
Vlad Ionescu
Vlad Ionescu is associate professor in the theory of architecture at the Faculty of Architecture and Arts (Hasselt University)/ PXL MAD School of Arts. Currently he is working adaptive reuse and on the relationship between art and architecture.
During the last four years, he has researched the cultural implications of the adaptive reuse of the built environment. He previously studied philosophy of art at the University of Leuven where he defended his thesis on modern art historiography, focusing on the work of Aloïs Riegl, Heinrich Wölfflin and Wilhelm Worringer. Besides architecture, he co-translated and co-edited the series Jean-François Lyotard. Writings on Contemporary Arts and Artists (Leuven University Press, 2009-2013). His research has been published in various edited volumes, like the Journal of Art Historiography, ARS, Art History Supplement, Deleuze Studies, Architectural Histories, A+ and Cultural Politics.
Between 2006-2012, he was junior research fellow at the Institute of Philosophy (KU Leuven). Between 2012-2014 he worked as a lecturer at the Faculty of Architecture (KU Leuven) and between 2014-2015 as lecturer in philosophy of culture at the Institute of Philosophy (Leiden University) and as researcher of the Department of Architecture and Urban Planning (UGent). In 2016 he was visiting lecturer at P.A.R.T.S Brussels (Performing Arts Research and Training Studios).
Vlad Ionescu has been a member of various advisory boards of the Flemish Government (Architecture and Design, Heritage, Music) and a member of the board of Docomomo Belgium (the DOcumentation and COnservation of buildings, sites and neighbourhoods of the MOdern MOvement).
In 2017 Vlad Ionescu was Laureate of the Royal Flemish Academy of Belgium for Sciences and the Arts, Class of Arts/ Koninklijke Vlaamse Academie van België voor Wetenschappen en Kunsten/ Klasse Kunsten.
For a complete list of teaching and research experience, please see the attached CV.
During the last four years, he has researched the cultural implications of the adaptive reuse of the built environment. He previously studied philosophy of art at the University of Leuven where he defended his thesis on modern art historiography, focusing on the work of Aloïs Riegl, Heinrich Wölfflin and Wilhelm Worringer. Besides architecture, he co-translated and co-edited the series Jean-François Lyotard. Writings on Contemporary Arts and Artists (Leuven University Press, 2009-2013). His research has been published in various edited volumes, like the Journal of Art Historiography, ARS, Art History Supplement, Deleuze Studies, Architectural Histories, A+ and Cultural Politics.
Between 2006-2012, he was junior research fellow at the Institute of Philosophy (KU Leuven). Between 2012-2014 he worked as a lecturer at the Faculty of Architecture (KU Leuven) and between 2014-2015 as lecturer in philosophy of culture at the Institute of Philosophy (Leiden University) and as researcher of the Department of Architecture and Urban Planning (UGent). In 2016 he was visiting lecturer at P.A.R.T.S Brussels (Performing Arts Research and Training Studios).
Vlad Ionescu has been a member of various advisory boards of the Flemish Government (Architecture and Design, Heritage, Music) and a member of the board of Docomomo Belgium (the DOcumentation and COnservation of buildings, sites and neighbourhoods of the MOdern MOvement).
In 2017 Vlad Ionescu was Laureate of the Royal Flemish Academy of Belgium for Sciences and the Arts, Class of Arts/ Koninklijke Vlaamse Academie van België voor Wetenschappen en Kunsten/ Klasse Kunsten.
For a complete list of teaching and research experience, please see the attached CV.
