http://www.hunghist.org/index.php/call-for-articles/313-call-for-journal

Call for Publications The Hungarian Historical Review invites submissions for its fourth issue in 2016, the theme of which will be “1956, Resistance and Cultural Opposition in East Central Europe.” The deadline for the submission of abstracts: January 15, 2016.

Since 1989, former socialist countries have been in the process of constructing and negotiating their relationships with their recent past, which includes their stories of resistance, revolts and cultural opposition. Opposition is typically understood in a narrow sense as referring to open political resistance to communist governments. We propose a more nuanced historical conception of resistance, opposition and revolts, expanding the concept towards broader frameworks of political participation in order to facilitate a better understanding of how dissent and criticism were possible in the former socialist regimes of Eastern Europe.

Since the authorities tried to control public spheres and there were no opportunities for democratic public debates, several critical movements (democratic, Church related or nationalist opposition) decided to establish underground public spheres and declared open opposition to the socialist state. However, several cultural groups with no open political program (e. g. avant-garde art, alternative religious communities, youth culture) were also regarded as forms of opposition and branded as such by the authorities, and, as a result, they were also forced underground.

Possible topics include:

• Individuals, institutions, groups and networks of cultural opposition;
• New perspectives of revolts (1956, 1968, 1981) against the Communist regimes;
• Members of the “hard-core” democratic opposition, who were banned during the socialist period (including the world of samizdat publications, art movements, and non-official lectures);
• Activities and networks of elite and intellectual groups of the opposition;
• Radical and experimental theatre;
• Underground and non-conformist youth and popular culture;
• Religious groups and institutions and their roles in the opposition;
• Cultural and scientific institutions, which implemented the research agenda of the opposition (e.g. research on poverty in the communist regimes).

We invite the submission of abstracts on the questions and topics raised above.

We provide proofreading for contributors who are not native speakers of English.

Please send an abstract of no more than 500 words and a short biographical sketch with a selected list of the author’s five most important publications (we do not accept full CVs). Proposals should be submitted by email to hunghist@btk.mta.hu

The editors will ask the authors of selected papers (max. 10 000 words) to submit their final articles no later than June 16, 2016. The articles will be published after a peer-review process.

All articles must conform to our submission guidelines: http://hunghist.org/index.php/for-authors.

The Hungarian Historical Review is a peer-reviewed international journal of the social sciences and humanities the geographical focus of which is Hungary and East-Central Europe.

For additional information, including submission guidelines, please visit the journal’s website

The Hungarian Historical Review is published quarterly by the Hungarian Academy of Sciences, Research Centre for the Humanities, Institute of History, 30 Országház utca, Budapest H – 1014, Hungary

Deadline: December 15th, 2015

The project “Museums and Controversial Collections. Politics and Policies of Heritage-Making in Post-colonial and Post-socialist Contexts” (HeMaMuse) is looking for two doctoral students as project associates.

The two year project (October 2015- September 2017) is financed by the Romanian Research Agency (UEFISCDI) and administered by the New Europe College-NEC in Bucharest. “Museums and Controversial Collections” is a young researchers’ project developed to bring together a pluridisciplinary team (political and legal anthropology, philosophy, aesthetics, (art) history and museum studies) and to promote the development of international research networks. The project will fund fieldwork and research trips for associated doctoral students, but also travel costs for conferences and other events related to their research and to those organised by the project HeMaMuse. Associate members will be asked to collaborate in the organisation of project events, including summer schools and to help coordinate and edit publications.

