Stedelijk Studies Journal最新文献

{"title":"On “On Otto”: Moving Images and the New Collectivity","authors":"I. Blom","doi":"10.54533/stedstud.vol007.art12","DOIUrl":"https://doi.org/10.54533/stedstud.vol007.art12","url":null,"abstract":"Here is how the movie project named On Otto (2007) starts: with a poster for a film that is yet to be made, a film that no one, at this stage, knows if it is even possible to make (fig. 1). No names (of actors, directors, producers) are mentioned. But, like all movie posters, it takes film itself for granted; in fact, it takes the whole cinematic context or apparatus as absolutely self-evident. There is, and will be, cinema: beyond individual productions, cinema is something akin to a paradigm—a generative set of rules organizing the production of phenomena at once scientific, perceptual, aesthetic, technological, economic, and existential. There will be titles, music, editing, stage design, sound. Something will be directed by, produced by, photographed by, acted by. The poster advertises this certainty and spells it out in letters that visually frame “the cinema” that they promise: A screening space, seen from the back of the row of seats so that attention is directed towards the movie screen. On this screen the enormous head of a film diva—apparently caught at the moment of death—clings to the foreground of the screen-image; due to the play of shadow and light, a lock of her hair actually seems to have spilled over into spectator space, as if to make contact. And the quest for contact is reciprocated. A boy, a lone figure among otherwise empty seats, points a fish in the direction of the screen, directly in the angle of the blonde coils of diva hair. Between the screen and this spectator, a space of action is established: the poster, none too subtly, marks this space with a red markered circle. Demarcating an “expanded” notion of cinema, the poster for On Otto announces a cinematic production process that will reformulate the place and status of so-called “moving images.”","PeriodicalId":143043,"journal":{"name":"Stedelijk Studies Journal","volume":"28 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133147949","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"“Primitivism” in Migration: Ambivalence and Locality in South African Modernism","authors":"Lisa Hörstmann","doi":"10.54533/stedstud.vol009.art10","DOIUrl":"https://doi.org/10.54533/stedstud.vol009.art10","url":null,"abstract":"Modernism in South Africa was not only characterized by the migration of settler artists between the global “periphery” of South Africa and Europe’s urban centers, such as Berlin, London, or Paris, which their parents had left and where they themselves frequently returned to further their careers, but also by the migration of objects and concepts.[1] The late nineteenth and early twentieth century saw a rapidly increasing circulation of African artifacts into the West in various ways—ethically and unethically, some as desecrated religious objects and some specifically produced for trade—and their subsequent appropriation by the European avant-gardes. At the same time, and largely neglected in Western art historical narratives, the aesthetic appreciation of such objects returned to their countries of origin. This was mediated by, often Jewish, immigrants with substantial collections of African artifacts, on the one hand, and Western theory such as Carl Einstein’s Negerplastik (1915) on the other. Departing from this European appreciation of African art, Irma Stern (1894–1966), the so-called pioneer of South African modernism, and the sculptor Lippy Lipshitz (1903–1980) laid the foundations for a specifically South African “settler primitivism.”[2] Stern and Lipshitz can be considered settlers, as they migrated to South Africa early in their lives but kept close ties to their European origins, artistically as well as personally. Departing from Nicholas Thomas’s definition of “settler primitivism,” this article discusses the importance of ambivalence and locality in Stern’s and Lipshitz’s “primitivist” representations of their black compatriots, in which they sought to establish a South African culture distinctive from the English traditions that were formative at the time, furthering their own indigenization in the process. My analysis is based on their artworks, different writings produced by the artists collected from various archives, as well as secondary texts on their works and careers. Before delving into the specific South African context, I will first attempt a brief localization of the terms “primitive” and “primitivism” in relation to the visual arts, as both terms are hugely problematic.","PeriodicalId":143043,"journal":{"name":"Stedelijk Studies Journal","volume":"30 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124906518","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"“My old Mother” – Therese Graf in New York: Exile, the Transatlantic Itinerary of a Photographic Portrait, and Strong History “from below”","authors":"Eva-Maria Troelenberg","doi":"10.54533/stedstud.vol009.art04","DOIUrl":"https://doi.org/10.54533/stedstud.vol009.art04","url":null,"abstract":"Among the holdings of the Monacensia Literaturarchiv in Munich is a framed black-and-white photographic portrait, a close-up of an old woman in three-quarter profile (fig. 1). Probably taken during the 1920s or early ’30s, this photograph shows Therese Graf, née Heimrath, born as a peasant’s daughter in a small Bavarian village near lake Starnberg in 1857, and deceased in that same village in 1934. Of her eleven children, four migrated to the United States—three of them did so while she was still alive, for economic reasons shortly before or after the First World War, and they were to become mineworkers or bakers in the new world.","PeriodicalId":143043,"journal":{"name":"Stedelijk Studies Journal","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126146338","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Modernism in Migration – Editorial","authors":"G. Langfeld, Tessel M. Bauduin","doi":"10.54533/stedstud.vol009.art01","DOIUrl":"https://doi.org/10.54533/stedstud.vol009.art01","url":null,"abstract":"Today, a majority of many populations worldwide view migration negatively.