Dr Stefan Neuner
eikones, NCCR Iconic Criticism
www.eikones.ch
London, 21 January 2015, 16:30
Warburg Institute
Woburn Square, London WC1H 0AB
Prof Dr Peter Geimer
Freie Universität Berlin,
Kunsthistorisches Institut
London, 12 December 2014, 16:30
Warburg Institute
Woburn Square,
London WC1H 0AB
The next publication we celebrate by a member of the group is an edition with introduction of a 1738 text, presenting conversations from the dead between Albrecht Dürer und Raphael de Urbino. FONTES 81 presents a hitherto more or less unstudied little book by the engraver Georg Wolfgang Knorr. The Historische Künstler-Belustigung oder Gespräche In dem Reiche derer Todten, zwischen denen beeden Welt-bekannten Künstlern Albrecht Dürer und Raphael de Urbino (1738) was projected to be the first of a series of dialogues of the dead between famous artists. Yet the series was discontinued after this first volume. Knorr’s book stages a dialogue between Dürer and Raphael, each giving the other an account of their lives. The text is remarkable for at least two reasons. First, it is an early example of a direct comparison of Dürer and Raphael, who gained enormous popularity in Romanticism. Second, Knorr’s Künstler=Belustigung is a nearly unique example for the presentation of art historical themes in a dialogue of the dead, one of the most popular literary genres in early 18th-century Germany. It is freely available via the University of Heidelberg’s ART-Dok.
Experiencing Images looks at a very specific aspect of life: human relations to images. It is not restricted to the production of images but includes interacting with them, for example by collecting and contemplating them. Images are a human tools for thinking, exploring and communicating.
The show has been curated by the research group with assistance from Dr François Quiviger. It reflects on the group’s research and the ways this makes use of the resources provided by the Institute. The exhibition has been realised with the help and permission of Dr Raphaële Mouren, Ian Jones, Dr Paul Taylor and the Photographic Collection at the Warburg Institute, and Mick Finch and Martin Westwood, Central Saint Martin’s College of Art.
Warburg Institute, Woburn Square, WC1H 0AB, Open from Monday 17 November 2014 until 12 December 2014. If you do not have a Warburg Institute reader’s card, please print off a free ticket from the link below and present this at the front desk of the Warburg Institute:
http://beinghumanfestival.org/event/experiencing-images-warburg-institute/
Prof Dr Andrew Benjamin
Kingston University London,
Faculty of Arts and Social Siences
London, 19 November 2014, 16:30
Warburg Institute
Woburn Square, London WC1H 0AB
Prof Dr Victor I. Stoichita Université de Fribourg, Faculté des Lettres
London, 29 October 2014, 16:30 Warburg Institute Woburn Square, London WC1H 0AB
Along with its central characters – Nathanael, a young student; the optician Coppelius; and Olimpia, his daughter – E.T.A. Hoffmann’s 1817 story Der Sandmann has firmly established a place for itself in the European cultural canon.1 For instance, the tale presented composer Jacques Offenbach with the material for one of the acts of his 1881 opéra fantastique Les contes d’Hoffmann. As Hoffmann’s story unfolds, Nathanael falls madly in love with Olimpia, while perhaps also falling into madness. Consequently, his discovery that she is actually an automaton constructed by her ‘father’ Coppelius, who in turn doubles as the menacing sandman Coppola out on the hunt for Nathanael’s eyes, hovers in an insolubly ambiguous state between the literary depiction of a mad person’s delusions and the representation of a world in which the common laws of reality don’t apply. As such the text has served as prime subject matter for by now classical interpretations and first rank theorizations.
Kategorien
Andean adventures in ancient art
During the thirteenth to fifteenth centuries A.D. on a hill near the modern town of Guachipas in northwestern Argentina, people gathered on a hill in the centre of a large, flat basin between mountains. In the caves which pit the local sandstone they painted abstract shapes, human figures, representations of clothing and, above all, llamas.
From antiquarian visions of prehistory to the politics of modern popular culture, it has been a productive summer, and congratulations are due once again, this time to group coordinator Johannes von Müller on the release of his chapter in the edited volume Comics & Politik/Comics and Politics. The volume approaches the comic as record of, respondent to and participant in the political worlds of the modern age. It examines the varied uses of the genre internationally and the place of comic-book art within and at the edges of popular culture. Johannes’ chapter compares the works of the nineteenth-century caricaturist, Honoré Daumier, and the twentieth-century cartoonist Carl Barks.
Kategorien
Congratulations #1: Hans-Christian Hönes Kunst am Ursprung: Das Nachleben der Bilder und die Souveränität des Antiquars (Bielefeld: Transcript, 2014)
The ‘Bilderfahrzeuge’ project brings together researchers working on a wide range of topics. So far, there has been no shortage of exciting conversations crossing periods, disciplinary lines and geographical regions of study. The idea of such a research ecosystem, in which individual projects overlap and intersect with shared interests and aims, is one of the things which makes this project so exhilarating. While conversations go on in the background and inform and develop research, however, it is in publications, exhibitions and other public outputs that the results are most often seen (and where the day-to-day hard work so often is spent). In this first ‘Congratulations’, therefore, we would all like to applaud Hans-Christian on the release of his book, Kunst am Ursprung: Das Nachleben der Bilder und die Souveränität des Antiquars (Bielefeld: Transcript, 2014), emerging from his doctoral research.