[PDF] AUTORITÄTEN DER KUNSTGESCHICHTE ART HISTORY AUTHORITIES

List of Application Deadlines - DAAD

Vocational Education and Personnel Capacity Building TU Dresden German MA 24 months 30 09 2019 see website International Education Management – INEMA PH Ludwigsburg / Helwan University English MA 24 months see website see website Master of Laws in Intellectual Property and Competition Law Munich Intellectual Property Law Center (MIPLC)

AUTORITÄTEN DER KUNSTGESCHICHTE ART HISTORY AUTHORITIES

Silke Wagler (Kunstfonds, Dresden) Angelika Weissbach (Kunstarchiv, Beeskow) 2 Museums and the Cold War (19 May) From 14h to 18h Objectives: Discuss current attitudes toward collections of artworks from the Cold War in Europe, and the ways the presentation of works before 1989 is conditioned by that of post-1989 works

Veronika Job, PhD - TU Dresden

DIE PRÜFUNGEN DES GOETHE-INSTITUTS THE EXAMS OF THE GOETHE

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Research Letters - The Lancet

Dr D Allemand: Hospital General de Agudos-Juan Fernandez, Capital Federal, Buenos Aires; Dr H Guixa, Dr R Testa: Hospital Italiano, Capital Federal, Buenos Aires; Dr J Lebron, University of Buenos Aires,

Art Discovery Group Catalogue

• Deutsches Forum für Kunstgeschichte / Centre allemand d’histoire de l’art, Paris • Bibliotheca Hertziana, Max Planck-Institut für Kunstgeschichte, Rom • Polimoda, Florence, Italy • Library of the Uffizi

Jan Simane - oclcorg

Leon ardiana Library, Center for Research and Documentation of Leonardo Studies Bill Kent Library, Monash University Prato Centre Kubi kat, Germany Kunsthistorisches Institut in Florence, Max -Planck -Institut (Florence, Italy) Zentralinstitut für Kunstgeschichte in Munich

Art Discovery Group Catalogue

Deutsches Forum für Kunstgeschichte / Centre allemand d'histoire de l'art, Paris Bibliotheca Hertziana, Max Planck-Institut für Kunstgeschichte, Rome Union Catalogue of Düsseldorf Cultural Institutions, Germany Filmmuseum Düsseldorf Görres-Gymnasium Düsseldorf

LE REQUIEM ALLEMAND DE BRAHMS BRAHMS’ GERMAN REQUIEM

LE REQUIEM ALLEMAND DE BRAHMS BRAHMS’ GERMAN REQUIEM ANDREW MEGILL, chef de chœur / chorus master LESLIE ANN BRADLEY, soprano TOMISLAV LAVOIE, basse / bass CHŒUR DE L’OSM JONATHAN RYAN, orgue / organ Le poste de chef de chœur est généreusement parrainé par Mme Ann Birks, en mémoire de Barrie Drummond Birks

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AUTORITÄTNN MNR OUNSTGNSCHICHTN

ART HISTORY AUTHORITINS

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All VeVVionV will Wake place -CUampVH

75001 PariV.

Introduction (21 octobre)

From 16h to 18U.

SeVVion organiYeT in parWnerVUip wiWU ProfeVVor Ségolène Le Óen (TeparWmenW of HiVWory of arW aW

UniverViWy of NanWerre).

I. REPRESNNTATIONS

1. ŃormaWion of WUe CaWegorieV NaVWIPeVW (4 November 2016)

From 15U45 Wo 19U45.

SeVVion organiYeT in parWnerVUip wiWU ProfeVVor Ségolène Le Óen (TeparWmenW of HiVWory of arW aW

UniverViWy of NanWerre).

ObjecWiveVJ

Recall how the geographical, culWuralH poliWical caWegorieV "NaVW" anT "PeVW" were

UiVWorically TeWermineT

Emphasize WUe Tivergence beWween caWegorieV on eiWUer ViTe of WUe Iron CurWain Turing WUe

ColT Par

Contextualize their uVe by arWiVWVH arW criWicV anT arW UiVWorianV

ParWicipanWVJ

Jérôme Bazin (University PariV NVW CréWeil)H PaVcal Mubourg-GlaWigny (NHNSS)

Agata Jakubowska (University Ĕ

Gregor Wedekind (University ÓainY)

2. Repositioning the CaWegorieV (18 November)

From 14h to 18U.

