Craft History Workshop
Queen's University (CA)/ Online > 29.02.- 15.05.2024
Craft History Workshop is a virtual works-in-progress seminar on interdisciplinary histories of making that seeks to expand geographic, temporal, and methodological study of craft’s histories. See below for the speakers, talk titles, and abstracts for forthcoming workshop sessions and to register for individual Zoom events.
Veranstalter/Ort
Antonia Behan
Queen's University
Canada
Pioneering Women in the Circle of Sonia Delaunay
New York (US) > 19.04.2024
The symposium is held in conjunction with the exhibition SONIA DELAUNAY: LIVING ART, on view at the Bard Graduate Center Gallery through July 7, 2024. Artists, photographers, gallerists, entrepreneurs, and collectors—Sonia Delaunay’s universe was studded with women who gave rise to lasting innovations throughout the art world. They reshaped the way the international art market developed, expanded the potential of self-promotion, and redefined the role of fashion and photography on the global artistic stage. This symposium will present new research on important, underemphasized figures from Delaunay’s personal and professional milieu—Germaine Krull, Thérèse Bonney, Marie Cuttoli, and Nelly van Doesburg—each of whom proved essential in different ways at key moments in the artist’s life. Through their bold initiative and a deep commitment to art, Sonia Delaunay and the women around her created new opportunities for their contemporaries and changed the course of modern art and design for the century ahead.
Veranstalter/ Ort
Bard Graduate Center, New York
Digitale Kulturen zwischen Alltag und Forschung
Vechta (D) > 19.04.2024
Anmeldung: vkn@museumsdorf.de
Gegenwärtige Kulturen sind digital durchdrungen. Wie zeigt sich dies in Alltag und Forschung, wie in Bildungsprozessen oder in den Einrichtungen des kulturellen Gedächtnisses? Was sind konkrete Praxen, welche Technologien sind bedeutsam und welche Konzepte bestehen zum besseren Verständnis der aktuell stattfindenden Veränderungen hin zu digitalen Kulturen?
Veranstalter/Ort
Universität Vechta
Deutschland
Koloniale Bilderwelten
Hamburg (D) > 12.05 - 14.05.2024
Koloniale Bilderwelten. Populäre Druckgrafik und ihre Rolle bei der Tradierung von Stereotypen. Die 6. Jahrestagung des Forums BildDruckPapier – veranstaltet in Kooperation mit dem Museum der Arbeit, Hamburg, dem Altonaer Museum und dem Freilichtmuseum am Kiekeberg – widmet sich dem Thema „Koloniale Bilderwelten. Populäre Druckgrafik und ihre Rolle bei der Tradierung von Stereotypen“. Sie lenkt den Blick auf Motive, Klischees und rassistische Stereotype, die über das Medium der populären Druckgrafik verbreitet, verfielfältigt und verinnerlicht wurden. Und sie fragt nach den damit verknüpften Mechanismen und Strategien zur Etablierung von bis in die Gegenwart nachwirkenden kolonialen Sehgewohnheiten.
Veranstalter/ Ort
Forum BildDruckPapier in Kooperation mit dem Museum der Arbeit, Hamburg, dem Altonaer Museum und dem Freilichtmuseum am Kiekeberg
Hamburg
ICOM Costume Annual Meeting 2024
Genève, Château de Prangins, Yverdon-les-Bains, Neuchâtel, Lausanne (CH) > 16.05. - 19.05.2024
We have dates for the 2024 Annual Meeting in Switzerland, in May 16 -19 with a pre event on Versailles on May 14th. The locations are Genève, Château de Prangins, Yverdon-les-Bains, Neuchâtel, Lausanne. This year’s theme will be PRINTS: from Painted Cloth to Printed Textiles. More information in the following days!
Beyond the Blockbuster. Exhibition Fashion Now
London (UK) > 30.05. - 31.05.2024
Deadline: 04.03.2024
This conference seeks to bring together voices from the museum sector, academia, journalism and beyond to consider the practice of exhibiting fashion, and the role of dress, fashion and textiles in museums today.
