Conference: The Carpet as Artifact, Concept and Metaphor in Literature, Science and the Arts

LIEU: Kunsthistorisches Institut in Florenz – Max-Planck-Institut, Florence, Italie
DATE: 3 – 5 novembre 2014

Organized by Vera-Simone Schulz and Gerhard Wolf

Dedicated to the arts and aesthetics of carpets and to the role of the 
carpet as a concept in science or the history of ideas, the workshop 
seeks to elucidate different artistic and intellectual approaches 
towards carpets from Clement of Alexandria’s ‘Stromateis’ to the 
present. It will highlight the various functions of carpets, which, 
when put on floors, do not only embellish rooms, but also contribute to 
the structure of architectural spaces, and which can delineate sacred 
surfaces and visualize social and political hierarchies. It will 
address topics such as the materiality of carpets and ornamental 
structures, the interaction of various media, the carpet as an object 
and as an item of material culture, their representation in painting, 
knotting techniques and concepts of the knot, the carpet as a metaphor 
and as a model for the world, literary accounts of carpets and their 
transcultural biographies or itineraries. The workshop focuses on 
issues such as the dimensionality and flatness, repetition, pattern, 
figuration, and performativity of carpets, as well as on « master piece » 
discourses, the specific role of the « Oriental » carpet, and on problems 
of display.
On the one hand, marginalized as belonging to the « minor » or « applied 
arts », and on the other hand, celebrated as a « paradigm » for modern 
art, carpets have long been discussed in various discourses, even if in 
isolation. By bringing together art historians, archaeologists, carpet 
historians, historians of philosophy, scientists and experts of 
literary studies, this workshop seeks to open up the field of inquiry 
and to overcome disciplinary boundaries, to critically reflect on 
research traditions and to explore new approaches when taking on the 
challenge of studying carpets in a comprehensive way.
Monday, November 3, 2014
Welcome and Introduction
Vera-Simone Schulz and Gerhard Wolf
Der dekorierte Boden. Zur Konzeption und Funktion römischer Mosaikböden
Susanne Muth (Berlin)
Spätantike Teppiche aus Ägypten: Technik und Dekor
Cäcilia Fluck (Berlin)
coffee break
To knit the ravelled sleeve of care”: Observations on the Role of 
Knots in Floor Mosaics, Carpets and Clothing during Late Antiquity
Henry Maguire (London)
Warum nannte Clemens von Alexandrien sein Hauptwerk “Stromateis”?
Dietmar Wyrwa (Berlin)
lunch break
Das Teppichparadigma: Gottfried Semper – Alois Riegl – Henri Matisse
Regine Prange (Frankfurt am Main)
The Carpet as Cultural Code and Utopian Metaphor
Eva-Maria Troelenberg (Florence)
coffee break
Synthesis of Molecular Carpets
Dieter Schlüter (Zurich)
The Beauty of Repetition: Symmetry and Formation of Patterns from Macro 
to Nano
Markus Lackinger (Munich)
Tuesday, November 4, 2014
Fragments: Challenges in Conservation and Display
Anna Beselin (Berlin)
Yongle to Yongzheng: Imperial Chinese Carpets
Michael Franses (Doha)
coffee break
Visit of the carpet collection in the Museo Bardini (speakers and 
moderators only). Guided tour with Alberto Boralevi (Florence)
lunch break
Tod und Tuch: Grabteppiche 
Silke Tammen (Gießen)
Sacred Surfaces: Carpets, Coverings and Mesas in the Colonial Andes
Elena Phipps (Los Angeles)
coffee break
13th- and 14th-Century Anatolian Carpets
Scott Redford (London)
Problems of Studying Islamic Carpet Production and European Consumer 
Taste in European Carpet Depictions
Walter Denny (Amherst, Mass.)
coffee break
À la recherche du tapis perdu: Artistic and Academic Approaches to 
Carpets in Paintings
Vera-Simone Schulz (Berlin/Florence)
Nach Strich und Faden, nach allen Regeln der Kunst: Teppiche in 
niederländischen Gemälden
Karin Leonhard (Bonn)
Wednesday, November 5, 2014
Antike Heldenepik im Salon: Napoleon und die Tapisserie
Gisela Schlüter (Erlangen)
The “Renaissance de la tapisserie” in France (c. 1940-1955): Technique, 
Lyricism and Ideology
Merel van Tilburg (Paris)
coffee break
Zur Ordnung der Gewebe
Friedrich Teja Bach (Vienna)
Final Remarks by Gerhard Wolf
Visit of the Museo del Bargello (speakers and moderators only)