Conceived in relation to a wider field of scholarship that has in the last decades interrogated the role of museums in a postcolonial and postsocialist context, the project’s main premise is to consider museums as loci of memory and heritage, but also as fundamentally political places, where the relationships between the past, the present, and the future of a society are forged. It aims to consider a series of topical questions to current museum practice: What is the relationship between the postcolonial-era museum and the “source” communities of the objects exposed? How do/ can post-colonial museums deal with the legacy of the colonial past? What interactions exist between the colonial archives and current artistic practices? Moreover, the research will adopt and develop the abundant post-colonial analysis of museums to the research context of problematic museum collections in Eastern Europe. How can post-colonial studies help understand museums in the post cold-war era? Can similar practices be observed in these museums as they deal with very different, difficult pasts? The aim of the group is to open the possibility of a comparison between the case studies undertaken by each of the six members of the team, including the two associated doctoral students. Studies already concern the Museum of the Romanian Peasant in Bucharest, the Museum of Ethnography in Stockholm, the Staatliche Museen in Berlin, the British Museum in London, the Quai Branly Museum in Paris, the Royal Museum for Central Africa in Tervuren, the Institute of the National Museums of Congo in Kinshasa, the Iziko Museums of South Africa, and several national and international networks and associations of museum professionals.

Doctoral students are invited to submit a research proposal either directly related to their doctoral work or dealing with a subject related to the project’s themes.

Applications (in English ou en français) or informal enquiries concerning the positions can be sent to damiana.otoiu@fspub.unibuc.ro and felicity.bodenstein@khi.fi.it before December 15th, 2015. They should include a C.V., a research proposal (3 pages), a 2 page summary of the PhD research project if the topic is different from the research proposal and a cover letter explaining his/her interest in the project and describing the research or fieldwork for which the applicant would like to obtain funding.

Project members: Damiana Otoiu, Phd, project leader, lecturer in Political Anthropology, University of Bucharest
Anna Seiderer, Phd, lecturer at the University of Paris 8, Saint-Denis Vincennes
Simina Badica, Phd, curator at the Museum of the Romanian Peasant in Bucharest
Felicity Bodenstein, Phd, Postdoctoral fellow at the Kunsthistorisches Institut, Florenz

Budapest, ELTE BTK (Eötvös Loránd University – Faculty of Humanities) Faculty Council Hall, Ground Floor of Building “A”, Múzeum krt. 4/A
November 27 - 28, 2015
Visualizing the Nation. Post-Socialist ImagiNations

While nationalism was expected to vanish in the post-Cold War era, it has instead returned with a vengeance, empowered by a renewed vitality. The spectre of nationalism is haunting Europe, and not only in the former-Eastern bloc, but also in the more affluent countries, which have been impacted by the economic crisis and mass-migration. This conference, however, mainly focuses on the Eastern and Central European region after the fall of communism with consideration of and occasional comparison with cases from outside of the region.

It centres on the visual dimensions of nationalism, as nationalism is considered one of the most visual political currents. Yet conferences on nationalism, though abundant, hardly ever address this link. This one broadens the scope of interpretation, moving beyond an exploration of the political, sociological and philosophical aspects of the “imagined communities” of the present and focusing instead on the often overlooked but fundamental processes through which the nation is visualized.

Art and culture have always played a prominent role in the nation-building process, as nationalism inherently speaks the language of images and presents itself via a plethora of vivid pictures, symbols, myths, and performative rituals. Dreams, fantasy and imagination, projected on the past and future, contribute to this. Its building blocks are moments of history commemorated by monuments (and counter-monuments) and propagated by an institutional framework.

The four sections of the two-day conference are post-socialist nationalisms; nationalizing public space; on the margins of the nation; and historicizing the nation.

FOR THE COMPLETE CONFERENCE PROGRAM, SEE FULL POST

Time: 25 November 2015, 7.30pm
Venue: Translocal Institute, Dembinszky utca 10 II 33, Budapest 1071

Participants in the discussion:
Sándor Hornyik, PhD, art historian and curator, Hungarian Institute of Art History
Katalin Székely, independent art historian and curator, PhD fellow at ELTE Budapest

The Green Bloc: Neo-avant-garde Art and Ecology under Socialism by Maja Fowkes
(New York / Budapest: Central European University Press, 2015)

About the Green Bloc:

Expanding the horizon of established accounts of Central European art under socialism, this book uncovers the neglected history of artistic engagement with the natural environment in the Eastern Bloc. The turbulent legacy of 1968, which saw the confluence of political upheaval, spread of counterculture, rise of ecological consciousness, and emergence of global conceptual art, provides the setting for Maja Fowkes’s innovative reassessment of the environmental practice of the Central European neo-avant-garde. Focussing on artists and artist groups whose ecological dimension has rarely been considered, including the Pécs Workshop from Hungary, OHO in Slovenia, TOK in Croatia, Rudolf Sikora in Slovakia, and the Czech artist Petr Štembera, The Green Bloc: Neo-avant-garde Art and Ecology under Socialism brings to light an array of distinctive approaches to nature, from attempts to raise environmental awareness among socialist citizens to the exploration of non-anthropocentric positions and the quest for cosmological existence in the midst of red ideology. Embedding artistic production in social, political, and environmental histories of the region, this book reveals the Central European artists’ sophisticated relationship to nature, at the precise moment when ecological crisis was first apprehended on a planetary scale.

Dr. Maja Fowkes is Co-Director of the Translocal Institute for Contemporary Art Budapest. She has a PhD from University College London and is author of several books, including River Ecologies: Contemporary Art and Environmental Humanities on the Danube (2015) and Loophole to Happiness (2011).

Old and modern art - A new vision
Tbilisi, Georgia, November 20 - 21, 2015

FOR THE COMPLETE CONFERENCE PROGRAM, SEE FULL POST

Deadline: Dec 10, 2015

Albert Hotel, Riga, Latvia, January 29 - 30, 2016

Call for Papers for the Panel: Art as Cultural Diplomacy: (Re)Constructing Notions of Eastern and Western Europe (As part of the Fifth Euroacademia International Conference ‘Re-Inventing Eastern Europe’, to be held in Riga, Latvia on 29th - 30th of January 2016)

Art as Cultural Diplomacy: (Re)Constructing Notions of Eastern and Western Europe
Panel Proposed by: Cassandra Sciortino, University of California, Santa Barbara

Panel Description

The panel “Art as cultural diplomacy” seeks papers that explore the function of art (in its broadest definition) as an instrument of cultural diplomacy by the state and, especially, by nongovernmental actors. The main theme of the session is the question of art and diplomacy in Europe before and after the fall of the Berlin Wall. Papers are welcome which explore issues related to the role of art, diplomacy and the politicization of the European Union and its candidate countries, as are those which consider how the arts have pursued or resisted East-West dichotomies and other narratives of alterity in Europe and worldwide. The panel seeks to combine a wide range of interdisciplinary perspectives to explore how art—its various practices, history, and theory—are an important area of inquiry in the expanding field of cultural diplomacy.

Some examples of topics include:

• How can art serve as a neutral platform for exchange to promote dialogue and understanding between foreign states?
• How can art, including organized festivals (i.e. film, art, music.), cultivate transnational identities that undermine dichotomies of East and West, and other narratives of alterity in Europe and beyond it?
• The implications for art as an instrument of diplomacy in a postmodern age where geopolitics and power are increasingly mobilized by image based structures of persuasion
• How has/can art facilitate cohesion between European Union member states and candidate states that effectively responds to the EU’s efforts to create “unity in diversity.”
• The politics of mapping Europe: mental and cartographic
• Community based art as a social practice to engage issues of European identity
• The difference between art as cultural diplomacy and propaganda
• The digital revolution and the emergence of social media as platforms for art to communicate across social, cultural, and national boundaries?
• Diplomacy in the history of art in Europe and Eastern Europe
• Artists as diplomats
• Art history as diplomacy—exhibitions, post-colonial criticism, global art history, and other revisions to the conventional boundaries of Europe and its history of art
• The international activity of cultural institutes

Please apply on-line or submit abstracts of less than 300 words together with the details of affiliation until 10th of December 2015 to application@euroacademia.eu

