Built Environments and Performances of Power (Cleveland, 26 Oct 18)

Cleveland Museum of Art, October 26, 2018
Deadline: Jul 15, 2018

Built Environments and Performances of Power
44th Annual Cleveland Symposium

The Art History Department at Case Western Reserve University invites graduate students to submit abstracts for its 2018 Annual Symposium Built Environments and Performances of Power. We welcome innovative research papers that engage with the concept of built environments and their performative spaces, both within and without.

Architecture creates narratives, while simultaneously shaping the identities of builders and users. Monumental architecture conveys stability, which allows its patrons to emphasize authority. At the same time, occupants transform spaces through their physical presence and social dynamics. How do we engage with architectural locations and the objects found within them? How do patronage, artistic intent, and pre-existing power structures complicate the ways in which audiences connect with their environments? How does social performance vary within constructed spaces? How can architecture—and the spatial distribution of artifacts within it—complicate ideas of centrality and periphery?

Presentations may explore aspects of this theme across any time period, medium, or geographical region.

Potential topics may include, but are not limited to:
– Social performance and movement within built environments
– Material spatiality
– Constructed spaces and ideas of comportment
– Interactions between loci memoriae, geography, and architecture
– Space as experienced by architects, engineers, institutions, and audiences
– Viewership, liminal spaces, or construction of memory within museums
– Reconstruction of space through (re)moveable objects and their functions
– Reception within a built environment
– Theatricality and performance

Current graduate students and recent graduates in art history and related disciplines are invited to submit a 350-word abstract and a CV for consideration to clevelandsymposium@gmail.com by the extended deadline of July 15, 2018. Selected participants will be notified by the end of July. Paper presentations will be 20 minutes in length.

Please direct all questions to Angelica Verduci and Jacob Emmett at clevelandsymposium@gmail.com. The three most successful papers will be awarded prizes.

*deleted scenes with dancer* Yvonne Rainer for weekend. DANCE AWAY!

*New deleted scenes with dancer, filmmaker and choreographer Yvonne Rainer
*

In this new podcast, we dig up some unreleased fragments of the interview
with Yvonne Rainer
that we were
unable to include the first time around.

Link: https://rwm.macba.cat/en/extra/yvonne-rainer-deleted/capsula

Exploring expressive vocabularies that have the power to dismantle the
boundaries of artistic disciplines, Yvonne Rainer has pieced together an
extraordinarily extensive career straddling the worlds of choreography,
writing, and filmmaking. Aside from her participation in milestones of the
American avant-garde of the sixties from Minimalism to the Judson Dance
Theatre , her involvement in effervescent political moments like the
protests against the Vietnam war and the feminist movements, and her
autobiographical film investigations attest to her branching, experimental
energy, which is still going strong today. In works such as her recent
choreography The Concept of Dust, or How do you look when theres nothing
left to move, she combines a series of canonical texts with a cast of
older dancers who can, Rainer says, challenge the audiences expectations
and do things that no young dancer can do.

*Timeline*
*00:00* “Concept of dust” footnote: Dostoevsky’s “Baden Baden”

You can listen to the main feature with Yvonne Rainer here:
https://rwm.macba.cat/en/sonia/yvonne-rainer-main/capsula

E/N/J/O/Y
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Alexander/Iskandar. Images of a (anti-)hero between Europe, Asia and Africa / Alexander/Iskandar. Bilder eines (Anti-)Helden zwischen Europa, Asien und Afrika

Alexander/Iskandar (Munich, 13-14 Jul 18)

München, Zentralinstitut für Kunstgeschichte, Katharina-von-Bora-Str. 10, Vortragssaal 242 / Alte Pinakothek, Barer Str. 27, 13. – 14.07.2018

Alexander/Iskandar. Images of a (anti-)hero between Europe, Asia and Africa /
Alexander/Iskandar. Bilder eines (Anti-)Helden zwischen Europa, Asien und Afrika

Alexander the Great was and is the epitome of a ruler who conquered a world empire – from Greece to Egypt, Babylon to India. Only a few historical figures can compete with him and his fame that overcomes time and space. Alexander’s fame is based not only on written accounts, but to a very substantial part also on visual narratives that formed, reinterpreted, and re-invented the ‘image’ of this figure. Only texts and images together, therefore, really allow us to understand why the historical and fictitious adventures of the ruler were distributed in such great numbers, embellished and newly invented, and why they were especially successful in very different cultural areas. It is precisely the numerous visual transformations of Alexander’s life that allow us to compare the different visual histories of a hero, anti-hero and explorer in different cultural and geographical areas from late antiquity until the early modern era.

