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Miradas - Zeitschrift für Kunst- und Kulturgeschichte der Amérikas und der iberischen Halbinsel, Bd. 7 (2023): Miradas

Latin America is still considered one of the hotspots of the Covid-19 pandemic. The media coverage is accompanied by un-seen images of healthy, quarantined, sick and dead bodies circulating globally and re-shaping the Latin American imaginary. Therein, globally perceived images of bodies and the global mapping of ‘infected individuals’ oftentimes contrast with local and individual body experiences. Radical social changes go thus hand in hand with new conceptions of the corporeal as well as with experiences of distancing and proximity being visualized in the images of bodies. Visually transported information on the special threat situation for indigenous communities in Brazil and other regions also evoke the epistemologies of artistic and graphic images of former infectious diseases in the Southern part of the Americas, especially of smallpox in the process of colonizations when the colonial power matrix was also exercised via the control over infections. The paper will focus on Latin America to discuss the entanglements of arts, visualities and body experience in times of Covid-19 and the aesthetics created alongside the pandemic., HCIAS Working Papers on Ibero-America, HCIAS Working Papers on Ibero-America, Volume I (2022)

Miradas - Zeitschrift f��r Kunst- und Kulturgeschichte der Am��rikas und der iberischen Halbinsel, Bd. 5 (2022): Miradas

Miradas - Zeitschrift f��r Kunst- und Kulturgeschichte der Am��rikas und der iberischen Halbinsel, Bd. 6 (2022): Miradas

Miradas - Zeitschrift für Kunst- und Kulturgeschichte der Amérikas und der iberischen Halbinsel, Bd. 4 (2018): Miradas

La idea de la ‘maja’, una joven y sensual mujer trabajadora española de orígenes humildes, circulaba en la segunda mitad del siglo XIX como un ideal de la ‘otra’ y erótica feminidad en toda Europa. La ‘maja’ fusiona ideas de la feminidad tradicional ibérica, de las ‘gitanas’, de las bailaoras de flamenco de Andalucía y de la mujer ‘oriental’ del norte de África. Con la imagen de la ‘maja’, el sur de España llega a representar a toda la nación; así, la ‘maja’ se convierte en una alegoría nacional. El artículo aborda la compleja interacción de la adaptación de una perspectiva externa a la propia identidad y la construcción de la nación a través de la imagen alegórica de una mujer joven, por un lado, y la mitificación de esta imagen en la recepción fuera de España, por el otro. Se analiza los aspectos de una imaginación y representación de la nación española feminizada y sexualizada, y se contextualiza sus modos de recepción considerando pinturas, fotografías e imágenes populares., Miradas - Revista de Historia del Arte y la Cultura de las Américas y la Península Ibérica, Bd. 4 (2018): Miradas

Die Vorstellung der ‚maja‘, der jungen, sinnlichen spanischen Arbeiterfrau aus einfachen Verhältnissen, kursierte in der zweiten Hälfte des 19. Jahrhunderts als Ideal erotisch-‚anderer‘ Weiblichkeit in ganz Europa. In der Figur der ‚maja‘ verschmelzen dabei Vorstellungen traditionell iberischer Weiblichkeit, der ‚gitanas‘ und Flamenco-Tänzerinnen aus Andalusien sowie der ‚Orientalin‘ Nordafrikas. Der Süden Spaniens kann im Bild der Maja so die gesamte Nation vertreten; die ‚maja‘ avanciert zur nationalen Allegorie. Der Artikel behandelt das komplexe Wechselspiel von Adaption einer Außenperspektive auf die eigene Identität und Konstruktion von Nation über das allegorisierte Bild einer jungen Frau einerseits und die Mythisierung dieses Bildes in der Rezeption außerhalb Spaniens andererseits. Einzelne Elemente einer solchen feminisierten und sexualisierten Vorstellung der spanischen Nation werden differenziert betrachtet und deren Rezeptions-Kontexte analysiert und anhand von Gemälden, Fotografien und populären Bildern nachvollzogen., Miradas - Zeitschrift für Kunst- und Kulturgeschichte der Amérikas und der iberischen Halbinsel, Bd. 4 (2018): Miradas

