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Colloque : « Le réalisme socialiste du pays des Soviets à celui d’Aragon »

Mercredi 17 avril 14h-19h30

Le réalisme socialiste du pays des Soviets à celui d’Aragon
Centre Pompidou, Petite salle (Forum, niveau -1)


Inventé en URSS, le réalisme socialiste a connu auprès des artistes étrangers une réception particulière : ceux-ci l’ont interprété de façon singulière, s’écartant du modèle soviétique. Articulées à la perspective historique française, qui s’achève avec l’« afaire » du portrait de Staline par Pablo Picasso (1953), diverses contributions proposent une relecture de cette histoire au filtre de différents contextes internationaux – France, Italie, Grande-Bretagne et Europe de l’Est.

Les langues de travail du colloque seront le français et l’anglais

Programme :

14h00-14h10

Introduction
Nicolas Liucci-Goutnikov, Conservateur au Centre Pompidou, Musée national d’art moderne

14h10-16h40
Le réalisme socialiste à la française
Modératrice, Sarah Wilson, Professeure en histoire de l’art, Courtauld Institute, Londres

Aragon, Coller au réalisme
Daniel Bougnoux, Professeur émérite, Université Stendhal de Grenoble

Heures chaudes et matins tièdes. Les peintres de la Maison de la culture, 1932-1939
Samuel Dégardin, Docteur en histoire de l’art, Université de Lille

1952 : Miailhe et Taslitzky, deux peintres communistes en Algérie française
Isabelle Rollin-Royer, Directrice de Univers MENTOR, Paris

La correspondance entre André Fougeron et Ewa Garztecka
Mathilde Arnoux, Directrice de recherche au Centre allemand d’histoire de l’art, Paris

Exhibition of Contemporary French Art in Warsaw (1952) and Its Reconstructions
Karolina Zychowicz, Chercheuse à la Galerie d’art nationale Zachęta, Varsovie

16h40-17h00 Pause

17h00-19h00

Perspectives internationales du réalisme socialiste
Modératrice Marija Podzorova, Ingénieure de recherche, EUR ArTeC

Artists Against Fascism and War, Exhibition in London, 1935
Maria Mileeva, Co-directrice de Cambridge Courtauld Russian Art Centre, Londres

The Battle of Dustjackets: Eastern Europe as Socialist Europe
Katarzyna Murawska-Muthesius, Associate Lecturer at Birkbeck College, University of London

Beyond Guernica: Italian Artists in the Communist Party, 1944-1953
Juan José Gómez Gutiérrez, Associate Lecturer at University of the Basque Country

Aspects of Two Cultures. Clements Greenberg Reads Vladimir Kemenow
Sergey Fofanov, Chercheur à la Galerie Tretiakov, Moscou

19h00-19h30
Allocution finale prononcée par Sophie Coeuré, Professeure d’histoire, Université Paris Diderot – Paris 7.

CFP: European Museums in the Interwar Years (Torino, 7-10 Feb 18)

Museums in Europe in the Interwar Years. The Madrid Conference of 1934:
An International Debate

International Conference

 

The International Conference « Muséographie, architecture et aménagement de musées d’art, » organised in Madrid in October 1934, was a turning point in the reflection on museum arrangement and display practices in Europe and the United States, a debate that was already central to the work of the newly founded Office International des Musées which promoted it. As the pages of Mouseion journal, the institution bulletin whose publication had started in 1927, the conference proceedings constituted a repertoire of the topics under examination in the most recent museum studies and a handbook for state-of-the-art arrangements also overseas. For the first time, museums and displays pertaining to different fields of knowledge could be compared, from art history, to archaeology, to anthropology. The subjects systematically addressed ranged from artificial lighting, to the survey of the visitors’ reactions and duration of their visit. Moreover, the creation of scientific and restoration laboratories, along with libraries, within museum spaces was highly recommended. A few years after the first world conference of library science (Rome 1929), the close relations between libraries and museum institutions was indeed one of the themes the new museology was focusing on.

Although recently already considered in some international studies, the matters dealt with in the Conference, as well as their reception, can be further delved into with a premium on disciplinary circularity. The anastatic edition we are working on and which will be available by the date of the symposium, improved with annotated indices that help its consultation, is intended as a tool for documentation and study of the debate on museums.

At almost a century from the Conference, this symposium proposes a series of considerations on a broad spectrum that relate different disciplinary paths to the critical debate on the identity and purposes of museums, also offering new perspectives on the contemporary world.