Veranstalter/Ort
Museum of London, London College of Fashion, Pasold Research Fund
London
United Kingdom
Texture in the Medieval World
York (GB) > 01.06 - 02.06.2024
CfP deadline: 30.03.2024
Building on the past success of EMICS events, this, the 21st conference of this research series, considers the possible visual and conceptual approaches to Texture in the Medieval World in its widest possible contexts, through examining written, archaeological, pictorial, architectural, geographical, cartographical and liturgical material in order to shed new light on the uses, understanding, purposes, and transformations of texture in the Middle Ages.
The interdisciplinary, two-day conference focuses on the visual, conceptual and haptic qualities of textual and visual material and their importance and use in the medieval world. In order to explore the relationship between text, texture and materiality papers will explore ideas of; decoration, colour or luxurious materials; manipulation of texture and materiality through skeuomorphism and symbolism or as exegetical devices; the role of texture and materiality in conveying status, wealth and power in textual, social and material contexts and physicality, presence and scale whether actual, imagined or implied.
Themes will include: craft, technique and process; finished/unfinished; fragments; fraying; fabric; threads; woven, interwoven; embroidered and embellished; edges and borders; webs; networks and exchanges; thus lending itself as a topic to multiple interpretations across various media. This conference (re)considers various facets of textural constructions and understandings in the medieval past, as viewed from the present, seeking an interdisciplinary approach to this topic - including ideas of how texture and depictions of it change over time, and the significance of these changes to the construction of past structures and narratives. By reaching across boundaries of discipline and period, this conference provides a forum for the sharing of ideas, and the exploration of new thoughts on texture. The conference crosses various disciplines and periods, bringing together emerging scholars working across several fields of research with established academics, to provide a platform for the reconsideration of the idea of “texture” in its widest possible connotations.
Veranstalter/ Ort
Centre for Medieval Studies
University of York
United Kingdom
GfDg-Jahrestagung: Textilien des Erfolgs: das Design leistungssteigernder Bekleidung in Sport, Beruf und Freizeit
Augsburg (D) > 14.06. - 15.06.2024
Bei der Gestaltung von Bekleidung für den (Spitzen-)Sport, für extreme Witterungsverhältnisse oder für spezifische Anforderungen der Arbeitswelt sind Materialeigenschaften, Verarbeitungsform, Produktionsweisen und eingesetzte Gestaltungsmittel strukturell miteinander verwoben. All dies wird unter dem Begriff „Funktionsbekleidung“ subsumiert – eine Bezeichnung, welche die allgemeine „Anziehsache“ durch die besondere Qualität einer Funktion spezifiziert. Zwar ist das Tragen von Kleidung niemals Selbstzweck, sondern immer mit Aufgaben verbunden, z. B. den Menschen zu verhüllen, zu wärmen, vor Blicken und äußeren Einflüssen zu schützen. Bei Funktionskleidung kommt aber zu dieser grundsätzlichen Aufgabe der Gedanke einer Leistungssteigerung hinzu. Weite Teile des gesellschaftlichen Lebens und gerade der Sport stehen heute, so scheint es, unter dem Imperativ der „Performance“. Funktionsbekleidung hat sich längst aus der Nische des Spitzensports heraus zum Massenmarkt hin entwickelt. Zudem blickt das Design optimierender Kleidungsstücke ungeachtet der Aktualität auf eine umfassende Historie zurück. Man denke an die ersten Sportschuhe mit Leinenschaft und Gummisohle aus den 1860er-Jahren, den Bekleidungsmix der norwegischen Polarexpeditionen um 1900, den Overall für die Wartung von Dampflokomotiven oder an die Brandschutzkleidung der Feuerwehr. Alleine diese Beispiele zeigen, dass sich seit Beginn der Moderne ein weiter Bogen spannen lässt zwischen Funktion und Aussehen, technischer Entwicklung sowie dem Diffundieren in andere Bereiche.
(Textquelle: Webseite, Link s. u.)
Veranstalter/Ort:
tim | Staatliches Textil- und Industriemuseum Augsburg
Provinostraße 46,
86153 Augsburg
Deutschland
Textiles and Masculinities
Online > 15.06.2024
A Design History Society online symposium
The complex and evolving relationships between masculinities and textiles have been underrepresented in histories of design to date. This picture contrasts with the cultural and social importance textiles have in maintaining, contesting and performing masculinities. This online symposium will share international research on historical and contemporary textiles in global contexts.
