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

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

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

The Centre for Research in Communication and Culture (CRCC) at Loughborough invites applications for a funded PhD studentship to start in January 2015 (or as soon thereafter as possible).

Loughborough University has an outstanding international reputation for its research and teaching in communication, media and cultural analysis. In the 2014 Research Excellence Framework, our submission to the D36 Unit of Assessment ‘Communication, Cultural and Media Studies, Library and Information Management’ was ranked 7th / 67 according to Grade Point Average and 2nd in both Research Power and Research Intensity. In October 2015, the QS World rankings rated the university among the top 50 Universities in the world for Communication and Media Studies, for the fourth year in succession.

The Centre is particularly well-known for world-leading research in:
· Social Interaction, Conversation Analysis and Social Psychology;
· Political Communication;
· Social, Cultural and Media Theory;
· Migration and Nationalism;
· Media and Communication History.

Funding and eligibility
The studentship is open to all graduates with backgrounds in relevant disciplines and who are articulate, well qualified and highly motivated. The minimum entry qualification is a 2.1 Honours degree or equivalent. The studentship is for three years and will cover tuition fees at the UK/EU rate and an annual stipend of £14,057 (standard RCUK rate 2015/16 academic year). International (non-EU) students may apply but will need to find the difference in fees between those for a ‘UK/EU’ and ‘international’ student themselves.
Details of the application process can be found at http://www.lboro.ac.uk/departments/socialsciences/postgraduate-research/apply/
You must identify and contact a potential supervisor before submission in order to discuss your proposal
Details of potential supervisors can be found at http://www.lboro.ac.uk/departments/socialsciences/staff/
The closing date for applications is December 7th 2015. For general enquiries please contact Deirdre Lombard
Please quote reference GRC2015

Radboud University Nijmegen, June 16 - 17, 2016
Deadline: Dec 1, 2015

Organizers: Daniëlle Slootjes (Department of History, Radboud University Nijmegen)
Mariëtte Verhoeven (Department of Art History, Radboud University Nijmegen)

In recent decades many new studies on the Byzantine world have appeared that have offered us new perspectives on existing views of the Byzantine Empire. For instance, Judith Herrin in Byzantium. The Surprising Life of a Medieval Empire (2009) and Margins and Metropolis (2013) made an appeal for Byzantium to be saved from its negative stereotype of an autocratic, completely ritualized and almost fossilized empire. Averil Cameron has demonstrated in her recent Byzantine Matters (2014) that – although we have made progress in the past few decades – Byzantine Studies is still left with many questions on issues such as Byzantine identity, the Hellenistic influence or our understanding of religious practices and orthodoxy in the Byzantine world.

However, whereas both Herrin and Cameron encourage Byzantine scholars to continue to deal with these issues, to take up new avenues and to unite the various disciplines that work on the Byzantine field, Norman Davies in his Vanished Kingdoms (2011) has been more pessimistic. In his discussion of the rise and fall of various kingdoms in Europe he offered his readers a gloomy view on our possibilities of understanding Byzantium. In fact, in the chapter on Byzantium he concluded that “describing or summarizing Europe’s greatest ‘vanished kingdom’ is almost too much to contemplate. The story is too long, too rich and too complex” (p. 322).

This rather negative point of view of being overwhelmed by Byzantium’s complexities almost seems to suggest that we should refrain ourselves from attempting to analyze Byzantium and its history. Our conference likes to object to this suggestion as it will take up the challenge of demonstrating that Byzantine Studies is far from dead. We want to show how the diversities and complexities have made Byzantium into a fascinating world worth of our attention, encouraged by the studies of Herrin and Cameron. We are very pleased to announce that Averil Cameron will give the key note lecture of the conference.

We would like to bring together both junior and senior scholars from various disciplines such as Byzantine history, art history, literature and archaeology in our attempt to unlock the importance of the Byzantine world for our current generations.

We welcome proposals for papers on the following two themes:

1) Byzantium as a key player in the relationship between East and West, A.D. 330 -1453
Byzantium can be seen as a leading catalyst in the political, cultural, economic and religious exchange between East and West, to be detected in the relationship both between Byzantium and Latin Western Europe and Byzantium and the Islamic world.

Keywords: contacts, interchange, imitation, competition, confrontations

We especially welcome the papers on this theme to include analyses on
(a) Agents of exchange such as rulers, bishops, popes, diplomats, pilgrims, writers or artists
(b) Objects of transcultural encounter and transfer such as, (religious) monuments, texts (hagiography, historiography, liturgical texts, travel accounts) decorations, liturgical objects, relics or diplomatic gifts. These agents and objects can be regarded as part of the larger historical context within which Europe took shape in the Middle Ages and beyond.