Alexander der Große war und ist der Inbegriff eines Herrschers, der sich ein Weltreich erobert hat – von Griechenland über Ägypten bis Babylon und Indien. Wenige andere historische Potentaten können sich mit seinem alle Grenzen und Zeiten überwindenden und über-dauernden (Nach-)Ruhm messen. Alexanders Ruhm verdankt sich dabei nicht nur Erzählungen und Texten, sondern zu einem ganz wesentlichen Teil Bildern. Erst Texte und Bilder zusammen erlauben daher wirklich zu verstehen, warum die historischen und fiktiven Abenteuer des Herrschers in so großer Zahl überliefert, ausgeschmückt und neu dazu erfunden wurden und warum diese vor allem auch in ganz unterschiedlichen Kulturbereichen erfolgreich waren. Hier setzt der Workshop an, denn gerade die zahlreichen Umsetzungen der Alexandergeschichte im Bild erlauben exemplarisch, die visual history eines zentralen Helden, Entdeckers, aber auch Anti-Helden in einem großen geographischen und kulturell reich differenzierten Raum vom Ende der Antike bis zum Beginn der (europäischen) Frühen Neuzeit zu analysieren.

Cornelia Logemann (LMU Munich) in collaboration with Charles Melville (University of Cambridge) 

PROGRAM

13. Juli 2018
Zentralinstitut für Kunstgeschichte München

9:15-11:00
chair: Matteo Burioni (Munich)

Wolfgang Augustyn (Munich):
Welcome

Cornelia Logemann (Munich):
Introduction

Charles Melville (Cambridge):
Alexander the Great in Persian history and epic: a contrast

Firuza Melville (Cambridge):
Alexander in search of the Fountain of Life in Persian literature and art

11:30-13:15
chair: Urte Kraß (Munich)

Gabrielle van den Berg (Leiden):
Medieval Persian narratives and illustrations of Alexander, Gog and Magog

Annette Mazur (Freiburg):
The Alexander image in Byzantium

Vera Beyer (Wuppertal):
Idolatry or Physiognomy. The Portrait of Alexander in French and Persian Book Illustration.

14:15-16:00
chair: Andrea Worm (Graz/Halle)

Harald Wolter-von dem Knesebeck (Bonn):
Durch die Welt – Alexander auf der Ebstorfer Weltkarte

Elena Koroleva (Rouen):
Narratives of Kingship in Medieval French Chronicles: Alexander’s Life in two Chronique dite de Baudouin d’Avesnes manuscripts

Pia Rudolph (Munich):
The ideal ruler, a bad example or the first scientist? The image of Alexander the Great in medieval German manuscripts.

17:00-18:30 (speakers only)
Handschriftenlesesaal der Bayrischen Staatsbibliothek
Präsentation von illuminierten Handschriften der BSB
Helga Rebhan, Wolfgang-Valentin Ikas

14. Juli 2018
Alte Pinakothek

10:00-12:00 (with advance notification)
Matteo Burioni (Munich): Albrecht Altdorfers Alexanderschlacht

Die Veranstaltung wird gefördert von der Fritz Thyssen Stiftung.

RE:SOUND Sound, Media and Art Theories, Histories, Practices.

RE:SOUND Sound, Media and Art Theories, Histories, Practices.

August 20-23, 2019 Deadline, first call for participation: 15 August 2018

The histories of art are saturated by sonic experiments and expressions (Kahn, Weibel). Yet, the occurrence of sound in art throughout the 18th, 19th and 20th century remains heavily under-theorized and
-contextualized, just as it is all but missing in existing archives (with few important, albeit resent, exceptions).

