“Real Birds in Imagined Gardens”, arises out of Kavita Singh’s lecture titled, “Looking East, Looking West: Mughal Painting between Persia and Europe” as part of the Getty Research Institute Council’s lecture series, held at the Getty Centre in 2015. As outlined in the foreword, the book joins the rich stream of ongoing research ‘that transcends the traditional boundaries of Western art history.’ (p.vii). At the core of the volume, lies the endeavour to underline how Mughal painters enthusiastically received and responded to the arts of Europe. In addition, Singh also considers the interests, precedents and legacies of Mughal painting occasioned through the circulation of objects, ideas and individuals from Safavid Iran to Mughal India (Hindustan).
23 September 2019, 6pm, Kunsthistorisches Institut in Florenz.
A lecture by Professor Dr Andreas Beyer, Speaker of the Bilderfahrzeuge Project, as part of the Studienkurs “Ways of Seeing Florence. Archives, Autopsies and Art Historical Research in Italy around 1900.”
The “Museum of the Moon” is about the moon in the same way “Die Zauberflöte” is about a magic flute; it both is and it fundamentally isn’t. Luke Jerram’s work of public art, a giant glowing sphere with an 120dpi detail map of the moon on it to at 1:500,000 scale, is currently set in a blue-tinged exhibition hall at London’s Natural History Museum. It is perhaps the visual equivalent of a Singspiel. It is the kind of thing jaded critics won’t admit to liking in public, in virtue of it being almost too eminently likable and popular.
On 17th and 18th June 2019 the first workshop of the second round of the research group Bilderfahrzeuge took place at the Warburg Institute, London. Under the title “Image/Vessel” it dealt with the methodological and theoretical relation of two important topics of art historical research: image theory and thing theory. Based on the first text of the readings section of the workshop, The Case of the Case for Early Modern Objects and Images by Allison Stielau, we began with an examination of the relation between container and contained. In light of this essay and the ensuing discussion, I would like to present some central questions and reflections of the workshop.
In the spring of 1892, the young Aby Warburg impetuously abandoned what he saw as the “aestheticizing” excesses of art history to pursue a career in the hard science of medicine. In the end, his medical studies at the Friedrich-Wilhelms-Universität in Berlin lasted only a single semester; yet as would only become clear much later, this phase of study left a deep impression upon his thinking. Following the lectures of the psychologist Hermann Ebbinghaus – a pioneer of the experimental study of recollection and forgetting – Warburg was initiated into the state of the art of contemporary neurological research, including the problem of cerebral localization.
Call for Applications: Studienkurs “Ways of Seeing Florence. Archives, Autopsies and Art Historical Research in Italy around 1900”
A Studienkurs organised by the Kunsthistorische Institut in Florenz in collaboration with The Warburg Institute, London, and the international research project Bilderfahrzeuge. Aby Warburg’s Legacy and the Future of Iconology.
Florence, 23 – 29 September 2019.
Deadline for Applications: 18 July 2019.
Wie realisieren Museen heute ihre Ausstellungen, welche Displays, Formate der Vermittlung und textuellen Rahmungen wählen sie, um die Objekte und damit verbundenen Diskurse einem öffentlichen Publikum nahe zu bringen? Diese allgemeine aber ebenso grundlegende Frage stellt sich seitdem Objekte in privaten oder öffentlichen Institutionen präsentiert werden, unterliegt aber mehr denn je der Notwendigkeit einer umfassenden Reflektion – zumal in Zeiten einer kritischen Neuordnung der Institution Museum.
Georges Adéagbo: „La mort et la résurrection d’Aby Warburg“..! Eine Ausstellung im Warburg-Haus, Hamburg.
Georges Adéagbo: „La mort et la résurrection d’Aby Warburg“..!
27.06 – 30.06.2019
Eine Ausstellung in der Reihe Inversionen am Warburg-Haus, Hamburg.