Veranstalter
Glasgow School of Art
Matter Materiality
Lyon (F) > 23.06. - 28.06.2024
36th CIHA World Congress - Lyon 2024: Matter Materiality
Theme: appearance and perception
Session: Materials in the Making
The 36th Congress of the Comité International d’Histoire de l’Art is organized by the Comité français d’histoire de l’art (CFHA), in partnership with the Institut national d’histoire de l’art (INHA) and the Laboratoire de recherche historique Rhône-Alpes (LARHRA). The 36th CIHA Congress aims to build a bridge between the humanities and experimental sciences on current issues, share approaches from different fields, promote encounters between researchers and professionals from all over the world and encourage those who will create the Art History and Heritage of tomorrow.
The theme Matter Materiality
Matter and materiality are inherent to the conception, production, interpretation and conservation of artifacts in all cultures across all period. It focuses on issues relating to the world's cultural heritage in the diversity of its creation, study, conservation and promotion. The theme Matter Materiality focuses on the object and its uses over the centuries and across cultural areas. This theme taps into the fundamental origins of art while inviting reflection on the major issues of our time: management of resources, sustainability, the environment, new technologies, digital dematerialisation, and more. Matter and materiality are inherent to the conception, production, interpretation and conservation of artifacts in all cultures across all period. It focuses on issues relating to the world's cultural heritage in the diversity of its creation, study, conservation and promotion.
The congress will provide five intense days of scientific exchanges, with several programmes of conferences, round tables, debates and visits to cultural institutions and historic sites in and around Lyon.
Organizers
Magdalena Bushart, Technical University / Berlin – Berlin (Germany);
Henrike Haug, University Of Cologne - Cologne (Germany);
Valérie Nègre, Université Paris 1 Panthéon-Sorbonne, Paris (France)
Ort
Centre de Congrès de Lyon
Lyon
Frankreich
Fashion Systems: Re-assessing the Relationships between Nature-Design- Technology to advance Sustainable Practice and Advocacy
Phoenix et al (US) > 05.09. - 13.09.2024
For our next Responsible Fashion Series (RFS) event, we will visit the American West to explore the complicated relationship between fashion and technology and move the needle on current thinking in this space to advance sustainable practices in the fashion industry. Starting at the
Arizona State University, we will visit both their Phoenix and Los Angeles locations and end up in technology’s birthplace, Silicon Valley.
We begin by exploring the sublime beauty of the American Southwest, where craft methodologies have for centuries been embedded in their indigenous cultures. We will then travel to Los Angeles, America's West coast fashion capital, where we will visit studios and workshops to expand our perspectives on current design and manufacturing practices. We will then reach the final location aboard ‘the Coast Starlight train’ from Los Angeles to San Jose, through California’s fertile valleys and Pacific Ocean shoreline for a reflective immersion in nature between locations. On the final leg of the trip, we will arrive at West Valley College in Silicon Valley, where technology and sustainable fashion companies have been exploring the potential of sustainable fashion practices for decades.
Veranstalter/Ort
University of Antwerp
Niederlande
Metaverse – KI and New Aesthetics? Sektion „Bild und Mode“
Kaiserslautern/ Landau (D) > 24.09. - 28.09.2024
DGS-Panel Bild und Mode: „Metaverse – KI and New Aesthetics?“.
17. Internationaler Kongress 2024 der Deutschen Gesellschaft für Semiotik (DGS) e.V..„Zeichen.Kulturen.Digitalität“
Um ihre Ziele zu verwirklichen, organisiert die Deutsche Gesellschaft für Semiotik (DGS) e.V. Tagungen, Kolloquien, Arbeitstreffen, Kurse oder Ringvorlesungen zu den Themen ihrer Sektionen (Arbeitsbereiche). Außerdem richtet die DGS alle drei Jahre einen internationalen Kongress aus. Im Rahmen des 17. Internationalen Kongresses 2024 „Zeichen.Kulturen.Digitalität“ (Rheinland-Pfälzische Technische Universität Kaiserslautern-Landau, 24. bis 28. September 2024)
Veranstalter
Deutsche Gesellschaft für Semiotik (DGS) e.V.