These experiments and expressions can be seen as indexes of the technology and electronic media implied when we use the term media art; Moreover, the histories of sound also contain important corrections to, on the one side, the traditional art history, where the reduction of art to more or less fixed genres with specific sensibilities seem to be accelerating; On another side, it contains promising and crucial perspectives on the great variety of conceptions feeding into the constructed field of Media Art: art and science relations, cybernetics, transdisciplinary research, post-human studies, digital humanities, art-based research, media archaeology, STS, and the fields of robotic art, biotech art, and network and audio-based practices,to name a few.

This, the matter of sonic saturation and its interlinked under-theorized situation, does not only concern the musicologists and a small specialized field of sound researchers; it is, or should be, the matter and concern of the whole media arts field: It speaks to its very foundation in transmedia issues and different understanding of the plurality of the histories contextualizing technologically mediated art.

Through its techno-resonating immersion, media art reverberates in all cultural and societal matters on a pervasive scale. Re:sound will address this techno-resonance, trans-mediality, and cultural and social reverberation of media art, in general: Its histo-ecologies,
-geologies, and -archeologies. As well as focusing on a wide range of the fields practitioners, producers and creators past, present and future.

In particular, Re:Sound will take a specific interest on the theories, practices, histories etc of art and technology which are focusing on, concerned with, reflecting on, including, mobilising and/or working with sound, as a main component or an integral part. More info and details about the call here: http://www.mediaarthistory.org/resound

Call for participation: http://www.mediaarthistory.org/resound

RE:SOUND
Sound, Media and Art – Theories, Histories, Practices.

August 20-23, 2019
Deadline, first call for participation: 15 August 2018

The histories of art are saturated by sonic experiments and expressions (Kahn, Weibel). Yet, the occurrence of sound in art throughout the 18th, 19th and 20th century remains heavily under-theorized and -contextualized, just as it is all but missing in existing archives (with few important, albeit resent, exceptions).

These experiments and expressions can be seen as indexes of the technology and electronic media implied when we use the term ‘media art’; Moreover, the histories of sound also contain important corrections to, on the one side, the traditional ‘art history’, where the reduction of art to more or less fixed genres with specific sensibilities seem to be accelerating; On another side, it contains promising and crucial perspectives on the great variety of conceptions feeding into the constructed field of ‘Media Art’: art and science relations, cybernetics, transdisciplinary research, post-human studies, digital humanities, art-based research, media archaeology, STS, and the fields of robotic art, biotech art, and network and audio-based practices,to name a few.

This, the ‘matter’ of sonic saturation and its interlinked under-theorized situation, does not only concern the musicologists and a small specialized field of sound researchers; it is, or should be, the matter and concern of the whole media arts field: It speaks to its very foundation in transmedia issues and different understanding of the plurality of the histories contextualizing technologically mediated art.

Through its techno-resonating immersion, media art reverberates in all cultural and societal matters on a pervasive scale. Re:sound will address this techno-resonance, trans-mediality, and cultural and social reverberation of media art, in general: It’s histo-ecologies, -geologies, and -archeologies. As well as focusing on a wide range of the field’s practitioners, producers and creators – past, present and future.

In particular, Re:Sound will take a specific interest on the theories, practices, histories etc of art and technology which are focusing on, concerned with, reflecting on, including, mobilising and/or working with sound, as a main component or an integral part.
More info and details about the call here: http://www.mediaarthistory.org/resound


Morten Søndergaard
MA, PhD. Associate Professor & Media Art Curator. RELATE – Research Laboratory of Art & Technology.
School of Communication, Art & technology, Aalborg University
Contact: mortenson@hum.aau.dk | ☎ 9940 2552 |
A.C. Meyers Vænge 15, 3.sal, DK-2450 Copenhagen.

‘…they chose single-person homes and apartments to represent them. This type of structure was conceived specifically to accommodate the lifestyle of a modern nomad, unattached to one single location, material possessions, familial or national bonds, a person attuned to his time. ‘

From RIHA Journal 0185

When Hans Scharoun, Walter Gropius, and Ludwig Mies van der Rohe presented their emblematic works of architecture at major programmatic exhibitions in Breslau (1929), Paris (1930) and Berlin (1931), they chose single-person homes and apartments to represent them. This type of structure was conceived specifically to accommodate the lifestyle of a modern nomad, unattached to one single location, material possessions, familial or national bonds, a person attuned to his time. As will be highlighted in this article, this new type of architecture and design reflected a number of contemporary social theoretical positions on the human condition in the twentieth century. RIHA Journal, special issue: Mies und mehr…

