{"id":12150,"date":"2024-12-08T14:56:04","date_gmt":"2024-12-08T13:56:04","guid":{"rendered":"https:\/\/das-dokumentarische.blogs.ruhr-uni-bochum.de\/?p=12150"},"modified":"2025-02-03T10:52:20","modified_gmt":"2025-02-03T09:52:20","slug":"the-elusive-global-potential-histories-of-art-and-media","status":"publish","type":"post","link":"https:\/\/das-dokumentarische.blogs.ruhr-uni-bochum.de\/en\/the-elusive-global-potential-histories-of-art-and-media\/","title":{"rendered":"The Elusive \u201cGlobal\u201d: Potential Histories of Art and Media"},"content":{"rendered":"\n

Vortrag und Workshop \u201eThe Elusive \u201cGlobal\u201d: Potential Histories of Art and Media\u201d<\/strong><\/p>\n\n\n\n

Vortrag:<\/strong>  Donnerstag, 9. Januar 2025 | 18-20 Uhr (c.t.) | Campus, HGA 30<\/p>\n\n\n\n

Workshop:<\/strong> Freitag, 10. Januar 2025 | 9-17 Uhr (c.t.) | UNI 105, Raum EG 015<\/p>\n\n\n\n

Um Anmeldung f\u00fcr den Workshop wird gebeten bis zum Montag, den 6. Januar 2025, per Mail an: das-dokumentarische@ruhr-uni-bochum.de<\/strong>
Nach Anmeldung wird vorbereitendes Lekt\u00fcrematerial versandt.<\/p>\n\n\n\n

Am 9. und 10. Januar 2025 findet der interdisziplin\u00e4re Workshop \u201eThe Elusive Global: Potential Histories of Art and Media\u201c des GRK 2132 \u201eDas Dokumentarische. Exzess und Entzug\u201c statt. Organisiert von Ying Sze Pek und Anne Hemkendreis, beginnt der Workshop am Donnerstag, den 9. Januar 2025, mit dem Abendvortrag \u201eWhen words make worlds \u2013 a potential art history across and between languages\u201c von Prof. Dr. Monica Juneja. Am darauffolgenden Freitag, den 10. Januar 2025, werden die im Vortrag aufgekommenen Fragen im Austausch mit weiteren Expert:innen transkultureller und postkolonialer Forschung \u2013 Prof. Dr. Susanne Leeb, Dr. Sebasti\u00e1n Eduardo D\u00e1vila, Dr. Anja Sunhyun Michaelsen und Prof. Dr. Tahani Nadim \u2013 vertieft und um weiterf\u00fchrende Perspektiven bereichert. <\/p>\n\n\n\n

\n\n\n\n

Event Description<\/span><\/p>\n\n\n\n

The Elusive \u201cGlobal\u201d: Potential Histories of Art and Media <\/strong><\/p>\n\n\n\n

In this workshop, we take stock of current postcolonial and decolonial approaches in modern\/contemporary art history and visual studies, and in adjacent media studies discourses. We are interested to explore these methodologies\u2014including the rubrics of transculturation and postmigration\u2014from a situated perspective as researchers working in academia and art- and exhibition practice in Germany.<\/p>\n\n\n\n

In our work on art, culture, and media, we operate today in an intellectual setting where calls to decolonialize and provincialize, to unlearn and relearn, are de rigueur. Looking to the field of art history and criticism in the 1990s and 2000s, where discourses have since evolved and terms shifted, we observe that much has been gained: no longer mainly interested in questions of globalization, we explore processes of transculturation; the centering of diversity and inclusion has made way for critical cosmopolitanism. Critical and self-critical perspectives in provenance research, exhibition practice, and in the organization of teaching and faculties at the university have been imperative.<\/p>\n\n\n\n

Yet, calls for decolonization and emphases on inclusion are not always accompanied by critical change or political engagement. Misdirected, tokenistic gestures and the instrumentalization of minoritarian positions reflect the absence of attention to historical, structural, and invisible relations of power. Still we cannot accept that the histories marked by colonial violence we have received are irrevocable\u2014we regard it as crucial to develop potential histories and practices from non-Eurocentric and socially just perspectives. <\/p>\n\n\n\n