Ort
Rheinland-Pfälzische Technische Universität Kaiserslautern-Landau
The Commerce & Circulation of Decorative Arts 1792-1914. Auctions, Dealers, Collectors and Museums
Lyon (F) > 25.09. - 27.09.2024
CfP deadline: 17.03.2024
This international three-day colloquium, to be held in Lyon, France, from 25 to 27 September 2024, will investigate the role played by auctions, dealers, collectors, and museums in the circulation of the decorative arts from 1792 until 1914. Beginning with the ‘ventes des biens des émigrés’ in Revolutionary France and ending with the onset of World War I, these were years of seismic political and socio-economic change that revolutionised the art market.
It was during the nineteenth century that the decorative arts, originally described as ‘curiosities’ and then ‘antiques’, became the subject of intellectual curiosity. The period under review saw the emergence of a more scholarly approach and publications, the development of the antiques trade and of museum collections devoted to the decorative arts, facilitated by the expansion of global trading networks, extended by colonisation and encouraged by international travel and world fairs. London and Paris led the growth of this market, but economic downturn in Britain and France resulted in the mass export of art to the Americas from the 1880s. At the same time, a new cosmopolitan elite stimulated purchase across Europe, competing with museums for prize objects.
This conference will focus on the commerce and global circulation of the decorative arts in order to open new perspectives and approaches that will provide a more comprehensive understanding of the art market. ‘Decorative arts’ are taken to include: furniture, metalwork, clocks, silverware, ceramics and glass, enamels, small sculpture, hardstones, ivories, jewellery, textiles, tapestries, and boiseries, from Ming dynasty porcelain, Mamluk glass, and Augsburg Kunstkammer objects to Boulle furniture and Thomire bronzes, not to mention the contemporary Arts and Crafts and Art Nouveau movements.
Veranstalter
Laboratoire de Recherche Historique Rhone-Alpes
Ort
Musée des Beaux-Arts de Lyon
Textile Materiality in the Early Modern Period
Louvain-la-Neuve (BE) > 26.09. - 27.09.2024
CfP deadline: 15.03.2024
Shimmering or matt, thick or thin, opaque or transparent, stretched or flexible, flat or pleated… They are but some of the many characteristics defining the sensory dimensions of textiles, inherently associated with their materiality. Whether worn by a prince or prelate, wrapped around precious objects, or covering walls and floors, textiles were ubiquitous in the material culture of the early modern period (15th-18th centuries). This omnipresence, from clothing to architectural adornment, has granted textiles a prominent status in the construction of social identities. Despite their importance, they have been neglected far too long in art history. Although recent studies have started tapping into the potential of this material, they are often focused on historical, iconographical or anthropological approaches, at the expense of its materiality and sensory experience. As it requires advanced technical knowledge, material studies have long been the prerogative of textile conservator-restorers and a few textile experts. The ‘material turn’ which has permeated the field of art history in recent years has however demonstrated the importance of a renewed focus on the material object by a larger community of art historians (as evidenced by the upcoming CIHA Congress devoted to Matter/Materiality).
The aim of this two-day conference is therefore to bring these different approaches together by fostering a dialogue between researchers dedicated to (the history of) techniques and conservation, and those focusing on the medial properties and the meanings conveyed by textiles when displayed, worn, or manipulated.
Veranstalter/ Ort
Université catholique de Louvain (UCLouvain)
Louvain-la-Neuve
Belgien
Inscribing Love. The Materialisation of Affects in a Global Perspective
Hamburg (D) > 30.09. - 02.10.2024
CfP deadline: 31.03.2024
The transmission of love requires a materialisation in the form of a written artefact. Following Niklas Luhmann, love can be understood as a code of communication requiring a medium that he defines as informed material, e.g. an inscribed object. One obvious example is the love letter that might be seen as a handwritten artefact through which a lover expresses his or her affection. Since a letter serves to bridge a physical distance or substitute for an absence, the material quality of the letter is of particular importance. In addition to letters, numerous other forms of materialisation and inscription are used to convey emotions: one might think of love locks, testaments, farewell letters, carvings in bark, dedications, autographs, funerary spaces, poetry albums, friendship books or forms of ostentatious affective expression as in tattoos as inscriptions on the human body.