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Papers by Vlad Ionescu
Het artikel is gratis raadpleegbaar zoals het geheel van het archief van De Witte Raaf:
https://www.dewitteraaf.be/artikel/aangetekend-schrijven-thierry-de-duve/
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This is a review of Thierry de Duve's latest books: Duchamp’s Telegram. From Beaux-Arts to Art-in-General, Londen, Reaktion Books, 2023 and ‘Voici’: vingt ans après, Brussel, La Lettre volée, 2024. It focuses the exhibition he curated at the Palais des Beaux-Arts (Brussels) in 2000 and on Marcel Duchamp's "Fountain" (1917). The article can be freely read on the free archive of De Witte Raaf:
https://www.dewitteraaf.be/artikel/aangetekend-schrijven-thierry-de-duve/
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https://www.rektoverso.be/artikel/stilte-of-prudentia-in-een-geluidsdichte-kamer
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This is an essay on silence and the search of a centre in a culture that can not keep quiet. It was published in the Belgian magazine Rekto: Verson, no. 102, 2024:
https://www.rektoverso.be/artikel/stilte-of-prudentia-in-een-geluidsdichte-kamer
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Dit is een inleiding tot de tentoonstelling "Vloedlijn" die van 29.02.2024 tot 29.03.2024 plaatsvond in de PXL MAD Gallery (Hasselt). Het bespreekt de uitdagingen van kunstenaars ergens tussen de tijd die ze in kunstscholen hebben doorgebracht en de bredere context van de grotere kunstwereld.
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Het bespreekt de sterk ideologische visie op de kunsten vertrekkende van de Kunstenpocket #4 (uitgegeven door de Kunstenpunt in Brussel). Het ziet in dit soort tendensen een terugkeer naar de Stalinistische visie op de kunstenaar als een "ingenieur van de ziel", meer een disciplinerende kracht dan een experimenterende factor.
Het artikel is vrij beschikbaar in het archief van De Witte Raaf:
https://www.dewitteraaf.be/artikel/ingenieurs-van-de-ziel/
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This article is a contribution to the theme issue "Cultural Politics and Subsidies" of the Belgian cultural journal De Witte Raaf (The White Raven).
It discusses the strongly ideological vision of the arts starting from the Kunstenpocket #4 (published by the "Kunstenpunt" in Brussels). It sees in such tendencies a return to the Stalinist vision of the artist as an "engineer of the soul," more of a disciplinary power than an experimental factor.
The article is freely available in the archives of De Witte Raaf:
https://www.dewitteraaf.be/artikel/ingenieurs-van-de-ziel/
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Het artikel is te vinden in het archief van "De Witte Raaf":
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This is a review of the Dutch translation of "Survivance des lucioles" (2009) by Georges Didi-Huberman. The book is published as Georges-Didi Huberman, Het voortleven van de vuurvliegjes, vertaling Ineke van der Burg en nawoord Pieter Van Bogaert, Amsterdam, Octavo Publicaties, 2022, ISBN 9789490334345.
You can find the article in the archive of "De Witte Raaf":
https://www.dewitteraaf.be/artikel/het-voortleven-van-de-vuurvliegjes/
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This is a contribution to the volume "Felix Aestheticus. Pour Herman Parret" published by Peeters/ Leuven (Coll. La République des lettres, 74), ed. Sémir Badir, Vlad Ionescu, Nathalie Kremer. The essay proposes a genealogy of this conceptual character that Herman Parret called - starting from a careful reading of A. Baumgarten's aesthetics - "Felix Aestheticus". This character summarises Herman Parret's long aesthetic project concerning the promise of happiness that aesthetics entails, the culture of touch and taste. The essay also raises questions about the cultural challenges that this "Felix Aestheticus" encounters nowadays.
