CFP: All the Beauty of the World. The Western Market for non-European Artefacts - Berlin 10/2016 (original) (raw)

International Exchange and Trade in Cultural Objects

2014

The legal protection of movable cultural heritage at the international level has been defined by a perennial tug-of-war between forces promoting international exchange and those seeking regulation of the transfer of the cultural objects. Shifts over the last century in how the balance between these twin aims is achieved reflect changes in the composition of Member States of intergovernmental organizations and their corresponding changing priorities. In the early twentieth century, the balance fostered under the League of Nations favored a cosmopolitan view promoting the circulation and interchange of cultural material to further knowledge and mutual understanding between peoples. The balance sought in the late twentieth century emphasized the importance of states being able to host representative national collections on their own territory. More recently, this position appears to be tempered by moves to make cultural objects exhibited in international exhibitions immune from seizure...

Treasures from Faraway: Medieval and Renaissance Objects from The Schroder Collection

Treasures from Faraway: Medieval and Renaissance Objects from The Schroder Collection, 2023

An exhibition of ten objects at Strawberry Hill House reveals the often-overlooked relationship between Europe’s explorers and traders with artisans and craftsmen to create Cabinets of Curiosities or Kunst- and Wunderkammer collections. This ‘In-Focus’ display shines a spotlight on how diverse natural materials, from coconuts to rock crystal, along with trade networks with Asia and the Far East created new opportunities for European craftspeople to make objects of wonder for their patrons.

MCS Yearbook 2020 02 Kalb Cosmo Private Museums in Twenty First Century Europe

Museums, Collections and Society Yearbook 2020, 2021

Asked to leave our cell phones and cameras behind as we descended a dark staircase into a pitch-black entryway, where the only sound was avant-garde music by John Cage, my students and I were intrigued. On excursion from Rome, we travelled to Berlin to see how 1930s-era sites were either remembered historically or reconfigured. The Feuerle Collection of ancient Chinese and Southeast Asian and contemporary art, opened to the public in 2016, was housed in a former Nazi-era telecommunications bunker for the German National Railway system, located in the Kreuzberg section of Berlin. The most recent of nearly 2000 bunkers the German government began to sell privately in 2007, this was the second in Berlin that had been repurposed as an art museum. 1 Today, the Feuerle Collection offers a highly refined, eerily seductive, and spectacularly lit presentation of Khmer divinity statues and Han and Ming Dynasty stone and lacquered-wood furniture in the restored bunker, sometimes in juxtaposition with erotic photographs by Nobuyoshi Araki or other contemporary works by internationally recognized artists, among them Anish Kapoor, Adam Fuss, and Cristina Iglesias. The buildup to this new museum was intense. Pre-booked entry tickets were required and when we visited in 2019, they were still difficult to come by. Class visits to private foundations and museums in Europe, such as The Feuerle Collection, had become increasingly frequent over twelve years that I taught Museum History and Theory at Temple University Rome. Numerous, powerful, and often 1 The first was Sammlung Boros (2008), more about which will be discussed later in this essay.

Infrastructures of Trading and Transferring Art since 1900 // Conference booklet // 26-28 June 2024

Organized by Prof. Dr. Gregor M. Langfeld (University of Amsterdam/Open University), Kristóf Nagy (KEMKI/Central European University) and Prof. Dr. Lynn Rother (Leuphana University), 2024

Infrastructures of Trading and Transferring Art since 1900. 26-28 June 2024; Museum of Fine Arts – Central European Research Institute for Art History (KEMKI) Budapest Organized by Prof. Dr. Gregor M. Langfeld (University of Amsterdam/Open University), Kristóf Nagy (KEMKI/Central European University) and Prof. Dr. Lynn Rother (Leuphana University)

Traditions at hand: A renaissance in global art jewellery

This lecture considers the impact on the art jewellery field of new creative works emerging from the East and South. As a way of framing this difference, it offers the alternative model of Renaissance to the hitherto dominant modernism. This was originally presented at Florence Jewellery Week, organised by Le Arti Orafe on 26 May 2017 in conjunction with an exhibition of Iranian contemporary jewellery, Jwahr: New Iranian and Persian Jewellery. An abridged version of this has been published in Art Jewelry Forum.

CfP: The Cultural Heritage of Europe @ 2018 Re-assessing a Concept – Re-defining its Challenges

Today's globalized concept of cultural heritage is often understood as a product of European modernity with its 19 th-century emergence of territorially fixed nation-states and collective identity constructions. Within the theoretical overlap of the disciplines of history (of art), archaeology and architecture cultural properties and built monuments were identified and embedded into gradually institutionalized protection systems. In the colonial context up to the mid-20 th century this specific conception of cultural heritage was transferred to non-European contexts, internationalized in the following decades after the WWII and taken as universal. Postcolonial, postmodern and ethnically pluralistic viewpoints did rightly question the supposed prerogative of a European Leitkultur. Only rather recently did critical heritage studies engage with the conflicting implications of progressively globalized standards of cultural heritage being applied in very local, non-European and so-called 'traditional' contexts. However, in order to bridge what academia often tends to essentialize as a 'Western' and 'non-Western' divide of opposing heritage conceptions, a more balanced viewpoint is also needed in order to update the conceptual foundations of what 'cultural heritage of/in Europe' means today. The European Cultural Heritage Year 2018 – a campaign with unquestioned assumptions? Right at the peak of an identity crisis of Europe with financial fiascos of whole nation states, military confrontations and refortified state borders at its continental peripheries with inflows of refugees from the Near East and the Global South did the European Council and Parliament representatives reach a provisional agreement to establish a European Year of Cultural Heritage in 2018. With affirmative slogans such as " We Europeans " and " our common European heritage " , the campaign intends to " raise awareness of European history and values, and strengthen a sense of European identity " (Press release of the European Council, 9 February 2017). However, with its unquestioned core assumption of the validity of Europe's territorial status with simply interconnected borderlines of its affiliated member states and of a given collective 'we'-identity within the European Union, this cultural-political campaign risks to miss the unique chance of a critical re-assessment of how a 'European' dimension of cultural heritage can be conceptualized in today's globalized and interconnected reality. The " cultural heritage of Europe " @ 2018: towards a global and transcultural approach The global and transcultural turn in the disciplines of art and architectural history and cultural heritage studies helps to question the supposed fixity of territorial, aesthetic and artistic entity