Preserving art? Challenges and chances of the artists’ estates in Switzerland

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Kunst erhalten? Herausforderungen und Chancen von Künstlernachlässen in der Schweiz 

1.-2. September 2017
FHNW Hochschule für Gestaltung und Kunst, Freilager-Platz 1, CH-4023 Basel

Fees: 1 day CHF 70, 2 days CHF 120. Concessions for members of visarte: 1 day CHF 40, 2 days CHF 60.
Please register by 14. August 2017: tagungssekretariat@gmail.com.
Spaces are limited, registration on a first come-first serve basis. Registrations after 20 August 2017 will be charged CHF 40 extra.
Programme

In the Autumn of 2007 the conference Repository Museum? Strategies for artists’ estates [Endlager Museum? Strategien im Umgang mit Künstlernachlässen] was organized by the Kunstmuseum Thurgau together with visarte.schweiz and the Association of Swiss Museums (VMS), which initiated a broad discussion of artists’ estates for the first time. 10 years later the Campus der Künste in Basel brings together specialists to discuss the still urgent topic. Lectures, workshops and talks will explore the developments of the past decade. What is today’s status of preserving estates? Which individual projects were realised? What needs to follow suit?

The symposium organized by the Swiss Institute of Art Science (SIK-ISEA), visarte.schweiz, ARTexperts and the Christoph Merian Foundation is intended to stimulate a varied discussion among artists, estate owners and executives executives, as well as all other committed art business practitioners.

During the conference SIK-ISEA will release its new guide to Artistic Estates.

CFP: “NS-Art”? “Postwar-Art”? (Berlin, 24-25 November 2017)

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“NS-Kunst”? “Nachkriegskunst”?

Universität der Künste Berlin, Raum 110
Hardenbergstrasse 33
10623 Berlin
24.11.2017-25.11.2017
Deadline: 01.09.2017

Prof. Dr. Wolfgang Ruppert, Universität der Künste Berlin, Arbeitsstelle für kulturgeschichtliche Studien.

For a long time the caesura “of the Nazi state” of 1933 and 1945 were set as boundaries for questions of history and art. Recent research on “Artists in National Socialism”, however, shows, however, that artists’ biographies show longer development cycles, which transcend the political systemic changes and are only partly subject to them.

This conference now more specifically asks for continuities and ruptures between the second phase of the National Socialist cultural policy around 1937/38, the collapse of national socialism in 1945 and the post-war period until 1955.

CFP continues in German… Continue reading “CFP: “NS-Art”? “Postwar-Art”? (Berlin, 24-25 November 2017)” →

Job: 1 Research Assistant for ‘Provenance Research’ (DHM Berlin)

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Stiftung Deutsches Historisches Museum, Berlin
Application dead-line: 25.08.2017

Stiftung Deutsches Historisches Museum has a job opening as Research Assistant for Provenance Research for two years in Berlin.

The rest of the post is in German. Continue reading “Job: 1 Research Assistant for ‘Provenance Research’ (DHM Berlin)” →

CFP: Collecting Medieval Sculpture (Paris, 23-24 Nov 17)

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Ards Study Day 2017
Musée du Louvre, Paris, November 23 – 24, 2017
Deadline: Aug 15, 2017

Collecting Medieval Sculpture Ards, M-Museum Leuven (B) is launching a Call for papers for the 4th annual colloquium ‘Current research in medieval and renaissance sculpture’, which will be held in the Musée du Louvre in Paris (FR) on November 24th  2017.

During the colloquium we will be having keynote speakers on the topic and a selection of submitted papers in plenum. One day before, on November 23rd, we will have the opportunity to visit the magnificent collection of medieval sculpture in the Arts décoratifs Muséum in Paris as well as other suggested excursions.

This year we are inviting all researchers and curators working specifically on and with specific sculpture collections or collectors to submit papers. Firstly, we want to take a look at collecting medieval sculpture. How did or do medieval sculpture collections get formed? How has medieval sculpture been collected in the past (including in the middle ages and renaissance period) and how is this evolving right now? We know the prices on the art market are slowly rising as medieval sculpture is becoming increasingly more interesting as an investment.

