Appel à contributions : Global Art Challenges (Barcelona, 26-28 Apr 16)

LIEU : University of Barcelona, April 26 – 28, 2016
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.

Conference Objectives:

The International Conference Challenges of Global Art: Towards an
“Ecology of Knowledges” aims …

– … to highlight, revalorize, and investigate new and “alternative”
forms of knowledge production regarding global art, identifying
non-Western and non-normative knowledge(s), know-how and practices.

– … to put forward forms of hybridization and different temporalities
by taking into account local as well as global dynamics in the
contemporary art scene.

– … to identify knowledge(s) and cases in which
real-world-interventions are enabled, highlighting local resistances,
subaltern experiences and political agency.

– … to highlight the transfers and circulatory processes in artistic
practices and art history by questioning discourses and notions (such
as modernism) that were built on the dichotomy between West and

– … to foster thinking about new concepts for the study of global art
that supersede the subject/object of knowledge binary.

– … to think of other methodological tools and strategies in Art
History and Global Art Studies that could be useful within the
framework of an “ecology of knowledges”.

– … to discuss the role of Global Art Studies, and of Art History more
generally, within the global setting of modern and contemporary art.

The conference will feature four panels and a round table discussion.
Every panel will be comprised of five speakers, with an allocated
speaking time of 20 minutes each. All three panels will be presented by
a convenor who will encourage debate among the participants. The
closing round table discussion will articulate the themes of the
conference and provide a space for dialogue among the conference

Scholars, arts practitioners, researchers, and graduate students
working in the field of global art are invited to submit proposals for
one of the following panels:

Panel 1. Critical Perspectives in Global Art History
Keynote Speaker: Monica Juneja (Universität Heidelberg, Germany)
Convenor: Anna Maria Guasch (Universitat de Barcelona, Spain)

This session aims to question and to reformulate established approaches
to the methodological study of global art history in the light of
on-going debates in the field. Such an undertaking seems especially
relevant when considering that the spatial turn has often led to an
extension of existing approaches and to a perpetuation of conceptual
imperialism historically embedded in Western art history. Guiding
questions of the session are: How can we gain a global and integrative
perspective and avoid the dangers of reproducing similar asymmetries
between artistic productions around the globe? What are the tools that
allow us to highlight multiple locations, temporalities and processes
of transcultural configurations? In how far can an ecological
perspective enrich and articulate our view on global art history?

Panel 2. ‘Close Others’ in ‘The West’
Keynote Speaker: Klara Kemp-Welch (The Courtauld Institute of Art,
London, UK)
Convenor: Nasheli Jiménez del Val (Instituto de Investigaciones
Estéticas-UNAM, Mexico)

This session addresses the need to continue decentering cultural and
aesthetic paradigms regarding the Cold War era. Despite significant
academic projects such as Former-West, the idea of ‘the West’ is still
usually taken as shorthand for Western Europe and North America. The
concept of the West therefore remains limited to an established series
of hegemonic centres, irrespective of the transformations of the global
cultural and political field since 1989. This panel explores the
relationship of the former hegemonic centres of the West to their
‘close-Others’ in Europe and the Americas (Southern and Eastern
European; Central and Southern American), and vice-versa. The aim is to
rethink the conception of the West itself from a range of dialogical
and dialectical perspectives and to thereby destabilise the concept
internally. We propose to treat the West as a pluri-cultural and
polycentric matrix, defined by the encounters and exchanges of multiple
cultures. In addition to challenging centre-periphery dichotomies, this
session seeks to bring to light the transcultural and multivalent
processes that the development of modernity and postmodernity has
entailed. We are especially interested in assessing the subaltern
potentialities of artistic practices and knowledge developed outside
normative spheres. Guiding questions of the sessions are: How do the
perspectives on race, gender and ideology that have emerged in
different parts of Europe and the Americas vary? What might these
variations contribute to the wider project of ‘provincialising the