https://www.dewitteraaf.be
The link on the Academy's website:
https://kvab.be/sites/default/rest/blobs/3458/kk_architectuurkwaliteit.pdf
https://www.dewitteraaf.be/site/wp-content/uploads/2022/03/DWR-216_LR.pdf
For more information see: https://www.lille.archi.fr/2021/12/15/dossier-du-lacth4/
https://www.dewitteraaf.be/artikel/detail/nl/4932
Het artikel is gratis raadpleegbaar zoals het geheel van het archief van De Witte Raaf:
https://www.dewitteraaf.be/artikel/aangetekend-schrijven-thierry-de-duve/
_____________________________________________________________________________________
This is a review of Thierry de Duve's latest books: Duchamp’s Telegram. From Beaux-Arts to Art-in-General, Londen, Reaktion Books, 2023 and ‘Voici’: vingt ans après, Brussel, La Lettre volée, 2024. It focuses the exhibition he curated at the Palais des Beaux-Arts (Brussels) in 2000 and on Marcel Duchamp's "Fountain" (1917). The article can be freely read on the free archive of De Witte Raaf:
https://www.dewitteraaf.be/artikel/aangetekend-schrijven-thierry-de-duve/
______________________________________________________________________________________
https://www.rektoverso.be/artikel/stilte-of-prudentia-in-een-geluidsdichte-kamer
____________________________________________________________________
This is an essay on silence and the search of a centre in a culture that can not keep quiet. It was published in the Belgian magazine Rekto: Verson, no. 102, 2024:
https://www.rektoverso.be/artikel/stilte-of-prudentia-in-een-geluidsdichte-kamer
______________________________________________
Dit is een inleiding tot de tentoonstelling "Vloedlijn" die van 29.02.2024 tot 29.03.2024 plaatsvond in de PXL MAD Gallery (Hasselt). Het bespreekt de uitdagingen van kunstenaars ergens tussen de tijd die ze in kunstscholen hebben doorgebracht en de bredere context van de grotere kunstwereld.
______________________________________________
Het bespreekt de sterk ideologische visie op de kunsten vertrekkende van de Kunstenpocket #4 (uitgegeven door de Kunstenpunt in Brussel). Het ziet in dit soort tendensen een terugkeer naar de Stalinistische visie op de kunstenaar als een "ingenieur van de ziel", meer een disciplinerende kracht dan een experimenterende factor.
Het artikel is vrij beschikbaar in het archief van De Witte Raaf:
https://www.dewitteraaf.be/artikel/ingenieurs-van-de-ziel/
__________________________________________________________
This article is a contribution to the theme issue "Cultural Politics and Subsidies" of the Belgian cultural journal De Witte Raaf (The White Raven).
It discusses the strongly ideological vision of the arts starting from the Kunstenpocket #4 (published by the "Kunstenpunt" in Brussels). It sees in such tendencies a return to the Stalinist vision of the artist as an "engineer of the soul," more of a disciplinary power than an experimental factor.
The article is freely available in the archives of De Witte Raaf:
https://www.dewitteraaf.be/artikel/ingenieurs-van-de-ziel/
_________________________________________________________
Het artikel is te vinden in het archief van "De Witte Raaf":
https://www.dewitteraaf.be/artikel/het-voortleven-van-de-vuurvliegjes/
________________________________________________________________________
This is a review of the Dutch translation of "Survivance des lucioles" (2009) by Georges Didi-Huberman. The book is published as Georges-Didi Huberman, Het voortleven van de vuurvliegjes, vertaling Ineke van der Burg en nawoord Pieter Van Bogaert, Amsterdam, Octavo Publicaties, 2022, ISBN 9789490334345.
You can find the article in the archive of "De Witte Raaf":
https://www.dewitteraaf.be/artikel/het-voortleven-van-de-vuurvliegjes/
_________________________________________________________________________
_________________________________________________________________________
This is a contribution to the volume "Felix Aestheticus. Pour Herman Parret" published by Peeters/ Leuven (Coll. La République des lettres, 74), ed. Sémir Badir, Vlad Ionescu, Nathalie Kremer. The essay proposes a genealogy of this conceptual character that Herman Parret called - starting from a careful reading of A. Baumgarten's aesthetics - "Felix Aestheticus". This character summarises Herman Parret's long aesthetic project concerning the promise of happiness that aesthetics entails, the culture of touch and taste. The essay also raises questions about the cultural challenges that this "Felix Aestheticus" encounters nowadays.
https://www.dewitteraaf.be
The link on the Academy's website:
https://kvab.be/sites/default/rest/blobs/3458/kk_architectuurkwaliteit.pdf
https://www.dewitteraaf.be/site/wp-content/uploads/2022/03/DWR-216_LR.pdf
For more information see: https://www.lille.archi.fr/2021/12/15/dossier-du-lacth4/
https://www.dewitteraaf.be/artikel/detail/nl/4932
Visual Media", translated by Nils F. Schott, afterword by Andrew Benjamin New York: Columbia University Press, 2021, 391 pages.