Can we take a closer look at what’s happening in that area? In december 2014 the Getty Museum acquired a rare medieval alabaster sculpture of Saint Philip by the Master of the Rimini Altarpiece at Sotheby’s for no less than 542,500 GBP. If a small statuette by an anonymous master can generate this kind of money at a sale, this must mean the ‘market’ for medieval sculpture is shifting thoroughly.

Moreover, does the exhibition or publication of medieval sculpture influence this trend? It is a fact that the more we know about an art piece or artist, the more interesting it becomes to buy or exhibit them. What are the motifs or instigating factors for museums and private collectors to collect this intrinsically religiously inspired and therefore (?) ‘less attractive’ discipline. Links can be drawn to the abolition of churchly instances at the end of the 19th century and the gothic revival in the 19th century, the export of mainland patrimony to the United Kingdom. Would you like to submit a paper for this conference? Your proposal can be of an art-historical, historical as well as a technical or scientific nature. Multidisciplinarity is encouraged.

Priority will be given to speakers presenting new findings and contributions relevant to the specific conference theme. The conference committee, consisting of sculpture curators from M – Museum Leuven will select papers for the conference. Submissions that are not selected for presentation in plenum, can still be taken into consideration for (digital) poster presentation.There are no fees, nor retribution of transport and/or lodging costs for the selected papers. After the conference, presentations will be shared online with the Ards-network on the website, so please make sure your pictures are copyright cleared.

How to submit your proposal?

– Write in English or French. Presentations are given in English or French.
– Include a short CV.
– Max. 500 words for abstracts (excl. authors name(s) and contact details).
– E-mail to marjan.debaene@leuven.be.
– Deadline: 31.08.17.
Successful applicants will receive a notification by 15.09.17.

For more info, visit www.ards.be

Reference: CFP: Collecting Medieval Sculpture (Paris, 23-24 Nov 17). In: H-ArtHist, Jul 3, 2017. <https://arthist.net/archive/15931>.

New Online Resource: Mapping Paintings

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Mapping Paintings is an open-source platform that allows users to tailor-make their own individual scholarly mapping projects. The platform facilitates the realization of these types of projects with an easy uploading of data collected and assembled by scholars without the need for learning GIS or other technologies. Although we have limited the platform in concept to paintings, users can include paintings, drawings, and prints—and really any artwork. Users can make their projects private or public. The uploaded data, once approved by our admin team, becomes part of the global library, which is available to all users of the site.

http://www.mappingpaintings.org/

 

Forum: Objects of Contention, Spoils from the Yuanmingyuan

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British Museums, 15 August and 25 September 2017

In the autumn of 1860 British and French troops looted the Yuanmingyuan, the lavish garden estate of the Qing emperors. Campaign members then returned to Europe rich with spoils. Imperial Chinese objects from the estate, many created by imperial command, have since taken unexpected trajectories in private collections and public museums.

Objects of Contention was inspired by one special object within this history: a fragment of a Qing imperial revolving vase, once housed in the Surrey Infantry Museum, Clandon Park. In the spring of 2015, fire ravaged Clandon Park and destroyed the regimental museum. Sherds of the vase have since been recovered.

The panels will take a new look at the spoliation and the military collections formed in its aftermath, the evolving position of Yuanmingyuan artefacts in UK collections, and institutional strategies for handling this material today. On September 25th

Panel One: Looting the Yuanmingyuan, Plunder and Prize
August 15, 2017
5:30 – 8:30pm
The Institute of Historical Research, Wolfson Room I
Senate House, Malet Street, London WC1E 7HU

John Roote: The Logistics of Loot. Who were the looters of the Summer Palace? What did they take and why? How did they transport their spoils to Europe and beyond? The quantity, and to some extent the make-up, of Summer Palace loot has long been controversial – how much treasure was really taken and where is it today?

Kate Hill: A Funny Thing Happened on the Way to the Yuanmingyuan, Or: How the Allied Armies Had a Lost Weekend in China, Struck Gold & Won the Second Opium War. A new look at the looting of the Yuanmingyuan, how it happened and why.

