LIEU: Kunsthistorisches Institut in Florenz – Max-Planck-Institut, Florence, Italie
DATE: 3 – 5 novembre 2014
Organized by Vera-Simone Schulz and Gerhard Wolf
LIEU: Kunsthistorisches Institut in Florenz – Max-Planck-Institut, Florence, Italie
DATE: 3 – 5 novembre 2014
Organized by Vera-Simone Schulz and Gerhard Wolf
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.
PROGRAMME
THURSDAY, OCT 30
14:00 – 15:00 Welcome & Introduction: Bernd Scherer, Beatrice von Bismarck, Benjamin Meyer-Krahmer
SECTION 1 / DISPLAYING AGENTS
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
Break
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
FRIDAY, OCT 31
SECTION 2 / PERFORMING THINGS
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
Break
12:30 – 13:30 André Lepecki: Thing / Dance / Vagueness: Choreographic Challenges to Curating
Lunch Break
SECTION 3 / DOING THINGS
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”
Break
17:30 – 18:30 Clémentine Deliss: Collecting and Curating Life’s Unknowns: Past Ethnography and Current Art Practice
SATURDAY, NOV 01
SECTION 4 / CHANGING STATUS
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
Break
12:30 – 13:30 Peter Schneemann: Curating Spaces – Evoking Sites, Narratives and Processes
13:30 – 14:30 Jana Scholze: Immaterialization and the Museum Collection
PROGRAMME
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
FRIDAY
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
SATURDAY
8.45-9.00: Coffee
9.00-9.45: 16) PLENARY: HANS-JÖRG RHEINBERGER
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
JEUDI 16 OCTOBRE 2014
ARCHIVIO CONGREGAZIONE ORATORIO Réfectoire borrominien de la Congrégation de l’Oratoire de Rome, Via di Chiesa Nuova, 3 – 00186 Roma.
Vendredi 17 octobre 16h00
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:
http://www.getty.edu/foundation/apply
For more information about each theme please visit:
http://www.getty.edu/research/scholars/years/future.html
Please address inquiries to:
Phone: (310) 440-7374
E-mail: researchgrants@getty.edu
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, tsheehan@colby.edu 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
presentation
– 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 http://web.colby.edu/photomigration.
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
http://www.colby.edu/centerartshumanities.
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
échantillons
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,
restauration
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
Université
· 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
Organisation
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
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
(http://img.mdpi.org/files/si/acculturations/Bibliography_GE_Jan_Blanc.pdf),
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 arts@mdpi.com if you have any questions.
On behalf of
Prof. Dr. Jan Blanc
Guest Editor