RIHA Journal is pleased to announce the publication of the special issue
Mies und mehr … . Transferprozesse in Architektur und Wohnkultur der 1920er und 1930er Jahre

edited by
Rudolf Fischer (Archiv der Avantgarden – Staatliche Kunstsammlungen Dresden)

https://www.riha-journal.org/articles/2018/0184-0188-special-issue-mies-und-mehr

This special issue focuses on new research perspectives on the architectural and interior design discourses of modernity. It questions the complex relationship between the process of artistic creation, the society and technology, while also considering the actors and networks implicated in the formation of the avant-garde modernism.
The idea for this special issue comes from the 2016 international DFG-Project “Werkverzeichnis der Möbel und Möbelentwürfe Ludwig Mies van der Rohes” of the Zentralinstitut für Kunstgeschichte in Munich.

Der Special Issue beschäftigt sich mit neuen Forschungsperspektiven zum Architektur- und Wohndiskurs der Moderne. Das komplexe Verhältnis von künstlerischen Prozessen zu Gesellschaft und Technik, aber auch zu Akteuren und Netzwerken wird hinsichtlich seiner zeitgenössischen Wirkung auf die Formierung der Avantgarde-Moderne hinterfragt.
Die Idee zu diesem Special Issue entstand 2016 im Rahmen des internationalen DFG-Projekts „Werkverzeichnis der Möbel und Möbelentwürfe Ludwig Mies van der Rohes“ am Zentralinstitut für Kunstgeschichte in München.

Rudolf Fischer
Special Issue ‘Mies und mehr … . Transferprozesse in Architektur und Wohnkultur der 1920er und 1930er Jahre’ – Einführung
(RIHA Journal 0184)

Markus Eisen
‘Neues Wohnen’ für ‘Neue Menschen’: Ledigenheime als Programmbauten der Moderne in der späten Weimarer Republik
(RIHA Journal 0185)

Christian Freigang
Mies van der Rohe, der Werkbund und die Frage der Technik um 1930
(RIHA Journal 0186)

Paul Weber
Mies van der Rohes visueller Kalkül der Erneuerung. Architektonischer Wandel im Anschluss an Berlages Umformungstheorem
(RIHA Journal 1087)

María Ocón Fernández
Mehr als ein Wolkenkratzer – Das Bauhaus in der spanischen Geschichtsschreibung zur Architektur der Moderne
(RIHA Journal 0188)

RIHA JOURNAL (www.riha-journal.org) has been established in 2010 as a peer-reviewed and open access e-journal devoted to all aspects in the history of art and visual culture. It exclusively publishes scholarly articles, both individual contributions („articles“) as well as series of articles focusing on a common topic („special issues“). In either case a double-blind peer-review process ensures the highest standards of scholarship. Articles are published in the five official CIHA languages English, French, German, Italian, or Spanish.

As a genuine e-journal, RIHA JOURNAL publishes articles continously. We keep you up to date with new articles by quarterly postings. Or you may subscribe to our RSS Feed
(http://www.riha-journal.org/articles-rss/RSS) or follow us on Twitter (https://twitter.com/RIHAJournal).

RIHA JOURNAL welcomes submissions on any topic in the history of art and throughout the year, both from members of the RIHA institutes and from any other researchers in the history of art.

If you would like to submit an article or have any questions or comments, please contact our Local Editors at the worldwide RIHA Institutes (http://www.riha-journal.org/contact) or our Managing Editor at Zentralinstitut für Kunstgeschichte in Munich:

CFP: Painting Childhood (Compton Verney, ‪29 Mar 19‬)

Compton Verney Art Gallery & Park, March 29, 2019

Deadline: Oct 29, 2018

Painting Childhood: A study day at Compton Verney Art Gallery & Park

Children have long fascinated artists and have been captured in images ranging from formal portraits to humorous genre scenes and intensely personal family sketches. These diverse works will be the subject of two exhibitions at Compton Verney from 16 March – 16 June 2019. Painting Childhood: Hans Holbein to Lucian Freud will present a survey of some of the most iconic paintings of children produced over the past 500 years, with sections devoted to the royal portrait, play and learning, and the fantasy and reality of children’s lives. Childhood Now will explore contemporary representations of children in the work of the painters Chantal Joffe, Matthew Krishanu and Mark Fairnington.