Panel 3. Visualizing Global Networks
Keynote Speaker: Béatrice Joyeux-Prunel (École Normale Supérieur,
Convenor: Paula Barreiro López (Universitat de Barcelona, Spain)

This session aims to outline the possibilities of mapping the diverse
artistic and intellectual networks of cultural transfer and their close
intertwining with the social, political and economic spheres.
Globalisation is, in this context, understood as a process that starts
well before the fall of the Berlin Wall. Its roots can be traced back
to a long history of global exchanges and increasing social mobility,
which relate to the economic and political as well as to the cultural
fields. Guiding questions are: How can we visualise transnational
patterns and which are key characteristics of today’s global
experiences, such as circulations, exchanges and networks? How can such
a multi-level conception with various players and agencies challenge
binary models that still shape the discipline where culture is seen to
flow from metropolitan centres of the Western world to the peripheries?
In which way(s) can the visualization of global networks reveal the
complexity of artistic creation by bringing to surface the multiplicity
of practices and “knowledges” that configured the cultural world?

Panel 4. Art-as-intervention-in-reality. Ecology of Knowledges and
institutional practices.
Keynote Speaker: Maria Hlavajova (Basis Voor Akuele Kunst, Utrecht)
Convenor: Christian M. Alonso (Universitat de Barcelona)

The panel proposes to think about (and from within) contemporary
artistic practice at the present time, the latter characterized by
Zygmunt Bauman as the “condition in which rulers no longer can rule and
the ruled no longer wish to be ruled” . This context poses the need for
reassessing and rearticulating basic notions for the understanding of
western epistemologies such as progress, critique, nature-culture
relations, the very idea of state-nation and furthermore the museum and
the artistic institution. Therefore this panel suggests discussing ways
that manage (or that could manage) reorienting the activity of artistic
institutions in our contemporary world by implementing an “ecology of
knowledges” in the experimental and discursive field. Bearing in mind
that the “ecology of knowledges” understands
knowledge–as-intervention-in-reality a guiding question is: Which role
could the integration of various artistic practices (as knowledge
production) and their political agency play in the reconfiguration of
the artistic institution at present time?
Scientific Committee
Monica Juneja, Universität Heidelberg
Klara Kemp-Welch, The Courtauld Institute of Art, London
Béatrice Joyeux-Prunel, École Normale Supérieure, Paris
Maria Hlavajova, Basis Voor Akuele Kunst, Utrecht
Anna María Guasch, Universitat de Barcelona
Paula Barreiro López, Universitat de Barcelona
Nasheli Jiménez del Val, Universidad Nacional Autónoma de Mexico, D.F.

Organized by:

Anna Maria Guasch (UB), Paula Barreiro López (UB), and Nasheli Jiménez
del Val (UNAM, Mexico) and Christian M. Alonso (UB), within the
frameworks of the research groups Art, Globalization, Interculturality
(AGI: and
Decentralized Modernities: art, politics and counter-culture in the
transatlantic axis during the Cold War (MoDe(s) (HAR2014-53834-P)
( at the University
of Barcelona.

Aula Magna. Department of Art History, University of Barcelona (UB)
Auditorium. Museum of Contemporary Art (MACBA)


How to submit
Papers, creative projects and other non-traditional presentations
exploring the aforementioned topics are welcome.

A completed application form (attached) including a 500 words abstract
and a short biography (300 words) should be submitted to one of the
panels throught the webpage AGI
or send to by 30 September 2015.

Authors will be notified of their acceptance for a panel, the
publication, or both, by 1 December 2015.

All abstract submissions (even if not selected for a panel
presentation) will be considered for the publication Global Art
Challenges: Towards an “Ecology of Knowledges”, an edited volume
presenting the results of this conference to be published by the
University of Barcelona.

Please note that at this time the conference organizers cannot provide
travel grants or accommodation stipends for presenters.

