recherche en sciences sociales (CEFRES).

The conference is accompanied by the temporary exhibition entitled ‘Signal to the World – War - Avant-Garde - Kassák’ dedicated to the first avant-garde magazine of Lajos Kassák, A Tett [The Action] published between 1915 and 1916. The exhibition marks the centenary of Kassák’s ‘debut’. The Kassák Museum is the only thematic showroom of the historical avant-garde in Hungary. Its objectives in this regard are to reach a broader audience and to establish the museum as a regional focus point for research into the avant-garde and modernism.

Kunstsammlung Nordrhein-Westfalen, Düsseldorf, January 21 - 22, 2016
Deadline: Sep 27, 2015

Museum global? Multiple Perspectives on Art, 1904–1950

Currently, profound societal upheavals require a repositioning of the concept of “Modern Art.” As a museum, the Kunstsammlung Nordrhein-Westfalen is responding to the effects of globalization and digitalization by devoting itself to the pressing theme of “globalism” and the challenges associated with it.

With the project “museum global?” (2015–2017), the Kunstsammlung Nordrhein-Westfalen interrogates the grand narratives of Western modernism and its underlying canon. Through a research project conferences followed by exhibitions, and with a point of departure in our own collection, strongly grounded in the epoch of classical modernism, and hence in the art of Europe and North America, “museum global?” focuses on the period between 1904 and 1950. The oldest works in the Kunstsammlung Nordrhein-Westfalen date from the early 20th century. A historical prelude is supplied by Henri Matisse’s small format painting Le goûter (Le golfe de Saint-Tropez) (1904). The collection’s core is formed by an ensemble of works by Paul Klee, an artist who was defamed as “degenerate” by the National Socialists and dismissed in 1933 from his teaching position at the Düsseldorf Art Academy. In 1961, the acquisition of the Klee collection by the federal state of North Rhine-Westphalia, a move intended as a kind of political atonement, led to the museum’s foundation as a public institution.

The aim of the research project “museum global?” is from a contemporary perspective a critical interrogation of our own collection and the re-illumination of its history with reference to the period from 1904 to 1950. In search of diverse voices and for other narratives of modernity exemplary artworks from non-European regions become evident and will be analyzed, along with their contexts of production, with the intention of contributing to a revision of earlier perspectives. Special attention is devoted to the continuous transformation and development of the use of language and of terms such as “international,” “global,” “universal,” “cosmopolitan,” and “worldwide,” and of “classical modernism,” “rural modernism,” “local modernism,” or “Tropical modernism” and their changing meanings. The project will culminate in autumn of 2017 in a concluding exhibition that will simultaneously present the collection from a newly-won perspective while showcasing exemplary positions and phenomena from the focus period of 1904–1950.

A preparatory, academic conference will be held on January 21–22, 2016 at the Kunstsammlung (in German and English with simultaneous translation). This event is designed to bring together scholars who concentrate on regional phenomena and artistic and intellectual tendencies that are situated beyond, parallel, or in opposition to the so-called “modern” art scene in central Europe and North America. The introductory panel will be devoted to a revision of the modernist canon and its historiography. The main emphasis of the conference will be selected case studies that exemplify international exchanges via artists and artworks during the above-named time period.

We are hereby issuing an invitation to potential participants to give 30 minute talks based on research related to the following aspects:

• Questioning the narrative of modernist art history, in particular of Paris as a center of artistic activity during the first half of the 20th century;
• attempts to open up perspectives onto contemporanean artistic phenomena worldwide;
• examinations of hitherto little-discussed artistic practices and local art historiography worldwide;
• considerations of local artists and artist’s groups situated beyond the art scenes of Europe and North America;
• transcontinental artistic networks and collaborations;
• influential intellectual tendencies, ideas, discoveries, concepts, and fashions that interconnect different regions;
• art world protagonists and intermediators that have shaped dialogue and networks worldwide, thereby mediating between cultures and regions;
• current theoretical positions that, aware of the results of postcolonial studies, reflect critically on concepts such as “exoticism,” “primitivism,” or “Orientalism”;
• considerations of the relevant political, societal, and historical conditions, including specific historical examples, i.e. concerning mobility and travel of artists during the period as well as of trade routes and the circumstances of exile;
• interdisciplinary examinations of intersections between the visual and applied arts, literature/poetry, music, theater, dance, photography, and film.

Please submit abstracts of your contribution (300–500 words, in German or English) and a brief biography by September 27, 2015 to museumglobal@kunstsammlung.de. Travel costs for lecturers will be covered by the Kunstsammlung Nordrhein-Westfalen. Honoraria will be offered as well.