SeVVion organiYeT in parWnerVUip wiWU ProfeVVor Ségolène Le Óen (TeparWmenW of HiVWory of arW aW

UniverViWy of NanWerre).

ObjecWiveVJ

Observe the persistence of these spatial and political categories in post-1989 arW UiVWory Study the problems caused by their use and the need, as well as the difficulty, of overcoming WUem Compare them with the iVVueV inUerenW in naWional caWegorieV

ParticipantsJ

Maria Hlavajova (Bridging Art and Knowledge, Utrecht)

Monica Juneja (University HeiTelberg)

3

3. From 1968 to 1989 (14 Mecember)

From 14h to 18U.

ObjecWiveVJ

Compare the political turn taken by art history ca. 1968 with the rupture repreVenWeT by 1989
Study different manifestations thereof, through the development of the cultural history of

relaWionVH WUe ÓarxiVW criWique of VocialiVmH WUe relaWionV beWween arW criWiciVm anT WUe

poliWical queVWionH WUe exWenVion of ÓarxiVW perVpecWiveV inWo WUe fielT of anWUropology

ParticipantsJ

Jean-LouiV CoUen (SUelTon H. Solow ProfeVVor in WUe HiVWory of ArcUiWecWureH InVWiWuWe of

Ńine ArWVH NYU)

Jacques Leenhardt (EHESS)

Ċy ParVaw)

II. PERSPECTIVES

1. Arts anT SocieWieV (3 Ńebruary 2017)

From 14h to 18U.

ObjecWiveVJ

Characterize the diversity of methods followed by art history since the 1960s and 1970s, e.g. culWural VWuTieVH genTer perVpecWiveV or Vocial UiVWoryH anT raiVe WUe queVWion of WUeir poVVible uniWy Consider the question whether the social history of art leads to the relativization of esthetic experience Assess the influence of these methods on artistic practices in the East

ParWicipanWVJ

Constance Moréteau (Terra Foundation, Paris), Neil McWilliam (Duke University)

2. TUe Loci of CriWiciVm anT Nmergence of WUe PoliWical (24 ÓarcU)

From 14U Wo 18U.

ObjecWiveVJ

Understand why criticism and theory sought new loci of expression around the 1970s, ouWViTe WUe WraTiWional inVWiWuWionV Discuss the institutionalization of these loci and thought Consider how artists created a space for living anT WUinking irreTucible Wo WUe NaVW-PeVW TiviTeH buW noneWUeleVV Teeply markeT by regional TeWerminaWionV Examine WUe faWe of WUe noWion anT formV of communiWy in TifferenW groupV of arWiVWV 4

ParWicipanWVJ

Jacopo Galimberti (Collège international de pUiloVopUieH PariV)

Vincent Kaufmann (University SW-Gallen)

Klara Kemp Welch (The Courtauld Institute of Art, London) Anda Rottenberg (arW UiVWorianH arW criWicH curaWorH ParVaw)

III. OBJECTS

1. The contemporary reception of commissioned artworks from the socialisW

counWrieV (21 April)

From 14h to 18U.

ObjecWiveVJ

Study collections and exhibitions of artworks from WUe VocialiVW counWrieV Compare the respective situations in the countries formerly located in the East and the PeVW

ParWicipanWVJ

Szymon Kubiak (ÓuYeum NaroToweH SYcYecin)

Silke Wagler (Kunstfonds, Dresden)

Angelika Weissbach (Kunstarchiv, Beeskow)

2. Museums and the Cold War (19 Óay)

From 14h to 18U.

ObjecWiveVJ

Discuss current attitudes toward collections of artworks from the Cold War in Europe, anT WUe wayV WUe preVenWaWion of workV before 1989 iV conTiWioneT by WUaW of poVW-1989 workV

Compare the modes of narration proposed

Analyze the conservation and exhibition of very recently constituted collections, whose UiVWory waV wriWWen aV WUe collecWionV were being creaWeT Examine how museums of contemporary art uVe (or To noW uVe) WUe ColT Par aV a facWor accounWing for WUe ViWuaWion we are in WoTay

ParWicipanWVJ

Magda Lipska (ÓuYeum VYWuki nowocYeVnejH ParVaw)quotesdbs_dbs5.pdfusesText_9