CONF: Postwar Narratives of Collecting (Rome, 14 Dec 18)

Rome, Royal Netherlands Institute in Rome, December 14, 2018

Why do we collect, how do we legitimise it for ourselves or for others, and what does that say about our culture? Collecting as a practice has been studied from various perspectives, beginning with Julius von Schlosser who in 1908 regarded it as a characteristic trait of the human soul – collecting objects was part of an inborn urge. Based on Lacan, Mieke Bal sustained the same in her famous essay on collecting, but then from a narrativist perspective – each collection is an on-going narrative for the collector as an individual by which means (s)he sublimates anxieties. Meanwhile, the collecting of contemporary art has attracted a lot of scholarly and critical attention in the last decades, but the discussion of this phenomenon decidedly deviated from the psychological perspective by focusing on the economic aspects of the art markets and their global development, the postcolonial situation, interculturality and the rise of the non-western artist. While the former, psychological perspective suggests that collecting does not change over time, the latter strand of research starts from the assumption that indeed collecting has very recently changed, quite radically even, turning into a global phenomenon.

The present workshop, organized by Arnold Witte, aims to open up a new perspective by building on both traditions but confronting the underlying assumptions. It starts with the observation that after 1945 the acquisition of contemporary art works became ever more important for a growing public – thanks to new buyers and as a result of government policies in industrialized countries – and institutions such as museums who increasingly collected contemporary art. Furthermore, new actors appeared on the scene, such as auction houses and corporate art collections. Businesses started to buy or commission contemporary art in order to embellish their employees’ offices or show it to a wider public. Belonging to this latter group are also non-profit institutions such as hospitals, which embraced art as part of their medical philosophy. Finally, artists and galleries were confronted with new expectations and adjusted their art and strategies to this new situation by incorporating, avoiding or refuting these narratives.

All these changes created the need for new legitimations that took the form of narratives, invented to justify the act of collecting for individuals, institutions and governments. It could also lead to counter-narratives, in the form of an art that defied the market, as in the case of (early) Arte Povera. These narratives also have implications for how then and now art was and is defined. This workshop aims to explore these narratives and their dynamics, by mapping the various motives formulated by actors in the field of collecting between 1945 and the early 2000s, in order to explore in what ways the act of collection adapted to the ideologies of the post-war era.

Programme:
14:00 to 19:00

Jim Carter (American Academy in Rome):
-Industry, Culture and the New Humanism in Postwar Italy: The Case of Il Menabò – Jim Carter

Sara Piccinini (Collezione Maramotti)
-Collezione Maramotti. An out of fashion art collecting

Sabrina Kamstra (Academic Medical Center, Amsterdam)
-Why collecting for an Academical medical center?

Monika Kackovic (University of Amsterdam)
-Identify with your employer? You probably like the Art: A study on identity orientations and organizational non-core activities

Jan de Groot (University of Amsterdam)
-History for legitimacy: how curators of corporate art collections explain their acquisition decisions

Francesca Gallo (Università di Roma La Sapienza)
-Interview with Giuseppe Garrera on collecting

CONF: Reframing Chinese Objects (Heidelberg, 7-8 Dec 18)

Room 212
Karl Jaspers Centre for Advanced Transcultural Studies
Voßstr. 2
69115 Heidelberg

December 7 – 08, 2018

International Workshop “Reframing Chinese Objects: Practices of Collecting and Displaying in Europe and the Islamic World, ca. 1400-1800”

 

Program

Friday, December 7

2:00 pm Welcoming remarks by Prof. Dr. Sarah E. Fraser

2:15 pm
Feng He, From Theatrical to Monumental: Social Spaces and Porcelain Display in Eighteenth-Century Dresden

Muyu Zhou, The Origin of “Golden”: Analysis of Guangcai Porcelain through the Meissen Kiln Continue reading “CONF: Reframing Chinese Objects (Heidelberg, 7-8 Dec 18)”

CONF: Les Societes des amis des arts (Paris, 12 Nov 18)

Institut national d’histoire de l’art (INHA), Paris, November 12, 2018

Le programme « Les Sociétés des Amis des Arts » conduit par l’INHA arrive à son premier terme avec la mise en ligne d’une partie des notices saisies dans la base de données AGORHA.

Ouvert en 2014, ce programme a pour objectif de contribuer à l’étude des sociétés qui se sont formées en France au cours du long XIXe siècle et jusque dans les années 1960 dans le but de soutenir et de promouvoir l’art contemporain au niveau local. Si leurs structures administratives et les moyens qu’elles ont pu mettre en œuvre ont différé d’une société à l’autre, elles ont toutes ambitionné de fédérer des amateurs d’art et de contribuer au dynamisme de la vie locale par le biais d’expositions, de loteries et d’achats venant enrichir les musées de province. Les recherches de ces dernières années ont permis de rassembler un corpus concourant à faire progresser la connaissance d’une histoire de l’art décentralisée, tout en interrogeant la fonction de l’art au sein des réseaux de sociabilité.

Cet après-midi d’étude permettra la présentation des ressources scientifiques collectées et désormais mises à la disposition du public. Elle proposera deux études de cas qu’ont pu approfondir des étudiants ayant collaboré au programme, une présentation d’exposition pour illustrer comment une telle problématique d’étude peut être mise en scène dans l’espace muséal et se conclura sur une table ronde permettant d’ouvrir de nouvelles perspectives.