[1] In times of increasing xenophobia, with Europe’s walls-up policy and a steadily growing amount of border walls (three times as many as during the Cold War), migration is regarded as a disturbing element in society.[2] Politics mainly focuses on stemming migration flows, often with cruel consequences. According to the Oxford English Dictionary, migration denotes the movement of a person, group, or people from one locality or country to another, often for the purpose of settlement.[3] Such a relocation can be permanent, temporary, or seasonal. More specific terms are used in migration research, such as exile, diaspora, and transmigration.[4] Exile and diaspora refer to the experience of persecution and forced emigration from a home country. Exile, unlike diaspora (e.g., Jewish or African), tends to be considered an individual and temporary experience. However, the distinction between these terms can be provisional; exile can become diaspora over time, if the desired return to the homeland fails to materialize. The term transmigration is applied to migrants who maintain relationships between their country of origin and country of residence. Unlike immigrants, transnational or transregional migrants do not leave their homeland behind; their sense of belonging is not limited to one place.[5] Certainly these distinctions tend to be imprecise, and must be determined with regard to particular cases.","PeriodicalId":143043,"journal":{"name":"Stedelijk Studies Journal","volume":"33 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129488343","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Cubism in Iran: Jalil Ziapour and the Fighting Rooster Association","authors":"Katrin Nahidi","doi":"10.54533/stedstud.vol009.art08","DOIUrl":"https://doi.org/10.54533/stedstud.vol009.art08","url":null,"abstract":"In 1948 the Iranian painter Jalil Ziapour (1920–1999), together with his artistic colleagues, the writer Gholam Hossein Gharib (1923–2003), playwright Hassan Shirvani (birth/death date unknown), and composer Morteza Hannaneh (1922–1989), founded the Fighting Rooster Association (Anjoman-e Ḵorūs-e Jangī) to promote the new emerging modernist arts in Iran. Jalil Ziapour and the Fighting Rooster Association were the leading representatives of cubism in Iran, which arose as a movement in the 1940s and offered Iranian artists like Ziapour a suitable vocabulary to elaborate an artistic subjectivity based on Iranian heritage. At the same time, it also helped to promote the Fighting Rooster Association’s aims to foster democratic hopes for the Iranian nation. This article focuses on Ziapour’s works and texts in light of Orphic cubist theory and highlights the beginnings of modernist art in Iran, the global entanglements of modernism, and the search for an Iranian art beyond orientalist painting traditions and exotic depictions of being the “other.”","PeriodicalId":143043,"journal":{"name":"Stedelijk Studies Journal","volume":"6 2","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"120889831","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Towards Mutuality in International Museum Cooperation: Reflections on a Swiss-Ugandan Cooperative Museum Project","authors":"Thomas Laely, M. Meyer, Amon A. T. Mugume, Raphael Schwere","doi":"10.54533/stedstud.vol008.art09","DOIUrl":"https://doi.org/10.54533/stedstud.vol008.art09","url":null,"abstract":"Thinking about a “museum of mutuality” affords the question of who the actors are and, accordingly, between whom mutuality is a characteristic of their relationship, ideally or practically. The call for papers for this special issue invited contributors to examine how museums and audiences are intertwined in mutuality. Over the last few decades, expectations directed to this relationship have tended to point towards its “democratization”[1] and inclusiveness, towards opening the institution as a forum for sociocultural exchange and debate, towards plurivocality concerning representation, and towards greater accessibility to and renegotiation of the ownership of its collections.[2] It is anticipated, and according to the current trends in museology rightly so, that museums are transforming from being inward-looking institutions that communicate unilaterally from an authoritarian and custodian position, to becoming outward-looking organizations that insert themselves permeably into society. Mutuality is commonly understood as a moral value or a principle of seeking reciprocally referential “mutually positive relations.”[3] The present article focuses on the analysis of mutuality in the relations between museums themselves, not between museums and other external stakeholders, such as representatives of communities of the provenance of collections or museum audiences. Specifically, we examine if and how this quality manifests itself in a trilateral cooperative research and curatorial arrangement between one Swiss and two Ugandan museums. Thereby we depart from the assumption that, firstly, the abovementioned transformation of museums has also formed the manner of interaction of African with European museums and, secondly, we are convinced that it is high time for an empiric analysis of transnational museum cooperation practices.","PeriodicalId":143043,"journal":{"name":"Stedelijk Studies Journal","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129697450","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Political Geographies of Muslim Visibility: Boundaries of Tolerance in the European City","authors":"Luiza Bialasiewicz","doi":"10.54533/stedstud.vol006.art08","DOIUrl":"https://doi.org/10.54533/stedstud.vol006.art08","url":null,"abstract":"Over the past decade, the question of what has somewhat problematically been termed “the Islamization of space” in European cities has come to the fore of political discussion. Much of the debate has focused on public reactions to and punitive state regulations of Islamic spaces of worship. Examples include the Swiss referendum in 2009 on a ban on minarets, voted