The workshop will hence focus on written artefacts that are supposed to express love for another person. We deliberately leave the concept of love open, as it encompasses diverse meanings in different cultures and epochs; instead, we focus on practices that are intended to communicate love by inscribing a material object. We want to explore if written artefacts, through their various forms of inscribed materiality, are historically, culturally or gender-specifically bound to certain practices, and represent closeness to a loved person. Rather than deciding whether an emotion expressed in an artefact corresponds to a “real” emotion, we want to analyse to what extent the expression of love is linked to certain practices of material authentication: this raises the question of the originality of the written artefact, which is particularly revealing when compared in a global perspective.
The workshop will take place between 30th September and 2nd October 2024 within the framework of the Cluster of Excellence “Understanding Written Artefacts”, based at the University of Hamburg, and is linked in particular to the two research fields of “Inscribing Spaces” and “Creating Originals” >.
Veranstalter/ Ort
Universität Hamburg
Dress and Painting: Clothing and Textiles in Art
London (GB) > 07.10. - 08.10.2024
The Association of Dress Historians are delighted to introduce our two-day autumn International Conference for 2024 on the theme of Dress and Painting: Clothing and Textiles in Art.
Confirmed keynote speakers are:
- Professor Aileen Ribeiro, Professor Emeritus of the Courtauld Institute of Art
- Dr Timothy McCall, Associate Professor of Art History at Villanova University
- Anna Reynolds, Deputy Surveyor of The King’s Pictures at Royal Collection Trust
The conference aims to bring together scholars, professionals, and practitioners to explore and examine the wide range of interconnections between dress, textiles and painting across any culture or region of the world, from before classical antiquity to the present day.
Veranstalter
The Association of Dress Historians (ADH)
Ort
National Portrait Gallery
London
Portrait Miniatures
Celle (D) > 11.10. - 13.10.2024
CfP deadline: 30.04.2024
Die Bildnisminiatur: Künstler, Funktionen, Techniken und Sammlungen.
Internationale Tagung der Tansey Miniatures Foundation
Die Tansey Miniatures Foundation organisiert seit 2013 internationale Tagungen zur Porträtminiatur. Sie bietet weltweit das wichtigste Forum, auf dem sich Kunsthistoriker, Sammler und Interessierte zum wissenschaftlichen Austausch treffen. Im Herbst 2024 findet die mittlerweile vierte Tagung statt. Die Tagung findet anlässlich der für den 11. Oktober 2024 vorgesehenen Eröffnung der achten Ausstellung der Tansey Miniatures Foundation und der Publikation des begleitenden Kataloges statt: "Miniaturen der Zeit der Romantik aus der Sammlung Tansey". Die Tagungssprache ist Englisch.
Veranstalter/ Ort
Residenzmuseum Schloss Celle
Environments, Materials, and Futures in the 18th Century
Boston, Cambridge & Providence (USA) > 12.10. - 14.10.2023
On the land of the Massachusett and neighboring Wampanoag and Nipmuc peoples, Boston developed in the eighteenth century as a major colonized and colonizing site. Its status today as a cultural and intellectual hub is shaped by that context, making it a critical location to trace the cultural legacies of racism and social injustice between the eighteenth century and today. For whom is “eighteenth-century art and architecture” a useful category? What eighteenth-century materials, spaces, and images offer tools or concepts for shaping our collective futures?
In considering these questions, the Historians of Eighteenth-Century Art and Architecture (HECAA) aim to be deliberate about expanding the group's traditional focus on Western European art and architecture and specifically encourage proposals from scholars working on Asia, Africa and the African diaspora, Indigenous cultures, and the Islamic world. This conference marks our 30th year as a scholarly society dedicated to facilitating communication and collaboration among scholars of eighteenth-century art to expand and promote knowledge of all aspects of the period’s visual culture.
For questions regarding the conference, please contact Stacey Sloboda > (Conference Chair) or Elizabeth Saari Browne > (Conference Administrator).