https://mar.mcgill.ca
The following article discusses the iconological research of prof. dr. Barbara Baert (Francquis Chair 2016) on the Pneuma, a motif that includes breath, wind, ruach, odour, stains, movement and silence. It is based on her latest publication Pneuma and the Visual Medium in the Middle Ages and Early Modernity. Essays on Wind, Ruach, Incarnation, Odour, Stains, Movement, Kairos, Web and Silence (Peeters, 2016), a book that is related to her broader iconological research. The author argues that the value of prof. Baert’s approach consists in inventing an iconological method where meaning emerges from its relation to the latent sen- sitive potential of artworks. Baert's method subtly integrates iconology into a phenomenology of all the senses, from smell to touch and hearing.
It concerns Nedda El-Asmar's artistic experiment around the artistically transformative processes of melting donated gold and turning it into a newly designed object. While the economic value of gold will never get lost (because gold is perfectly recyclable), the question remains: what is the artistic value of the design itself?
For more information on the project, feel free to contact Nedda El-Asmar: [email protected]
This book is a liber amicorum volume dedicated to the aesthetics of Herman Parret. The authors addressed all the facets of his work and special attention has been paid to the idea of haptic aesthetics - aesthetics from the perspective of touch - and to the promises of happiness that the aesthetic experience entails.
Presentation:
« L'âme vagabonde du felix aestheticus existe à partir de ce conglomérat de l'oeil, de l'oreille, du palais et de la main, (…) fond et source de l'expérience de la beauté et du bonheur de vivre », écrit Herman Parret dans La Délicatesse des sens. Ce rapport foncièrement esthétique à l'existence et à l'art est un fil rouge dans l'oeuvre d'Herman Parret. En effet, si le felix aestheticus est cet être sensible qui expérimente le monde de manière haptique, il est aussi l'artiste qui travaille la matière de ses mains, le spectateur de l'art lorsqu'il est touché par l'impulsion émotive, ou encore l'intellectuel dont l'éthos s'ancre dans une sensibilité ouverte au monde. C'est cette expérience du bonheur esthétique, dans les multiples aspects du felix aestheticus, que les études rassemblées dans le présent volume en l'honneur d'Herman Parret explorent de façon variée et inédite. Sémir BADIR, linguiste à Liège, Vlad IONESCU, philosophe à Hasselt, et Nathalie KREMER, spécialiste de littérature française à Paris, sont, à des titres divers, des élèves d'Herman Parret.
"The wandering soul of the felix aestheticus derives from this conglomerate of the eye, the ear, the tasting buds and the hand, (...) the foundation and source of the experience of beauty and the joy of living", writes Herman Parret in "La Délicatesse des sens". This fundamentally aesthetic relationship to existence and art is a common thread running through Herman Parret's work. Indeed, if the "Felix aestheticus" is that sentient being who experiences the world haptically (through touch), he is also the artist who works matter with his hands, the spectator of art when touched by the emotional or intellectual impulses whose ethos is anchored in a sensibility open to the world. It is this experience of aesthetic happiness, in the multiple aspects of the felix aestheticus, that the studies gathered in this volume in honour of Herman Parret explore in a varied and original way. Sémir BADIR, a linguist from Liège, Vlad IONESCU, a philosopher from Hasselt, and Nathalie KREMER, a specialist in French literature from Paris, are, in various capacities, students of Herman Parret.