Appel à communication : The Alhambra in a Global Context (Zürich, 16-17 Sep 16)

The Power of Symbols. The Alhambra in a Global Context

International Conference
Prof. Dr. Francine Giese / Dr. Ariane Varela Braga (University of Zurich)

Deadline for submission: September 1, 2015

Keynote Speakers: Fernando Valdés Fernández (Universidad Autónoma de Madrid) / Pedro A. Galera Andreu (Universidad de Jaén)

In view of the current international globalisation debate this two-day conference intends to foster a re-interpretation of the Alhambra. Topics like the positioning of the Nasrid architecture in a global Islamic context, the phenomenon of cultural exchange on the Iberian Peninsula, the controversial debate of Orientalism after Said’s Orientalism (1978) or the political instrumentalisation of architecture will be the centre of attention.

Does the Alhambra – with its decorative motives and building techniques taken from the Islamic East, North Africa and the Christian Castile – not invite us to adopt a global point of view? Did the Alhambra of the 19th and early 20th century, famous through its neo-Nasrid buildings and interiors, not stand at the beginning of a global building tradition, which spread out to the New World? At the same time, the reception of the Alhambra raises conceptual questions. Has the significance of the Nasrid palace-town for the national identity of Christian Spain been perceived outside the Iberian Peninsula? Why did other nations, such as Brazil for instance, choose to represent themselves with neo-Nasrid pavilions atthe International World Exhibitions?

The world-wide fame of the Alhambra, that mostly relies upon British and French travellers of the 18th and 19th century, has however also its negative sides. How can the Nasrid palaces be conserved for future generations? Can the increasing pressure of the tourism industry be faced, and how? Which are the actual challenges that Granada, the Patronato and the international research community have to face?

The following four sections are planned:
– The Alhambra in Islamic Times
– The Alhambra and national identity
– The Alhambra in the World
– The Alhambra in the 21st century – New Challenges

Conferences will have a duration of 20 min. Conference languages will be German, English and French. Abstracts of no more than 300 words, together with a short CV, should be sent to:

Appel à communication : Conservation of East Asian Cabinets in Imperial Residences (Wien, 4-5 Dec 15)

LIEU : Schönbrunn Palace, Vienna, Austria, December 4 – 05, 2015
DEADLINE : 29 juin 2015

The 2nd international workshop within the framework of the FWF-research
project “Asian interior decoration in Schönbrunn Palace” is organized
by the Institute of Conservation,
The Conservation of East Asian Cabinets in Imperial Residences
(1700-1900) – Follow-up of the 2013 Workshop

University of Applied Arts Vienna and Schloss Schönbrunn. The workshop
brings together conservators, conservation scientists and art
historians and aims again to discuss East Asian interior decoration
including porcelain, lacquer and paper objects.
From the Austrian side, results of the research from the last two years
on porcelain, lacquer and paper wares will be presented and discussed
with the conference audience. A guided visit to the East Asian Cabinets
is an integral part of the programme.

Papers to be presented at the conference should focus on the
investigation and conservation of East Asian interiors and their
decoration in imperial residences. Case studies on art historical,
conservation and conservation science issues in these fields are
welcome. Provenance research, especially on objects with Asian origin
and objects manufactured in Europe in the design of East Asian ware, is

Title and abstract (max. 2000 characters) about related topics can be
submitted until 29.06.2015.
Workshop fee is 200 € (students reduced fee of 80 €), lecturers will be
free of charge.

Contact: Martina Haselberger,

Appel à contribution pour le n° 23 de la revue d’art contemporain Marges : “Globalismes”

DEADLINE : 10 juillet 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. Selon la définition du spécialiste des Global Studies Hans
Belting, aujourd’hui, l’art contemporain peut être appréhendé comme
synonyme de global art, le « globalisme » étant, selon lui, l’antithèse
de l’universalisme dans la mesure où il décentre une vision du monde
unifiée, en s’orientant vers des modernités multiples. Un nouveau
capital cognitif se déploie ainsi sous forme de colloques, de
séminaires, de publications et de programmes de recherche,
d’accrochages de musées et d’expositions. 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 le 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.