Programme

14h Introduction, Frédérique Desbuissons (Université de Reims Champagne-Ardennes)

14h20 « Promouvoir les arts, soutenir les artistes et propager le goût » : nouvelles sources et perspectives sur les Sociétés des amis des arts, Katia Schaal (INHA)

De la recherche à la valorisation des ressources

Présidence de séance : Katia Schaal (INHA)

15h La Société des amis des arts de la Somme et les institutions artistiques amiénoises : collaborations et discordes, Mathilde Botreau-Roussel (Université de Picardie)

15h20 La Société des amis des arts de la Touraine : un acteur du marché de l’art local, Brice Langlois (Université de Tours)

15h40  Un marchand au service des arts : le rôle clef d’Abraham Fontanel dans la Société des beaux-arts de Montpellier (1779-1787), Pierre Stépanoff (Musée Fabre, Montpellier)

16h  Discussion : Exposer les activités d’une Société artistique, Cyrille Sciama (Musée d’Arts, Nantes), Pierre Stépanoff (Musée Fabre, Montpellier)

Nouvelles perspectives d’étude

Présidence de séance : Elitza Dulguerova (INHA)

16h20 Table ronde, Laurent Houssais (Université Bordeaux-Montaigne), Christelle Lozère (Université des Antilles), France Nerlich (INHA) et Julie Verlaine (Université Paris 1 Panthéon-Sorbonne)

17h Discussion avec le public

Organisation : Katia Schaal, chargée d’études et de la recherche, sous la direction de France Nerlich, directrice du département des études et de la recherche, INHA

Contact : katia.schaal @ inha.fr

Informations pratiques

12 novembre 2018 – 14h-17h

Galerie Colbert, salle Giorgo Vasari
Institut national d’histoire de l’art
2, rue Vivienne ou 6 rue des Petits Champs
75002 Paris

Entrée libre

TIAMSA Legal: Third All Art and Cultural Heritage Law Conference, Saturday 10th November, 2018

The Art-Law Centre and the UNESCO Chair in the International Law of the Protection of Cultural Heritage of the University of Geneva are proud to invite you to participate in the “Third All Art and Cultural Heritage Law Conference”. This event will take place at the University of Geneva on Saturday 10 November 2018.

This conference is jointly organised by the Art-Law Centre and the Art Law Foundation. Programme and registration form are available here: https://artlawfoundation.com/fda-events/save-the-date-import-and-export-of-works-of-art/

TIAMSA Legal: Art Market Conference in Geneva

TIAMSA Legal would like to inform you of the up-coming conference Cross-border movement of works of art in Europe – freedom or constraints being held at the University of Geneva on 9th November, 2018

More information available at: https://artlawfoundation.com/fda-events/save-the-date-import-and-export-of-works-of-art/

CONF: Vom Sebeto an die Donau (Vienna, 9-10 Nov 18)

University of Vienna, Institute of Art History, 09. – 10.11.2018

Internationale Tagung

Vom Sebeto an die Donau. Neue Forschungen zum Kunst- und Kulturtransfer zwischen Neapel, Wien und Mitteleuropa

 

Programm

Freitag 9. November 2018

9:15 Begrüßung und Einführung
S. E. Botschafter Sergio Barbanti

Prof. Dr. Nicola Spinosa (eh. Soprintendente del Polo Museale, Neapel)
Napoli e l’Europa passando per Vienna

Prof. Dr. Sebastian Schütze (Universität Wien)
Neapel, Wien, Mitteleuropa. Perspektiven der Forschung

10:00 Dr. James Clifton (Blaffer Foundation, Houston)
Paolo de Matteis’s Allegory of the End of the War of Spanish Succession

10:45 Prof. Dr. Wolfgang Prohaska (Kunsthistorisches Museum, Wien)
Marginalien zu Francesco Solimena Continue reading “CONF: Vom Sebeto an die Donau (Vienna, 9-10 Nov 18)”

CONF: Provenienzforschung, Kunst- und Kulturgutschutzrecht (Bonn, 23-24 Oct 18)

Universitätsclub Bonn
Konviktstraße 9
D – 53113 Bonn

Feierliche Auftaktveranstaltung der Alfried Krupp von Bohlen und Halbach Stiftungslehrstühle für Provenienzforschung, Kunst- und Kulturgutschutzrecht an der Universität Bonn.

Die Forschungsstelle Provenienzforschung, Kunst- und Kulturgutrecht lädt ab Dienstag, den 23. Oktober zur Auftaktveranstaltung der Alfried Krupp von Bohlen und Halbach Stiftungslehrstühle für Provenienzforschung, Kunst- und Kulturgutschutzrecht mit anschließender Fachkonferenz der Forschungsstelle Provenienzforschung, Kunst- und Kulturgutschutzrecht (FPK) an der Universität Bonn ein.

Die Auftaktveranstaltung beginnt am Dienstag, 23. Oktober um 18:30 Uhr im Universitätsclub Bonn (Konviktstr. 9) mit einem Empfang. Am Mittwoch, 24. Oktober schließt ab 10 Uhr die dreiteilige Fachkonferenz der Forschungsstelle Provenienzforschung, Kunst- und Kulturgutschutzrecht (FPK) an. Der dritte Teil der Konferenz umfasst einen Besuch des Arp-Museums Bahnhof Rolandseck (Hans-Arp-Allee 1, Remagen).

Anmeldung per E-Mail: sekretariat.weller@jura.uni-bonn.de

PROGRAMM Continue reading “CONF: Provenienzforschung, Kunst- und Kulturgutschutzrecht (Bonn, 23-24 Oct 18)”