Statue de Christophe Colomb décapitée en juin 2020 à Boston Ce dossier thématique, intitulé « Dé-boulonnages. Naissance, vie et mort des statues dans les Amériques », est le fruit d’un colloque ...organisé au début de l’année 2022 à l’Université de Paris Nanterre – incluant des visioconférences avec Mexico selon une modalité hybride. La rencontre entendait alors répondre aux polémiques nées pendant l’été 2020 à la suite d’attaques perpét...
How to qualify the changing ontology of the image—that is the suggestive as well as provocative question we are invited to answer in this questionnaire. The question itself is formulated rather ...vaguely, and leaves space for at least two interpretations: Does it mean that the ontology of the image is undergoing a major change today (because of the mutation in its materialities, its codes, its modes of circulation, for instance)? Or does it mean that the ontology of the image—its imaginal or iconic being—could never be addressed other than in terms of inconstancy and change? Either interpretation is suggestive and provocative, as it either hints at a change within ontology or at an ontology of change. Both interpretations, however, presuppose that we can address images in ontological terms at all, and that visual studies should talk about images qua being.
This book argues that theatre, and the new genre of opera in particular, played a key role in creating a new vision of landscape during the long seventeenth century in Italy. It explores how the idea ...of gardens as theatres emerged at the same time as opera was developed in Italian courts around the turn of the seventeenth century. During this period landscape painting emerged as a genre and the aesthetic of designed landscapes and gardens was wholly transformed, which resulted in a reconceptualization of the relationship between humans and landscape. The importance of theatre as a key cultural expression Italy is widely recognised, but the visual culture of theatre and its relationship to the broader artistic culture is still being untangled. This book argues that the combination of narratives playing out in natural settings (Arcadia, Parnassus, Alcina), the emotional responses elicited by sets and special effects (the apparent magical manipulation of the laws of nature), and, the way that garden theatres were used for displays of power and to enact princely virtue and social order, all contributed to this shifting idea of landscape in the seventeenth century.
An animal face in Ashurbanipal's reliefs (7th BC) ? Case study of the horse (Equus caballus Linnaeus, 1758) and the lion (Panthera leo Linnaeus, 1758).Following the studies carried out by Pauline ...Albenda or Elena Cassin on the human-animal relationship through the figures of the horse (Equus caballus Linnaeus, 1758) and the lion (Panthera leo Linnaeus, 1758), this study specifically questions the facial features of these two animals as well as that of the human face under the reign of Ashurbanipal (669-631/627 BC). The corpus of the study consists of the lion hunting scenes uncovered in rooms C, S and S1 of the Northern Palace of Nineveh. Marked by the action's violence, these hunting scenes show enraged lions, roaring or rumbling, wounded by numerous arrows. In front of them stands the monarch, unmoved. How can we understand this absence of human emotion and the displacement of the expression of passions to the animal figure? The encounter between the king and the lion seems to be crystallized here around a face-to-face encounter that, by breaking down the masks, reveals the faces of two equals.
À la suite des études menées par Pauline Albenda ou Elena Cassin sur les relations homme-animal à travers les figures du cheval (Equus caballus Linnaeus, 1758) et du lion (Panthera leo Linnaeus, 1758), cette étude propose d'interroger spécifiquement le rendu iconographique des traits de la face de ces deux animaux ainsi que celui du visage humain sous le règne d'Assurbanipal (669-631/627 av. J.-C.). Le corpus de l'étude est constitué des scènes de chasse au lion mises au jour dans les pièces C, S et S1 du palais Nord de Ninive. Marquées par la violence de l'action, ces scènes cynégétiques donnent à voir des lions enragés, rugissant ou grondant, blessés de nombreuses flèches. Devant eux se tient le monarque, immanquablement impassible. Comment comprendre cette absence d'émotion humaine et le déplacement de l'expression des passions jusqu'à la figure animale ? La rencontre entre le roi et le lion semble ici se cristalliser autour d'un face-à-face qui, faisant tomber les masques, révèle les visages de deux égaux.