Steve Johnson: The Surrey Regiments in China. The curator of the Surrey Infantry Museum will discuss the involvement of The Queen’s Royal Regiment and The East Surrey Regiment in the China campaigns of 1860–63, and introduce artefacts from China in the museum collection, including the revolving vase. Sherds of the vase may be available for inspection. TO BE CONFIRMED.

Amy Miller: Globetrotters Collecting the East: trope, treasure & personal appropriation, 1870-1900. In the late 19th century, China was an essential stop on the ‘Around the World Tour’, for Western travellers, who brought home emblems of the ‘East’, such as pieces looted from Yuanmingyuan in 1860 and appropriated from the site later as ‘souvenirs’. These material tropes reflected a vision of the ‘Orient’ created at the interstices of culture, politics, trade and travel, filtered through the personal experiences of globetrotting.

RVSP appreciated but not required: k.hill.2@research.gla.ac.uk.

Panel Two: Yuanmingyuan Artefacts in UK museums
September 25, 2017
1:30 – 5:00pm
The Institute of Historical Research, Wolfson Room I
Senate House, Malet Street, London WC1E 7HU

Kate Hill: A Porcelain Puzzle A curious vase and its history.

Rose Kerr & Colin Sheaf: 18th century imperial porcelain and its impact in the 19th – 21st centuries

Open floor discussion of the vase

Liu Yang: British and French Museum Collections of Yuanmingyuan cultural relics

Louis Tythacott: The Yuanmingyuan in Britain and France: Collecting and Displaying Objects from the ‘Summer Palace’ in the West This talk will examine the succession of Western meanings and values attributed to objects from China’s Yuanmingyuan, or ‘Summer Palace’, over the past 150 years – their existence as commodities in auction houses from the 1860s; their displays in international exhibitions and public museums in Britain and France; and their status as ‘trophies of war’ in military museums in the UK.

Dialogue on museums, heritage & restitution
RVSP appreciated but not required: k.hill.2@research.gla.ac.uk.

CONF: The Transfer of Jewish-owned Cultural Objects (Lucca, 18-19 Sep 17)

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The Transfer of Jewish-owned Cultural Objects in the Alpe Adria Region

IMT Lucca School for Advanced Studies, Italy, September 18 – 19, 2017

The first International Workshop of the HERA project “Transfer of Cultural Objects in the Alpe Adria Region in the 20th Century” (TransCultAA) will take at the IMT School for Advanced Studies Lucca on 18-19 September 2017.

The workshop will focus on the Jewish-owned cultural property in the Italian Alpe Adria region.
As a geographic zone of transit, the Alpe Adria region, broadly understood, was characterized by an intense displacement of cultural assets owned by Jews through confiscation, plunder and seizure by German and Italian authorities during WWII.
The TransCultAA project members will point out the complexity of the phenomenon at a transnational level. In particular, they will present and analyze the different administrative practices in the management of Jewish-owned heritage, investigate the institutions, organizations and networks, examine the trajectories of victims and perpetrators, and also try to document the objects present or in transition on the territory. In doing so, the aim of the TransCultAA project is not only to trace the tangible movement of objects, but also their role as symbolic capital. Accordingly, alongside ‘high’ art also ‘low’ art and everyday objects – which all played a role in developing individual, collective and national identities – will be taken into account.
Finally, multinational members of TransCultAA will share the results of their recent and ongoing research projects, and recommend new approaches and paths for investigations in this field.