La première approche, qui s’affiche plus clairement proche de
l’institution, affirme le besoin de repenser les programmations des
musées et leurs politiques d’acquisition en incluant des zones
géographiques auparavant marginalisées. Cette politique reste encore
peu répandue et donne matière à débats au sein des institutions
muséales. La deuxième souhaite élaborer des paradigmes critiques et
historiographiques capables de prendre en compte la nouvelle démarche
géopolitique qu’impliquent les études postcoloniales, les études
culturelles et plus récemment la géographie critique. Dans la variété
des propositions des vingt dernières années, un grand nombre de
questions et de catégories d’interprétation nouvelles ont été
mobilisées, introduisant des notions inédites dans l’historiographie de
l’art, telles que métissage, exclusion, décentrement, hybridation, etc.
En empruntant par ailleurs les termes et les approches autres que ceux
de l’histoire de l’art (géographie, anthropologie, économie,
sociologie, études culturelles,…), ces nouvelles lectures promettent
une réorganisation de l’historiographie de l’art moderne et
contemporain qui prenne en compte des récits multiples et
fragmentaires, réfractaires aux catégories du canon moderniste

Cependant, force est de constater que dans de nombreux cas récents
d’expositions/accrochages /ouvrages de référence, ces propositions
prometteuses ont été rapidement réduites à de nouvelles étiquettes
exclusives, qui se réfèrent aussi bien à la géographie (art africain,
art latino-américain…) qu’au médium (photographie, performance) et aux
courants canoniques occidentaux (surréalisme, figuration/abstraction,
conceptualisme…). Ce type d’étiquette semblerait inverser le potentiel
d’ouverture/mobilité/décentrement mis en lumière par les contributions
de nombreux intellectuels, tout en réduisant la production des pays
extra-occidentaux à des concepts facilement exploitables, voire

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 ?

Axes de réflexion
– Théories et méthodes des Global Studies
– Historiographie mondiale de l’art contemporain
– Lien entre mondialisation économique et art contemporain
– La mondialisation du marché de l’art
– Etiquettes et catégories employées par le marché, les musées et la
– L’art globalisé donne-t-il lieu à une recherche et une théorie elles
aussi globalisées ?
– Qu’est qu’un art local aujourd’hui ?
– Relation entre scène émergente et scène globale

Les propositions devront nous parvenir sous forme d’une problématique
résumée (5.000 signes maximum, espaces et notes compris) avant le 10
juillet 2015 par courriel à Cecilia Braschi ( et
à Angélica González ( Les textes sélectionnés
(en double aveugle) feront l’objet d’une journée d’étude à Paris, à
l’INHA, le 24 octobre 2015. Le texte des propositions retenues devra
nous parvenir le 18 octobre 2015 (40.000 signes maximum espaces
compris). Certaines des contributions seront retenues pour la
publication du numéro 23 de Marges. La revue Marges (Presses
Universitaires de Vincennes) fait prioritairement appel aux jeunes
chercheurs des disciplines susceptibles d’être concernées ? histoire
de l’art, géographie, esthétique, arts plastiques, philosophie, design,
architecture, sociologie, sciences de la communication…

APPEL A CONTRIBUTIONS : “Beyond Chinoiserie : Artistic Encounters between China and the West during the Late Qing Dynasty (c. 1795-1912)”

DATE: 30 – 31 octobre 2015
LIEU: South Orange, NJ, USA
DEADLINE: 15 mai 2015

Proposals are called for papers to be presented at a two-day workshop
entitled “Beyond Chinoiserie: Artistic Encounters between China and the
West during the Late Qing Dynasty (c. 1795-1912)” to be held on the
campus of Seton University in South Orange, NJ (USA) on October 30-31,

The workshop is intended to bring together an international group of
scholars working on artistic relations and exchanges between China and
the West (Europe and the US) during the greater nineteenth-century,
from the end of the Qianlong Emperor’s reign to the fall of the Qing