As the cultural sector continues to grapple with the challenging and transformative events of 2020 spotlighting the exclusionary practices and social norms that structure museums, JHNA commissioned ...two roundtables to reflect on the challenges of curating Northern European art. This first one, “Expanded and Expanding Narratives in the Museum,” unites four curators in discussion about the evolving trajectory of art history and the possibilities for new narratives in the galleries. In addressing the increasing momentum for new art-historical ecologies in recent years, the participants discuss the inherently marginalizing effects of canonization; signal the tensions between the art market, perceived museum audiences, and historical collections that continue to shape museum presentations and collecting practices; and highlight some objects from the early modern period that suggest pathways forward for more expansive conversations in museum spaces. The discussion closes with a look at the global entanglement of early modern Europe. This point will be taken up by the next JHNA Conversation, to be published in the winter 2022 issue, which will reconvene the curatorial team for the groundbreaking exhibition Asia in Amsterdam: The Culture of Luxury in the Golden Age, organized by the Rijksmuseum and the Peabody Essex Museum in 2015–16. Discussants, including a member of their advisory committee from the cultural sector in Indonesia, will reflect on the humility and resourcefulness necessary to present shameful racist histories, the impact of sharing personal—rather than merely collective—stories in the galleries, and the need for museums to participate in the healing of historical wounds. It will also address new research methodologies that inherently expand inclusiveness and surface new types of historical data, leading to a more people-oriented presentation of art history. Both conversations, edited and condensed for clarity for publication in JHNA, have been organized and moderated by Yao-Fen You, Acting Deputy Director of Curatorial and Senior Curator and Head of Product Design and Decorative Arts, Cooper Hewitt, Smithsonian Design Museum, New York.
El presente artículo propone una aproximación teórica a algunas de las transformaciones de la institución museística que resultan indisociables de lo que se ha denominado economía del evento. Desde ...una perspectiva histórica, se plantea un posible punto de partida que instaura el Centro Georges Pompidou, cuyas innovaciones sirven para contextualizar el auge de una serie de formatos y de tendencias –en las que se entrecruzan la sede icónica y el flujo de relatos– que incorporan un marcado énfasis en la dimensión temporal. A partir de ahí, se inscriben dichas tendencias en la complejidad de una coyuntura que trasciende los límites del museo y que está atravesada por una lógica cultural indisociable del incremento de la movilidad y la erosión de toda continuidad. Un proceso de alcance sistémico que también es constatable en la propia organización urbana, en tanto la ciudad de hoy día es el territorio privilegiado por el que circulan un sinfín de eventos. Todo ello, con la intención de pensar las implicaciones de un escenario en el que se estaría reformulando tanto la dimensión del lugar como de la historia.
Kition-Bamboula VIII Callot, Olivier; Fourrier, Sabine; Yon, Marguerite
04/2022
Book
Odprti dostop
De 1984 à 1999, la mission archéologique française de Kition, dirigée par Marguerite Yon, a conduit des fouilles extensives au nord du sanctuaire de Bamboula. Ces fouilles ont révélé les restes d’un ...hangar à trières d’époque classique, parmi les mieux conservés en Méditerranée, qui ouvrait au nord sur un bassin portuaire fermé. Cet ouvrage propose une étude détaillée et transversale de cette découverte exceptionnelle : le bâtiment est replacé dans son paléoenvironnement (à l’échelle locale et régionale), ses différentes phases d’utilisation sont datées, son architecture est soigneusement décrite et restituée pour les parties manquantes (élévation). On interprète enfin l’importance de ce port militaire dans l’histoire de Kition, de Chypre et de la Méditerranée orientale, à l’époque du royaume classique (IVe siècle av. J.-C.) et au début de l’époque hellénistique. Le volume est complété par une étude du mobilier céramique d’époque impériale découvert dans le comblement du bassin. Les archives de la fouille sont consultables en accès libre sur le portail chypre.mom.fr.
Events are always passing; to experience an event is to experience the passing. But how do we perceive an experience that encompasses the just-was and the is-about-to-be as much as what is actually ...present? InSemblance and Event, Brian Massumi, drawing on the work of William James, Alfred North Whitehead, Gilles Deleuze, and others, develops the concept of "semblance" as a way to approach this question. It is, he argues, a question of abstraction, not as the opposite of the concrete but as a dimension of it: "lived abstraction." A semblance is a lived abstraction. Massumi uses the category of the semblance to investigate practices of art that are relational and event-oriented -- variously known as interactive art, ephemeral art, performance art, art intervention -- which he refers to collectively as the "occurrent arts." Each art practice invents its own kinds of relational events of lived abstraction, to produce a signature species of semblance. The artwork's relational engagement, Massumi continues, gives it a political valence just as necessary and immediate as the aesthetic dimension.
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