For full details of the conference, please see before applying the conference website: http://euroacademia.eu/conference/fifth-reinventing-eastern-europe/

Faculty of Humanities and Social Sciences, Zagreb, Croatia
June 29 - July 2, 2016
Deadline: Jan 15, 2016

Art and Politics in Europe in the Modern Period

The position and status of art and artist changed considerably in Europe in the modern period, primarily with the formulation of the concept of artistic genius and the new division of labour that separated artists from artisans. Those dealing with art were looked upon as individuals possessing an extraordinary talent that transcended mere skill. Regardless of this new individuality, artistic genius cannot be equated with complete autonomy. Although no longer dependent upon brotherhoods and gilds, artistic practice was nevertheless tied to a wider social context. Political circumstances have always influenced artistic production to a greater or lesser extent. However, in the modern period, an increased significance was given to political bodies and legislative frameworks which introduced changes to social structures bringing thereby the need for artists to adapt to new situations. In addition to newly formed bourgeoisie, aristocracy and the church(es) which remained influential in the course of the 19th century, various political elites, and political bodies on both national and local levels, gradually assumed an important role as investors of architectural projects or patrons of artists and artworks in general.

By stimulating or influencing cultural transfers, political structures greatly influenced the shaping of cultural circles in European countries. Changes of political borders, social systems, wars and economic instability are still continuously mirrored in the production of art, both formally and conceptually. Social organization of artistic life has also been determined by different spheres of political, cultural or economic interests. Professional associations, organisation and artist collectives, whose activities can range from utopian programmes to practical implementation of artistic ideas, either affirm or oppose political parties and/or systems. The same is the case with individual artists whose work can speak more or less openly about their personal position in relation to wider socio-political circumstances. Although rarely, they still manage to oppose regimes and enforced visual models in more or less subtle ways. Their personal criticism can be interpreted at least as an effort to undermine the power of oppressive ideologies.

What of all these mere efforts or accomplishments stays recorded and conveyed to other generations is largely determined by museums. As institutions which either specialize in art or collect art as part of more diverse collections, museums often help determine, reinforce or disregard the value of individual art works, artists or certain aspects of art production. Collection and communication of art in these institutions, understood in the widest possible sense of the word, establish a dialogue between art production and the notion of quality, value, tradition and identity. By collecting art, which can be seen as an act of collective remembering, museums designate collected works as representatives of the material world that are worth keeping and protecting. By exhibiting, they transmit messages which are fraught with ideological meanings developed in specific political, economic and socio-cultural contexts. Through their basic functions, museums therefore indicate or clearly point out to specific relationships between art and ideology with what is present in their collections and shown in exhibitions as well as with what is absent.

The goal of the conference is to stress the social contexts of artistic production and to question and interpret social and historical circumstances that conditioned and influenced the creation, meaning and perception of works of art. The contributions to the scientific conference Art and Politics in Europe in the Modern Period should deal with different aspects of complex relationships between visual art and political, economic, cultural, gender and other politics in Europe in the period from the late 15th century to the present day. This can be addressed through one of the topics in the three following topic areas:

Art in the Service of Politics
• Politics of art patronage (by different social classes and political structures: aristocracy, bourgeoisie, state and local governments)
• Influence of political bodies on art, architecture and urban planning
• Role of art, architecture and urban planning in representing regimes – totalitarian, democratic and other
• Shaping national styles and visual identities
• Role of art and art exhibitions in cultural policies and national representation
• Promoting dominant ideologies through different media (painting, sculpture, architecture, graphic art and design, photography, drawings, caricature etc)
• Influence of economic and social policies on art, architecture and urban planning
• Religious communities, politics and art
• Damnatio memorie – removal and destruction of artistic heritage
• Artistic heritage and military conflicts
• Politically motivated restoration of monuments
• Public sculpture and the creation of monument cult in the 19th and 20th century
• Traditionalism in art and political elites
• Art and revolution

