Academy of Fine Arts, Vienna
Institute for Fine Arts
Department for Conceptual Art, Depot, Lehargasse 8, 1st floor
In charge: Univ. Prof. Dr. Marina Grzinic
Assistants/tutors: Ivan Jurica and Ivana Marjanovic, Akbild
TITLE OF THE SEMINAR:
*Writing Central European Art History*
PUBLIC SEMINAR DATES:* 8. January 2009
*
Writing Central European Art History is a special seminar/course,
that was put together by ERSTE Stiftung and WUS with 7
academics/professors from the so called Central European art
institutions and academies: Czech Republic, Estonia, Hungary, Poland,
Serbian and Slovakia. It brings fresh inputs on academic art history
and the perception on modernism and post-modernism in the former
Eastern European territory.
PROGRAM 2 part, 8.01.2009
Thursday, 8, January 2009
AT 15.30 INTRODUCTION in II second final part by Marina Grzinic
AT 15.45 LECTURE by *Jan Bakos*
Jan Bakos, Member of Presidium of the Slovak Academy of Sciences
Faculty of Letters, Comenius University Bratislava, Slovak Republic
Title: *Humanists versus Relativists. Visions and Revisions of the
Vienna School Methodological Doctrine*
The Vienna School of Art History based art historical research on the
belief in method and its scientific nature. The orthodox
epistemological model of the Vienna School as formulated by Alois
Riegl regarded art history as an exact and non-partial objective
science. Riegl's followers developed and transformed or critically
revised his model. The present paper deals with the process of
transformations and revisions of the
Vienna School orthodox model.
DISCUSSION 17 to 17.30 facilitated by Grzinic and the tutors
PAUSE 17.30 – 18.00: DRINKS, SANDWICHES
AT 18.00 LECTURE by Piotr Piotrowski
Professor and Chair of Art History *Piotr Piotrowski*, Adam Mickiewicz
University, Poznan, Poland
Title:* Towards a Horizontal Art History*
The author proposes a theory of a horizontal art history as both a
critique of the vertical one, understood as hierarchical and Western
oriented scholarly practice, as well as the proposed methodological
approach to rewrite a history of modern art along with the pluralistic
and non-hierarchical model. The model suggested here is based on an
equality of different art historical narratives. Its crucial point is
to negotiate different discourses, not in order to create one
alternative super-structure, but rather to unveil a dynamic process of
exchanging values between them.
DISCUSSION 19.30-20.00/ facilitated by Grzinic and the tutors
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