About Center for Advanced Studies (CAS) Research Focus What About Art?
The understanding of cultural goods and art is undergoing transformation. One significant complication thereby is the fact that "art" does not easily fit into the mass of cultural goods that surround it. Identity politics, post-colonial perspectives and the media transformation concerned therewith pose challenges to the traditional understanding of cultural goods and art: How do we understand, collect, show and market cultural goods today? How is the way in which art is produced, interpreted, supported, exhibited and sold currently changing? And last but not least: what is it that is operating as a cultural commodity under the banner of "art". The first two questions – even without answering the third – are not identical. The search for locations for cultural goods and the determination of the freedom and boundaries of art overlap. This is particularly the case when aesthetic autonomy, cultural self-image and understanding of identity as well as the economic aspects of cultural goods and art come together, or when addressing the role of state and private galleries, collections and museum, publications and theaters. The CAS Research Focus addresses these questions from the perspectives of aesthetics, art history, law as well as literature and theater studies, because in these questions we find traces of a structural transformation of society and public life which can be understood as a transformation in the political concept of representation.
Identity Formation. The Role of Museums in the Creation and Inflection of National Narratives
Identity politics, post-colonial perspectives and the media transformation concerned therewith pose challenges to the traditional understanding of cultural goods and art: How do we understand, collect, show and market cultural goods today? How is the way in which art is produced, interpreted, supported, exhibited and sold currently changing? And last but not least: what is being narrowed down under the umbrella concept of art and/or cultural heritage? | The art historian Neil MacGregor is one of the most renowned museum experts worldwide. From 2002 to 2015 he was director of the British Museum in London, where he was responsible for such groundbreaking exhibitions as "Germany - Memories of a Nation". Neil MacGregor also became known to a wider audience in Germany through his book "A History of the World in 100 Objects". From 2015 to 2018 he was founding director of the Berlin Humboldt Forum.
20 Jan 2020
Leider geschlossen. Museen als Pantheonswächter
Identitätspolitik, postkoloniale Perspektiven und die damit verbundene Medientransformation stellen das traditionelle Verständnis von Kulturgütern und Kunst vor Herausforderungen: Wie verstehen, sammeln, zeigen und vermarkten wir heute Kulturgüter? Wie verändert sich die Art und Weise, wie Kunst produziert, interpretiert, unterstützt, ausgestellt und verkauft wird, derzeit? Und schließlich: Was verstehen wir überhaupt unter dem Begriff Kunst und/oder Kulturerbe? |
Julia Friedrich ist Kuratorin der Grafischen Sammlung am Museum Ludwig in Köln.
Matthias Mühling ist Direktor der Städtischen Galerie im Lenbachhaus in München.
Nora Sternfeld ist documenta-Professorin an der Kunsthochschule Kassel.
27 Nov 2019
Artsy Girls. Stereotype von Weiblichkeit in der Kunst
Identitätspolitik, postkoloniale Perspektiven und die damit verbundene Medientransformation stellen das traditionelle Verständnis von Kulturgütern und Kunst vor Herausforderungen: Wie verstehen, sammeln, zeigen und vermarkten wir heute Kulturgüter? Wie verändert sich die Art und Weise, wie Kunst produziert, interpretiert, unterstützt, ausgestellt und verkauft wird, derzeit? Und schließlich: Was verstehen wir überhaupt unter dem Begriff Kunst und/oder Kulturerbe? | Beate Passow lebt und arbeitet als Künstlerin in München. Barbara Vinken ist Professorin für Allgemeine Literaturwissenschaft und Romanische Philologie an der LMU.
30 Oct 2019
Wie frei ist die Kunst?
Identitätspolitik, postkoloniale Perspektiven und die damit verbundene Medientransformation stellen das traditionelle Verständnis von Kulturgütern und Kunst vor Herausforderungen: Wie verstehen, sammeln, zeigen und vermarkten wir heute Kulturgüter? Wie verändert sich die Art und Weise, wie Kunst produziert, interpretiert, unterstützt, ausgestellt und verkauft wird, derzeit? Und schließlich: Was verstehen wir überhaupt unter dem Begriff Kunst und/oder Kulturerbe? | Hanno Rauterberg ist stellvertretender Ressortleiter des Feuilletons der Wochenzeitung DIE ZEIT.
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