Tagung/Conference/Conférence

Mythos Orient. Architektur und Ornament im Zeitalter des Orientalismus
12. Juni 2015, Schloss Oberhofen (Schweiz)

Call for Papers (English version below / Version française ci-dessous)
Eingabeschluss: 31. Oktober 2014

Schloss Oberhofen verfügt mit dem 1855 vollendeten Selamlik, einem vom
Berner Architekten und Orientreisenden Theodor Zeerleder (1820-1868)
ausgeführten orientalisierenden Fumoir nach Kairoer Vorbild, über eines
der bedeutendsten Schweizer Interieurs seiner Art.

Anlässlich des 160-jährigen Jubiläums des Selamlik im kommenden Jahr
veranstaltet die Stiftung Schloss Oberhofen in Kooperation mit dem
Kunsthistorischen Institut der Universität Zürich eine internationale
Tagung. Unter dem Titel „Mythos Orient. Architektur und Ornament im
Zeitalter des Orientalismus“ sollen aktuelle Beiträge zur
neo-islamischen Architektur und Ornamentik mit Fokus Kairo präsentiert
und der auf internationaler Ebene geführte Diskurs zu den im Zeitalter
des Orientalismus geschaffenen und teilweise bis heute bestehenden
Zerrbildern der islamischen Welt fortgesetzt werden.

Vorgesehen sind drei Sektionen (Abbilder/Architektur/Ornament), in
denen Themen wie romantische Visionen Kairos im 19. Jh., die
Weltausstellungen als Promotoren eines verklärten Orient-Bildes, frühe
Beschreibungen und Reproduktionen Kairos und seiner islamischen Bauten,
islamisches Ornament in neo-islamischem Kontext sowie neo-islamische
Architektur in Kairo oder mit Bezug zu Kairo diskutiert werden.
Gleichzeitig werden die neusten Forschungsergebnisse zum Selamlik von
Schloss Oberhofen vorgestellt und Zeerleders bisher weitgehend
unveröffentlichten Reiseskizzen, Aquarelle und Bauentwürfe gezeigt, die
in der im Anschluss an die Tagung eröffneten Ausstellung „Zeerleder und

der Orient“ erstmals einem breiteren Publikum zugänglich gemacht
werden.

Abstracts von max. 300 Wörtern sowie ein kurzer Lebenslauf sind bis zum
31. Oktober 2014 zu senden an: conference@transculturalstudies.ch

Für die Beiträge sind 20 min. vorgesehen. Die Konferenzsprachen sind:
Deutsch, Englisch, Französisch

——————————————————————————————————————————————
ENGLISH VERSION

The Myth of the Orient. Architecture and Ornament at the time of
Orientalism
June 12, 2015, Oberhofen Castle (Switzerland)

Call for Papers
Deadline for submission: October 31, 2014

The Oberhofen Castle has one of the most significant Swiss Orientalist
interiors: the smoking room (Selamlik) designed in 1855 by the Bernese
architect Theodor Zeerleder (1820-1868), inspired by examples of the
luxurious palaces in Cairo he discovered during his travels in the East.

In 2015, on the occasion of the 160th anniversary of the Selamlik, the
Oberhofen Castle Foundation, in collaboration with the Institute of
History of Art of the University of Zürich, will organize an
international congress. Untitled “The Myth of the Orient. Architecture
and Ornament at the time of Orientalism”, this event will present the
latest research on neo-Islamic architecture and ornamentation, with a
special focus on Cairo and, at an international level, on the discourse
created in the Age of Orientalism and the caricatured views of the
Islamic world, still partially existing nowadays.

Three sections (images / architecture / ornament) will discuss topics
such as the romantic visions of Cairo in the 19th century; the
international exhibitions as promoters of a transfigured image of the
Orient; early descriptions and reproductions of Cairo and its Islamic
buildings; Islamic ornament in the neo-Islamic context and neo-Islamic
architecture in Cairo or related to it.

In addition, the results of the latest scientific research on the
Selamlik in the Oberhofen Castle will also be presented, together with
the exhibition “Zeerleder and the Orient” that will provide an
opportunity to discover the architect’s travel sketches, architectural
drawings and watercolours, still largely unpublished, and for the first
time accessible to a wider audience.