Art and Artist in Opposition
• Caricature and politics
• Artistic production as reflection of opposition to dominant political structures
• Avant-garde art as a catalyst of change
• Socially engaged art
• Subversion in art and photography
• Gender and art (production and representation)

Works of Art in Museums
• Museum functions and representation (collection, preservation, communication of art works and discursive practices)
• Museum displays and the production and reception of power narratives
• Influence of market-oriented logic of production on collecting and displaying in art museums
• Wider social perception and reception of power narratives (in art museums/ museums exhibitions showing art works)

Paper proposals should contain author(s)’s name(s), title and the abstract, written in English, which should not exceed 500 words and a short author’s biography not longer than 250 words. Deadline for the submission of proposals is 15 January 2016. Contributors will receive notification of acceptance by 15 February 2016. The official language of the conference is English.

http://www.aseees.org/summer-convention

ASEEES is delighted to announce its second biennial summer convention, co-organized with the International Association for the Humanities (MAG).

CONFERENCE INFORMATION

The ASEEES-MAG Summer Convention will take place at the Ukrainian Catholic University in Lviv, Ukraine.

The conference program will begin in early afternoon of Sun, June 26 and continue through the evening of Tue, June 28; you may arrive on Sat, June 25; we plan to schedule a city tour on the morning of Sun, June 26.

The program will feature approximately 80-100 panels including about 300 presentations, and there will also be a supplementary program including a plenary, reception, cultural program, and a keynote speaker.

Participants are responsible for covering the costs of their own travel to and stay in Lviv.

CALL FOR PROPOSALS

Panel, roundtable and paper proposals relating to any aspect of East-Central European and Eurasian Studies are welcome. Practitioners and scholars in all fields with an interest in this region are encouraged to participate. Submissions of pre-organized panels are strongly encouraged and will be given some priority in the selection process. Individual papers are also welcome and selected papers will be assigned by the Program Committee to an appropriate panel with a chair and a discussant.
The deadline for submission of all proposals is: 6 January 2016.

For more information and to submit a proposal, go to: http://www.aseees.org/summer-convention/cfp

CONVENTION THEME

The summer convention’s theme is “Images of the Other” – construction and definition of the ‘Other’, instrumental use and abuse of the ‘Other’ in politics, cultural and social practices; the role of ethnic, cultural, social and gender stereotypes; representations of the ‘Other’ in memory politics, art, public discourse and media; and scholarship regarding the ‘Other’ as a social construct. ASEEES and MAG invite papers; and panel proposals, related to the theme, understood in the broadest possible sense. Note: Proposals on the theme are encouraged but not required. See the call for proposals for more information.

ABOUT IAH/MAG

The International Association for the Humanities was founded in 2007 with the help of the Carnegie Corporation of New York and the American Council of Learned Societies as an independent association of humanities scholars primarily in Belarus, Russia, and Ukraine. IAH/MAG publishes a newsletter “The Bridge-MOCT”.

ABOUT UCU

The Ukrainian Catholic University is a private institution for education and research, founded in 2002 by the St. Clement Foundation, whose elected head is Patriarch Lubomyr (Husar), the head of the Ukrainian Greek Catholic Church.

PROGRAM COMMITTEE

• Andrzej Tymowski, Chair (ACLS, University of Warsaw)
• Olga Bukhina (MAG)
• Tamara Hundorova (National Academy of Sciences of Ukraine)
• Boris Kolonitskii (European University at St. Petersburg)
• Joanna Nizynska (Indiana University)
• Lynda Park (ASEEES)
• Bill Rosenberg (University of Michigan)
• John Schoeberlein (Nazarbayev University)
• Tatiana Shchyttsova (European Humanities University Minsk/Vilnius)
• Oleh Turiy (Ukrainian Catholic University)
• Mark von Hagen (Arizona State University)

CONTACT

Please send summer convention-related inquiries to: aseees.convention@pitt.edu

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.

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