Participants are expected to present 30-minute working papers and
participate in panel debates and discussion sessions. Papers may be
focused on objects and sources or may address methodological issues.
Questions to be explored are suggested but not limited to:  
– How do we model the transition of eighteenth-century Chinoiserie to
the nineteenth-century engagement with Chinese art and visual culture,
and relatedly, of Chinese court attitudes towards Western art and
visual culture during the early Qing dynasty to mercantile outlooks
during the late Qing dynasty?
– What, if any, is the relation between Chinoiserie and Japonisme
– What did nineteenth-century collectors of Chinese artifacts collect
and what is the significance of the abundance of Chinese artifacts in
Western painting of the second half of the nineteenth century (e.g.
Stevens, Whistler, Tissot)?
– What Western art objects were available in China and what impact did
they have on art and visual culture production in China?
– Using China and the West as an example, what happens to cultural and
artistic exchanges in a politically hostile atmosphere?

We anticipate publication of the papers in either traditional or
electronic format (funds permitting).

Supported by a grant from the American Council of Learned Societies,
funded by the Chang Ching-kuo Foundation for International Scholarly
Exchange, the symposium is co-sponsored by the University of Sydney and
Seton Hall University. Its steering Committee is comprised of Petra
Chu, Seton Hall University, USA; Ya-chen Ma, National Tsing Hua
University, Taiwan; and Jennifer Milam, University of Sydney, Australia.

All presenters will receive hotel accommodation for up to three nights,
meals during the workshop and transportation between hotel and Seton
Hall. Limited funds are also available to assist with travel costs for
presenters on the basis of need. To apply for these funds, please
submit a brief budget and statement of need (1 page maximum) along with
your paper proposal and cv.

Those interested in presenting a paper at the symposium should send a
one-page (double-spaced) proposal accompanied by a one-page resume (in
one document) as an e-mail attachment to:

Important Dates:
Proposal deadline: May 15, 2015.  
Selected participants will be notified by June 30.
Final papers are due September 1, 2015.

Details about the workshop can be found on the website:

If you have specific questions please e-mail Petra Chu
( or Jennifer Milam (

Atelier doctoral « Histoire globale & histoire sociale : les enjeux d’un dialogue »

Faire de l’histoire sociale

Histoire globale & histoire sociale : les enjeux d’un dialogue

Du 15 au 18 juin 2015, l’École des hautes études hispaniques et ibériques (Casa de Velázquez, Madrid),la Maisons des Sciences de l’Homme d’Aix-Marseille, de Clermont-Ferrand et de Toulouse et l’École française de Rome organisent un atelier doctoral sur le thème « Histoire globale & histoire sociale : les enjeux d’un dialogue » à la Casa de Velazquez. Une formation de qualité (conférences et ateliers méthodologiques) sera proposée aux participants. Les séances de travail seront animées par Romain Bertrand Bertrand, Caroline Douki, Antonio de Almeida Mendes, Jean-Paul Zuniga, Claire Judde, Thomas Glesener et moi-même. Pourriez-vous  diffuser l’information autour de vous ?
Les dossiers d’inscription sont à compléter et à renvoyer avant le 7 avril, 17h00.
Pour de plus amples informations : <>

APPEL A CONTRIBUTIONS : Das Japanische Palais in Dresden. Vom Porzellanschloss Augusts des Starken zum Museumsschloss des frühen Bildungsbürgertums

LIEU : Dresde, Technische Universität

DATE : 9 et 10 octobre 2015

DEADLINE : 26 avril 2015

Tagung an der TU Dresden, Fritz-Thyssen-Projekt zur Baugeschichte des
Japanischen Palais

Die Tagung hat das Japanische Palais in Dresden-Neustadt zum Gegenstand,
das heute etwas abseitig gelegen kaum in seinem wahren Wert wahrgenommen
wird. Es handelt sich bei diesem Bau um eines der Hauptwerke des
Dresdner Barocks und stellte in seiner ursprünglichen Planung ein
absolutes Unikat in der europäischen Architektur des 18. Jahrhunderts
dar. 1729 bis 1734 zu großen Teilen aufgeführt, sollte es die reiche
Sammlung Augusts des Starken an ostasiatischem Porzellan und die neu
geschaffenen, kostbaren Porzellanstücke der Meißner Manufaktur aufnehmen
und so Sachsens Glanz eindrücklich präsentieren. Das heutige
Schattendasein des Bauwerks liegt wohl auch darin begründet, dass der
Tod Augusts des Starken seine Fertigstellung vereitelte und somit das
Gebäude nie auf spätere Schlossbauten ausstrahlen konnte.