The New Zealand to be discovered in the popular media of nineteenth-century Europe is surprising: foremost because it is scarcely present. Other British colonies like those in North America and Australia were much-loved subjects for popular exotic pictorial inventions, for example in illustrations to Karl May novels, product advertising, posters for world exhibitions and the so-called ethnological expositions, or successful journals like Die Gartenlaube in Germany. Images of the islands and their inhabitants are noticeable by their absence in product advertising in Europe. Likewise Maori appear to have not featured at the ethnological expositions, though they do appear considerably in scientific and scholarly publications. Hence, the essay makes the case that in this context high and popular culture are frequently not clearly distinct from one another in the nineteenth century: the scientific and scholarly literature served an extremely broad circle of interested persons in a bourgeoisie hungry for knowledge. The oil paintings of the academic Gottfried Lindauer, for example, were shown at the Colonial and Indian Exhibition of 1886 in London side by side with ethnographic artefacts and a recreated Māori habitat in the New Zealand Court. Thus, the overall image of the islands conveyed in the Exhibition matched the contemporary taste of indulging in excessive impressions at such expositions. Textual descriptions and interpretations of what was seen also heavily featured in the press, while a few successful novels painted a picture of the typical ‘New Zealander’. The picture Europe had got of the British colony New Zealand in the nineteenth century was richly faceted, albeit not particularly differentiated. The essay aims to describe these various facets and, moreover, identify how they depended on their popularity in the different media., RIHA Journal, 2018: Special Issue "Gottfried Lindauer – Painting New Zealand"

This special issue compiles papers presented at the 2015 “Gottfried Lindauer – Painting New Zealand” conference organized by the Technische Universität Darmstadt and the Nationalgalerie Berlin. Both the issue and the conference itself constitute an extension of the acclaimed exhibition “Gottfried Lindauer – The Māori Portraits”, shown between 20 November 2014 and 12 April 2015 in the Alte Nationalgalerie Berlin, and present an array of scholarly and theoretical perspectives. The essays reflect in microcosm current larger research and archival work and are thus able to place the work of the artist, hitherto discussed mostly in an ethnographic context, into an already globalized framework shaped by transcultural contacts., RIHA Journal, 2018: Special Issue "Gottfried Lindauer – Painting New Zealand"

The recent ‘global turn’ in art history and curatorial practice has prompted the question of how to reflect this through pedagogy. The workshop Worlding Art History through Syllabi takes up the notion of ‘worlding’ to explore how art history is taught in different places and institutions around the world. What would a ‘worlded’ syllabus look like, and how can we collaboratively ‘world’ global art history? A ‘worlded’ art history rejects the idea of a single global world framed, ordered and represented according to Eurocentric premises or as universally constituted by global capitalism. Instead, it conceives of the global as constituted from multiple and entangled geo-cultural perspectives. It is not centered on assumed commonalities of ‘global’ art. Rather, it seeks to shed light on differences and relations. What are histories, epistemologies, and ontologies that constitute ‘global’ art? What are infrastructural or institutional incommensurabilities which define the many intersecting art histories of the present? This workshop invites scholars from the fields of art history, cultural studies, cultural anthropology, media studies, museum studies and other related disciplines to participate in an peer-to-peer exchange of experiences and practices. It focuses on how scholars may, or already have, designed teaching syllabi to complicate dominant frameworks of ‘global’ art history. It is particularly interested in how syllabi have the capacity to restructure pedagogical approaches to teaching topics such as global capitalism in the art world, the so-called Global North-South division, transnational and transcultural entanglements, and differences between teaching regional art histories. Worlding Art History through Syllabi, workshop, ICI Berlin, 10–11 October 2022