Veranstalter
Historians of Eighteenth-Century Art and Architecture (HECAA)
Orte
MIT and MFA (Boston), Harvard (Cambridge), and Providence
Massachusetts
USA
Motorcycle Culture in Photography and Film
Atlanta, GA (US) > 23.10 - 26.10.2024
Deadline CfP: 01.05.2024
Motorcycle culture and its participants occupy a near-mythic status in US culture, whether in terms of gangs, clubs, fashion, bike style and customization, popular culture, film, and/or photography. The activity of riding a motorcycle is no longer limited to a single demographic, and terms such as "biker" and "subculture" are potentially no longer accurate descriptors. The social nature of motorcycle riding can cultivate camaraderie and community, as well as paradoxically foster conformity in rebellion against mainstream society. Stereotypically motorcycles can signify freedom, independence, danger, fearlessness, masculinity, and subversiveness. However, these stereotypes neglect the full spectrum of bikers who find community in motorcycle culture and organizations. Well-known representations of motorcycle culture include Danny Lyon’s The Bikeriders (1968), the film Easy Rider (1969), and tv series Sons of Anarchy (2008-14). This panel seeks presentations of either creative work or research on manifestations/representations of motorcycle culture in the US or internationally. Topics could include motorcycles and bikers in photography, documentary, film, design history, etc., and analyses related to race, gender, sexuality, class, fashion, and style, from their late-nineteenth-century invention to the present.
Chairs: Elizabeth Howie, Coastal Carolina University; and Armon Means, Belmont University
Describing (In)Visibilities of Netherlandish Art
Wien (A) > 24.10. - 26.10.2024
Jahrestreffen des Arbeitskreises Niederländische Kunst- und Kulturgeschichte e.V. 2024 in Kooperation mit dem Institut für Kunstgeschichte der Universität Wien und dem Kunsthistorischen Museum Wien.VISUALITÄT UND VIRTUALITÄT: (UN)SICHTBARKEITEN NIEDERLÄNDISCHER KUNST BESCHREIBEN.
Vor genau 40 Jahren entbrannte mit dem Erscheinen von Svetlana Alpers‘ Buch "The Art of Describing" (1983) ein Methodenstreit, dessen Debatten die Kunstwissenschaft nicht nur mit Blick auf die Niederlande nachdrücklich herausgefordert, geprägt und belebt haben. Alpers‘ Kritik richtete sich damals gegen die vorherrschende Ikonographie, die sich auf die Autorität historischer Textquellen berief und die Bedeutung niederländischer Werke vornehmlich hinter ihrem realistischen Erscheinungsbild auszumachen suchte. Die amerikanische Kunsthistorikerin dagegen rief dazu auf, die Bedeutung der Bilder in der Gestaltung der Bildoberfläche zu suchen, sprich "in dem […], was das Auge aufnehmen kann – so trügerisch dies auch sein mag." Für sie wur-zelte die Eigenart der holländischen Malerei in deren Affinität für das Sichtbare und in der Sensibilität, mit der sie visuelle Erfahrung zu beschreiben vermag.
Indem Alpers die Gemäldeproduktion des 17. Jahrhunderts als Teil einer spezifisch holländischen Sehkultur verstand, in der Bilder einen aktiven, eigenständigen Beitrag u.a. zu Wissenschaft und Erkenntnis leisteten, sollte sie der Forschung neue interdisziplinäre Wege und Perspektiven eröffnen. 40 Jahre später haben Kunstgeschichte, Bildwissenschaft und Visual Culture Studies nicht nur die von Alpers ausgemachte Lücke gefüllt, sondern ihre damalige Position kritisiert, historisch verortet und zum Ausgang neuer Fragen gemacht: Geschärft ist inzwischen unser Verständnis und Bewusstsein dafür, dass das Sehen und jede Art des Zu-Sehen-Gebens – bewusst oder unbewusst – von kulturell generierten Vorstellungen und strukturellen Machtverhältnissen mitgeprägt sind. So ist auf Alpers‘ Kritik an der Dominanz der Ikonographie auch eine Kritik an den blinden Flecken gefolgt, die durch die Akzentuierung des em-pirischen Blicks in "The Art of Describing" entstanden. Programmatisch zugespitzt sah Alpers mit ihrer Betonung visueller Wissensproduktion und Dokumentation (nicht zuletzt der Kartographie) die Kunst zu sehr im Dienst einer "Objektivität". Die Konstruiertheit und Historizität der kulturellen Vorgaben hingegen gerieten bei dieser Fokussierung leicht aus dem Blick. Anders formuliert: Bilder, Objekte und Architekturen sind Medien der Sichtbarmachung und Einflussnahme wie des Reflektierens und Handelns. Gleichzeitig sind visuelle Artefakte aber auch Mittel des Kaschierens, Ausblendens und Übersehens, die Welten mit eigenen Gesetzlichkeiten erzeugen. Mindestens so wichtig wie das, was Kunstwerke visualisieren, ist daher das, was sie nicht zeigen und virtuell erfahrbar machen. Gerade indem Bilder sich eines vermeintlich beschreibenden Modus und größtmöglicher Augenscheinlichkeit bedienen, versuchen sie uns von der Natürlichkeit jener impliziten Vorstellungen und nicht selten politischen Annahmen zu überzeugen, in die sie eingebettet sind. In diesem Sinne sollen daher im Mittelpunkt des ANKK-Jahrestreffens 2024 die (Un)Sichtbarkeiten niederländischer Kunst stehen.