Abstracts of no more than 300 words, together with a short CV, should
be sent by October 31, 2014, to: conference@transculturalstudies.ch

Conferences will have a duration of 20 min. Conference languages will
be German, English and French.

Paris, INHA, May 9 - 10, 2014

Journées d’études internationales : Jeux et enjeux du cadre dans les
systèmes décoratifs à l’époque moderne | Paris, INHA, Salle Jullian,

9-10 mai 2014

Pouvant être considérés comme de véritables systèmes, les décors
modernes s’imposent comme un phénomène propre de la pratique
artistique, qu’il convient d’étudier comme tel. Le décor atteint en
effet entre les XVe et XVIIIe siècles un degré d’élaboration et de
complexité tout particulier, multipliant les dispositifs de
présentation du discours visuel tout en intégrant les contraintes
spatiales imposées par ses supports.

Ces journées d’études entendent appréhender l’originalité de ce
phénomène à travers la question du cadre. Souvent laissé à la marge
des études sur le décor, le cadre en constitue pourtant l’une des
dimensions essentielles, qui en conditionne non seulement les modes de
perception mais permet aussi d’en comprendre les mécanismes de
fonctionnement. En effet, si les systèmes décoratifs sont par
excellence, à l’époque moderne, le lieu d’une expérimentation des
frontières entre l’espace réel et celui de la représentation, c’est
notamment à travers des jeux d’encadrement subtils et variés, que nous
aurons à cœur d’explorer au cours de cette rencontre.

Organisées par le Centre d'histoire de l‘art de la Renaissance, HiCSA,
Université Paris I Panthéon-Sorbonne ; le Centre de recherches
François-Georges Pariset, Université Bordeaux Montaigne ; et le
Groupe d’analyse culturelle de la première modernité, Université
catholique de Louvain.

Programme :

Vendredi 9 mai
Institut national d’histoire de l’art, Salle Jullian, Entrée libre

10h00 Accueil des participants
10h15 Ouverture des journées d’études par Philippe Morel (Université
Paris I Panthéon-Sorbonne)
10h30 Introduction et présentation des journées d’études par Nicolas
Cordon, Édouard Degans, Elli Doulkaridou et Caroline Heering

Session 1 : Autonomie du cadre
Président de séance : Pascal Bertrand (Université Bordeaux Montaigne)

11h00 Caroline Heering (UCL)
Un ornement mobile et détachable : le cartouche dans les systèmes
décoratifs modernes
11h20 Laurent Paya (CESR, Tours)
Les « Compartiments » et « Bordures » des jardins maniéristes :
dynamiques ornementales et glissements métonymiques
11h40 Vincent Dorothée (Université Paris I Panthéon-Sorbonne)
La Pompe funèbre de Charles III ou les mensonges du cadre
12h00 Discussion
12h30 Déjeuner

Session 2 : Encadrer l’écrit
Président de séance : Agnès Guiderdoni (FNRS UCL)

14h00 Marina Vidas (The Royal Library, Copenhagen)
Framing strategies in three Italian fifteenth-century illuminated
manuscripts
14h20 Elli Doulkaridou (Université Paris I Panthéon-Sorbonne/INHA)
Dans la marge, à travers le cadre et au-delà : dispositifs
d’encadrement dans les manuscrits enluminés romains, de Léon X à
Paul III
14h40 Discussion
15h10 Pause
15h40 Annelyse Lemmens (FNRS UCL)
Le frontispice comme encadrement : statuts et fonctions d’un système
décoratif (Anvers, XVIe-XVIIe siècles)
16h00 Gwendoline de Mûelenaere (FNRS UCL)
Les encadrements gravés des affiches de thèse dans le décor des
soutenances publiques (XVIIe-XVIIIe siècles)
16h20 Discussion

Samedi 10 mai
Institut national d’histoire de l’art, Salle Jullian, entrée libre

Session 3 : Perméabilité et transgression du cadre
Président de séance : Philippe Morel (Université Paris I
Panthéon-Sorbonne)