2) The position of Byzantine heritage, 7th Century - present day
The definite end of the Byzantine Empire is marked by the conquest of Constantinople by the Ottomans in 1453. Through its history, however, the dimension and identity of the Empire was not one identical continuum. In different phases of development (Arab conquests, iconoclasm, Crusaders period) Byzantine monuments and artefacts were appropriated or under threat, a phenomenon that continued after the Ottoman conquest.

Keywords: appropriation, transformation, identity, continuity, rupture.

We especially welcome the papers on this theme to include analyses on:
(a) Appropriation and transformation of Byzantine heritage (objects, monuments, cities)
(b) Display of Byzantine heritage in museum collections
(c) Preservation and restoration of Byzantine heritage
(d) Byzantine heritage under threat

Abstracts, no more than 400 words, can be submitted to d.slootjes@let.ru.nl and m.verhoeven@let.ru.nl before the 1st of December, 2015.

AAH2016 Annual Conference and Bookfair
University of Edinburgh
7 - 9 April 2016

Convenor: Amy Bryzgel, University of Aberdeen

The re-enactment of artistic performances and actions is a topic that has garnered much attention in recent years, most notably catalogued in Amelia Jones’ and Adrian Heathfield’s substantial publication Perform, Repeat, Record: Live Art in History (2012). Given the fact that, in many cases, artistic transfer from one generation to the next did not occur in the traditional manner – through the academies – in Eastern Europe, re-enactments of artistic performance can function, in the region, as a witness to the forgotten past, functioning as a vehicle of cultural memory. Additionally, it can facilitate the transfer of ideas, history and practice from one generation to the next.

This panel invites papers that discuss artistic re-enactments of performances from across the former communist and socialist countries of Central, Eastern and Southern Europe in recent artistic practice. The papers in the panel should interrogate some of the following questions: What are the various functions of artistic re-enactments of performances in Eastern Europe? How do these functions compare with current understandings of re-enactment in the West? How can re-enactments be used to access a lost or inaccessible history (such as performance art in Eastern Europe)? Also welcome are papers that consider revisiting culturally relevant or historically significant places by artists or within the context of artistic re-enactments.

Email paper proposals to the session convenor by 9 November 2015. Download the Paper Proposal Guidelines and see the original announcement on the AAH site here

https://www.kunstforumwien.at/en/exhibition/kunstforum/216/love-in-times-of-revolution

Love in Times of Revolution Artist couples of the Russian avant-garde

In autumn 2015 the Kunstforum will focus on the ground-breaking achievements of the Russian avant-garde from a new perspective: the artist couple. Equality of status in production and ways of living for men and women artists in the context of the October Revolution (1917) not only eschews the image of the “solitary artistic genius”, but establishes an interconnection of art and life, public and private. Artist couples like Varvara Stepanova and Alexandr Rodchenko, or Natalia Goncharova and Mikhail Larionov connected all genres of artistic creativity to the formation of theories and aesthetic action, formulating through their art the political aspiration for a change in life. Although the artist duo could not always realise their ambitions with the corresponding equality of status, and it remained a theoretical construct, this form of life and creativity nevertheless fostered the crystallisation of a society’s gender ideology. The show investigates what work methods and formations of personal and power relationships were developed by the Russian avant-garde and what special structural features of artistic identity, creativity and production were the results. The Tretyakov Gallery in Moscow and the Schusev State Museum of Architecture, Moscow as well as many private lenders are supporting the exhibition with important loans from their collections.

Artist Couples:

Natalia Goncharova & Mikhail Larionov
Varvara Stepanova & Alexandr Rodchenko
Liubov Popova & Alexandr Vesnin
Olga Rosanova & Alexei Kruchenykh
Valentina Kulagina & Gustav Klutsis