For more information on the book: https://www.vai.be/publicaties/waiting-rooms-of-architecture---malgorzata-maria-olchowska
The link on the Academy's website:
https://kvab.be/sites/default/rest/blobs/3458/kk_architectuurkwaliteit.pdf
https://www.aspeditions.be/en/book/pneumatology/15244
How do wind and breath challenge the traditional conception
of an image as something seen and read? The book that you hold
in your hands attempts to answer this question by addressing the structural relations that have determined the representation of these motifs across di erent cultures. What does the pneuma – denoting both breath, wind and air – tell us about the human psyche and
the structure of images? To articulate cross-historical and cross- cultural connections between representations belonging to di erent media, the diachronic art historical overview is particularly useful. In order to cover all of the important modes of representing the pneuma, a wide range of art historical and anthropological sources is analysed, like the Chinese landscape, the German myth of the wild hunt, the architecture of the wind, Paul Celan’s poetry and
the 18th century representation of the Wind Trade (Windnegotie).
e rst part provides insight into the control and direction that wind has conferred to human existence. e second part addresses wind as a gure that structures our understanding of the soul, and
its conception as space where a ects dwell. In the nal part, an iconological inquiry investigates the way in which the representations of the pneuma – from the Renaissance to 21st century art – have radically altered our understanding of the image. Reading visual structures across various artworks, the essay treats wind, air and breath as in a-motifs, intensities that have changed the canonical understanding of art and its history.
What is the meaning of craftsmanship in the era of digital production? Applied Arts as Implied Art is a critical reflection on artistic creativity and its cultural significance today. In the light of a confrontation between the art theory of Aloïs Riegl and Frank Lloyd Wright, the essay debates the role of technology in craftsmanship and its impact on artmaking. Referring to the aesthetics of Paul Valéry and the design theory of Jacques Vienot, the author proposes a contemporary interpretation of applied arts as implied art, a form of art between fine art and design that describes human life, its experiences and the occasional poverty thereof.
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Quel est le sens de l'artisanat à l'ère de la productibilité numérique ? Arts appliqués, art impliqué est une réflexion critique sur la créativité artistique et son importance culturelle aujourd'hui. A la lumière d'une confrontation entre la théorie de l'art de Aloïs Riegl et Frank Lloyd Wright, l'essai discute le rôle de la technologie dans le design artisanal et son impact sur la création artistique. Se référant à l'esthétique de Paul Valéry et de la théorie de la conception de Jacques Viénot, l’auteur propose une interprétation contemporaine des arts appliqués comme art impliqué, une forme d'art entre les beaux-arts et le design qui raconte des histoires sur la vie humaine, ses expériences et de la pauvreté occasionnelle de ceux-ci.
Chief editor: Herman Parret
Assistent editors: Ionescu Vlad, Peter Milne
The text is a lecture given at the Flanders Architecture Institute on architectural representation, imagery and models in relation to the exhibitions of Bovenbouw, Dogma and Malgorzata Maria Olchowska.
https://a-plus.be/actuel/theatricality-absorption-and-abstraction-an-introduction-to-bovenbouw-dogma-and-malgorzata-maria-olchowksa/#.XXYqmJMzbWc
To purchase the book see:
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EDITORIALE
Gerardo de Simone, Emanuele Pellegrini
The Books that shaped Art History? No Italians, please
MONOGRAFIA/MONOGRAPH
LE ARTI A PISA NEL PRIMO RINASCIMENTO /THE ARTS IN PISA DURING THE EARLY RENAISSANCE
Diane COLE AHL
Introduction
Gail E. SOLBERG
Pisa as a Center of Tuscan Painting in the 1390s: The Case of Taddeo di Bartolo
Gabriele FATTORINI
Giovanni di Pietro da Napoli e Martino di Bartolomeo in “compagnia” nella Pisa di primo Quattrocento (con un accenno alle tele che fingevano affreschi)
