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Verschlagwortet: Blog

Writing empire with natural archives

Might the new archival landscape that has emerged as a by-product of Russia’s full-scale invasion of Ukraine invite fresh perspectives on the types of sources that historians consider central to our discipline? In the...

The Decentered Archive. An Invitation

Russia’s war on Ukraine is many things. A brutal assault on Ukraine’s population, statehood and heritage with innumerable personal losses, social repercussions and cultural aftereffects. A blatant disregard of international law, human rights, the.&…

Fortunas Segel

Der nun auslaufende Forschungsverbund “Bilderfahrzeuge – Aby Warburgs Legacy and the Future of Iconology” forschte zehn Jahre unter einem Logo, dem abschließend noch einige Anmerkungen gewidmet sein sollen. Es zeigt ein vom Wind aufgeblasenes Segeltuch, das ohne vertikalen Mast oder Bootskorpus an einem Quermast befestigt ist. Die Schlaufen sind verknotet und enden in je einer Troddel. Das Motiv zitiert ein Insignium des Florentiner Kaufmanns Giovanni Ruccellai vom Ende des 15. Jahrhunderts, das als vela gonfia seinerzeit als Symbol des erfolgreichen, prosperierenden Seehandels sowie als Sinnbild der wechselhaften Sturmfortuna gedeutet wurde, um auf das Verhältnis von Individuum und Schicksal anzuspielen

Memory in the artistic practice of Mariana Castillo Deball

For the occasion of the Mobile Memories conference, a detail of an artwork by Berlin-based Mexican artist Mariana Castillo Deball, (b. 1975), from her exhibition Uncomfortable Objects (dOCUMENTA (13), Kassel, 2012), featured as a central image of this academic event. This artwork takes us on a journey to the past, as Castillo Deball assembles pieces of naturalia and archaeological heritage, and pulls them to the rugged and relief-like surface of the picture plane. She integrates and juxtaposes different objects of material culture: rocks of different colours and the replicas of clay artifacts stemming from different moments of the pre-Columbian era and sites of Mexico.

Portrait-Images of Maharajas of Marwar in Garden Landscapes

A row of trees, colourful and seasonal flowers, and a flock of ducks gliding by on a lake beyond the trees can be said to function as agents of emotion enhancing the figure of the Maharaja of Marwar seated on a terrace.
How do illustrations with historic Maharajas shown in luxurious, green landscapes express emotions, and where do these lie? Does their expression in the form of bountiful nature visualised in the image produce “felt” emotions in the viewer?

(Photo)graphic ethos formula: Aby Warburg’s Mnemosyne Panel 72

During  the course of the exhibition “Bilderatlas Mnemosyne – Das Original” at the Haus der Kulturen der Welt in Berlin questions, arose not only about the content, but also about the mediality and materiality of the atlas. The problematic concept of the original threatens to create a new cult of genius around Aby Warburg. But perhaps, considering that tattoos of his face are already traveling across the world, perhaps this has already happened. Beyond that, however, the term “original” is in danger of developing a new aura, that now even encompasses the selected reproductions of the master. One can only imagine what Walter Benjamin would say.