in by an almost 60 per cent “yes” majority, and a similar ban proposed in Germany in 2016 by the Alternative für Deutschland. Yet opposition to the construction of mosques across Europe is just the most evident crystallization of wider fears surrounding Muslim presence and visibility in the urban landscape, with a variety of studies noting the emergence of racialized “affective geographies” in response to what are perceived to be “Muslim spaces” and “Muslim bodies,” increasingly demarcating city spaces as safe or unsafe, “ours” or “alien.”","PeriodicalId":143043,"journal":{"name":"Stedelijk Studies Journal","volume":"72 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128938844","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Alike, but not the Same: The Reenactment of Lina Bo Bardi’s Display for the São Paulo Museum of Art (1968–2015)","authors":"Sabrina Moura","doi":"10.54533/stedstud.vol005.art04","DOIUrl":"https://doi.org/10.54533/stedstud.vol005.art04","url":null,"abstract":"Opened to the public at the end of 2015, the exhibition Picture Gallery in Transformation at the São Paulo Museum of Art (MASP) has as its concept the resumption of the display model conceived in 1968 by the Italian-Brazilian architect Lina Bo Bardi (1914–1992).[1] Comprising glass easels held by concrete blocks irregularly installed in the museum’s second-floor gallery, her expography played with the transparency and the permeability of its devices, rejecting a unidirectional pathway that would guide the audience through the museum space. This installation followed the principles of the display the architect had conceived in 1947 for the previous MASP venue. These included the separation of the works from the walls, the refusal of chronology, and hierarchical associations between objects. “The collection is not displayed according to a chronological criterion; it is presented with the aim of producing a shock that awakens the [audience’s] curiosity and investigative skills,” said Bo Bardi at the time.","PeriodicalId":143043,"journal":{"name":"Stedelijk Studies Journal","volume":"27 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121056615","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"“École de Paris” In and Out of Paris (1928–1930): A Transregional Perspective on the Exhibitions of the “School of Paris” in Venice, Cambridge, Recife, São Paulo, and Rio de Janeiro","authors":"Annabel Ruckdeschel","doi":"10.54533/stedstud.vol009.art06","DOIUrl":"https://doi.org/10.54533/stedstud.vol009.art06","url":null,"abstract":"During the first decades of the twentieth century, the Paris quarter of Montparnasse became a focal point for an internationalized art field, and artists’ transnational mobility and migration laid the basis for the city’s image as cosmopolitan hub. Art critics and curators of the interwar period soon used the term École de Paris (“School of Paris”) for artists who immigrated to the French capital, and more rarely for French artists who attracted these foreigners with their art and academies, thus underscoring Paris’s status as a center of modern art. In the recent past, numerous studies on the School of Paris have focused on the role of foreign artists within the Parisian art scene and its dynamics of inclusion and exclusion.[1] The present article, however, examines how the label was shaped within transregional dynamics. It focuses on artists and critics that were both active within Paris and curated exhibitions of the School of Paris elsewhere. Thus, they transformed and relocated the label and the implied image of Paris as a center of modern art and a site of migrant artists.During the first decades of the twentieth century, the Paris quarter of Montparnasse became a focal point for an internationalized art field, and artists’ transnational mobility and migration laid the basis for the city’s image as cosmopolitan hub. Art critics and curators of the interwar period soon used the term École de Paris (“School of Paris”) for artists who immigrated to the French capital, and more rarely for French artists who attracted these foreigners with their art and academies, thus underscoring Paris’s status as a center of modern art. In the recent past, numerous studies on the School of Paris have focused on the role of foreign artists within the Parisian art scene and its dynamics of inclusion and exclusion.[1] The present article, however, examines how the label was shaped within transregional dynamics. It focuses on artists and critics that were both active within Paris and curated exhibitions of the School of Paris elsewhere. Thus, they transformed and relocated the label and the implied image of Paris as a center of modern art and a site of migrant artists.","PeriodicalId":143043,"journal":{"name":"Stedelijk Studies Journal","volume":"47 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121464132","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Exile and Modernism: Theoretical and Methodological Reflections on the Exile of Artists in the 1930s and ’40s","authors":"Sabine Eckmann","doi":"10.54533/stedstud.vol009.art02","DOIUrl":"https://doi.org/10.54533/stedstud.vol009.art02","url":null,"abstract":"The exile of artists in the 1930s and ’40s was first discovered, alongside the Third Reich and the Holocaust, as a subject of research in the humanities, including art history, in the late 1960s. Apart from debates over the significance of political or nonpolitical works of art produced in exile and their role in establishing a positive German national identity during the Third Reich, many of the interpretive approaches since then have been determined largely by biographical accounts. It should be noted, however, that some artists were inscribed into art history (or the so-called canon) because of their personal fates as Jews or the politically persecuted. Consequently, the work of art is often treated as a direct document of the individual’s biography.","PeriodicalId":143043,"journal":{"name":"Stedelijk Studies Journal","volume":"37 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134042418","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}