ANN: “Eigentum verpflichtet” (Friedrichshafen, 28 Jun 18-31 Jan 19)

unless otherwise indicated all events are free of charge

Wissenschaftliches Programm im Rahmen der Ausstellung
„Eigentum verpflichtet. Eine Kunstsammlung auf dem Prüfstand “

Zeppelin Museum Friedrichshafen
4. Mai 2018 → 3. Februar 2019
Seestr. 22
88045 Friedrichshafen

Kuratiert von Fanny Stoye, Provenienzforscherin, und Sabine Mücke, Wissenschaftliche Mitarbeiterin Abteilung Zeppelin

Ist das Raubkunst? Seit Jahren stellen sich Museen diese brisante Frage mit Blick auf ihre Sammlungen und tauchen oft zum ersten Mal tiefer in die eigene Geschichte ein. Auch das Zeppelin Museum arbeitet seit 2016 in detektivischer Forschungsarbeit die bewegten Geschichten der Kunstwerke seiner Sammlung auf: Woher kommen die gotischen Skulpturen, die barocken Malereien und Meisterwerke der Klassischen Moderne? Die Sonderausstellung macht Schicksale von Sammlern sichtbar, von geraubten oder verlagerten Kunstwerken und Hetzaktionen der Nationalsozialisten gegen die Moderne Kunst. Kritisch blickt sie aber auch auf Friedrichshafen und den Bodensee als Rückzugsort ehemaliger NS-Größen und ausgeklügelter Händlernetzwerke zwischen Deutschland, der Schweiz und Österreich.

Programm Continue reading “ANN: “Eigentum verpflichtet” (Friedrichshafen, 28 Jun 18-31 Jan 19)”

Symposium, Masterpiece London 2018 (London, June 28, 2018)

Masterpiece London is delighted to host a morning of lectures and discussion sessions co-organised by the Fair and Dr Thomas Marks, editor of Apollo, to bring together the pre-eminent museum curators of tomorrow with the emerging stars of the art and antiques trade, with the aim of encouraging constructive discussion, networking and the exchange of knowledge and practical advice.

Please find below the schedule for Masterpiece London Symposium which will take place on Saturday 30 June 2018.

To register or for any enquiries please contact

Masterpiece Symposium 2018

CFP: Surrealism in Britain, 1925-1955 (Wakefield, 6 Oct 18)

The Hepworth Wakefield
6th October, 2018
Deadline: Jul 15, 2018

Coinciding with the exhibition ‘Lee Miller and Surrealism in Britain’ at The Hepworth Wakefield (22 June – 07 October 2018) this one-day symposium aims to rethink Surrealism in Britain through an expanded lens. The deliberately broad time-frame allows for exploration of Surrealism’s presence in Britain before its supposed arrival in 1936 and in the postwar era. We also welcome proposals that explore regional and transnational Surrealisms and Surrealist explorations among marginalized groups in Britain. Continue reading “CFP: Surrealism in Britain, 1925-1955 (Wakefield, 6 Oct 18)”

CFP: Section Provenance, Fourth Swiss Congress of Art History (Mendrisio, 6-8 June 2019)

The relevance of provenance: Contemporary aspects of provenance research in theory and practice

The Washington Principles (1998) and the extensive research by the Bergier Commission (1996–2002), are key dates for provenance research in Switzerland. From 2012 the “Gurlitt trove” and the legacy of the estate to the Kunstmuseum Bern drew attention once again to the treatment of artworks looted by the Nazis in public and private collections. Research into the change of ownership of art works and artefacts has once again been discussed internationally since then. Since 2016 in Switzerland, the federal government has devoted a total of 2 million francs to provenance research projects in museums. But what demands are placed on provenance research as a discipline, specifically in Switzerland? Along with the historical and moral obligation to restitute art works and cultural assets to their legal owners or their heirs, today there are additional questions that apply to the content particularly of the academic disciplines of art history, ethnology and archaeology as well as art technology and conservation studies, and which extend to issues of international cultural asset transfer and thus to legal and political aspects of the origin of artefacts. Continue reading “CFP: Section Provenance, Fourth Swiss Congress of Art History (Mendrisio, 6-8 June 2019)”

CONF: AFEC 2018 International Study days workshop (Paris, 15-16 Jun 18)

Chinese objects and their lives
The French Association for Chinese Studies (AFEC)

International workshop
Paris, June 15 – 16, 2018

Registration deadline: Jun 16, 2018

Choosing from different disciplines and different periods, this workshop aims to examine how to approach objects in the humanities and social sciences. By bringing together specialists from different fields (history, art history, archaeology, technology, anthropology, literature, sociology, etc.), the workshop explores the life, trajectory and the possible metamorphoses of the value, status and function of objects.



8:45  Welcome – Introductory remarks, Valérie LAVOIX, President of the AFEC

June 15 – Morning session (9:30–12:50), Amphi 2, Inalco

Objects of Memory and Memory of the Object (1)  Chair: Gilles GUIHEUX
9:30 – AMAR Nathanel The Lives of Dakouin China: From Waste to Nostalgia
10:00 – FLATH James Unmanufacturing Modern China: Industrial Ruins and Post-Industrial Society
10:30 – LU Yi Sinological Garbology: Archives and History in Modern China Continue reading “CONF: AFEC 2018 International Study days workshop (Paris, 15-16 Jun 18)”

ANN: Felix Billeter, in: Kunstchronik Heft 5 / Mai 2018


Monatsschrift für Kunstwissenschaft, Museumswesen und Denkmalpflege
Herausgegeben vom Zentralinstitut für Kunstgeschichte in München
Mitteilungsblatt des Verbandes Deutscher Kunsthistoriker e.V.
71. Jahrgang / Heft 5 / Mai 2018

Section Art Market

Felix Billeter, Kunsthändler, Sammler, Stifter. Günther Franke als Vermittler moderner Kunst in München 1923-1976; Uwe Fleckner/Christian Huemer/Thomas W. Gaehtgens (Hg.), Markt und Macht. Der Kunsthandel im „Dritten Reich“
Theresa Sepp

Mapping Museums: UK museum closures, 1960-2017

Mapping Museums: Preliminary results on UK museum closure, 1960-2017

Mapping Museums is a University blog researching  the history and geography of the UK independent sector 1960-2020.

Jamie Larkin is a researcher at Birkbeck College, University of London, and has recently posted this interesting article in the College’s blog.

“The museums sector generally concentrates on current practice and developments; it does not keep longitudinal data that would enable academics and museum professionals to trace patterns over time.

The result is that commentary on closure is focussed on the very recent past and lacks a broader perspective that could add insight to contemporary analyses of this phenomenon. As part of the Mapping Museums project we have built a dataset charting the development of UK museums since 1960, and we have used this to draw the first substantive picture of museum closures over time.

At the outset there are two important points to address relating to museum closure that we’ve encountered while building the dataset.

The first concerns data collection. Given the historical focus of the project, a great difficulty has been finding information regarding precise years of closure. Recent closures and closure of well-established museums are fairly well documented. The real difficulty has been tracking down information for smaller, grassroots, regional museums – particularly those that closed 15, 20, or 25 years ago….”

Continue here