Das Jahrestreffen ist in Präsenz geplant und wird vom 24. bis 26. Oktober 2024 in Kooperation mit dem Institut für Kunstgeschichte der Universität Wien und dem Kunsthistorischen Museum Wien stattfinden, wo zeitgleich die Ausstellung "Rembrandt – Hoogstraten: Farbe und Illusion" zu sehen sein wird. Für eine Teilnahme ist eine ANKK-Mitgliedschaft oder eine Tagungsgebühr in Höhe von 40 EUR obligatorisch (bzw. von ermäßigt 20 EUR für Personen mit geringem Einkommen z.B. aufgrund von Promotionsstudium, Volontariat o.ä.).
Veranstalter
Arbeitskreis Niederländische Kunst- und Kulturgeschichte e.V.
Institut für Kunstgeschichte der Universität Wien
Kunsthistorisches Museum Wien
Woven Paintings
Madrid (SP) > 08.11.2024
Since 2020, the Moll Institute (Madrid) and the Périer-D'Ieteren Foundation (Brussels) have been conducting a research program aimed at identifying and studying the art that developed in Flanders and Burgundy from the 15th to the 17th centuries, which is still preserved in Spanish collections. As part of this collaboration, in 2023, a series of study sessions began to be held to share, deepen, and disseminate the work of specialists in the field. The 2023 study day took place in Brussels and focused on pictorial art. This time, the session will be dedicated to tapestries and will be held the 8th of November in Madrid. The conference will aim to explore issues in relation with the world of the tapestries such as its production, models, processes, involved artists, collecting, and the restoration and conservation of these art works.
Veranstalter/Ort
Instituto Moll
Centre for Research in Flemish Painting
Marqués de la Ensenada 4 - 1º
28004 Madrid
Spanien
Aesthetics in contemporary China
Nanjing (CH) > 09.11. - 10.11.2024
(Extra)Ordinary Living: Aesthetics in Contemporary China.
非比寻常：当代中国的生活美学.
The 17th Annual Conference, the Centre for Chinese Visual Arts (CCVA), Birmingham City University in collaboration with Nanjing University of the Arts.
From pre-dynastic rites and music to literati art and volumes on the pleasures of life, the notion of living has long inspired Chinese works of art and objects of design, which, in turn, document and inform diverse modes of society and culture, broadly conceived. More recently, an interest in everydayness re-gained momentum between the 19th and early 20th century. Later, during the Maoist era, life in the countryside and the labour of the masses was brought to the fore with the collective production of paintings, woodblock prints and propaganda posters. Throughout the 1980s, Chinese artists still drew inspiration from living, as suggested by the pioneering work by artist collectives such as the Pond Society (Chishe) and the Polit-Sheer-Form Office (Zheng chun ban), or the early works by contemporary artists in the 1990s, e.g., Geng Jianyi, Song Dong, Yin Xiuzhen, and Zhuang Hui.
Today in China the ordinariness of living remains a key source of inspiration not only for artists, but also for designers, particularly, in the area of product design, fashion design and interior design. Following the evolving socio-cultural and economic circumstances in the Reform and Opening Up era, the products of visual and performing arts, as well as design have inevitably changed along with ordinary life. At present, we live in a technologically advanced, and interconnected world that is, nevertheless, getting more fragmented, conflict prone and facing global challenges. The visual and performative arts and design can neither prevent nor provide solutions to current and future concerns. However, their extraordinary power is they contain implicit cues on our modes of living, which need unpacking to get more complex, nuanced and comprehensive understandings of society and culture.