Given the large number of thematic foci for the period, for which research efforts have barely begun in the global context, this conference attempts explicitly to stimulate exchanges between scholars. For this purpose, and on our initiative, the research interest “global modern art museum” has been set up at http://www.academia.edu, and will hopefully serve as a common platform.

Please signal your interest in conference participation at http://goo.gl/forms/k2OmojfIpg. Starting in October of 2015, you will receive information concerning the conference program.

This research project of the Kunstsammlung Nordrhein-Westfalen – in whose framework the conference is being organized – is sponsored by the Kulturstiftung des Bundes/German Federal Cultural Foundation.

Zentralinstitut für Kunstgeschichte, München, 23.09.2015

Workshop “Geregelte Verhältnisse? Architektur und Planung zwischen Sputnik und Ölkrise”

Zentralinstitut für Kunstgeschichte, München in Kooperation mit dem Institut für Kunstgeschichte der LMU München

Nachdem die 1960er Jahre zwischen Planungseuphorie und Technikbegeisterung auf der einen und Zukunftsnöten und Restauration auf der anderen Seite in den Geschichtswissenschaften in den letzten Jahren vermehrt in den Fokus der Betrachtung geraten sind, möchte der Workshop versuchen, auch für die Architekturgeschichte und benachbarte Disziplinen kritisch Bilanz zu ziehen und nach neuen Forschungsfeldern zu fragen. Der Workshop nimmt dabei aus einer fächerübergreifenden, zeithistorisch-fundierten Perspektive den Zeitraum 1945-75 – zwischen Sputnik und Ölkrise – in beiden konkurrierenden Systemblöcken des Kalten Krieges in den Blick und wird die Wechselwirkungen von Wissenschaft und Kunst diskutieren.

Das Versprechen auf Plan- und Berechenbarkeit von Zukunft avancierte in der Phase der Spätmoderne zu einer identitäts- und legitimationsstiftenden Kraft in nahezu allen gesellschaftlichen und kulturellen Bereichen. Insbesondere die Kybernetik als Wissenschaft von der Steuerung und Regulierung von komplexen Systemen repräsentierte und vermittelte zugleich diese optimistischen Verheißungen. Die Kybernetik verband neue wissenschaftlich-technische Methoden mit gesamtgesellschaftlichen Fragestellungen und beeinflusste direkt Theorie und Praxis von Architektur und Planung. Anknüpfend an Georg Vrachliotis‘ These der „geregelten Verhältnisse“ in der Architektur der Spätmoderne will der Workshop unter anderem diskutieren, welche Wechselwirkungen zwischen Natur-, Technik- und Geisteswissenschaften im Zeitalter von Technikbegeisterung und Planungseuphorie herrschten und wie sich diese konkret auf das Bauen, Planen und Gestalten in dieser Epoche ausgewirkt haben. Auf welche ideologischen Grundprämissen konnte sich das uneingeschränkte Fortschrittsdenken des Zeitalters zwischen Sputnik und Ölkrise stützen? Welche Akteure waren für die Propagierung und Verankerung von Wissenschaftlichkeit und Fortschritt in Politik, Gesellschaft und den Künsten zentral? Hatten die Versprechungen eines neuen Wissensregimes Folgen auf die Vorstellungen vom Beruf des Architekten und Gestalters? Welches Verhältnis herrschte zwischen staatlichen Ordnungsvorstellungen und architektonisch-städtischen Strukturbildungen? An welchen Zukunftsorten der utopischen Moderne kann man die ‚geregelten Verhältnisse‘ oder die ordnende Kraft der Verwissenschaftlichungstendenzen erkennen? Und schließlich: Was bleibt heute noch übrig von der Architektur und Planung der 1950er bis 1970er Jahre?

Diesen und anderen Fragen will der vom ZI München in Kooperation mit dem Institut für Kunstgeschichte der LMU München organisierte Workshop „Geregelte Verhältnisse? Architektur und Planung zwischen Sputnik und Ölkrise“ nachgehen. Expertinnen und Experten aus den Bereichen Kunst- und Architekturgeschichte, Amerikanistik, Zeitgeschichte und Designwissenschaft werden in Kurzvorträgen Stellung beziehen und ihre Thesen zur Diskussion stellen.

