BEGIN:VCALENDAR VERSION:2.0 PRODID:-//Sabre//Sabre VObject 4.6.1//EN CALSCALE:GREGORIAN BEGIN:VTIMEZONE TZID:Europe/Zurich X-LIC-LOCATION:Europe/Zurich TZURL:http://tzurl.org/zoneinfo/Europe/Zurich BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:19810329T020000 RRULE:FREQ=YEARLY;BYMONTH=3;BYDAY=-1SU END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:19961027T030000 RRULE:FREQ=YEARLY;BYMONTH=10;BYDAY=-1SU END:STANDARD END:VTIMEZONE BEGIN:VEVENT UID:news570@kunstgeschichte.philhist.unibas.ch DTSTAMP;TZID=Europe/Zurich:20260826T142945 DTSTART;TZID=Europe/Zurich:20260910T180000 SUMMARY:Keynote lecture: The Gesturally Expanded Field of (Proto-Feminist) Conceptual Art: The Artistic Practices of Blythe Bohnen and Rosemarie Cast oro with Sabeth Buchmann DESCRIPTION:Contrary to the assumption that nothing could be further remove d from Conceptual Art than the brushstroke\, the planned lecture examines the painterly practices of two artists who belong to the "expanded field" of an artistic movement that sought to break the dominance of the visual —previously the defining paradigm of the visual arts. The artists in que stion are Blythe Bohnen (1940–2022) and Rosemarie Castoro (1939–2015). Despite their programmatic affinity with US Minimal and Conceptual Art\, they persisted in using painterly expression—a mode of representation of ten disparaged for its fixation on the retinal and the individual. The cen tral thesis is that the practice of the brushstroke—considered obsolete at the time—enabled them to (re-)define optical perception as a socially coded embodiment of language\, consciousness\, and memory. The lecture wi ll therefore focus on the ways in which these two artists transformed the linguistic\, serial\, and cybernetic procedures characteristic of canonica l Conceptual Art works into gender-reflexive iterations of gestural abstra ction. Furthermore\, it will be demonstrated how the works of Bohnen and C astoro—situated at the intersection of Expressionist painting\, Minimal dance\, and Conceptual Art—integrated the infrastructures of everyday la bor into artistic (re)production and realized the principles of (proto-)fe minist self-organization\, such as through the New York-based A.I.R. Galle ry\, at the level of formal aesthetics. X-ALT-DESC:Contrary to the assumption that nothing could be further removed from Conceptual Art than the brushstroke\, the planned lecture examines t he painterly practices of two artists who belong to the "expanded field" o f an artistic movement that sought to break the dominance of the visual— previously the defining paradigm of the visual arts. The artists in questi on are Blythe Bohnen (1940–2022) and Rosemarie Castoro (1939–2015). De spite their programmatic affinity with US Minimal and Conceptual Art\, the y persisted in using painterly expression—a mode of representation often disparaged for its fixation on the retinal and the individual. The centra l thesis is that the practice of the brushstroke—considered obsolete at the time—enabled them to (re-)define optical perception as a socially co ded embodiment of language\, consciousness\, and memory. The lecture will therefore focus on the ways in which these two artists transformed the lin guistic\, serial\, and cybernetic procedures characteristic of canonical C onceptual Art works into gender-reflexive iterations of gestural abstracti on. Furthermore\, it will be demonstrated how the works of Bohnen and Cast oro—situated at the intersection of Expressionist painting\, Minimal dan ce\, and Conceptual Art—integrated the infrastructures of everyday labor into artistic (re)production and realized the principles of (proto-)femin ist self-organization\, such as through the New York-based A.I.R. Gallery\ , at the level of formal aesthetics. DTEND;TZID=Europe/Zurich:20260910T200000 END:VEVENT BEGIN:VEVENT UID:news569@kunstgeschichte.philhist.unibas.ch DTSTAMP;TZID=Europe/Zurich:20260826T161011 DTSTART;TZID=Europe/Zurich:20260911T000000 SUMMARY:Conceptual Art in the Expanded Field: Past\, Present\, Future Works hop DESCRIPTION:Workshop Program\\r\\nThursday\, September 10th\, 6–8 pm\, Ke ynote lectureProf. Sabeth Buchmann (Academy of Fine Arts Vienna): “The G esturally Expanded Field of (Proto-Feminist) Conceptual Art: The Artistic Practices of Blythe Bohnen and Rosemarie Castoro”\\r\\nFriday\, Septembe r 11th\\r\\nMorning9.30–10 am: Louis-Antoine Mege\, Welcome and introduc tory remarks10–10.45 am: Michele Valetti\, From Phenomena to Geometries: Laura Grisi’s Conceptual Trajectory in Italy (1968-1977)\\r\\nBreak\\r\ \n11–11.45 am: Paula Stoica\, “Homer wrote and I copied:” On Hanne D arboven’s Odyssee11.45–12.30 pm: Elize Mazadiego\, The Art of Gossip: Ulises Carrión\, marginal communication\, and queer conceptualism12.30– 14 pm: Lunch break\\r\\nAfternoon2–2.45 pm: Anja Delz\, Akin to letters: Theresa Hak Kyung Cha’s correspondence art in Amsterdam2.45–3.30 pm: Rada Georgieva\, Geographies of Exile: Guillermo Deisler\, Juan Downey\, a nd Uneven Visibility in Chilean Conceptualism\\r\\nBreak\\r\\n4–4.45 pm: Sezgin Boynik\, The Portrait of Yugoslavia in the Style of Art & Language (online)4.45–5.30 pm: Felix Vogel\, (De-)Declaration\, Intention\, Exhi bition Form\\r\\nSaturday\, September 12th\\r\\nMorning9–9.45 am: Markus Klammer\, “So is this”. Indexicality in Michael Snow9.45–10.30 am: Emma Wils\, The section of photography in On Kawara’s Journals: A Margin al Practice between Document\, City\, and Temporality\\r\\nBreak\\r\\n11 –11.30 am: Alena J. Williams\, Limited Holdings: Conceptualism and Time in Contemporary Art11.30–12.15 pm: Sara Martinetti\, Jean-Noël Herlin “prepared” archive (online)12.15–12.30 pm: Closing remarks\\r\\nFor questions\, please contact paula.stoica@unibas.ch [mailto:paula.stoica@un ibas.ch] or louis-a.mege@live.fr [mailto:louis-a.mege@live.fr]\\r\\nThis event marks the first step toward a transnational research network on conc eptual art\, with the ambition of developing future workshops\, symposia\, publications\, and collaborative projects between Basel\, Fribourg\, Pari s\, and beyond. X-ALT-DESC:

