{"id":994,"date":"2018-10-06T16:42:28","date_gmt":"2018-10-06T16:42:28","guid":{"rendered":"http:\/\/petralangeberndt.de\/?p=994"},"modified":"2019-11-22T10:02:56","modified_gmt":"2019-11-22T10:02:56","slug":"um-1800-kunst-ausstellen-als-wissenschaftliche-praxis","status":"publish","type":"post","link":"http:\/\/petralangeberndt.de\/en\/um-1800-kunst-ausstellen-als-wissenschaftliche-praxis\/","title":{"rendered":"around 1800. Exhibiting Art as Research"},"content":{"rendered":"
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\u00a0<\/strong><\/p>\n

Oktober 1st 2018 to September 30th 2020<\/strong>, Kunstgeschichtliches Seminar, Universit\u00e4t Hamburg, Edmund-Siemers-Allee 1, ESA West, 20146 Hamburg, Kunsthalle Hamburg, Glockengie\u00dferwall, 20095 Hamburg<\/p>\n

A joint research project by\u00a0Prof. Dr. Petra Lange-Berndt<\/strong>, Kunstgeschichtliches Seminar, Universit\u00e4t Hamburg; Prof. Dr. Dietmar R\u00fcbel<\/strong><\/a>, Academy of Fine Arts, Munich, and\u00a0Prof. Dr. Alexander Klar<\/a><\/strong>,\u00a0Hamburger Kunsthalle,\u00a0with research assistant\u00a0Isabelle Lindermann, M.A.<\/strong><\/a>, Kunstgeschichtliches Seminar, Universit\u00e4t Hamburg.<\/p>\n

Duration: 1 October 2018 to 30 September 2020<\/strong><\/p>\n

Workshop: 17 January 2019, Warburg-Haus, Hamburg<\/strong><\/a><\/p>\n

International Conference: 14 to 16 November 2019, Hamburger Kunsthalle<\/strong><\/a><\/p>\n

<\/div>\n

Art around 1800<\/em> was the programmatic title of a series of nine exhibitions staged between 1974 and 1981 at the Hamburger Kunsthalle under the wing of its director at the time, Werner Hofmann. This undertaking, which set out to visualise and write a different history of European art in conjunction with industrial, social and scientific revolutions, was a research project, an experimental approach to exhibitions, a celebration of the fine arts and a political statement. For decades this cycle exerted a paradigmatic influence on debates about academic work in art museums and about the practice of exhibition-making before the term \u2018curating\u2019 existed. This museological and scholarly process in nine episodes has so far been absent from the many current studies and projects devoted to the history of exhibiting art. In the Anglo-Saxon world, Art around 1800<\/em> is largely unknown. The rise of Curatorial Studies places the cycle squarely on the research agenda. Our collaborative venture aims to examine this multi-part project in detail and to analyse the exhibition medium from the perspective of the university, the art academy and the museum.<\/p>\n

The research examines constructions of a \u201cmodern Europe\u201d and \u201cmodernity\u201d in the context of the 1970s. Narrative(s) in exhibition form will be critically interrogated and gauged from a global perspective to ascertain how relevant they still are. What policies are emerging? What alternatives have evolved within feminist or postcolonial research? By drawing on the abundant archive material, we will be asking to what extent the shows put together by the team at the Hamburger Kunsthalle with their apparently monographic titles (Ossian; Casper David Friedrich; Johann Heinrich F\u00fcssli; William Blake; Johan Tobias Sergel; William Turner; Philipp Otto Runge; John Flaxmann; Francisco Goya<\/em>) were in reality thematic exhibitions. How exactly was Art around 1800<\/em> conceived? How were the spaces designed? How were the works selected? And what was the response at the time? What economic factors framed these displays? How did the cycle differ from other museum exhibitions of the period? What interdependence was there with exercises in cultural history? It can safely be claimed that, apart from presenting and analysing key works, Art around 1800<\/em> attempted to write an alternative history of art and in so doing to take issue with images of history and models of society: the objective was to offer a historical and systematic overview of aesthetic, political and technical changes occurring around 1800 and their impact on the arts of the protracted nineteenth century \u2013 a period known as the age of revolutions. At the same time, the cycle provided answers to ideas advocated by Max Horkheimer and Theodor W. Adorno at the time about a Dialectic of Enlightenment <\/em>and especially the complex intertwining of emancipatory movements and self-destruction. The series thus opens up \u2013 like a kind of re-education \u2013 to a broader context, with implications for processes like confronting German fascism and establishing a strident democracy. Embedded within this curatorial methodology, with its references to the Hamburg and Vienna schools of art history, were visual forms of the protests and rebellion of 1968. But how did the project relate to incipient poststructuralist discourse and its theoreticians as these began to be read more widely in German-speaking countries? While this concept of \u201cmodern Europe\u201d and \u201cmodernity\u201d comes across increasingly as the antiquity of globalisation, we have not yet adequately understood the history of its images, things and processes. Hamburg\u2019s nine-part exhibition attempted just this in exemplary form in the 1970s and placed the power of artworks centre-stage. We ask what toolbox came out of the practical scholarship of Art around 1800<\/em> and in what ways the cycle is relevant today.<\/p>\n

<\/div>\n

Exhibitions in the cycle Art around 1800<\/em><\/strong>, Hamburger Kunsthalle<\/strong><\/p>\n

- Ossian and Art around 1800 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/em>09\/05\/1974 \u2013 23\/06\/1974<\/p>\n

- Casper David Friedrich<\/em> \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 14\/09\/1974 \u2013 03\/11\/1974<\/p>\n

- Johann Heinrich F\u00fcssli <\/em>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 04\/12\/1974 \u2013 19\/01\/1975<\/p>\n

- William Blake: Around 1800 <\/em>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 06\/03\/1975 \u2013 27\/04\/1975<\/p>\n

- Johan Tobias Sergel <\/em>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 22\/05\/1975 \u2013 21\/11\/1975<\/p>\n

- William Turner and the Landscape of his Time <\/em>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 19\/05\/1976 \u2013 18\/07\/1976<\/p>\n

- Runge in his Day <\/em>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 21\/10\/1977 \u2013 08\/01\/1978<\/p>\n

- John Flaxmann: Mythology and Industry <\/em>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 20\/04\/1979 \u2013 03\/06\/1979<\/p>\n

- Goya: The Age of Revolutions <\/em>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 17\/10\/1980 \u2013 04\/01\/1981<\/p>\n

<\/div>\n

With the generous support of\u00a0Liebelt Stiftung<\/a>, Hamburg, Fritz Thyssen\u00a0Foundation<\/a>,\u00a0Hamburger Kunsthalle<\/a>, Universit\u00e4t Hamburg<\/a><\/p>\n

Image:\u00a0Suzanne Treister, MI3 (Machine Intelligence 3): William Blake, Jerusalem (ca. 1800\u20131820)<\/em>, 2018, (c)\u00a0the artist<\/p>\n

<\/strong><\/p>\n<\/div>\n<\/div><\/div><\/div><\/div><\/div>","protected":false},"excerpt":{"rendered":"

Kunstgeschichtliches Seminar, Universit\u00e4t Hamburg; Kunsthalle Hamburg
October 1st 2018 to September 30th 2020
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