To coincide with these exhibitions we invite proposals for an interdisciplinary study day on the subject of childhood from 1500 to today. The study day will enable us to interrogate the key themes and issues of the exhibitions in more detail, contributing to the field of childhood studies through fruitful cross-disciplinary discussions. Painting Childhood will include select examples of children’s costumes, toys and schoolbooks. As such we welcome contributions from speakers with a range of disciplinary backgrounds and research perspectives (History, Literature, Sociology, Anthropology and History of Art). To facilitate meaningful debate papers will be grouped thematically and may address, but are not limited to, the following topics: Intimacy and family ties; dynasty, duty and privilege; play, fantasy and children’s worlds; the material culture of childhood; the appropriation and commercialisation of childhood; memories and memorials; childhood today and the future of childhood.

Keynote speaker: Dr Martin Postle

How to submit: Please send a 300-word abstract for a 20-minute paper to art@comptonverney.org.uk by Monday 29 October 2018. We welcome applications from emerging and established scholars. Please include a short professional biography. Travel bursaries will be available for speakers covering reasonable expenses incurred within the UK.

Organising committee: Amy Orrock (Compton Verney), Emily Knight (V&A) and Penelope Sexton (Compton Verney).

Working with you

OAR, Issue 4: Working with you,

Deadline: Jul 1, 2018

Call for Contributions

OAR: The Oxford Artistic and Practice Based Research Platform

Issue 4 – ‘Working with you,’

(publication February 2019)

Collaborative acts within research processes can take on highly normative forms and rhetorics. In this issue we seek contributions which confront these traditions or propose alternatives to them, whether in terms of materials, practices or outcomes. What does it mean to show up at the scene of the collaborative? How do we track the performative aspects of working with others? Currently, in art making and practice based research, working under the rubric of the collective, the participatory, or the cooperative is highly rewarded. However do these terms really refer to comparable modes, and, outside of these frames and vocabularies, what accounts are being kept? How and why might working together not use, or indeed refuse, collaboration as a paradigm? How can we move on from the debates that have pitched ethical participation against artistic autonomy? The title of this issue is also an invitation to explore the subjectivities generated in collaborative acts, as well as the genres of narratives which emerge from them.

We invite the submission of finished works and papers, as well as abstracts and proposals. Submissions are invited from any discipline, and we will accept submissions in a wide range of media (text, image, film, and sound). Final written contributions should be under 5,000 words, though we encourage shorter pieces of around 2,000 words.

All submissions and inquiries should be sent to: editors@oarplatform.com

Please include:

1 Your submission:

1.1 a full contribution (recommended); OR

1.2 an abstract/proposal (500 words): please include not only the research questions, but also your argument and/or the details of your inquiry.

2 A short biographical statement (150 words),

3 Examples of previous work (optional):

3.1 For text-based proposals we recommend submitting one previous piece of writing, or links to works online.

3.2 For multimedia proposals we recommend submitting two images of previous work, or links to works online.

Please submit all written material in a Word document.

Read the full call here: http://www.oarplatform.com/wp-content/uploads/oar-call-for-contributions-issue-4-1.pdf

OAR: The Oxford Artistic and Practice Based Research Platform is a new initiative which provides a platform for those who engage in dynamic, artistic, innovative, and multimedia forms of research.

Ugo La Pietra :: Disequilibrated Systems

03 – 07 . 7 . 2018
ORIS, Zagreb

curators: Darko Fritz and Sonja Lebo

On Tuesday, July 3, 2018. at 7 pm the exhibition Ugo La Pietra :: Disequilibrated Systems is going to open at Oris House of Architecture in Zagreb. This exhibition is the first module in shaping a large international exhibition about the International Meetings in Vela Luka 1968-1972 that is going to be presented in detail in the Museum of Modern and Contemporary Art in Rijeka in 2021, after a multiannual preparations conducted by grey) (area.