PROGRAMM

13.15 Uhr: Begrüßung

13.20 Uhr: Einführung
Oliver Sukrow (Zentralinstitut für Kunstgeschichte München/ Universität Heidelberg): Architektur und Planung zwischen Sputnik und Ölkrise

13.30 Uhr
Sektion 1: Fortschrittserwartung und Steuerungseuphorie

Klaus Benesch (LMU München): „Does Technology Drive History?“ - McLuhan, Leo Marx und die materialistische Medientheorie der Spätmoderne

Elke Seefried (Institut für Zeitgeschichte München/ Universität Augsburg): Im Zeichen der Steuerungseuphorie? Zeithistorische Überlegungen zur Zukunftsforschung der 1950er bis 1970er Jahre

Kommentar: Helmuth Trischler (Deutsches Museum München)

15.00 Uhr
Sektion 2: Staat, Architektur, Kybernetik

Philipp Meuser (Architekt DBA und Publizist, Berlin): Architekturtheorie als Regierungsangelegenheit. Grundlagen des sowjetischen Wohnungsbaus zwischen Sputnik und Ölkrise

Merle Ziegler (Humboldt Universität, Berlin): Kybernetisch regieren. Der Neubau des Bonner Bundeskanzleramtes

Kommentar: Wolf Tegethoff (Zentralinstitut für Kunstgeschichte, München)

16.15 Uhr: Pause

16.45 Uhr
Sektion 3: Die Utopie des Designs

Rudolf Fischer (Zentralinstitut für Kunstgeschichte, München): Behaglichkeit im Kalten Krieg. Wechselwirkungen im Wohndesign der frühen Bundesrepublik

Claudia Mareis (Hochschule für Gestaltung und Kunst FHNW, Basel): Von der Gestalt zur Methode: Zur Krise des Entwerfens in der Nachkriegszeit

Kommentar: Josef Straßer (Die Neue Sammlung München – The International Design Museum Munich)

18.15 Uhr: Abendvortrag
Georg Vrachliotis (Karlsruher Institut für Technologie): Architektur und technologische Unruhe

Die Teilnahme ist kostenfrei. Anmeldung und weitere Informationen unter: o.sukrow@zikg.eu

http://www.basees2016.org/

The British Association of Slavonic and East European Studies (BASEES) invites proposals for panels, roundtables and papers for its 2016 Annual Conference. The conference will be held 2-4 April and will be based at Fitzwilliam College, Cambridge, United Kingdom. The 2015 conference attracted more than 450 people.

Proposals are invited for panels, roundtables and papers for the 2016 Annual Conference.

Panels, roundtables and papers are welcome in the following areas: Politics; History; Sociology and Geography; Film and Media, Languages and Linguistics; Literatures and Cultures; Economics. The conference especially welcomes participation by postgraduate research students and young scholars.

To propose a panel or a paper you will need to fill in a proposal form. There are separate forms for panels/roundtables and individual papers. You should download the appropriate form and fill it in electronically, and send it by email to the appropriate subject stream email AND to the conference email address.

The deadline for panel/roundtable proposals is 2 October 2015, and 18 September 2015 for individual paper proposals.

Postgraduate members of BASEES who present papers are eligible to apply for financial support towards their conference costs. They should download the application form and fill it in, and send to the appropriate subject stream email by 2 October 2015.

The congress also welcomes proposals for postgraduate posters. The poster will be displayed throughout the conference. Please fill in the proposal form and email it as an attachment to the conference email address info@basees2016.org AND the conference organiser, Dr Matthias Neumann by 1 December 2015.

General enquiries about the conference are welcome at info@basees2016.org

Politics, State Power and the Making of Art History in Europe after 1945
(Madrid, 18-20 June 2015)

Organised by: Universidad Autónoma de Madrid and Museo Reina Sofía
With the collaboration of: Goethe Institute, Instituto Polaco de Cultura and Instituto Camões
Convenors: Patricia Mayayo, Noemi de Haro and Jesús Carrillo

Venues:

• Centro de Estudios and Auditorio 200 (Edificio Nouvel) - Museo Nacional Centro de Arte Reina Sofía. Ronda de Atocha, 28012 Madrid
• Salón de Actos - Centro Cultural La Corrala. Calle de Carlos Arniches, 3, 28005 Madrid

The international conference “Politics, State Power and the Making of Art History in Europe after 1945” looks into the ways political power seeks to shape and influence the activities of art historians, art critics and museum professionals in order to control the understanding of art and artistic heritage. While this has often been associated with authoritarian and totalitarian rule, efforts to influence art history have not been limited to such regimes; direct and indirect political interference has shaped the field of art history from its early moments until the present day.

With a special focus on European countries, this conference takes into account the relationship between art history and politics in well known cases, such as Nazi Germany and Communist Europe after 1945, as well as in less documented regions in Southern, Northern and Eastern Europe. Going beyond positivistic accounts of the history of art history, this conference aims at facilitating critical approaches and transnational comparisons in order to identify differences and parallelisms in the way politics affect and control the making of art history. It will also take into account its relationship with the emergence of counter-hegemonic networks, narratives and practices.

The event is free and open to all. Sessions at the Centro de Estudios will require previous identification at the front desk of the Museum Library.

FOR THE COMPLETE CONFERENCE PROGRAM, SEE FULL POST