Workshop Program

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Thursday \, September 10th\, 6–8 pm\, Keynote lectur e
Prof. Sabeth Buchmann (Academy of Fine Ar ts Vienna): “The Gesturally Expanded Field of (Proto-Feminist) Conceptua l Art: The Artistic Practices of Blythe Bohnen and Rosemarie Castoro”

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Friday\, September 11th

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Morning
9.30–10 am: Louis-Antoine Mege\, Welcome and introductory remarks
10–10.45 am: Michele V aletti\, From Phenomena to Geometries: Laura Grisi’s Conceptual Trajectory in Italy (1968-1977)

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Break

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11–11.45 a m: Paula Stoica\, “Homer wrote and I copied:” On Hann e Darboven’s Odyssee
11.45–12.30 pm: Elize Mazadie go\, The Art of Gossip: Ulises Carrión\, marginal communication\ , and queer conceptualism
12.30–14 pm: Lunch break

\n

< i>Afternoon
2–2.45 pm: Anja Delz\, Akin to let ters: Theresa Hak Kyung Cha’s correspondence art in Amsterdam
2.45 –3.30 pm: Rada Georgieva\, Geographies of Exile: Guille rmo Deisler\, Juan Downey\, and Uneven Visibility in Chilean Conceptualism

\n

Break

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4–4.45 pm: Sezgin Boynik\ , The Portrait of Yugoslavia in the Style of Art &\; Language (online)< br />4.45–5.30 pm: Felix Vogel\, (De-)Declaration\, Int ention\, Exhibition Form

\n

Saturday\, September 12th

\n

Morning
9–9.45 am: Markus Klammer\, “So is this”. Indexicality in Michael Snow
9.45–10.30 am: Emma Wils\, The section of photogr aphy in On Kawara’s Journals: A Marginal Practice between Documen t\, City\, and Temporality

\n

Break

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11–11.30 am: Alena J. Williams\, Limited Holdings: Conceptualism and Time in Contemporary Art
11.30–12.15 pm: Sara Martinetti\, Jean-Noël Herlin “prepared” archive (online)
12.15–12.30 pm: Closing remarks

\n

For questions\, please contact \;paula.stoica@unibas.ch or \;louis-a.mege@live.fr

\n

This ev ent marks the first step toward a transnational research network on concep tual art\, with the ambition of developing future workshops\, symposia\, p ublications\, and collaborative projects between Basel\, Fribourg\, Paris\ , and beyond.

