ANDREA BUDDENSIEG / HANS BELTING
BEYOND UNIVERSAL ART HISTORY: The Global Museum
January 18, 2010 | Barcelona
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As a part of its Open Talks the Intermittent University organizes a conversation with distinguished theoreticians Andrea Buddensieg and Hans Belting, both currently affiliated with the ZKM, Kalrshue-Germany. During this talk, our guests will debate on the emergence of the world art history and will correlate this phenomenon with what is known as the world art studies. Taking as a point of deaprture diverse feedback on the book The Global Art World. Audiences, Markets, and Museums (Hatje Cantz-2009), recently published by Belting and Buddensieg, the conversation will elaborate as well on the crisis of the Western univeralism and its effects in the art museum.

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PROGRAM

JANUARY, 18 / 12:00 – 14:00 hrs
CONVERSATION WITH ANDREA BUDDENSIEG
Meeting Room of the Department of Art History
Faculty of Geography and History / 5º Floor
University of Barcelona / Montalegre 5-6

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Convener: Joaquín Barriendos

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Download the minute of this talk as a pdf ›››

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Links
ZKM ›››
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HANS BELTING
Global Art and the Museum

Hans Belting has taught as Professor for Art History at the universities of Heidelberg and Munich, where he held the most prominent chair in the field. In 1992, he became co-founder of the School for New Media (Hochschule für Gestaltung) in Karlsruhe, where he built up the discipline of Art Theory and Media Studies. In 2003, he held the European Chair at the College de France in Paris, where he presented a series of public lectures on the history of looking. As Visiting Professor, he taught at Harvard, Columbia University, Chicago/Northwestern, Washington and the Ecole des Hautes Etudes in Paris. For a period of three years until 2007, he then went on to assume directorship of the International Research Center for Cultural Science (IFK) in Vienna. He is member of a number of international societies including the American Philosophical Society, the American Academy of Arts and Sciences, the Medieval Academy of America, Academia Europea and the Ateneo, in Venice. He received an honorary degree from London University. His books have been translated into nine European languages and into Japanese. Among his books in English translation are: The End of the History of Art? (Chicago, 1987); Max Beckmann. Modern Painting and Tradition (New York, 1989); The Image and its Public in the Middle Ages (New York, 1990); Likeness and Presence. A History of the Image Before the Era of Art (Chicago, 1994); The Germans and their Art. A Difficult Heritage (New Haven, 2000); The Invisible Masterpiece (London, 2001); Bosch’s Garden of Earthly Delights (New York, 2003); Art History after Modernism (London, 2003); Thomas Struth: Museum Photographs (Munich, 2006); Florenz und Bagdad. Eine westöstliche Geschichte des Blicks (German original, Munich, 2008, forthcoming as: Double Perspective: Arab Science and Renaissance Art, working title, Cambridge/MA); Duchamp’s Perspective: Duchamp. Sugimoto. Jeff Wall (Cologne, 2009) Bodies and Pictures. Toward an Anthropology of Images (Princeton).

Links
Global Art and the Museum ›››
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RELATED PUBLICATIONS
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In May 2009, GAM published a second volume in its series of books dedicated to global art. It investigates the process of global art production and art consumption and the extent to which it is prompting a critical reevaluation of the notion of mainstream art. The project GAM – Global Art and the Museum was initiated by ZKM│Center for Art and Media Karlsruhe, Germany with the aim to explore the impact of art’s globalization on art museums, their audiences, and the art market. Whereas the art market, like its new clientele of collectors from many parts of the world, acts on a global scale, art museums, but also ethnographic museums, operate within a local framework where they encounter audiences from most diverse cultures and societies. The present volume probes deeper into the agenda presented in Volume One in the GAM series, Contemporary Art and the Museum. A Global Perspective, published in 2007 in that it incorporates a rich number of art institutions whose responses to globalization vary strongly from one place to the other, thus contradicting the impression of a nascent global conformism. The definition of global art hinges on a twofold distinction, as contemporary art differs both from modern art and so-called “world art”.The competition with popular mass media and with neo-ethnic traditions of art and crafts puts pressure on its claims to become mainstream art. Part one of the book treats a variety of general questions arising from the new geographical range of art production, while the various contributions in part two document the diversity of art museums with respect to their roles in a regional or urban culture.

Table of Contents

Editorial
Andrea Buddensieg: Editorial

Introduction
Hans Belting: Contemporary Art as Global Art: A Critical Estimate
Peter Weibel: Global Art: Rewritings, Transformations and Translations. Thoughts on the Project GAM

The New Geography of Art
Louisa Avgita: Marketing Difference: The Balkans on Display
Joaquín Barriendos Rodríguez: Geopolitics of Global Art: The Reinvention of Latin America as a Geoaesthetic Region
Thomas Fillitz: Contemporary Art of Africa: Coevalness in the Global World
Miguel A. Hernández-Navarro: Contradictions in Time-Space: Spanish Art and Global Discourse
Jack Persekian: A Place to Go: The Sharjah Biennial
Laymert Garcia dos Santos: How Global Art Transforms Ethnic Art

Mapping Art Museums Today
Emanoel Araújo: The Museu AfroBrasil in São Paulo: A New Museum Concept
Claude Ardouin: Contemporary African Art in the British Museum
Savas¸ Arslan: Corporate Museums in Istanbul
T.J. Demos: The Tate Effect
Oscar Ho Hing-kay: Government, Business and People: Museum Development in Asia
Ángel Kalenberg: Museum Sceneries in Latin America
Ramón Lerma: A University Museum in Manila: The Ateneo Art Gallery
Justo Pastor Mellado: Memory in Chile and Paraguay: Two Art Museums in Latin America
Masaaki Morishita: Museums as Contact Zones: Struggles Between Curators and Local Artists in Japan
Colin Richards: Curating Contradiction: ‘Graft’ in the 2nd Johannesburg Biennale
Rafael Sámano Róo: A New Setting for the Contemporary: A University Museum in Mexico City
Karen Cordeiro Reiman: Addendum: The MuAC and Its Initial Encounter with Its Publics
Mirjam Shatanawi: Contemporary Art in Ethnographic Museums
Eugene Tan: Museum Politics and Nationalism in Singapore

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Download the introduction of this book as a pdf ›››
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