Kategorie: Plural Temporalities

The engagement with non-European cultures was crucial to many Western artist circles of the 1920s, such as the Weaving Workshop at the Bauhaus in Weimar and Dessau. In her paper, Verena Kittel aims at revealing the conflictuality of such practices at art educational institutions that were inspired by core principles of the German art school, reflected in the narratives, images of history, and forms of heritage created in the process.

With the socialist government of Salvador Allende (1970–73) and the civil-military dictatorship of Augusto Pinochet (1973–90), Chile is a country whose recent past has been heavily contested, particularly during the transition to democracy. A homogenisation shaped the country’s memory discourse based on unification and victimization (Richard 2001), whereas coming to terms with the past and a profound transformation of the social system never took place.

This research project engages in a historical analysis of the concepts of “art” and “artist” during the late colonial period in the New Granada Viceroyalty. The specific case of the painter Manuel de Samaniego and study written sources like court cases, journals, and contracts, produced by the so-called “ilustrados neogranadinos” and by the painter himself are analyzed

References to “collective memory” have proliferated in recent scholarship on art and state violence in Latin America. This theorization fails to address the dynamic renegotiation of contentious pasts. Instead, the book project Dissident Temporalities: Afterlives of 1968 in Mexican Public Space proposes a theory of “afterlives.”

Mexico City’s power center was installed over the previous Mexico-Tenochtitlan city by the beginning of the 16th century. On the one hand, the Spaniards preserved the urban design and the placement of power buildings, but, on the other hand, most of the Mexica art, architecture, and documentation were destroyed for ideological and religious reasons.

During his trips to Japan, Gonzalo Ariza (1912-1995), a landscape painter from Bogotá that was educated at the Escuela de Bellas Artes, had contact with works of Japanese masters that changed his view on landscape and art henceforth.

Upon the arrival of the Spaniards in the Andean region in 1532, the encounter between the two civilizations caused friction in many aspects of life. This project focuses on the clash between the two civilizations and their perception of the “other”—the Spaniards by the Andeans and vice versa—through the prism of their contrasting temporal ontologies, and studies the artistic representations that echo them.