Programme

Monday 18 September 2017

14.30 Registration of participants

Conference Hall / Guinigi Chapel

3.00pm Welcome

Pietro Pietrini (Director, IMT Lucca)
Maria Luisa Catoni (IMT Lucca, Director LYNX Unit)
Emanuele Pellegrini (IMT Lucca, Track Director in AMCH)

3.45pm Christian Fuhrmeister (Zentralinstitut für Kunstgeschichte, Munich): History and Future of Provenance and Translocation Research

4.15pm Donata Levi (Università degli Studi di Udine), Barbara Murovec (France Stele Institute of Art History ZRC SAZU, Ljubljana), Ljerka Dulibić (Strossmayer Gallery, Zagreb), and Christian Fuhrmeister (Munich): Transfer of Cultural Objects in the Alpe Adria Region: Goals and Problems of a HERA Funded Research Project

– followed by Podium Discussion with Ilaria Pavan (Scuola Normale Superiore, Pisa) and Paolo Coen (Università degli Studi di Teramo) Cloister of San Francesco

6.00pm Welcoming Cocktail & Poster Exhibition Inauguration

Tuesday 19 September 2017

Session I

Chair: Emanuele Pellegrini (Lucca)

9.00am Daria Brasca (Lucca): Dispossession of Italian Jews (title to be determined)

9.20am Victoria Reed (Sadler Curator for Provenance, Museum of Fine Arts, Boston): Nazi-Era Provenance Research: Case Studies from the Museum of Fine Arts, Boston

9.40am Marc Masurovsky (HARP co-founder, Washington, DC.): The ERR project (title to be determined)

10.00am Paolo Coen (Teramo): Response

10.10 Discussion

10.45am Coffee Break

Session II

Chair: Donata Levi (Udine)

11.15 Michael Wedekind (Munich): Plundering the Italian Jews: The Case of Trieste (1938-1945)

11.35 Antonia Bartoli (Nina and Lee Griggs Fellow, European Art, Yale University Art Gallery): The Activities and Enterprises of Dr. Alessandro (“Sandro”) Morandotti (1909-1979), Art Dealer, Antiquarian and Publisher (1940-1945)

11.55am Irene Bolzon (Istituto per la Storia della Resistenza e della Società Contemporanea di Treviso – Udine) – Fabio Verardo (Università di Trento, Istituto Regionale per la Storia del Movimento di Liberazione per il Friuli Venezia Giulia): Postwar Trials in Trieste and Crimes Against Jews: Collaboration and Crimes Against Property During German Occupation (title to be determined)

12.15pm Ljerka Dulibić (Zagreb): Response

12.25ppm Discussion

1-2pm  Lunch Break

Session III

Chair: Barbara Murovec (Ljubljana)

2.00pm Iva Pasini Tržec (Strossmayer Gallery, Zagreb)
Contentious Musealisation Process(es) of Jewish Art Collections in Croatia

2.20pm Nenad Makuljević (University of Belgrade)
Jewish-Owned Cultural Objects in Serbia during the Second World War

2.40pm Francesca Coccolo (Ca’ Foscari University of Venice)
Rodolfo Siviero between Fascism and Cold War: Negotiating Art Restitution and ‘Exceptional Returns’ to Italy after the Second World War

3.00pm Kostantin Akinsha (freelance art historian, ARTnews magazine): Response

3.10pm Discussion

3.45pm Coffee Break

Session IV

Chair: Christian Fuhrmeister (Munich)

4.15pm Anneliese Schallmeiner and Gabriele Anderl (Commission for Provenance Research, Vienna)
Confiscated assets in Trieste: a list of Austrian Jewish owners – reflected in different sources in Viennese archives

4.35pm Nathalie Neumann (Independent Researcher, Berlin)
“J.F., Meran” On Flight: The Art Collector Julius Freund and His Collection

4.55pm Ilaria Pavan (Pisa): Response

5.05pm Discussion

5.40pm Daria Brasca (Lucca) – Christian Fuhrmeister (Munich) – Donata Levi (Udine) – Emanuele Pellegrini (Lucca): Final Remarks

6.00pm End of Workshop

www.transcultaa.eu
www.imtlucca.it/news-events/news/2017#eid1148

For any information, please contact:

hera@imtlucca.it <mailto:hera@imtlucca.it>
commev@imtlucca.it <mailto:commev@imtlucca.it>

Reference: CONF: The Transfer of Jewish-owned Cultural Objects (Lucca, 18-19 Sep 17). In: H-ArtHist, Jul 24, 2017. <https://arthist.net/archive/16114>.