09h30 Édouard Degans (Université Bordeaux Montaigne/Università degli
Studi di Firenze)
Portes, cadres, ornements et figures feintes dans les systèmes
décoratifs maniéristes
09h50 Kristen Adams (Ohio State University)
Tapestries Real and Feigned: Framing Devices in Rubens’s Triumph of
the Eucharist Series
10h10 Discussion
10h40 Pause
11h00 Sandra Bazin (Université Paris IV Sorbonne)
Des « tableaux mouvants » : rôles et enjeux de l’encadrement des
miroirs dans la mise en scène des grands décors aristocratiques en
Europe (XVIIe- XVIIIe siècles)
11h20 Maria do Rosario Salema De Carvalho (Lisbon University)
The frames of Portuguese Baroque Azulejos’
11h40 Lauren Cannady (Centre allemand d’Histoire de l’art)
Framing nature: rococo decoration for a cabinet de curiosités.
12h00 Discussion
12h30 Déjeuner

Session 4 : Cadre, mur et relief
Président de séance : Ralph Dekoninck (UCL)

14h00 Nicolas Cordon (Université Paris I Panthéon-Sorbonne)
L’Ignudo de Michel Ange et sa version de stuc : le cadre comme
attribut
14h20 Émilie Passignat (Université de Pise)
La sculpture encadrée : observations sur l’encadrement dans les
ensembles sculptés aux XVIe et XVIIe siècles
14h40 Discussion
15h10 Pause
15h40 Catherine Titeux (École Nationale supérieure d’Architecture de
Montpellier)
Cadres et encadrements dans l’architecture française des XVI et
XVII siècles
16h00 Discussion
16h20 Remarques conclusives

Comité organisateur : Nicolas Cordon, Édouard Degans, Elli
Doulkaridou, Caroline Heering

Comité scientifique : Pascal Bertrand, Nicolas Cordon, Édouard Degans,
Ralph Dekoninck, Elli Doulkaridou, Caroline Heering, Philippe Morel,
Victor Stoichita

Institut national d’histoire de l’art
Galerie Colbert – 2, rue Vivienne – 75002 Paris

Tegoroczna LXIII ogólnopolska sesja Stowarzyszenia Historyków Sztuki odbędzie się w Krakowie w dniach 20-22 listopada br. Konferencja będzie miała charakter jubileuszowy – w r. 1934 w Krakowie powstał Polski Związek Historyków Sztuki, którego tradycje kontynuuje Stowarzyszenie Historyków Sztuki. Organizatorzy, Krakowski Oddział SHS przygotowujący konferencję wraz z Instytutem Historii Sztuki Uniwersytetu Jagiellońskiego oraz Instytutem Historii Sztuki i Kultury Uniwersytetu Papieskiego Jana Pawła II, proponują temat

ORNAMENT i DEKORACJA DZIEŁA SZTUKI

Zagadnienie to nie było dotąd przedmiotem osobnej refleksji historyków sztuki w Polsce. Zaproponowany temat traktujemy szeroko, referaty mogą odnieść się do rozważań o samym ornamencie, jego przemianach formalnych oraz ikonograficznych. Przedmiotem analizy może być zarówno ornament funkcjonujący w ramach zasady decorum, jak i ornament jako przedmiot badań sam w sobie. Powyższe problemy mogą być podejmowane w odniesieniu do dekoracji we wszystkich dziedzinach sztuk i we wszystkich okresach artystycznych. Nasza dyskusja może więc dotyczyć genezy ornamentów oraz ich symboliki, może również odnieść się do ornamentyki jako nośnika treści. Mamy nadzieję, że uda się także rozważyć kwestię „długiego trwania” ornamentów oraz podjąć dyskusję o ornamencie w aspekcie atrybucji dzieła sztuki, o jego roli w procesie twórczym, popularności w określonych środowiskach lub w indywidualnej twórczości artystów.