During the workshop, we consider what has been gained with the establishing of postcolonial approaches in art history and visual studies, and media cultural studies. To what extent \u201care\u201d we \u201cmore\u201d international, decolonial, and transcultural today? Have circumstances in fact fundamentally shifted in the academy and museum practice\u2014with the possibilities of arts and cultural funding? And, finally: what roles, alongside art, can digitization play with regard to memory culture and colonial archives? Our workshop discusses these questions with a focus on developments in Germany, while also attending to international comparisons.<\/p>\n\n\n\n

\n\n\n\n

Workshop-Beschreibung<\/span><\/p>\n\n\n\n

Das umstrittene Globale: Potenzielle Geschichten von Kunst und Medien <\/strong><\/p>\n\n\n\n

In diesem Workshop ziehen wir Bilanz zu aktuellen postkolonialen und dekolonialen Ans\u00e4tzen in der modernen\/zeitgen\u00f6ssischen Kunstgeschichte und den Bildwissenschaften sowie in angrenzenden Diskursen der Medienwissenschaft. Wir m\u00f6chten diese Methodologien \u2013 einschlie\u00dflich analytischer Kategorien wie Transkulturationund Postmigration \u2013 aus einer situierten Perspektive untersuchen, indem wir unsere Rolle als Forschende in der Wissenschaft sowie in der Kunst- und Ausstellungspraxis in Deutschland reflektieren.<\/p>\n\n\n\n

Aktuell bewegen wir uns in einem intellektuellen Klima, in dem Forderungen nach Dekolonialisierung und Provinzialisierung, nach Neu-Perspektivierung und Methodenkritik, zum festen Bestandteil kunst-, kultur- und medienwissenschaftlichen Arbeitens geworden sind. Wenn wir auf die Diskurse in der Wissenschaft, der Kunstkritik und der Ausstellungspraxis der 1990er und 2000er Jahre zur\u00fcckblicken, sehen wir, dass sich viele Methoden innerhalb einzelner Fachdisziplinen weiterentwickelt haben; Begrifflichkeiten beginnen, sich zu verschieben. Die Kunstkritik und -geschichte in den 2020er Jahren interessiert sich nunmehr nicht nur f\u00fcr Fragen der Globalisierung, sondern f\u00fcr Transkulturalit\u00e4t. Nicht allein Diversit\u00e4t und Inklusion stehen im Zentrum, sondern die Forderung nach einer kritischen Weltoffenheit, die auch nach einer selbstkritischen Haltung, u. a. im Bereich der Provenienzforschung, der Ausstellungspraktiken sowie der universit\u00e4ren Lehre und Organisation, verlangt.<\/p>\n\n\n\n

Forderungen nach Dekolonialisierung und Praktiken der Inklusion werden allerdings nicht immer von einer kritischen Auseinandersetzung oder politischem Engagement begleitet. Fehlgeleitete, repr\u00e4sentative Gesten und die Instrumentalisierung minorisierter Positionen spiegeln oft die mangelnde Aufmerksamkeit gegen\u00fcber historischen, strukturellen und unsichtbaren Machtverh\u00e4ltnissen wider. Jedoch weigern wir uns, die von kolonialer Gewalt gepr\u00e4gten Geschichten als unab\u00e4nderlich zu betrachten; wir glauben an die M\u00f6glichkeit, potenzielle Geschichten und Praktiken aus nicht-eurozentrischen, gerechteren Perspektiven entwickeln zu k\u00f6nnen.<\/p>\n\n\n\n

Im Workshop werden wir diskutieren, was durch die Etablierung postkolonialer Ans\u00e4tze in den Kunst-, Medien- und Kulturwissenschaften erreicht wurde. Inwiefern sind wir heute internationaler, dekolonialer und transkultureller? Hat sich etwas grundlegend in der akademischen und musealen Arbeit \u2013 und in den M\u00f6glichkeiten der F\u00f6rderungen von Kunst und Kultur \u2013 ver\u00e4ndert? Und schlie\u00dflich: Welche Rollen k\u00f6nnen neben der Kunst auch die Digitalisierung im Hinblick auf Erinnerungskultur und koloniale Archive spielen? Unser Workshop widmet sich diesen Fragen mit einem Schwerpunkt auf Entwicklungen in Deutschland, bezieht jedoch auch internationale Vergleiche ein.
 <\/p>\n\n\n\n