Conference : Curatorial Things

LIEU:  Haus der Kulturen der Welt,John-Foster-Dulles-Allee 10 / 10557, Berlin

DATE: October 30 – November 1, 2014

The status and significance of objects has changed since the beginning of the 21st century, affected by the course of globalization, the digitization of all areas of life, and the appreciation in value of immaterial work vis-à-vis the production of goods. The way in which things are presented plays a decisive part in, and at the same time is strongly influenced by, this development. Traditional ideas about how things acquire importance as exhibition objects are beginning to break down and be reformulated. Fundamental questions are arising as to the relationship between the various elements of a presentation situation, including not only objects traditionally designated as exhibition pieces, but also display objects, exhibition spaces, discourses, and the various people involved. The question of what can become a “thing” in exhibitions, and when, how, and with what potentialities, stands at the center of this debate. Three important aspects of the current curatorial discourse overlap and mutually engage one another in this context: Firstly, the “vessel function,” by which objects in Western culture came to be repositories of meaning and thus a core constituent of the conception of museums. This notion cannot be declared generally valid for non-Western exhibiting practices and institutions. Nor does it hold validity for the curatorial practices of other disciplines, such as theater, dance, or film. Secondly, the material, static thing that is exhibited as a work of art and a cultural object is accompanied by elements of a curatorial situation that in their materiality, manifestation, and meaning are ephemeral, movable, and incomplete. Thirdly, by taking on an active role in such situations, these things ultimately attain the status of agents. The conference Curatorial Things pursues the implications, consequences, and potentialities that arise out of the interleaving of these aspects and their developments. It proceeds from the understanding that, essentially, curatorial practice means the production of constellations. From differing disciplinary, cultural, and institutional perspectives, it examines the power of influence that is attributed to objects as active participants in such constellations.



14:00 – 15:00 Welcome & Introduction: Bernd Scherer, Beatrice von Bismarck, Benjamin Meyer-Krahmer


15:00 – 16:00 Victoria Walsh: Tracing the Agency of Curatorial Things

16:00 – 17:00 Mario Schulze: A Short History of the Thing on Display 


17:30 – 18:30 Sabeth Buchmann: Economics of Information on Display

18:30 – 19:30 Maria Lind: Exhibitionary Agents – Tensta Museum: Reports from New Sweden



10:00 – 11:00 Anselm Franke: How to Step out of the Frame? Ontological Difference and Limits of Decolonization in Exhibitions

11:00 – 12:00 Leire Vergara: Touching the Curatorial: On Collective Processes of Making Sense


12:30 – 13:30 André Lepecki: Thing / Dance / Vagueness: Choreographic Challenges to Curating

Lunch Break


15:00 – 16:00 Katharina Weinstock: Re-Arranging the World – Surrealist Object Practices

16:00 – 17:00 Kerstin Schankweiler: Contexts of Mobilized Things. Exhibitions and the “Difference within”


17:30 – 18:30 Clémentine Deliss: Collecting and Curating Life’s Unknowns: Past Ethnography and Current Art Practice



10:00 – 11:00 Susanne Neubauer: Li Yuan-chia’s Cupboard of Slides

11:00 – 12:00 Florian Malzacher: The Straw to Grasp – Things as Remains of Performances and Lives