Veranstalter
Nanjing University of the Arts
Birmingham City University
Playing Fools? The Art of the Jester in Modern Europe
Paris (F) > 18.11. - 20.11.2024
CfP deadline: 01.04.2024
The jester is a paradoxical figure: a subordinate included in elite social circles. Thus, he is an outsider, albeit a remarkably proficient one. Jesters, comprising fools, dwarfs, and other “monsters” – both men and women, often with disabilities – are itinerant, travelling from one court to another or from the precursors of psychiatric hospitals to the realms of royalty.
Examining the jesters’ craft - as virtuosos and outsiders - provides an innovative perspective on European cultural legacy. Jesters leave behind traces due to their social position. These traces primarily involve images and texts, especially in the theatre, since jesters were experts in performance. Their artistic skills warrant analysis because they performed daily for their masters and authored letters, poems, and burlesque chronicles of their era, such as Francesillo de Zúñiga’s account of Charles V. The exclusion of jesters from our conception of art history is not purely discriminatory, but rather a result of their exclusion from fine arts. Liberal artists and jesters rivalled for supremacy in jokes and poetry, particularly in humorous literature. Prior to the rehabilitation of Shakespearean jesters during the Romantic era, as evidenced by Jean Starobinsky in his Portrait de l’artiste en saltimbanque (1970), the modern period established its aesthetic standards around the exclusion of jesters (kingdom of France) or, at least, a principle of distinction, as exemplified by Velazquez’s gallery of non-illustrious men in his jester portraits. Instead of pathologising or mocking these unique individuals, we approach jesters, dwarves, and fools more inclusively as paradoxical court artists. The conference aims to scrutinise the competition between artists and jesters, with the latter frequently obtaining more stable patronage than poets and painters. Our goal is to establish the status of jesters between subalternity and disability, applying the methodologies of historical anthropology, social history, and art history.
Veranstalter/ Ort
Médiathèque du Patrimoine et de la Photographie, Charenton;
Institut National d’Histoire de l’Art, Paris;
Musée du Louvre, Centre Dominique-Vivant Denon, in conjunction with the exhibition "Figures du Fou" (autumn 2024 - early 2025)
Unfolding the Coromandel Screen
Hong Kong (Ch)/ ZOOM > 22.11. - 25.11.2024
With the generous support of the Bei Shan Tang Foundation, the Department of Chinese and History at City University of Hong Kong will host a two-part academic event titled “Unfolding the Coromandel Screen” in celebration of the department’s tenth anniversary. This four-day event will bring together an international group of art historians, museum curators, conservators, collectors, and global historians to delve into various facets of the Coromandel screen and its intricate histories of interrelations with paintings, prints, decorative arts, palatial and interior designs, global maritime trade, and the fashion industry. The conference, organized by Wang Lianming (City University of Hong Kong) in collaboration with Mei Mei Rado (Bard Graduate Center, New York), will take place on-site at City University of Hong Kong and via Zoom on November 22-23. The keynote speech will be delivered by Jan Stuart, the Melvin R. Seiden Curator of Chinese Art at the Smithsonian National Museum of Asian Art, Washington D.C. Following the conference, participants will be invited to join a two-day traveling seminar from November 24 to 25, visiting lacquer and conservation workshops and museum collections in and around Guangzhou.
Veranstalter/ Ort
Department of Chinese and History at City University of Hong Kong
The Art of Mourning. Emotion and Restraint in the Visual Arts, 1750–1850.
Würzburg (D) > 06.12. - 07.12.2024
DIE KUNST DES TRAUERNS. Gezügelte Gefühle in den Bildkünsten, 1750–1850.
Erstes Wellhöfer-Kolloquium, Donnerstag/Freitag, 6./7. Dezember 2024
Würzburg, Martin von Wagner Museum der Universität Würzburg und Toscanasaal der Residenz
Veranstalter
Martin von Wagner Museum der Universität Würzburg (Damian Dombrowski)
Deutsche Gesellschaft für die Erforschung des 19. Jahrhunderts (Michael Thimann)