Program:
http://ornament-shs.pl/

https://www.facebook.com/pages/Konferencja-Ornament-i-dekoracja-dzie%C5%82a-sztuki/426040897530465

Kontakt z organizatorami:
Andrzej Betlej: andrzej.betlej@uj.edu.pl
andrzej@betlej.info;
histszt@if.uj.edu.pl

http://ornament-shs.pl/

PART 1

Schedule Information:

Scheduled Time: Thu Mar 27 2014, 3:00 to 4:30pm Building/Room: Hilton, Concourse Level - Concourse H

Session Participants:

Organizer: Femke Speelberg (Metropolitan Museum of Art)
Organizer: Madeleine C. Viljoen (New York Public Library)
Chair: Andrew Morrall (Bard Graduate Center)

1. Ornament Prints: Multiple Intentions and Multiple Functions
*Peter Fuhring (Fondation Custodia)

Abstract:
In this paper ornament prints are examined against the historic background of the need of nineteenth-century collectors and training schools to bind together a group of prints that had largely escaped the attention of early print scholarship. The overwhelming presence of ornament in all these prints, whether pure ornament or applied, became instrumental in their naming. In the first studies of this material the use as models for students, craftsmen, and artists played a central role and it is within this approach that the term Ornamentale Vorlageblätter must be understood. It has largely been forgotten that using the print as a model to be copied was only one of many possible functions, however. This equation as role model has masked other essential functions of ornament prints such as supplying information about a designer’s work and about a cultural period, but also offering design possibilities that stimulated the conception of novel designs.


2. From Phenomena to Exempla: The Establishment of the Ornament Print in the Emerging Renaissance Print Mark
*Femke Speelberg (Metropolitan Museum of Art)

Abstract:
The introduction of the print medium led to a wide array of experiments regarding its employment during the fifteenth and sixteenth centuries. Pioneers explored different subject matters and modes of representation. From these experiments various distinct genres eventually crystallized. The ornament print is one of the genres that, by the second half of the sixteenth century, had matured into a vital segment of the print market. Focusing on the production, presentation, purpose, and manner of publication of Renaissance ornament prints, in my paper I will explore the development of the genre from its early protagonists to the professional organization and standardization of their production. Generally stated, this development describes the transition from single leaf prints of particular subject matter — phenomena — to suites offering a coherent group of designs, aimed at a broad audience of enthusiasts and professionals as exempla: "to take from them what suited one best."

3. Signs of Knowledge: The Goldsmith-Engraver in the Low Countries and the Dissemination of Design
*Oliver Kik (Katholieke Universiteit Leuven)


Abstract:
Early European printmaking has always been strongly associated with goldsmith’s workshops. Martin Schongauer, Master E. S. or Albrecht Dürer are well-known examples of early engravers with roots in the goldsmith’s craft. This paper examines the professional position and production of ornament prints of goldsmith-engravers such as Alart DuHameel or the Bruges Master W with the Key. A major part of their output consisted of designs for metalwork such as reliquaries and censors, some with geometrical ground plans, instructing on the object’s construction. Besides providing designs for a wide range of craftsmen, this group of goldsmith-engravers can also be interpreted as an intermediate in the dissemination of geometrical designing knowledge in the visual arts. Often not bound to guild regulations, they were able to position themselves between different professional groups. The paper addresses issues of dissemination of design, professional borders between craftsmen, and self-representation through house marks and monograms.


PART II

Schedule Information:

Scheduled Time: Thu Mar 27 2014, 4:45 to 6:15pm Building/Room: Hilton, Concourse Level - Concourse H

Session Participants:

Organizer: Femke Speelberg (Metropolitan Museum of Art)
Organizer: Madeleine C. Viljoen (New York Public Library)
Chair: Peter Parshall (Retired Scholar)

1. Renaissance Ornament Prints and Architectural Engravings: A Question of Origins
*Michael J. Waters (New York University)

Abstract:
Often preserved together but separated by questions of audience, purpose, and use, the relationship between Renaissance ornament prints and architectural engravings has never been fully explored. In this paper, I intend to rectify this lacuna by investigating the shared ancestry of these two types of prints. Specifically, by examining two late fifteenth-century sketchbooks—the so-called Mantegna Codex in Berlin and the Zichy Codex in Budapest—as well as early-sixteenth century prints by Giovanni Antonio da Brescia, the Master of 1515, and a handful of German engravers, I argue that these two genres at their origins were integrally linked in their conception, design, and dissemination. As these examples demonstrate, printed architectural details and other types of ornament (candelabra, vases, trophies, vegetal scrolls, grotesques, etc.) began as mutually informed hybrid reinventions of antiquity that were produced for similar purposes by the same artists using common motifs.