12:30 – 13:30 Peter Schneemann: Curating Spaces – Evoking Sites, Narratives and Processes

13:30 – 14:30 Jana Scholze: Immaterialization and the Museum Collection

Conférence : The Making of the Humanities IV

DATE: 16-18 octobre 2014
LIEU: Rome, Koninklijk Nederlands Instituut Rome (KNIR), Hoogewerff
Auditorium, Via Omero 10/12


THURSDAY8.30-9.45 Registration and Coffee

9.45 Welcome by programme committee

9.50-10.00 Opening of the conference by Director KNIR

KNIR Library:
10.00-10.45 1) PLENARY: HELEN SMALL

10.45-11.15 Coffee break

11.15-13.15 2) The scholarly self: character, habit and virtue in the humanities

13.15-14.30 Lunch break

14.30-16.00: 4) Philosophy and the humanities

14.30-16.00: 5) Literature and rhetoric

16:00-16.30: Tea break

16.30-18.00: 6) Reason and reasoning

16.30-18.00: 7) Counternarratives

18.00-18.30: Launch of the journal History of Humanities by Michael Magoulias, Director Journals at University of Chicago Press. Launch of the History of Humanities Society

18.30: Reception/drinks


8.45-9.00: Coffee

9.00-9.45: 8) PLENARY: FENRONG LIU

9.45-10.45: 9) Logic and philology in China

10.45-11.15: Coffee break

11.15-13.15: 10) Cultural (mis)connections I

11.15-13.15: 11) Images and words

13.15-14.30: Lunch break

14.30-16.00: 12) Cultural (mis)connections II

14.30-16.00: 13) The humanities and the social world

16.00-16.30: Tea break

16.30-18.30: 14) Technique of art across disciplines

16.30-18.30: 15) Disciplining experiences – experiencing knowledge

20.00: Conference dinner


8.45-9.00: Coffee


9.45-10.45: 17) Mind and body

10.45-11:15: Coffee break

11.15-13.15 18) Uses and abuses of history

11.15-13.15: 19) Historical linguistics

13.15-14.30: Lunch break

14.30-16.00: 20) Discipline formation

14.30-16.00: 21) Linguistic turns and animosities

16.00-16.30: Tea break

16.30-17.30: 22) Antiquarianism (includes KNIR Dissertation Prize) Presentation of KNIR Journal Fragmenta 5 to Prof. Ingrid Rowland

17.30-18.00: Plenary discussion with keynote speakers, chaired by Rens Bod and Julia Kursell

18.00: Closing




ARCHIVIO CONGREGAZIONE ORATORIO                                                    Réfectoire borrominien de la Congrégation de l’Oratoire de Rome,                            Via di Chiesa Nuova, 3 – 00186 Roma.


Matinée 10h-12h
Petit déjeuner d’accueil offert par l’ACOR
Étude in situ des collections de vêtements liturgiques de plumes sous la conduite du Alberto Bianco, directeur de l’ACOR
Déjeuner-buffet dans le cloître offert par Exogenèses aux participants
Après-midi : 14h-17h
Introduction par Sabine du Crest, Coordinatrice du Programme ANR Exogenèses
Présidence : Martine Boiteux, EHESS
Paramenti in penne in Italia: da Milano alla Vallicella par Dott.ssa Corinna T. Gallori, Docente a contratto,Università degli studi del Molise 
Peindre avec les plumes. Aspects critiques de la plumasserie mexicaine coloniale par Bertrand Prévost, Maître de conférences HDR, Université Bordeaux Montaigne 
Discussion animée par Brigitte Derlon, directrice d’études, Laboratoire d’anthropologie sociale, EHESS-Collège de France et Monique Jeudy-Ballini, directrice de recherches, CNRS-LAS, partenaires d’Exogenèses