International Meetings took place in 1968, 1970, and 1972. in Vela Luka with contribution of important domestic and international names. Meetings commenced as a summer artists’ colony to work in the traditional system of mosaics, while in the following editions interdisciplinary syntheses of various art disciplines, urban planning, architecture and finally multimedia approach that included mass media were carried out. In 1970 the construction of tourist settlement Plitvine was planned, and the author of the urban design was Ricardo Porro. One of the contributors was Ugo la Pietra, whose work on that theme is going to be presented for the first time at all.

The international importance of the institution of La Pietra’s interdisciplinary work is uncontestable. As the initiator of numerous research and artistic groups (Gruppo del Cenobio, Gruppo La Lepre Lunare, Gruppo Design Radicale, Global Tools, Cooperativa Maroncelli, Fabbrica di Comunicazione, Libero Laboratorio), La Pietra has established his work in crossing the boundaries between architectonic, design and artistic practice.

The most important for our context is his work from 1967 when he initiated the theory of disequilibrated systems, and transformed that theory in the series of works and actions of radical design in urban environment; the research of urban peripheries that he initiated with L. Marzoto in 1968 which explicitly referred to strategies of reappropriation of urban ambiance by the users, citizens respectively; most importantly his contribution within the frame of the International Artists Meetings in Vela Luka in 1970 and proposals for the interventions in the landscape of the island of Kor?ula.

La Pietra speaks of his work in the following manner: ?The ‘objectual’ reality has to be sought by analyzing a social and environmental situation in which alienated objects and persons interact in a form of mutual exploitation. The loss of reality of the objects corresponds to the moment in which they overcome their elementary message, becoming bearers of structural reality that can no longer be explained by a plain relation between labor force, purchase-power and value of use.?

La Pietra’s need to ?deliver to society not so much an object but a method? based on the theory that he named ?Disequilibrated Systems? and which allows to individuals and communities to spot and appropriate ?degrees of freedom? in order to ?live? and not just ?use? the city, is visible from his untiring mobilization of different journals and magazines, as well as from incessant research, problematizing relations between the center and periphery and from series of works that tackle reappropriation of the city by its citizens.

Possible interventions at the coast nearby Vela Luka, where he collaborated on the Plitvine tourist settlement plan, La Pietra also describes as a disequilibratedintervention. He thought that the fundamental desire of an urban man in a tourist settlement was to find space for collective creation, and he recognized the needs of a tourist for privacy, service, freedom, creativity and communication. His project proposed a spatial model for transforming the Dalmatian littoral landscape. The proposal included a radical land-art intervention of cutting the top of a nearby islet, which is very similar to the project by Ivan Ko?ari?, who cut the top of a mountain but from another conceptual perspective.

La Pietra’s films are another form of modulating synesthetic thinking and decoding the urban, so the exhibition includes four.

more at http://sivazona.hr/events/ugo-la-pietra-zagreb

ORIS HOUSE OF ARCHITECTURE
Kralja Dr?islava 3, Zagreb

Free entrance . 9 am – 9 pm (mon-fri) . 11 am – 9 pm (sat)

The exhibition is opened until July 7, and after Zagreb it is going to be presented in Split’s Gallery of Fine Arts in October 2018.

Digital Perspective in Research (Vienna, 27-29 Sep 18)

Vienna, Palais Lobkowitz, Sala Eroica, Lobkowitzpl. 2, September 27 – 28, 2018

—Spanish version below—

Digital Perspective in Research on Relationships between Visual Arts and Performing Arts. From virtual reconstruction to interactivity of the exhibition design

This international workshop falls within the scope of the project I+D+i ART-ES Appropriations and hybridizations between visual arts and performing arts, a transdisciplinary project integrated by international researchers from various disciplines, mainly History of Art, History of Spectacle and Musicology. Our research intends to show the transfers or shared sources involved in the creative processes of visual or performing arts in the above period.

The workshop will offer, on the one hand, to the research team of ART-ES and to the international academic and museum community the opportunity to get to know the creative process and the results of a significant number of innovative digital projects, related to the theme of our I+D project, already finished or in process. On the other hand, the current research on this way of the team of ART-ES will be displayed.

At the hand of Stefan Zeisler, Head of the Department of Visual Media of the Kunsthistorisches Museum (KHM) of Vienna, the design process of the virtual exhibition format (Digitorial) that we have chosen to show the results of our research will be demonstrated.