2. Symmetry and Secrets
*Shira Brisman (Columbia University)

Abstract:
The early sixteenth-century engraver lured by Bacchanalian imagery also had a taste for symmetry. Focusing on Bacchanalian frieze engravings (Northern and Italian) from the first decades of this period explores the relationship of symmetry to the decorative. I examine how artists took interest in the patterned array of bodies, punctuating markers, and frontal midpoints, either as design schema to be translated as ornament, or as independent printed images, where classically derived formulas are set against backgrounds and contextualizing spaces. The aim is to define what is decorative about the symmetrical splay, and to imagine how such engravings functioned a design models or as autonomous work of art. The second aim of the paper is to define the symmetrical as a mode against its opposite: the secretive. The secretive image abandons the traces of any relationship to the ornamental by animating the page in a compositional twist, curling content in on itself.


3. The Cosmographo as Engraver of Ornament
*Madeleine C. Viljoen (New York Public Library)

Abstract:
Christoph Jamnitzer’s Neuw Grotteskenbuch (1610) is innovative not only for its unusual illustrations, many of which show ornamental figures acting on an imaginary picture plane, but also for its prefatory essay and poem. Particularly striking are the parallels Jamnitzer draws in the introduction between the cosmographo and his own work as a creator of ornament prints. Studying the meanings of the word cosmographo (one who describes the universe, but also the writer or composer of ornament) together with contemporary ideas about the cosmos, this paper examines Jamnitzer’s choice of the term in light of the imagery of late sixteenth- and early seventeenth-century decorative sheets.

University of Leeds, Leeds LS2 9JT, United Kingdom, March 21 - 22, 2014
Registration deadline: Feb 28, 2014

The Production of Ornament
Reassessing the Decorative in History and Practice

A two-day conference at the University of Leeds, 21-22 March 2014,
Supported by the Henry Moore Foundation


PROGRAM

Friday 21 March 2014

10:00 - 10:45 Coffee/tea and registration

10:45 – 11:00
Richard Checketts and Lara Eggleton, University of Leeds
Welcome and Introduction

11:00 – 11:40
Emma Sidgwick, Research Unit of Art History, University of Leuven
'Late Antique Strigillation: The Abstract Iconography and Embodied
Mediation of a Holy Productive Power'

11:40 – 12:20
Catherine E. Karkov, University of Leeds
'Entanglement, Enchantment, Stone: The Materiality of Ornament in
Tenth-Century Leeds'

12:20 – 13:00
Carol Bier, Graduate Theological Union, Berkeley CA/ The Textile Museum,
Washington DC
'Is Ornament Ornamental? Geometry Made Manifest in Islamic Architecture'

13:00 – 14:30 Lunch

14:30 – 15:10
Soersha Dyon, Independent Scholar
'Unravelling the Arabesque'

15:10 – 15:50
Jason Nguyen, Harvard University/ Institut national d'histoire de l'art,
Paris
'Communauté ornament: Law and Labour in Late Seventeenth-Century Paris'

15:50 – 16:30 Coffee/tea break

16:30 – 17:45
Keynote paper 1
Alina Payne, Harvard University


Saturday 22 March 2014

10:00-11:15
Keynote paper 2
Susanne Kuechler, UCL
'The Quest for Affinity: The Ornament in Perspective'

11:15 - 11:30 Coffee/tea

11:30 – 12:10
Todd P. Olson, University of California, Berkeley
'Sticky Figures: Reconciling Pattern and Mimesis in Early Modern Prints'

12:10 – 12:50
Elizabeth Athens, Yale University
'Monstrosity, Ornament, Ecology: William Hogarth's Natural Knowledge'

12:50 – 1:30
Frances S. Connelly, University of Missouri-Kansas City
'Rogue Ornament or Poetic Monster: Giambattista Vico and the Ornamental
Grotesque'