\n\n\n\n

Programm<\/span><\/p>\n\n\n\n

Donnerstag<\/strong>, 9.1.2024, Campus (HGA 30)<\/strong><\/p>\n\n\n\n

18-20h (c.t.): Keynote: Monica Juneja: \u201eWhen words make worlds \u2013 a potential art history across and between languages\u201c (Moderation Annette Urban)<\/p>\n\n\n\n

Freitag, 10.1.2024, Universit\u00e4tsstra\u00dfe 105 (EG 015)<\/strong><\/p>\n\n\n\n

9.15-10.30h: Ying Pek und Anne Hemkendreis: Willkommen und Einf\u00fchrung; Nachbesprechung des Vortrags und Besprechung mit Monica Juneja <\/p>\n\n\n\n

10.30-10.45h: <\/em>Kaffeepause<\/em><\/p>\n\n\n\n

10.45-12.30h: \u201eLeaving Art History? Contemporary Art and Material Practices\u201c – Susanne Leeb und Sebasti\u00e1n Eduardo D\u00e1vila <\/p>\n\n\n\n

12.30-13.30: Mittagspause<\/em><\/p>\n\n\n\n

13.30-15.00h: \u201eArchive Interventions\u201c – Anja Sunhyun Michaelsen <\/p>\n\n\n\n

15.00-15.15h: <\/em>Kaffeepause<\/em><\/p>\n\n\n\n

15.15-16.45h:\u00a0\u201eActivating archives: a postcolonial perspective on re-collection\u201c\u00a0– Tahani Nadim\u00a0(entf\u00e4llt)<\/strong><\/em><\/p>\n\n\n\n

16.45-17.00h: Wrap-Up <\/p>\n\n\n\n

\n\n\n\n

Abstracts<\/span><\/p>\n\n\n\n

When words make worlds \u2013 a potential art history across and between languages <\/strong>
Monica Juneja <\/p>\n\n\n\n

When does a word help us to navigate the world? Words \u2013 or the conceptual language we use \u2013 are both indicators and factors of historical change. They are formed out of the materiality of social, economic, and political transformations. At the same time, the interpretation of these, which our scientific language furnishes, shapes the behavior of historical actors as they make worlds. How does art history today seeking to write a narrative that connects regions and cultures negotiate the gap between the languages of its sources and the prevailing language of scholarly discourse that enables communication in a global context? The answers provided by postcolonial and, more recently, decolonial scholarship to this question \u2013 my talk will argue \u2013 have left several blind spots. Drawing on an example from art historical research, my talk analyzes the formation of concepts and their world-making power through the lens of transculturation. As concepts travel and engage with different languages and practices, they produce new resonances, though these are not entirely friction-free. They nonetheless offer a new optic to navigate a different world that they participate in shaping. The authority our conceptual language acquires in the process can secure a potential art history from the twin traps of Eurocentric claims to universalism and indigenous nativism.<\/p>\n\n\n\n

Leaving Art History? Contemporary Art and Material Practices <\/strong>
Susanne Leeb und Sebasti\u00e1n Eduardo D\u00e1vila<\/p>\n\n\n\n

Since the turn to the World Art paradigm, the discipline of art history seems to follow an integrationist approach. Art practices have been increasingly accomodated into its canon, even though many artistic “objects” greatly differ from\u2014formerly\u2014western concepts of art. Our lecture presents case studies where contemporary artworks, or rather material practices, challenge art historical genealogies, which become highly disputable as a result. It responds to the need to explore new genealogies in an attempt to understand the material dimensions of art making against its subsumption under a unitary notion of contemporary art.<\/p>\n\n\n\n

Archive Interventions<\/strong>
Anja Sunhyun Michaelsen<\/p>\n\n\n\n

Academic writers (e.g. Saidiya Hartman, Christina Sharpe), poets (e.g. M. NourbeSe Philip, Layli Long Soldier) and visual artists (e.g. Sung Tieu, Belinda Kazeem-Kami\u0144ski) intervene directly into the documents of the historical archive, with the aim to \u201csense it more\u201d, \u201cto really see\u201d, to take \u201crevenge\u201d. They redact, cut out, \u201ckill\u201d the instruments of colonial oppression, text and image. I want to highlight the affective urgency of these interventions, not in opposition to but also not identical with an analytical interest. Archival violences here are felt \u2018personally\u2019, they demand a \u2018personal\u2019 response. These interventions, I believe, are less oriented towards institutional change, but rather take seriously the immediate effects of the material. What can be learned from the way artists and scholars inscribe themselves \u2018personally\u2019 into the text for post-colonial or de-colonial studies? I will present examples and discuss mostly visual strategies.<\/p>\n\n\n\n