        Vendredi 17 octobre 16h00

Les plumes peintes de la Stanza degli Uccelli à la Villa Medicis sous la conduite de Francesca Alberti,Pensionnaire en Histoire de l’Art, Académie de France à Rome
         Samedi 18 octobre 16h30-17h30
  The Making of the Humanities, IV Conference, KNIR Library, Istituto Olandese,              Via Omero, 10
Présentation du Journal Fragmenta 5, numéro spécial : Art and Knowledge in Rome and the Early Modern Republic of Letters,1500-1700

The Getty Research Institute and the Getty Villa invite proposals for the 2015–2016 academic year residential grants and fellowships

LIEU : Los Angeles, CA, USA
DATE LIMITE : Nov 3, 2014

The Getty Research Institute theme, “Art and Materiality,” aims to
explore how the art object and its materiality have enhanced the study
of art history. Scholars, working with conservators and scientists, are
gaining insight into the process of art making from raw material to
finished object, as well as the strategic deployment of materials both
for their aesthetic qualities and for their power to signify. The Getty
Research Institute seeks proposals from scholars and fellows on these
and other issues related to the materiality of art.

The Getty Villa theme, “The Classical World in Context: Egypt,” will
focus on relations between the cultures of the classical world and
Egypt from prehistory to the coming of Islam. Through trade, warfare,
diplomacy, and other methods of exchange, these civilizations had a
crucial, and often reciprocal, impact on cultural trajectories in both
spheres. Priority will be given to research projects that are
cross-cultural and interdisciplinary, utilizing a wide range of
archaeological, textual, anthropological, and other evidence.

The Getty Scholars Program strongly encourages recipients of this email
to share this information with colleagues.

Detailed application guidelines are available online at:
For more information about each theme please visit:

Please address inquiries to:
Phone: (310) 440-7374

Call for Papers : Photography and Migration

LIEU: Colby College, Waterville, ME, 24-25 avril 2015
DATE LIMITE : 15 décembre 2014

On April 24-25, 2015, scholars, artists, students, and members of the
Waterville community will come together at Colby College to interrogate
the relationship between photography and migration. This conference is
one of many events taking place at Colby that address the college-wide
humanities theme in 2014-2015, “Migrations,” hosted by the Center for
the Arts and Humanities. It will include formal presentations and
roundtable discussions, film screenings, as well as displays of
historical photographs and artworks.

Throughout its history, the photographic medium has played an important
role in the movement of people, objects, identities, and ideas across
time and space, especially in the human crossing of geographical and
cultural borders. Scholars have shown how cameras documented, enabled,
or controlled such forced and voluntary movement, while photographers
attempted to put a face on immigration around the world, making visible
its associations with transition, displacement, hardship, and
opportunity. The goal of the conference is to consolidate and expand
upon the critical questions asked about photography and migration. What
does it mean, for instance, to represent photographically the
experiences of immigration, exile, diaspora, and passing? How might we
reimagine concepts essential to migration, such as (im)mobility and
dissemination, in specifically photographic terms? How do photographs
themselves, moreover, migrate across local, regional, national, and
global contexts?

Confirmed keynote speakers include: Anthony Lee (Mount Holyoke
College), who will discuss the art photography of F. Holland Day in
relation to period discourse on immigration; anthropologist Jason De
León (University of Michigan) and photographer Michael Wells, who have
collaborated on the Undocumented Migration Project on the US-Mexico
border; and Thomas Allen Harris, a New York-based writer and
documentarian who co-founded the Digital Diaspora Family Reunion
project and directed the critically acclaimed film Through a Lens
Darkly: Black Photographers and the Emergence of a People (2013).

To stimulate lively and productive exchanges during the conference, we
are soliciting proposals for 10-minute presentations from scholars,
curators, image-makers, and others that highlight major questions about
photography and migration. Following each presentation will be a short
response by a discussant from Colby College and 20 minutes of
conversation with the audience. We are looking for proposals that
address directly the theme of the conference; foreground their own
critical and creative interventions; and engage deeply with a set of
images, or even a single image.

