Author: Anita Hosseini

Das Bild im digitalen Raum: Ein Kommentar zu W.J.T. Mitchells ›ästhetischer Distanzierung‹

In einem Interview vom 02. Mai 2020 widmet sich der Kunsttheoretiker W.J.T. Mitchell der Frage, was passiert, wenn wir Kunst im Internet anschauen. Er stellt die Hypothese auf, dass der Transfer von Kunst und Ausstellungen in digitale Medien je in Abhängigkeit zum Werk auf die Rezeption keinen entscheidenden Einfluss nähme und zugleich eine ästhetische Distanzierung ermögliche, die dem heutigen Gebot des social distancing entspreche. Aber was heißt das genau?

Inspired by the East. How the Islamic world influenced Western Art

On October 10, 2019, the exhibition Inspired by the East opened at the British Museum, which, according to its title, seeks to demonstrate how the ‘Islamic world’ influenced Western art. Besides a large number of paintings from the late 19th century, a few historical maps as well as objects of arts and craft are shown. The title, however, misleads the visitor: It is not an exhibition dedicated to the influence of the East on the West, but rather a show of orientalist art that presents an imaginary Orient from the perspective of the colonial West.

Allison Stielau: The Case of the Case for Early Modern Objects.

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.

Olafur Eliasson’s ‘Ice Watch’

On 11 December 2018, Olafur Eliasson and geologist Minik Rosing invited London’s art public to participate in their Climate Action. “Put your hands on the ice, listen to it, smell it, look at it and witness the ecological changes our world is undergoing” requests the large panel on the façade of the Tate Modern, which introduces the installation Ice Watch. In front of the industrial building Eliasson and Rosing positioned 24 blocks of ice in the style of ancient stone circles. These blocks were taken from the Nuup Kangerlua Fjord in Greenland, after their detachment from the ice layer.

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