1:30 – 2:30 Lunch

2:30 – 3:10
Sabrina Rahman, Northumbria University
'The Politics of Ornament: Historiographical and Ethnological Practices
of the Austrian Werkbund'

3:10 – 3:50
Mark Crinson, University of Manchester
'The Ornamented Ceiling in New Brutalism'

3:50 – 5:00
Closing remarks and discussion

5:00 – 6:00 Drinks reception

International symposium organized by the CHAR (HICSA, University
Paris 1 Panthéon - Sorbonne), the Centre François-Georges Pariset
(Université Michel de Montaigne - Bordeaux 3) and the GEMCA (Catholic
University of Louvain)

In its ability to create systems, modern decor emerges as a phenomenon
of artistic practice that deserves further analysis. Between the
fifteenth and eighteenth centuries, decoration reached a particularly
high degree of elaboration and complexity through the multiplication
of presentation devices in the visual discourse, while simultaneously
integrating the spatial constraints imposed by supports. This
symposium seeks to explore the originality of this phenomenon through
the question of the frame. Often neglected and marginalized in studies
pertaining to decoration, the frame constitutes one of its essential
dimensions, which conditions not only modes of perception but also
provides paths towards understanding the mechanisms of decorative
systems. Indeed, if decorative systems are the place par excellence of
experimentation with the boundaries between real and representational
spaces, subtle and varied framing games are the active agents, and
shall be explored during this event.

Quadri riportati, architectural elements, anthropomorphic and hybrid
figures, feigned materials (tapestries, parchment, leather, etc.),
medallions, cartouches, and festoons are some examples of framing
devices which, far from being accessory or gratuitous, carry a
multitude of illusionistic, syntactic, and semantic implications,
all-the-while participating in the visual splendor and the
mise-en-scène of the representation. Through the definition and
articulation of these particular spaces and discursive registers,
framing devices create interpretative solutions, conditioning and
guiding the perception and comprehension of visual discourse. Even
when the frame appears as a disjunctive element, which separates and
differentiates, it can still allow for conjunctions and transitions
through space, or, through an excess of reflexivity and a tendency for
autonomy, blur and provoke a crisis in the hierarchy between the
visual regions. By taking into consideration this perpetual shifting
of frontiers, these games and perspectival challenges, the goal of
this symposium is to question the framing devices of decorative
systems in the modern era. In other words the objective is to
understand how the frame participates in the transformation of decor
into a system that produces meaning across a variety of supports and
mediums.

Among the many issues raised by this topic, some possible themes
include:

- What are the specific mechanisms in decorative practice used for
defining and creating spaces, images, and graphic or symbolic
representations? Could this use of the frame contribute to the
definition of certain tendencies or aesthetic currents?

- In terms of reception, what are the devices used to create frontiers
or passages between the decor and the viewer? In what ways does decor
create effects of presence and distance, thus contributing to the
viewer’s experience?

- How does the ornament of the frame respond to the principle of
decorum? To what extent does this constitute a transgression? How does
the relationship between ergon and parergon apply in this context? How
do the boundaries and transitions between these different areas
challenge the traditional hierarchies of representation and create
spaces of freedom and autonomy?

- How can the transition between different mediums and contexts
provoke, for similar devices, varied readings corresponding to
particular challenges? How does the use of different materials, real
or feigned, participate in the framing process, from an aesthetic as
well as a symbolic point of view?

Developing on studies which, since the 1960s, have been problematizing
the issues of the frame in the visual arts, and adhering to the
current revival of interest in question of the ornamental, this
symposium aims to shed light on this essential issue in the art of
the modern era, which is the decor.