Please submit the following materials to Tanya Sheehan, Associate 
Professor, Department of Art, Colby College, by 
December 15, 2014:

– Cover letter; please include your contact information and explain
your interest in the conference theme
– Abstract; no more than 200 words, including a working title for your
– Professional bio; no more than 100 words
– Curriculum vitae

Decisions on proposals will be made by January 15, 2015. Details about
the conference will be posted to

This conference is sponsored by the Colby College Center for the Arts
and Humanities, Colby College Museum of Art, and Colby Libraries
Special Collections. For more information about the college’s annual
humanities theme, please go to

Séminaire Penser / classer les collections techniques 2014-2015

Séminaire de recherche 2014-2015
Lieux : centre Alexandre Koyré, 27 rue Damesme 750013 Paris et université Paris 7, Campus Grands Moulins

Institutions organisatrices : Centre Alexandre Koyré / Master Histoire des
sciences, technologies, sociétés (EHESS), CEREG-Université Sorbonne
Nouvelle-Paris 3, ICT, Institut des Humanités de Paris (IHP), UMR 7219
SPHERE (CNRS/université Paris 7), Master Histoire & Civilisations comparées
(université Paris 7)

Dans ce séminaire, on se propose de réfléchir à la manière dont ont été ou
sont aujourd’hui pensées les collections techniques objets, vestiges
archéologiques, textes, ouvrages par les conservateurs et concepteurs
d’exposition ou par les chercheurs. Nous ferons le point dune part, sur les
modes de constitution de ces collections, d’autre part sur la méthodologie
de la recherche développée en vue de leur étude. Une collection est en effet
tributaire des conditions matérielles et intellectuelles dans lesquelles
s’est faite sa réunion, des procédures d’inventaire et de catalogage, des
modes d’identification et de désignation des articles. De plus, les
chercheurs étudiant des collections techniques sont souvent amenés à mettre
en question les critères de classement qui avaient guidé leur constitution.
Il s’agit donc de confronter et d’analyser les méthodes de la recherche dans
les collections techniques, tout autant que d’étudier leur formation.

6 demi-journées de 14 à 18 h, le vendredi : 3 octobre, 21 novembre, 12
décembre, 23 janvier, 13 février, 20 mars.

3 octobre 2014 – La partie ou le tout : autour de la question des
Lieu : centre Alexandre Koyré, 27 rue Damesme 750013 Paris, salle de
conférences, 5e étage

· Nadine Besse et Sylvain Besson, Musée d’Art et
d’Industrie de Saint-Etienne : La collection d’échantillons textiles du
Musée d’Art et d’Industrie: état des lieux

· Isabelle Laboulais, Université de Strasbourg – EA 3400:
« Exposer les collections de minéraux : les choix de l’Ecole des mines entre
la fin de l’Ancien Régime et la Restauration ».

21 novembre 2014- Les outils dans les musées d’archéologie et d’ethnographie
Lieu : université Paris 7, salle précisée ultérieurement

· Catherine Schwab, département de préhistoire au Musée
d’archéologie Nationale

· Sophie Chave-Dartoen et Solenn Nieto, Musée
d’ethnographie de l’Université de Bordeaux : Les collections techniques
issues du pavillon des Douanes Chinoises à l’Exposition universelle de 1878
et déposées au Musée d’ethnographie de l’Université de Bordeaux

12 décembre 2014 – Technicité des collections : gestion, médiation,
Lieu : université Paris 7, salle précisée ultérieurement

· Dominique Vandecasteele et Rémi Catillon, Musée des
arts et métiers : Comprendre, conserver et restaurer le patrimoine
scientifique et technique dans un musée

· Soline Morinière, DRAC Alsace, Service régional de l’Archéologie

23 janvier 2015 – Les arts décoratifs
Lieu : université Paris 7, salle précisée ultérieurement