The proposals, which could revolve around both single permanent and temporary exhibitions, and diachronic analyses, may concern the following areas:

– Time and museums: contextual museums and new museums between tradition and modern innovation.
– Museums and nations: policies, delegations and stakeholders. The critical debate.
– Museums and the disciplines of knowledge: new narratives, types and forms.
– Museums and spaces: display practices and museum technology.
– The Museum and its visitors: exhibitions, dissemination and reception.
– Behind the scenes: documentation and communication. Archives, libraries, photographic archives, restoration.

Interested applicants are kindly invited to submit an abstract of maximum 2000 characters including spaces, either in Italian or in English, by 20th October 2017 to the following address: convegnomuseographie@gmail.com

After the Scientific Committee’s selection, the accepted applicants will be notified via email by 30th November 2017.

Conference organised by:
Elena Dellapiana (Politecnico di Torino)
Maria Beatrice Failla (Università degli Studi di Torino)
Franca Varallo (Università degli Studi di Torino)

Scientific committee:
Giampiero Bosoni, Maria Ida Catalano, Silvia Cecchini, Paola D’Alconzo, Michela di Macco, Patrizia Dragoni, Anna Maria Ducci, Antonella Gioli, Valeria Meirano, Susanne Meyer, José Luis De la Nuez Santana, Almudena Perez de Tudela, Cecilia Pennacini, Chiara Piva, Dominique Poulot, Federica Rovati, Maurizio Vivarelli, Francesca Zanella, Stefania Zuliani.

Research group:
Silvia Cammarata, Jennifer Cooke, Costanza Giai, Alessandra Giovannini Luca, Beatrice Zanelli

CONFERENCE: Max Beckmann. Welttheater (Potsdam, 29 Mar 17)

 Max Beckmann. Welttheater (Potsdam, 29 Mar 17)

Museum Barberini, Potsdam, 29.03.2017
Registration deadline: Mar 29, 2017

Symposium zur Ausstellung

« Max Beckmann. Welttheater »

Max Beckmann, Apachentanz, 1938, Öl auf Leinwand, 171,50 x 151 cm, Kunsthalle Bremen – Der Kunstverein in Bremen / Foto: Lars Lohrisch, © VG Bild-Kunst, Bonn 2017

29. März 2017, 10–18 Uhr
Museum Barberini, Alter Markt, Humboldtstr. 5–6, 14467 Potsdam

Viele Gemälde Max Beckmanns (1884–1950) zeigen die Welt des Theaters,
Zirkus und Varietés. Im Rollenspiel sah er ein Modell menschlicher
Grunderfahrungen. Er nahm die Position des Zuschauers ein und
inszenierte das Bild als Bühne. Das Zurschaustellen trieb ihn an.

Das Symposium findet statt in Kooperation mit der Kunsthalle Bremen. Es
bereitet die Ausstellung vor, die vom 30. September 2017 bis zum 4.
Februar 2018 in der Kunsthalle Bremen und vom 24. Februar bis zum 10.
Juni 2018 im Museum Barberini in Potsdam zu sehen ist.

Programm:

10.00 Uhr Begrüßung
Ortrud Westheider, Museum Barberini
Christoph Grunenberg, Kunsthalle Bremen

10.15 Uhr Vom Theatrum mundi zur Schaubude. Beckmanns Idee des
Welttheaters
Eva Fischer-Hausdorf, Kunsthalle Bremen

11.15 Uhr Max Beckmanns Malerei als Zurschaustellung
Ortrud Westheider, Museum Barberini

12.15 Uhr Mittagspause

14.00 Uhr Clowns, Tiere und Artisten. Beckmanns Passion für den Zirkus
im Spiegel seiner Skizzenbücher
Christiane Zeiller, Max Beckmann Archiv, München

15.00 Uhr Max Beckmanns Triptychen als Bühnen-Bilder
Lynette Roth, Busch- Reisinger Museum, Harvard Art Museums, Cambridge
(USA)

16.00 Uhr Kaffeepause

16.30 Uhr Zwischen Katastrophenerfahrung und Weltanschauung. Zum
Welttheater in der Literatur
Irene Pieper, Universität Hildesheim

17.30 Uhr Parodie, Experiment und Selbstbehauptung. Die Dramen Max

Beckmanns
Sebastian Karnatz, Bayerische Verwaltung der staatlichen Schlösser,
Gärten und Seen, München

18.30 Uhr Empfang

Unkostenbeitrag € 10,– / Freier Eintritt für Studierende
Online-Tickets sind unter www.museum-barberini.com buchbar. Tickets sind zudem am Tag des Symposiums an der Museumskasse erhältlich.