Abstracts of no more than 300 words (in French or English) should be
sent before October 15, 2013 by email to the address:
cadre.decor.2014@gmail.com

Organizing Committee:
Nicolas Cordon, Edouard Degans, Elli Doulkaridou, Caroline Heering

Scientific Committee:
Pascal Bertrand, Nicolas Cordon, Edouard Degans, Ralph Dekoninck,
Elli Doulkaridou, Caroline Heering, Philippe Morel, Victor Stoichita

Download the call for papers in PDF format:
http://f.hypotheses.org/wp-content/blogs.dir/855/files/2013/07/Appel-cardre_decor_ANG.pdf

Konferenz Konzept: Mateusz Kapustka, Martin Kirves, Christian Spies, Martin
Sundberg

Organisation: eikones (Basel), ERC-Projekt TEXTILE (Zürich)

Veranstaltungsort: eikones NFS Bildkritik, Rheinsprung 11, CH-4051 Basel

www.eikones.ch
http://eikones.ch/nc/veranstaltungen/detail.html?tx_cheikonesevent_pi1%5Buid%5D=322&cHash=c3527d164b5d283b2888c5f5f212c525

Die Veranstaltung ist öffentlich.

Falten-Muster: Texturen von Bildlichkeit

Falte und Muster bezeichnen zwei Prinzipien, die – offensichtlich oder
versteckt – innerhalb der Kunst allerorts als formbestimmende Größen
präsent sind. Doch wie lassen sich Falte und Muster genau fassen, wie
verhalten sie sich zueinander und inwiefern erweisen sie sich gar als
konstitutive Momente von Bildlichkeit?
In mehrfacher Hinsicht stellen Falte und Muster gegensätzliche Größen
dar: während Falten Räumlichkeit erzeugen, indem sie eine Fläche durch
ihre Zusammenziehung auf- und einwölben, negiert das Muster eine solche
Räumlichkeit zur Fläche, der ihrerseits durch die Musterung eine eigene
Tiefenräumlichkeit zukommt. Die verschiedenartigen Formen der
Räumlichkeit gehen mit einer unterschiedlichen Strukturiertheit von
Falte und Muster einher: Sind Faltenformationen vor allem asymmetrisch
organisiert, erfordert der für das Muster konstitutive unendliche
Rapport eine symmetrische Anordnung.
Ein materieller Kreuzungspunkt, der es erlaubt, Falte und Muster in
ihrem Spannungsverhältnis zu untersuchen, ist das Textil. Bereits die
durch Kette und Schuss erzeugte Materialstruktur des Stoffes weist eine
Affinität zum Muster auf, während der Stoff aufgrund seiner materiellen
Flexibilität eine zu gestaltende Faltenbildung geradewegs einfordert,
so dass Falte und Muster vermittels des Textils Texturen von
Bildlichkeit hervorbringen. Um die darüberhinausgehende Reichweite von
Falte und Muster für die Erzeugung von Bildlichkeit auszuloten, wird
neben dem materiell fundierten Verständnis des Textils, auch seine in
der Materialität verankerte Metaphorizität thematisiert werden.

Programm

Freitag 31.5.2013

14:00 – 14:30 Begrüßung und Einführung von Christian Spies (Basel)

und Mateusz Kapustka (Zürich): Verknotungen und gefaltete Muster

Moderation: Agnes Hoffmann
14:30 – 15:15 Sabine Mainberger (Bonn): Muster und Falte(r) bei
Vladimir Nabokov
15:15 – 16:00 Martin Sundberg (Basel): Gegenläufige Bewegungen.
Teppich, Falte, Muster in der Moderne
16:00 – 16:30 Kaffeepause

Moderation: Nina Gerlach
16:30 – 17:15 Anne Röhl (Zürich): Falten zwischen Form und Anti-Form
in Robert Morris? felt works
17:15 – 18:00 Dietmar Kohler (Halle): Wie Fotografien Räume bilden
– Wolfgang Tillmans' postmedialer Bildbegriff

Moderation: Martin Sundberg
18:15 – 19:15 Abendvortrag mit anschließender Filmprojektion:
Mieke Bal (Amsterdam): Unfolding Thought Folds
20:00 – 22:00 A Long History of Madness - a film by Mieke Bal &
Michelle Williams Gamaker

Samstag, 1.6.2013

Moderation: Arno Schubbach
9:00 – 9:45 Nina Wiedemeyer (Berlin): Buchfaltenmuster / Textilität
von Mustern des Scharniermediums Buch
9:45 – 10:30 Tristan Weddigen (Zürich): Textile Bildräume
10:30 – 11:00 Kaffeepause