“Items of false news, in all the multiplicity of their forms – simple gossip, deceptions, legends – have filled the life of humanity. How are they born? From what elements do they take shape? How do they propagate themselves, gaining strength as they pass from mouth to mouth or writing to writing?” – In 1921, three years after the end of the First World War, the historian Marc Bloch posed these questions in his essay Reflections of an Historian on the False News of the War.
Qal’At Al Bahrain is one of the most ancient places in the Gulf. The city’s beginnings date back to 2200 BC and it remained active up until the seventeenth century, when the site gradually started to lose in importance. It is a UNESCO world heritage site since 2005. The site is surrounded by palm groves, though the vicinity to the skyline of Manama (Bahrain’s capital) also provides a remarkable visual backdrop. Its strategic position, more or less in the middle of the Arabian Gulf, was quite important through the ages as a kind of economic trade hub. This becomes clear by visiting the site. In the context of the Bilderfahrzeuge project, those trade exchanges on the island through the centuries were intercultural interactions where the question of movement was a crucial one at the level of language and, most of all, at the level of the artefacts that were exchanged in the harbour or even remained there, no matter how low or high their value was.
Conference organised by Spike Bucklow, Victoria Sutcliffe and Lucy Wrapson, Hamilton Kerr Institute, University of Cambridge. Held at Murray Edwards College, Cambridge, 15-16 November 2018.
This recent conference had an obvious political dimension as it encouraged the discussion of omnipresent international exchanges in the practice and reception of art as part of a phenomenon that presently troubles and polarizes our societies. In its extreme connotations, the term ‘migrants’ brings to mind images of uprooted individuals facing mortal danger as they try to escape from war, poverty and social injustice. The term also polarizes opinions as it evokes associations as diverse as peaceful self-fulfilment and cosmopolitanism, exciting cultural exchange, and ideas of flexible workforces moving across continents to satisfy the demands of global companies on the one side and fears of imported crime, a drop in living standards, loss of jobs and national identity on the other.
Exhibition opening: ‘Bilder auf Wanderschaft. Das Warburg Institute und eine britische Kunstgeschichte’
An exhibition organised by the research network A Vision for Europe: Academic Action and Responsibility in Times of Crises and the Zentralinstitut für Kunstgeschichte, Munich.
30 May – 26 June 2019
Monday-Friday, 9:00 – 20:00
Opening: 29 May 2019, 18:15 – 20:00
Zentralinstitut für Kunstgeschichte
A workshop organised by the international research project “Bilderfahrzeuge. Aby Warburg’s Legacy and the Future of Iconology”.
17th – 18th June 2019
The Warburg Institute
By addressing images and vessels with regard to their qualities as carriers and containers, this workshop sets out to think past conventional oppositions of visuality and materiality. Through a series of conversations based on readings and case studies, it seeks to open up new transdisciplinary and transcultural perspectives for interrogating the very notions of ‘image’, ‘thing’ and ‘object’ in space, time, cultures and media.
Often understood as a mode of Geistesgeschichte, Wind’s lecture was a pioneering effort to think about canonical works of 18th century British art through the larger philosophical discourse of their time, most notably through the debates aroused by the skeptical arguments of David Hume concerning human nature. How might paintings, Wind asked, have been involved in the period’s questioning and championing of human reason as a trustworthy cognitive capacity that purportedly elevates man above other animals?
It takes a heart of stone to not be shaken by The Rest, Ai Weiwei’s second documentary about the ongoing refugee crisis. Premiered at the Copenhagen International Documentary Festival on 22 March 2019, this sobering cri-de-coeur received a standing ovation twice. We are here entrusted with a humbling dialogue with individuals we call refugees. As their own words and visages, silences and tears strike home their ordeal, salient is the cruelty – and absurdity – of not the war they escaped, but the inhumanity thrown in their face.
Dr Johannes von Müller
(Coordinator, Bilderfahrzeuge Project, Warburg Institute.)
Friday, 3 May 2019, 5:30 pm
London WC1H 0AB
Admission free; please register for this event through the Events section of the School of Advanced Study (SAS).