CFP: The Histories of Loans (Paris, 28-29 Sep 17)

Call for papers
THE HISTORIES OF LOANS :
MEMORIES AND CHALLENGES OF MUSEUM LOANS

Paris, Ecole du Louvre, 28-29 September 2017
International symposium

Since the end of the 19th century, the expansion of temporary exhibitions has determined the emergence of an international system for museums, based on the circulation of artworks and objects. For museums, sharing pieces from their collection has become crucial to ensure that they in turn get the loans they need to organise their own exhibitions. Lending artworks to prestigious institutions, particularly foreign ones, also enables curators to guarantee a heightened visibility to their own collections. Where to exhibit, how often, and which pieces can be obtained from which partners: nowadays, these are the fundamental criteria of a museum’s positioning within the international hierarchy of cultural heritage prestige. But loan policy does simply affect an institution’s image: it acts directly on the definition of the objects. The acceptation or refusal of a loan is the result of complex transactions, formulated or not, during which the value of an artwork is negotiated and reviewed. It also reflects the importance and rank of institutions, sometimes even of towns and nations.

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Negotiating Cultural Heritage. A Conversation (Berlin, April 24, 2017)

Negotiating Cultural Heritage. Making, Sustaining, Breaking, Sharing. A Conversation

Bode-Museum
Staatliche Museen zu Berlin
Am Kupfergraben, 10117 Berlin
24.04.2017

Hosted by: Art Histories and Aesthetic Practices, Cluster of Excellence Asia and Europe in a Global Context, Deutsches Archäologisches Institut, Forum Transregionale Studien, Max Weber Stiftung, Stiftung Preußischer Kulturbesitz
Deadline: 19.04.2017
Architecture, artworks, crafted objects, texts, music, as well as sites, places, sounds and tastes are cultural products that contribute to a sense of community, belonging and identity. Objects of the past are deemed worthy to be stolen and reclaimed, to be exhibited and reconstructed, to be researched and collected, or even to be destroyed. Cultural goods are protected by international conventions; simultaneously, they are instruments of communitarian or even national politics which might be claimed by different communities or actors.

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CONF: The Removal of cultural goods in the Soviet Zone and the GDR, 21 Nov, Magdeburg

screen-shot-2016-11-12-at-22-01-43The Removal of cultural goods in the Soviet Zone and the GDR – The state of research and prospects

21 November, 2016, Magdeburg

The tasks of the German Center for Cultural Heritage include, in addition to the primary research on looted art during the Nazi period, to encourage essential research into the expropriations in the Soviet Zone of Occupation (SBZ) and in the GDR.

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Artists’ Archives and Estates, Cultural Memories between Law and Market, (Milan, Nov 28-29)

Milan, Aula Magna dell’Università Milano Bicocca
Viale Piero e Alberto Pirelli 21, I-20126 Milano
Contact theartistarchives@gmail.com

 

Managing, protecting and safeguarding the cultural and patrimonial legacy of an artist, especially if established or potentially attractive to the market, involves economic interests of great importance. It may require substantial investments in order to organize the artist’s cultural memory, the archive and to manage the bequest.

 The responsibility and protection of artists and their estates in pursuing these tasks is only partially regulated by the law. Nonetheless, legal reforms addressing specific needs are currently being discussed, such as the protection of authenticating artists and experts in the State of New York.

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