Call for Participation by Katharina Ammann
DRITTER SCHWEIZERISCHER KONGRESS FÜR KUNSTGESCHICHTE
23. – 25. JUNI 2016, UNIVERSITÄT BASEL
Call ... more DRITTER SCHWEIZERISCHER KONGRESS FÜR KUNSTGESCHICHTE
23. – 25. JUNI 2016, UNIVERSITÄT BASEL
Call for Papers
TROISIÈME CONGRÈS SUISSE EN HISTOIRE DE L’ART
Appel à communication
23 – 25 JUIN 2016, UNIVERSITÉ... more TROISIÈME CONGRÈS SUISSE EN HISTOIRE DE L’ART
Appel à communication
23 – 25 JUIN 2016, UNIVERSITÉ DE BÂLE
Papers by Katharina Ammann
Since the mid-sixties two essential questions regarding presentation - in the sense of exhibiting... more Since the mid-sixties two essential questions regarding presentation - in the sense of exhibiting and visualizing - have imposed themselves in the study of video art. They concern, on the one hand, the ideal presentation of the work in a museum, and, on the other hand, the appropriate form of publication. The issues of presentation and documentation are actually quite related. While the difficulty of representing such a time-based medium in a conventional exhibition catalogue had soon been recognized, the obvious alternative of documenting video art by means of videotapes failed to catch on.1 Even organizations aiming at disseminating video art reach considerably fewer people than a conventional catalogue. Indeed, before the ubiquity of the internet, the print media were clearly the most influential vehicle of information. And yet printed screenshots insufficiently represent not only the actual videotape but also its spatial setup. While photographs depicting the surrounding space have been customary for video installations and video objects, documentations of single-channel works in exhibitions were long neglected. The rare early pictures provide some insight into the reasons for the lacking awareness of how the arrangement of the installation plays into the reception. Due to the rudimentary, yet costly presentation technology creative options were limited. Consequently most video exhibitions do not offer much of a variety and hence are of limited appeal to the public. Apart from the evolution of content, it is quite telling that video art did not conquer the institutions until advanced and affordable technology allowed for more sophisticated ways of presentation. However, the scarcity of documentation available on the history of video presentations is indicative of the fundamental diffi culty of documenting time-, sound-, or space-based media.
BRILL eBooks, May 9, 2019
The Explicit Material gathers varied perspectives from the discourses of conservation, curation a... more The Explicit Material gathers varied perspectives from the discourses of conservation, curation and humanities disciplines to focus on aspects of heritage transmission and material transitions. The authors observe and explicate the myriad transformations that works of different kinds-manuscripts, archaeological artefacts, video art, installations, performances, film, and built heritage-may undergo: changing contexts, changing matter, changing interpretations and display. Focusing on the vibrant materiality of artworks and artefacts, The Explicit Material puts an emphasis on objects as complex constructs of material relations. By so doing, it announces a shift in sensibilities and understandings of the significance of objects and the materials they are made of, and on the increasingly blurred boundaries between the practices of conservation and curation. List of contributors (in alphabetical order): Katharina Ammann, Francesca Bewer, Judit Bodor, Thea Burns, Birgit Cleppe, Paul Eggert, Hanna Hölling, David Lowenthal, Jorge Otero-Pailos, Elisabeth Pye, Dawn W. Rogala, and Anna Schäffler. Cover illustration: Com&Com (Johannes M. Hedinger/Marcus Gossolt), Baum (Tree), 2010. Installation view at Kunsthaus Pasquart Biel, Switzerland, 17 January–14 March 2010. Image: Daniel Schmid. Log in and download the book via your institution: https://brill.com/abstract/title/38670. Purchase the book here: https://brill.com/view/title/38670.
Hanna Hölling’s interview with the architect, heritage scholar, and artist Jorge Otero-Pailos exp... more Hanna Hölling’s interview with the architect, heritage scholar, and artist Jorge Otero-Pailos explores how cultural transmutations condition the presence of transitional objects that are physically unstable. The conversation, which forms Chapter 10 of the book The Explicit Material: Inquiries on the Intersection of Curatorial and Conservation Cultures, took place between Jorge Otero-Pailos and Hanna Hölling on 23 August 2017 in Los Angeles and New York. It developed in the context of the process of “explicating the material” for this book, by addressing theoretical aspects from a variety of disciplinary perspectives. It complements the previous contributions authored by conservators, curators and researchers of material culture with the perspectives of another individual who straddles various fields. Otero- Pailos' artistic practice is intimately connected to his theoretical reflections on material culture and its preservation
The Explicit Material, 2019
Niklaus Manuel (vers 1484–1530) est l'une des personnalités marquantes des débuts de l'ép... more Niklaus Manuel (vers 1484–1530) est l'une des personnalités marquantes des débuts de l'époque moderne en Suisse. Sa production artistique intéresse par ailleurs depuis de nombreuses années la recherche internationale. SIK-ISEA présente aujourd'hui une étude systématique de son oeuvre.
Niklaus Manuel (um 1484–1530) zählt zu den herausragenden Persönlichkeiten der beginnenden Neuzei... more Niklaus Manuel (um 1484–1530) zählt zu den herausragenden Persönlichkeiten der beginnenden Neuzeit in der Schweiz. Sein künstlerisches Schaffen stösst seit Langem auch in der internationalen Forschung auf Interesse. SIK-ISEA legt nun die systematische Aufarbeitung von Manuels Werk vor.
»Present Continuous Past(s)«, 2005
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Call for Participation by Katharina Ammann
23. – 25. JUNI 2016, UNIVERSITÄT BASEL
Call for Papers
Appel à communication
23 – 25 JUIN 2016, UNIVERSITÉ DE BÂLE
Papers by Katharina Ammann
23. – 25. JUNI 2016, UNIVERSITÄT BASEL
Call for Papers
Appel à communication
23 – 25 JUIN 2016, UNIVERSITÉ DE BÂLE