PROGRAM

September 27th, 2018
OPEN SESION

9:00–9:30
Welcome greeting:
Franz Pichorner (Kunsthistorisches Museum Deputy Director) Thomas Trabitsch (Theatermuseum Director), Michael Rössner (IKT, ÖAW Director).

9:30–10:30h
Carmen González-Román (University of Málaga)
Presentation of the ART-ES Project: Appropriation and Hybridizations of Visual Arts and Performing Arts.

10:30–11:00h.: Coffee break

11:00–12:00h
Stefan Zeisler (KHM, Head of Department Visual Media), Peter Steinacher (KHM, Visual Media – Expert for Media Design, Web and Digital Resources) y Barbara Schwertführer (KHM, Visual Media – Expert for Video and Animation)
The design of an exhibition in virtual format (Digitorial).

12:00–13:00h
Rudi Risatti y Daniela Franke (Theatermuseum – KHM)
The implementation and exhibition of the results of the research on visual arts and performing arts in digital format. An example of such results: the videos of the equestrian Ballet La contesa dell’Aria e dell’Acqua and the opera Il pomo d’oro.

13:00-14:30h
Lunch

14:30-15:30h
Katrin Keller y Marion Romberg (INZ, ÖAW)
The Historian’s Toolbox. From complex to low level Digital Visualisations of Sources from the Early Modern Times.

15:30–16:30h
Richard Kurdiovsky (IKM, ÖAW) / Christoph Hofmann (ACDH, ÖAW)
Using the 3D-Model of the Vienna Hofburg as a Threedimensional (3D) Archive for Written and Pictorial Historical Sources.

16:30-17:00h: Coffee break

17:00–18:00h
Günter Fuhrmann y Günter Remsak (Cantat Museum)
The digital project on Maria Teresa of Hungary’s crowning ceremony’s pictorial cycle.

18:15–18:45h
Vocal concert. Renaissance and Baroque repertoire
Dra. Rosa Tamarit, Laboratorio de Música Antigua Director (Universidad Rovira i Virgili). ART-ES team researcher.

September 28th, 2018

9:00–9:30h
Alessandra Buccheri (Accademia di Belle Arti di Palermo):
Il Paradiso di Tintoretto e la scenografia teatrale: modelli spaziali a confronto.

9:30-11:00h
Presentations of ART-ES Team’s research.

11:00-11:30h: Coffee break

11:30–13:00h
Continuation of the presentations.

13:00–14:30h
Lunch

14:30–18:00h
ART-ES Team & Stefan Zeisler’s Team
Moderator: (to be confirmed).
Working session: Selection and predesign of the Digitorial contents.
Discussion and conclusions.

CONVENORS:
Carmen González-Román (University of Málaga). Head of I+D Research Project ART-ES. Appropiations and Hybridizations between Visual Arts and Performing Arts in Early Modern Europe (MINECO/FEDER).
Andrea Sommer-Mathis (Institut für Kulturwissenschaften und Theatergeschichte IKT, Academia Austriaca de las Ciencias ÖAW).
Rudi Risatti (Theatermuseum, Viena).

CONTRIBUTORS:
Spanish Ministry of Economy and Competitiviness (MINECO/FEDER).
Kunsthistorischesmuseum-Theatermuseum (Viena).
Austrian Academy of Sciences (ÖAW).

Contact: romancg@uma.es

—Versión en español—

Perspectiva digital en la investigación sobre relaciones entre artes plásticas y artes escénicas. De la reconstrucción virtual a la interactividad del diseño expositivo

Este workshop internacional se enmarca en el proyecto I+D+i ART-ES Apropiaciones e hibridaciones entre las artes plásticas y las artes escénicas en la Edad Moderna, un proyecto transdisciplinar integrado por investigadores de ámbito internacional procedentes de varias disciplinas, principalmente Historia del arte, Historia del espectáculo y Musicología. Nuestra investigación se propone demostrar los trasvases o fuentes comunes que intervienen en los procesos creativos de las artes plásticas o visuales y las artes escénicas de dicho período.

El workshop ofrecerá, de un lado, al equipo de investigación de ART-ES y a la comunidad académica y museística internacional la oportunidad de conocer el proceso de creación y los resultados de un número significativo de innovadores proyectos digitales, relacionados con la temática de nuestro proyecto I+D, ya finalizados o en curso. Por otro lado, se presentará la investigación desarrollada en esta línea por los miembros del equipo ART-ES.