An der Planung des Japanischen Palais war der König selbst rege
beteiligt: Vielfältige regionale, überregionale und internationale
Inspirationen und Gedankenansätze flossen hier zusammen und ließen ein
einzigartiges Bauwerk entstehen. So ist neben vorbildhaften Bauten,
Konzepten und zeremoniellen Eigenheiten auch nach den Erfahrungen der
Architekten sowie den politischen Rahmenbedingungen zu fragen.

Nach dem Paradigmenwechsel des späten 18. Jahrhunderts hin zu einer
Kultur der Aufklärung und des breiter zugänglichen Wissens sind die
Umbauten der Jahre 1786 und 1835 insbesondere vor dem Hintergrund des
sich entwickelnden europäischen Bibliotheks- und Museumswesens sowie des
Bildungsbürgertums zu würdigen. Die nicht unbedeutenden Zeugnisse der
Semperschen Neugestaltung werfen nicht zuletzt auch Fragen zu dessen
Italienforschungen und seiner Polychromieschrift auf.

Geplant ist ein anderthalb tägiges Tagungsprogramm mit einer Exkursion
ins Japanische Palais und in die Dresdner Porzellansammlung.

Sie sind eingeladen, sich mit einem Beitrag an der Tagung zu beteiligen.
Die Vorträge sollten die Länge von 20 Minuten nicht überschreiten. Bitte
senden Sie bis zum 26. April 2015 einen Vortragsvorschlag von maximal
400 Wörtern sowie einen Kurzlebenslauf, ggf. mit den wichtigsten
Publikationen. Die finalen Einladungen ergehen Ende Mai.

Zu den möglichen Themen zählen:

Block 1 – Barock

Europäischer Schlossbau
– Vorbildhaftigkeit bedeutender europäischer Residenzschlösser (v. a.
Versailles, Stockholm, Berlin, Escorial)
– Architekten am sächsischen Hof (v. a. Zacharias Longuelune, Matthäus
Daniel Pöppelmann und Jean de Bodt)
– Galerie- und profane Zentralbauten in Europa
– Kapellen und Paradeschlafzimmer in barocken Residenzschlössern

– Sachsen und Habsburg
– Sachsen und Preußen: Konkurrenz und Vorbildhaftigkeit

– Integration von Schlossbauten in bestehende und neu zu schaffende
– Achsbildung im Schlossgelände und der Umgebung
– Der Alterswert bestehender Residenzen versus repräsentative Neubauten

Porzellan und Chinoiserie
– Porzellansammlungen an den europäischen Fürstenhöfen
– Porzellan als Prestigegut und seine räumliche Präsentation
– Asien in der europäischen Wahrnehmung

– Gartenkultur in Sachsen, Frankreich und Holland
– Einbeziehung natürlicher Gegebenheiten in die Planungen

Block 2 – Klassizismus und Historismus

– Vorbildhafte Architekturen im 18. Jh.
– Von der privaten Sammlung zur öffentlichen Bibliothek

Gottfried Semper
– Antikensammlungen in Europa
– Die Polychromieschrift und Italienforschungen Gottfried Sempers
– Begriff des Gesamtkunstwerks bei Semper

Seitens der Tagung werden die Kosten für die Anfahrt und die Unterkunft
Eine Publikation der Tagungsbeiträge ist nicht vorgesehen.

Dr. Stefan Hertzig; Dr. Kristina Friedrichs