Moderation: Sophie Schweinfurth
11:00 – 11:45 Stefan Trinks (Berlin): Der Knoten im Grab –
Semantisiertes Ornament und entfaltetes Bild
11:45 – 12:30 Helga Lutz (Erfurt): Räume aus Falten, Falten aus
Mustern, Muster aus Bändern (15. Jhdt.)
12:30 – 13:30 Mittagspause

Moderation: Mateusz Kapustka
13:30 – 14:15 Martin Kirves (Basel): Faltenraum und
(Gold-)Mustergrund in der Kunst um 1450
14:15 – 15:00 Antje von Graevenitz (Amsterdam): Hautfalten zum
Verbergen und Enthüllen im niederländischen ‚Kwabornament’ des 17.
Jahrhunderts – eine ornamentale Strategie gegen das Ornament

New York, March 27 - 29, 2014
Deadline: May 24, 2013

Reexamining the Early Modern Ornament Print (RSA 2014)

The large and varied corpus of works that fall under the rubric of
“ornament prints”, “Ornamentstiche” or “Ornamentale
Vorlageblätter” have been variously catalogued and recorded since the early nineteenth century. These important studies give us a general overview of when
and where the prints were made, the artists who made them and their
probable functions. Many critical questions remain, however, not least
the fundamental problem of what constitutes the genre itself. Rudolf
Berliner’s notion of the ornament print as a template, for example, has
proven to be overly one-dimensional and not representative of historic
practice. Is it possible to define or formulate specific parameters for
the genre as a whole? This session invites papers that take a wide
view on the theme of non-architectural ornament prints from the
fifteenth through seventeenth centuries. Questions and topics to be
considered could include:

• what is an ornament print?

• the origins of the genre

• the imagery of ornament prints

• the relationship of ornament prints to the other arts

• the creators of ornament prints, e.g. the goldsmith-printmaker

• the purpose and utility (or lack thereof) of ornament prints

• early collectors of ornament prints

• copying versus ownership of design

Call for papers: http://www.rsa.org/?page=2014NewYork

Writer Glenn Adamson, artist Grayson Perry, architect Sam Jacob from FAT and Charles Jencks, architectural theorist discuss ornament and decoration in both art and architecture at the ICA (Institute of Contemporary Arts, London)

http://www.youtube.com/watch?v=B14uaSxLong

On 16 and 17 February 2012 IRPA-KIK (Royal Institute for Cultural Heritage, Parc du Cinquantenaire 1, B-1000 Bruxelles) organized its 13th Art History Seminar, Questions of ornaments (15th-18th century): 3. Three-dimensional art.

http://www.kikirpa.be/EN/263/61/activities/77/16-17|02|2012%20%20S%C3%A9minaire%20d

The study of ornament enjoys an obvious renewed interest since around 15 years now. Far to be only considered as a directory of motives likely to enhance a grammar of styles, ornament appears today as a surprisingly complex phenomenon. The vague definition of the ornament concept, almost elusive, is a reflection of his multifaceted nature. Next to its esthetical role, recent studies emphasized the symbolical, anthropological, political and socio-economical functions assumed by ornament. In addition, going through all artistic fields in different ways and degrees, ornament cannot be reduced to a specific artistic category. This transversal character of ornament, linked with this typical dependence to other artistic mediums, has often contributed to classify ornament as useless and marginal additions, even to minority and femininity. Nowadays this characteristic of ornament seems to offer a new exploring field, allowing to revisit our current perception of art’s hierarchy. Thinking early modern ornament requires indeed to understand its connections with the different artistic genres.

The objective of this series of three conferences, launched in December 2009, is to take stock of the actual state of the arts, as well as to open new perspectives for research. More particularly, the point is to engage in a theoretical and methodological reflection, fed by particular case studies, on the questions of epistemological and historiographical nature.

After a reflection on the links between ornament and architecture (Namur, FUNDP, December 2009, http://gemca.fltr.ucl.ac.be/docs/program/20091204_ornement.pdf) and between ornament, painting and graphic arts (Louvain-la-Neuve, UCL, February 2011, http://gemca.fltr.ucl.ac.be/php/evenements/20110204.fr.php), this third conference was dedicated to the three-dimensionality of sculpture in its broad perspectives.