De la mano de Stefan Zeisler, jefe del Departamento de medios visuales del Kunsthistorisches Museum (KHM) de Viena, se expondrá el proceso de diseño del formato virtual expositivo que hemos elegido para mostrar los resultados de nuestra investigación: el Digitorial.

Jueves, 27 de septiembre
SESIÓN ABIERTA AL PÚBLICO

9:00–9:30
Saludo de bienvenida:
Franz Pichorner (Kunsthistorisches Museum, Viena, Subdirector) Thomas Trabitsch (Director del Theatermuseum, Viena), Michael Rössner (Director del Instituto de Estudios Culturales e Historia del Teatro, IKT, Academia Austriaca de las Ciencias)

9:30–10:30h
Carmen González-Román (Universidad de Málaga)
Presentación del Proyecto ART-ES: Apropiaciones e hibridaciones entre las artes plásticas y las artes escénicas en la Edad Moderna

10:30–11:00h.: Café

11:00–12:00h
Stefan Zeisler (KHM, Head of Department Visual Media), Peter Steinacher (KHM, Visual Media – Expert for Media Design, Web and Digital Resources) y Barbara Schwertführer (KHM, Visual Media – Expert for Video and Animation)
El diseño de una exposición en formato virtual (Digitorial)

12:00–13:00h
Rudi Risatti y Daniela Franke (Theatermuseum – KHM)
La implementación y exposición de resultados de la investigación sobre artes plásticas y escénicas en formato digital. Un ejemplo de resultados: los videos sobre el ballet ecuestre La contesa dell’Aria e dell’Acqua y la ópera Il pomo d’oro

13:00-14:30h
Comida

14:30-15:30h
Katrin Keller y Marion Romberg (INZ, ÖAW)
Las herramientas del historiador. De lo complejo a las visualizaciones digitales de bajo nivel de fuentes de la Edad Moderna.

15:30–16:30h
Richard Kurdiovsky (IKM, ÖAW) / Christoph Hofmann (ACDH, ÖAW)
Uso del modelo 3D del Viena Hoffburg como archivo tridimensional para fuentes escritas y gráficas.

16:30-17:00h: Café

17:00–18:00h
Günter Fuhrmann y Günter Remsak (Cantat Museum, Marketing del Patrimonio y Diseño de Exposición)
El proyecto digital sobre el ciclo pictórico de la ceremonia de coronación de María Teresa de Hungría.

18:15–18:45h
Concierto de canto. Repertorio del Renacimiento y Barroco
Dra. Rosa Tamarit, Directora del Laboratorio de Música Antigua de la Universidad Rovira i Virgili. Investigadora del equipo ART-ES.

Viernes, 28 de septiembre

9:00–9:30h
Alessandra Buccheri (Accademia di Belle Arti di Palermo):
Il Paradiso di Tintoretto e la scenografia teatrale: modelli spaziali a confronto.

9:30-11:00h
Introducción: (por confirmar)
Presentaciones del equipo de investigadores de ART-ES.

11:00-11:30h: Café

11:30–13:00h
Continuación de las presentaciones del equipo ART-ES.

13:00–14:30h
Comida

14:30–18:00h
ART-ES Team & Stefan Zeisler’s Team
Moderador: (por confirmar).
Sesión de Trabajo: Selección y prediseño de los contenidos del Digitorial.
Debate y conclusiones.

COORDINADORES:
Carmen González-Román (Universidad de Málaga). Investigadora Principal del proyecto I+D apropiaciones e hibridaciones entre artes plásticas y escénicas en la Edad Moderna. Ministerio de Economía y Competitividad /FEDER.
Andrea Sommer-Mathis (Institut für Kulturwissenschaften und Theatergeschichte IKT, Academia Austriaca de las Ciencias ÖAW).
Rudi Risatti (Theatermuseum, Viena).

COLABORAN:
Ministrio de Economía y Competitividad (MINECO/FEDER).
Kunsthistorischesmuseum-Theatermuseum (Viena).
Austrian Academy of Sciences (ÖAW).

Contacto: romancg@uma.es