Marco MASCOLO
Pittura tra Pisa e Lucca al Principio del Quattrocento: alcuni casi dello stile ‘Gotico Internazionale’
Clario DI FABIO
Giovanni di Pietro, un pittore pisano a Genova nel primo Quattrocento. Approfondimenti, inediti e questioni di contesto
Anthony M. CUMMINGS
Godi, Firenze:The Florentine Conquest of Pisa Celebrated in Song
Marco FRATI
Il secolo breve di Pisa. L’architettura durante la prima occupazione fiorentina (1406-1494) fra tradizione e innovazione
Linda PISANI
Ricerche sull’iconografia del polittico pisano di Masaccio
Christa GARDNER VON TEUFFEL
Locating Albert: The first Carmelite Saint in the works of Taddeo di Bartolo, Lippo di Andrea, Masaccio and others
Gabriele DONATI
San Ranieri in America. Due oreficerie di metà Quattrocento fra New York e Pisa
Claudio CASINI
L’angelo che non volò.Una scultura non realizzata per il nuovo arredo presbiteriale del Duomo di Pisa al tempo dell’arcivescovo Filippo de’ Medici
Jean K. CADOGAN
Benozzo Gozzoli, Filippo de' Medici and the Old Testament Murals in the Camposanto in Pisa (1468-1484)
Luigi LAZZERINI
Benozzo Gozzoli e la Fraternita dei fiorentini di Pisa
Sarah M. CADAGIN
Domenico Ghirlandaio and his Workshop in Pisa: Panel Paintings for the Gesuati
Caterina BAY
La storia di Pafnuzio e Onofrio in una tavola del Museo Nazionale di San Matteo
Pierluigi NIERI
Il restauro del Redentore benedicentedel Beato Angelico al Museo Nazionale di San Matteo a Pisa: dati diagnostici, tecnici e materiali
Gerardo DE SIMONE
Tra decadenza e Rinascenza: spigolature sul Quattrocento a Pisa
MISCELLANEA/MISCELLANY
FIGURE
Maria Luisa CATONI
Stylization of the body and embodied values in Classical Antiquity
Cinzia NICOLINI
Note sulla committenza del “Regno di Pan” di Luca Signorelli
Luke UGLOW
Observations on Crowe and Cavalcaselle and their analysis of Giorgione
CORNICE
Federica VERATELLI
Antonio Morassi life and method in the mirror of his Photo Archive.Rethinking Art Historical Photographic Collections. The makings of Italian fototeche
Gemma TORRE
Dissemination of picture copies through different archives: the visual power of Cesare Battisti’s death
Silvia BOTTINELLI
Protecting Creativity and Research through Fair Use. An Art Historian’s Reflections on the Unsustainable Costs of Image Reproduction Fees
CUSPIDE
Gigetta DALLI REGOLI
Malinconia di Giuseppe: l’avventura figurativa del santo fra tardo Medioevo e Rinascimento
IN MOSTRA
Lucia COLLAVO
La mia arma contro l’atomica è un filo d’erba. Tancredi. Una retrospettiva. Collezione Peggy Guggenheim, Venezia
IN LIBRERIA
Sara MENATO
Cecilia Vicentini, La collezione Calcagnini d’Este. Una famiglia e le sue raccolte fra Ferrara e Roma
Vlad IONESCU
From nothing, from an ‘idea’: Barbara Baert’s iconology of immersions and transitions
Annamaria DUCCI
Pierre Leveau, L'institution de la conservation du patrimoine culturel dans l'Entre-Deux-Guerres
Manuela RITONDALE
Peggy Levitt,Artifacts and allegiances. How museums put the nation and the world on display
Transparency is the metaphor of our time. Whether in government or corporate governance, finance, technology, health or the media – it is ubiquitous today, and there is hardly a current debate that does not call for more transparency. But what does this word actually stand for and what are the consequences for the life of individuals? Can knowledge from the arts, and its play of visibility and invisibility, tell us something about the paradoxical logics of transparency and mediation? This Obscure Thing Called Transparency gathers contributions by international experts who critically assess the promises and perils of transparency today.
Contributors: Emmanuel Alloa (University of Fribourg), Loup Cellard (Melbourne Law School), Riccardo Donati (Università di Salerno), Mark Fenster (University of Florida), Sara Guindani (Université Paris 7), David Heald (University of Glasgow), Vlad Ionescu (UHasselt/PXL MAD), Dorota Mokrosinska (Leiden University), Herman Parret (KU Leuven), John Pitseys (UCLouvain), Natacha Pfeiffer (Université Saint-Louis), Philippe Van Parijs (UCLouvain), Bart Verschaffel (Ghent University), Patrick Vandermeersch (KU Leuven), Christophe Van Gerrewey (EPFL).