· Céline Trautmann-Waller , Université Sorbonne
Nouvelle-Paris 3-CEREG : Collectionner et exposer les tapis dOrient à
Vienne à la fin du XIXe siècle : entre histoire des techniques, théorie de
lornementation et promotion des arts décoratifs

· Rossella Froissart, UMR 7303-TELEMME Aix-Marseille

· Audrey Millet, Université Lille III – UMR 8533, CNRS,
IDHES : Dessinateur-collectionneur en manufacture : dessins, livres et
échantillons comme supports des techniques (XVIIIe-XIXe siècles)

13 février 2015 Les classifications des instruments scientifiques 
Lieu : université Paris 7, salle précisée ultérieurement

· Armelle Legoff, Archives nationales : présentation du
livre : Bertrand Daugeron et Armelle Leggof dir.,
Penser/classer/administrer. Pour une histoire croisée des collections,
Paris, CTHS / MNHN, 2014

· Alexi Baker, CRASSH & History and Philosophy of
Science, University of Cambridge: Instruments of early modern London: urban
manufacture, transnational use, and modern (mis)representation

20 mars 2015 – Les collections extra-européennes
Lieu : université Paris 7, salle précisée ultérieurement

· Mau Chuan Hui, Université Tsing Hua, Taïwan

· Habiba Aoudia, EHESS-IRIS : Nommer les ‘arts
indigènes’ d’Afrique du Nord: statut de l’objet et catégories muséales

Sophie Archambault de Beaune, Université Jean-Moulin (Lyon-III) et UMR 7041 ArScAn
Charlotte de Castelanu lEstoile, Université Paris-Diderot – Paris 7 (ICT)
Christiane Demeulenaere-Douyère, Centre Alexandre Koyré
Liliane Hilaire-Perez, EHESS (Centre Alexandre Koyré) et Université Paris-Diderot -Paris 7 (ICT)
Valérie Négre, École nationale supérieure dArchitecture de Paris La Villette et UMR AUSser

Fabien Simon,Université Paris-Diderot – Paris 7 (ICT)
Marie Thébaud-Sorger, CNRS-Centre Alexandre Koyré
Céline Trautmann-Waller, Université Sorbonne Nouvelle-Paris 3-CEREG
Koen Vermeir, CNRS-UMR 7219 SPHERE

Call for papers : Special Issue « Acculturations » in Open Access Journal ARTS

Deadline: Mar 31, 2015

For thirty years, research studies on different forms of transfers,
exchanges, and cultural dislocations have been a driving force in the
upswing of historical, anthropological and sociological sciences by
contributing, in particular, to the definition of intercultural
psychology and cultural studies. But what conclusions have art
historians drawn from these recent developments? Do they integrate them
into their own work? And how do they manage to conciliate them with the
basically static methods of artistic geography, which in most cases
favor anachronistic explanatory models (« influence » and « migration
streams ») or disputable ones (« centers » and « peripheries »)?

This Special Issue aims at responding to these questions by applying a
concept that has often played a major role in the development of
research on cultural exchanges and that will serve as a leitmotiv:
acculturation. In cultural anthropology, acculturation describes the
process by which several cultural groups enter in contact with each
other. It generally describes four types of phenomena that are often
connected with each other: assimilation, integration, isolation, and
marginalization. However, from the point of view of the history of
cultural exchanges, the mechanisms of successful acculturation
(assimilation and integration) are the most frequently studied.

Articles submitted to this Special Issue, besides elaborating on an
analysis of the challenges of acculturation in the domain of art in the
modern epoch (XVth-XVIIIth centuries), should address methodological
problems by describing clearly and precisely their approach to the core
of current bibliography on intercultural and transcultural studies
as well as by attempting to redefine current methods and the means to
question the categorization of traditional and positivistic art history.

We would be pleased to receive your contribution. Feel free to contact
the Editorial Office at if you have any questions.

On behalf of
Prof. Dr. Jan Blanc
Guest Editor