Activating archives: a postcolonial perspective on re-collection <\/strong>
Tahani Nadim<\/p>\n\n\n\n

In my talk I would like to discuss some of the theoretical and practical questions that postcolonial perspectives pose to the archive \u2013 both as an epistemic arrangement and an institution central to national statecraft. I shall illustrate these questions with reference to my work in and with the archives at the Women\u2019s Art Library in London and the natural history museum in Berlin as well as through examples of artistic productions that activate archives differently. Here, I\u2019m particularly interested in examining the relations between silence and excess, dispossession and knowledge, and culture of remembrance and memory cultures that constitute both, the colonial situation and the archive. Lastly, I\u2019d like to situate this discussion in the current political conjuncture that is marked by a furious disavowal of postcolonial perspectives and the specific forms of the \u201cglobal\u201d.   <\/p>\n\n\n\n

Bios<\/span><\/p>\n\n\n\n

Monica Juneja<\/strong> is Senior Professor of Art History at the University of Heidelberg, and Distinguished Professor of the Arts and Humanities at Shiv Nadar University, India. Her latest book Can Art History be Made Global? Meditations from the Periphery <\/em>(De Gruyter, 2023), received the Opus Magnum award of the Volkswagen Foundation. She is also the recipient of the prestigious Meyer-Struckmann Prize awarded for excellence in the Humanities and Social Sciences, and the 2024 Distinguished Teaching of Art History Award of the CAA. 
Monica Juneja edits the Series Visual and Media Histories <\/em>(Routledge), is on the editorial boards of Ding, Materialit\u00e4t, Geschichte <\/em>(E.J. Brill), \u00c4sthetische Praxis <\/em>(E.J. Brill), History of Humanities <\/em>(University of Chicago Press), and co-editor of Journal of Transcultural Studies.<\/em><\/p>\n\n\n\n

Susanne Leeb<\/strong> hat Kunstgeschichte, Philosophie und Neuere Deutsche Literaturwissenschaft an der Universit\u00e4t zu K\u00f6ln studiert. Nach dem Studium hatte sie diverse Projektassistenzen am Wallraf-Richartz-Museum in K\u00f6ln inne und war von 1999-2001 Redakteurin der Zeitschrift Texte zur Kunst<\/em>. Sie wurde im Rahmen des Graduiertenkollegs “Repr\u00e4sentation-Rhetorik-Wissen” an der Europa-Universit\u00e4t Viadrina in Frankfurt\/Oder mit einer Doktorarbeit zu “Die Kunst der Anderen. Weltkunst und die anthropologische Konfiguration der Moderne” promoviert. Seit 2007 hat sie als Wissenschaftliche Mitarbeiterin am SFB “\u00c4sthetische Erfahrung im Zeichen der Entgrenzung der K\u00fcnste” an der Freien Universit\u00e4t gearbeitet und wurde nach einer Vertretungsprofessur an der Akademie der Bildenden K\u00fcnste in N\u00fcrnberg auf die Laurenz-Assistenzprofessur am Kunsthistorischen Seminar der Universit\u00e4t Basel berufen. Seit 2014 ist sie Professorin f\u00fcr Zeitgen\u00f6ssische Kunst an der Leuphana Universit\u00e4t L\u00fcneburg. Dort leitet sie neben ihrer Professur zusammen mit Erich H\u00f6rl das Leuphana Institute of Advanced Studies in Culture and Society. Sie leitet zudem den Kunstraum der Leuphana Universit\u00e4t L\u00fcneburg. J\u00fcngste Buchpublikation: Museums, Transculturality and the Nation State. Case Studies from a Global Context, Bielefeld 2022 (Mitherausgeberin).<\/p>\n\n\n\n