Curators: Heike Eipeldauer and Florian Steininger

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

http://www.kunstverein-rosenheim.de/b2015_Yuri.php

Yuri Albert, geb. 1959, kam früh in den Kreis der berühmten Moskauer Konzeptualisten, die in den 70 er und 80 er Jahren in Moskau in Privatwohnungen, im Öffentlichen Raum und in freier Natur illegale Ausstellungen und Aktionen durchführten, die eine Revolution gegenüber der staatlich verordneten Kunst bedeuteten, und oft mit minimalistischen Eingriffen oder Texten, skurrilen Zeichnungen und vielfach dokumentierten Aktionen einen neuen und unabhängigen Beitrag nicht nur zur russischen, sondern auch zur internationalen zeitgenössischen Kunstszene lieferten. Albert war zunächst mehr Beobachter und sehr junger Teilnehmer an den Gruppenaktivitäten. In seinen selbst organisierten, inoffiziellen Aktionen - ironisch und ernsthaft zugleich - machte er die Kunstkritik zu seinem Thema, nahm sich das System der Kunstinstitutionen augenzwinkernd vor sowie die ungeschriebenen Ausstellungs-regeln. Er sucht auch heute noch nach den Bedingungen, die einen Gegenstand zu einem Kunstwerk erheben, und was eine Ansammlung von Dingen in einem Raum zu einer Kunstausstellung macht. In spielerischen Aktionen testete er den Ausstellungsbetrieb, organisierte Führungen mit verbundenen Augen, stellte sauber handgeschriebene Zeitungskritiken seiner Ausstellungen aus, fand buchstäblich eine Möglichkeit, Literatur in Malerei umzuwandeln, erfand einen bizarren Preis für die dritte Moskau Biennale, der nämlich bei rechtzeitigem Ableben des Preisträgers in der Übernahme der Beerdigungskosten bestand.

In seinen Arbeiten hinterfragte er die Rolle des Publikums, der Kunstkritik, den Zusammenhang von Kunstproduktion und Kunstkonsum. Er thematisierte die Frage von der richtigen oder falschen Interpretation einer Arbeit…

In der Rosenheimer Ausstellung sind eine Reihe seiner legendären Arbeiten vertreten: „karkaturen aus meiner Kindhei“, „meine Lieblingsbücher“, „Selbstporträt mit verbundenen Augen. Eine Dokumentation seiner wichtigsten Aktionen wird als Video gezeigt.

Yuri Albert lebt in Moskau und Köln.

Seine ersten Lehrmeister waren Vitaly Komar und Alexander Melamid. Er studierte an der Kunst-Fakultät des Moskauer staatlichen pädagogischen Instituts.

In den 80 er Jähren nahm er an APT Art Ausstellungen in Privatwohnungen in Moskau teil. Er war Mitglied im Club der Avantgardisten (KLAVA). Später beteiligte er sich an zahlreichen internationalen Ausstellungen mit russischer Kunst. 2012 kuratierte er in Nishni Novgorod eine große Retrospektive über den Moskauer Konzeptualismus. 2013/14 hatte er eine von Ekaterina Djogut organisierte große Retrospektive im Moskauer Museum Moderner Kunst unter dem Titel: „Was wollte der Künstler damit sagen?“

2014 stellte er in Bremen im Weserbergmuseum Moderner Kunst aus.

2011 wurde er mit dem Kandinskij Preis ausgezeichnet, 2014 mit dem Innovationspreis, beide Male in Moskau.

http://www.fondationbeyeler.ch/en/exhibitions/search-010

100 years ago, in the winter of 1915/16, a legendary exhibition took place in Petrograd (today St. Petersburg), Russia, featuring 14 artists – seven men and seven women – of the Russian avant-garde. The show, which was titled The Last Futurist Exhibition of Painting 0,10 (Zero-Ten), became one of the most influential in the history of modern art. It was here that Kazimir Malevich first presented his Black Square, the painting that became an icon of abstract art. It was here, too, that Vladimir Tatlin installed his revolutionary, likewise abstract Corner Counter-Relief for the fi rst time, as a sculpture liberated from the plinth and made of recycled materials. Alongside them, well-known artists and others who are today largely forgotten showed fascinating paintings that chiefly engaged with Cubism and Futurism, the current trends in the pan-European art scene at that time. To mark the centenary of 0,10, after many years of research the Fondation Beyeler is organizing an exhibition that for the first time reunites most of the works still surviving today from the original show, complemented by others dating from the same epoch. This critical reconstruction of the historical exhibition includes valuable loans from the State Russian Museum in St. Petersburg, the State Tretyakov Gallery in Moscow and 17 other Russian museums, as well as from celebrated western collections such as the Centre Pompidou in Paris, the Stedelijk Museum in Amsterdam, the Museum Ludwig in Cologne and MoMA in New York. The guest curator is Matthew Drutt. The project has been generously sponsored by the AVC Charity Foundation and Cahiers d’Art. The parallel exhibition »Black Sun« presents a large selection of important works from the spheres of painting, sculpture, installation and film, which testify to the enormous influence of Malevich and his Black Square on contemporary art.