Kalender des Instituts für Kunst- und Bildgeschichte (IKB)
Lehrveranstaltungen (Raumbelegung)
Montag, 27. Juni
Tutorium A 3.42
PS 0.12 Ehninger
Tutorium C 3.30
Tutorium D 3.30
BAIV 0.12 Chuong
Tutorium B 3.42
3.16 Ehninger
HS 3075 Verleih an Institut für Kulturwissenschaft
0.12 Versammlung KuWi und MeWi
BA V SE 3.30 Majewska-Güde
CO 3.16 Kappel
BA III SE 3.30 Müller
0.12 Modes X-Student Research Group
3.42 CO Ehninger
BA VI/MA III VL HS 207 Bredekamp
0.12 Chuong
Dienstag, 28. Juni
3.16 Dekanat
PS II 0.12 Hilsemer
MA II SE 3.30 Ehninger
HS 207 Verleih an Anglistik Amerikanistik (Silke Stutzke)
BA IV SE 3.42 Engel
PS 0.12 Heimann
HS 207 Verleih an EWi
MA I SE 3.30 Schelbert
BA V SE 3.42 Dvorakk
3.42 Verleih an EWi (Blaschke-Nacak)
BA III SE 3.30 Calvarin Annunciation
3.16 Dvorakk
0.12 Verleih an EWi (Suhl)
BAV/MA I VL HS 207 Klonk
Termine und Veranstaltungen (Vorträge, Tagungen, Ausstellungen)
Dienstag, 30. November
Das 75-jährige Jubiläum des Census of Antique Works of Art and Architecture Known in the Renaissance findet 2021 statt. Aus diesem Anlass hat eine Gruppe von Student*innen der Humboldt-Universität und des Warburg Institutes die Online-Ausstellung „75 Jahre, 1946–2021. Von Karteikarten zur Online-Datenbank“ kuratiert. Die Ausstellung setzt sich mit den Forschungsmethoden des Census und seiner Entwicklung in den vergangenen 75 Jahren auseinander.
Census – Online – Ausstellung
Mittwoch, 29. Juni
Lynn L. Wolff
Michigan State University
N.N.
Hörsaal 3075, Hauptgebäude, Unter den Linden 6
Moderation: Dr. Katja Müller-Helle
Fellow-Talk Lynn L. Wolff
Lynn L. Wolff
Michigan State University
The Legibility of Abstraction: Holocaust Testimony in Graphic Narratives
Moderation: Dr. Katja Müller-Helle 18:15 20:00
Fellow Talks: Lynn L. Wolff (Michigan State University)
HU Hauptgebäude, Hörsaal 3075, Unter den Linden 6, 10099 BerlinMontag, 4. Juli
Rudolf Arnheim Gastprofessur
Prof. Dr. Marina Vishmidt
Moderation: Prof. Dr. Eva Ehninger
From Speculation to Infrastructure: Material and Method in the Politics of Contemporary Art
My ongoing research project deals with ‘speculation’. Here, the concept of speculation departs from the resources of political economy and modern European philosophy and brings that together with the speculative processes of art. In recent years, from being at least hypothetically separate from the economy, the artist becomes a creative tasked with diligently optimising their quantified self, and the two senses of speculation – artistic thinking and financial operations – converge, something we have observed not just in the more familiar critical descriptions of the artist as entrepreneurial subject par excellence but in more recent developments such as crypto-art and NFTs where the moments of artistic creation and market valorisation become in principle unified. We thus see a dynamic linking the processes of speculative thought and the world of financial speculation. At the same time, however, we need to fight for another sense of speculation which retains the commitment to experiment and non-utility, for social and political as well as aesthetic – and cognitive - reasons. Art historically speaking, when we work with these kinds of paradigms in our research, we can build on the material and social sensitivity and concreteness of art history as a scholarly approach in order to contextualise artworks to be able to see artistic practices and materials in the social relations and histories they mediate and to see what ruptures, unknowns, contradictions and affiliations can be developed.
At the same time, I have been developing a concept of infrastructural critique that builds on the legacy of institutional critique and social reproduction theory in feminism to try and think about how the politics of art and institutional practice can operate on their conditions, or, on their infrastructure. I look at artistic and curatorial projects to find out at how they employ infrastructural critique as a move that takes artistic practice beyond the comfort zone of reflexivity and thus veers away from the “lane” allocated to it by institutional critique.
Bio:
Marina Vishmidt has taught at Goldsmiths, University of London since late 2016, and has an extensive record of teaching and research at BA, MA and art academy settings. Her work is mainly concerned with the nexus between art, value and labour, with an emphasis on the speculative relations that link processes of financialisation and subjectivation. She has developed a distinctive profile within and between the spheres of the academy, artistic spaces and activism, where she practices as a writer, editor and organiser. She also has a specialism in artists moving image, worked for many years in a voluntary capacity with Cinenova, the UK feminist film and video distributor. 19:00 21:00
Arnheim Lecture: Prof. Dr. Marina Vishmidt
Max Liebermann Haus, Pariser Platz 7, 10117 BerlinMittwoch, 6. Juli
Gregory Bryda
Barnard College, Columbia University
Tantes Trees: Uncovering the Long Shadow over the Medieval Maypoles and Ancient Tree Cults of Germany
Hörsaal 3075, Hauptgebäude, Unter den Linden 6
Moderation: Prof. Dr. Kathrin Müller
Fellow-Talk Gregory Bryda
Gregory Bryda
Barnard College, Columbia University
Tainted Trees:
Uncovering the Long Shadow over the Medieval Maypoles and Ancient Tree Cults of Germany
Moderation: Prof. Dr. Kathrin Müller 18:15 20:00