Sebasti\u00e1n Eduardo D\u00e1vila <\/strong>is a Research Associate at Leuphana University (L\u00fcneburg). His current research focuses on the relation between syncretism and contemporary art throughout the Americas, and his dissertation deals with art practices from postwar Guatemala with a focus on materiality. His publications include questions of materiality, topography, Indigeneity, and violence. He studied art history and film studies in Jena, Berlin, and Mexico City, and formed part of the research training group \u201cCultures of Critique\u201d at the Leuphana University (L\u00fcneburg). He is currently a fellow at  the research network \u201cCambridge Visual Culture\u201d.<\/p>\n\n\n\n

Anja Sunhyun Michaelsen<\/strong> is a postdoctoral researcher in the ERC Consolidator Grant Project \u201cTales of the Diasporic Ordinary. Aesthetics, Affects, Archives\u201d at Humboldt-Universit\u00e4t zu Berlin. Her research focuses on migrant and diasporic writing and art, queer and postcolonial archives, and reparative practices after Eve Sedgwick. She is currently working on an archive based manuscript about the placements of South Korean children with West German families from the 1960s to the 1980s.<\/p>\n\n\n\n

Tahani Nadim<\/strong> is a research professor at the Ruhr University Bochum and the College for Social Sciences and Humanities. Her work has focused on the culture and politics of museum and data collections, the histories of natural history and its infrastructures, and institutional inheritances. More recently, she is engaging with memory cultures and their relationship to statecraft and the political economy of nature conservation<\/p>\n","protected":false},"excerpt":{"rendered":"

Vortrag und Workshop \u201eThe Elusive \u201cGlobal\u201d: Potential Histories of Art and Media\u201d Vortrag:  Donnerstag, 9. Januar 2025 | 18-20 Uhr (c.t.) |<\/p>\n","protected":false},"author":45,"featured_media":12194,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"colormag_page_container_layout":"default_layout","colormag_page_sidebar_layout":"default_layout","_uag_custom_page_level_css":"","ngg_post_thumbnail":0,"footnotes":""},"categories":[1,33,16,9],"tags":[],"class_list":["post-12150","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-allgemein","category-neuigkeiten","category-vortrag","category-workshop"],"translation":{"provider":"WPGlobus","version":"3.0.2","language":"en","enabled_languages":["de","en"],"languages":{"de":{"title":true,"content":true,"excerpt":false},"en":{"title":true,"content":true,"excerpt":false}}},"yoast_head":"\nThe Elusive \u201cGlobal\u201d: Potential Histories of Art and Media - GRK Das Dokumentarische. 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Januar 2025 | 18-20 Uhr (c.t.) |","_links":{"self":[{"href":"https:\/\/das-dokumentarische.blogs.ruhr-uni-bochum.de\/en\/wp-json\/wp\/v2\/posts\/12150","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/das-dokumentarische.blogs.ruhr-uni-bochum.de\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/das-dokumentarische.blogs.ruhr-uni-bochum.de\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/das-dokumentarische.blogs.ruhr-uni-bochum.de\/en\/wp-json\/wp\/v2\/users\/45"}],"replies":[{"embeddable":true,"href":"https:\/\/das-dokumentarische.blogs.ruhr-uni-bochum.de\/en\/wp-json\/wp\/v2\/comments?post=12150"}],"version-history":[{"count":10,"href":"https:\/\/das-dokumentarische.blogs.ruhr-uni-bochum.de\/en\/wp-json\/wp\/v2\/posts\/12150\/revisions"}],"predecessor-version":[{"id":12302,"href":"https:\/\/das-dokumentarische.blogs.ruhr-uni-bochum.de\/en\/wp-json\/wp\/v2\/posts\/12150\/revisions\/12302"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/das-dokumentarische.blogs.ruhr-uni-bochum.de\/en\/wp-json\/wp\/v2\/media\/12194"}],"wp:attachment":[{"href":"https:\/\/das-dokumentarische.blogs.ruhr-uni-bochum.de\/en\/wp-json\/wp\/v2\/media?parent=12150"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/das-dokumentarische.blogs.ruhr-uni-bochum.de\/en\/wp-json\/wp\/v2\/categories?post=12150"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/das-dokumentarische.blogs.ruhr-uni-bochum.de\/en\/wp-json\/wp\/v2\/tags?post=12150"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}