\n\n\n DTEND;TZID=Europe/Zurich:20260912T000000 END:VEVENT BEGIN:VEVENT UID:news573@kunstgeschichte.philhist.unibas.ch DTSTAMP;TZID=Europe/Zurich:20260907T171737 DTSTART;TZID=Europe/Zurich:20261008T181500 SUMMARY:Forumsvortrag «SOUND ART HISTORY UND DIE KLANGLICHEN DIMENSIONEN D ES AMBOS IN AACHEN» mit Joanna Olchawa END:VEVENT BEGIN:VEVENT UID:news571@kunstgeschichte.philhist.unibas.ch DTSTAMP;TZID=Europe/Zurich:20260907T105118 DTSTART;TZID=Europe/Zurich:20261020T181500 SUMMARY:Both/And: Madeleine Lemaire Through a Queer Lens DESCRIPTION:Throughout her career\, Madeleine Lemaire (1845-1928) painted h undreds of works depicting women in various states of dress—and undress —and companionship with other women. These images tended to receive posi tive notice in both exhibitions and the popular press\, with no recorded c ommentary on the purported appropriateness of a so-called “woman artist ” representing seemingly Sapphic scenes. Yet today it remains common to hear that “women artists” on the whole did not paint such images\, and when they did\, such images were rarely if ever sexualized. In this prese ntation\, Ringelberg will share a number of these images and ask the audie nce to rethink the mental frameworks that cause us to be unable to see the m in their complexity.Kirstin Ringelberg is Professor of Art History in th e Department of History & Geography at Elon University in North Carolina.  Their book Redefining Gender in American Impressionist Studio Paintings: Work Place/Domestic Space was re-released in paperback in 2017. Recent  articles include “Reading Cisheteronormativity into the Art Historical Archives” in Arts\, spring 2024\, “Trans visibility and trans viabilit y: a Roundtable\,” co-edited\, with Jill Casid and Cyle Metzger\, in the Journal of Visual Culture in 2022\, and “Prismatic Views: a look at the growing field of transgender art and visual culture studies\,” co-autho red with Cyle Metzger in the Journal of Visual Culture in 2020. In 2024\,  Ringelberg was the Every Page Foundation Fellow at the Clark Art Instit ute\, for work on their book-length project Chez Madeleine Lemaire: Gender and Genre in the Queer Belle Époque (in progress). X-ALT-DESC:

Throughout her career\, Madeleine Lemaire (1845-1928) painted hundreds of works depicting women in various states of dress—and undres s—and companionship with other women. These images tended to receive pos itive notice in both exhibitions and the popular press\, with no recorded commentary on the purported appropriateness of a so-called “woman artist ” representing seemingly Sapphic scenes. Yet today it remains common to hear that “women artists” on the whole did not paint such images\, and when they did\, such images were rarely if ever sexualized. In this prese ntation\, Ringelberg will share a number of these images and ask the audie nce to rethink the mental frameworks that cause us to be unable to see the m in their complexity.

Kirstin Ringelberg is Professor of Art H istory in the Department of History &\; Geography at Elon University in North Carolina. \;Their book Redefining Gender in American Impress ionist Studio Paintings: Work Place/Domestic Space \;was re-releas ed in paperback in 2017. Recent \;articles include \;“Reading Ci sheteronormativity into the Art Historical Archives” in Arts\, sp ring 2024\, “Trans visibility and trans viability: a Roundtable\,” co- edited\, with Jill Casid and Cyle Metzger\, in the Journal of Visual Cu lture in 2022\, and “Prismatic Views: a look at the growing field of transgender art and visual culture studies\,” co-authored with Cyle Met zger in the Journal of Visual Culture in 2020. \;In 2024\,  \;Ringelberg \;was the Every Page Foundation Fellow at the Clark Art I nstitute\, for work on their book-length project Chez Madeleine Lemaire : Gender and Genre in the Queer Belle Époque (in progress).

\n\n DTEND;TZID=Europe/Zurich:20261020T194500 END:VEVENT BEGIN:VEVENT UID:news572@kunstgeschichte.philhist.unibas.ch DTSTAMP;TZID=Europe/Zurich:20260907T120052 DTSTART;TZID=Europe/Zurich:20261021T093000 SUMMARY:Kirstin Ringelberg: “Toute La Flore Vivante”: Floral Still Life ’s Gender Potential DESCRIPTION:Please send an email to lesbiangaze-kunsthist@unibas.ch (limit ed number of participants)\\r\\nThe workshop will bring participants into shared discussion of how art history has supported false taxonomical binar isms—in gender\, genre\, style\, and content—and how we might undo th ese to have a richer understanding of both art and life. Readings will inc lude essays by Ringelberg (two of which unpublished) as well as texts by D avid J. Getsy and Emma Heaney. In the second part of the workshop\, partic ipants will have the opportunity to contribute specific questions related to their own research that resonate with the workshop’s readings and the mes.Readings:– Ringelberg\, Kirstin. “Reading Cisheteronormativity int o the Art Historical Archives.” Arts 13\, Nr. 3 (2024): 89. https://doi .org/10.3390/arts13030089 [https://doi.org/10.3390/arts13030089]\\r\\n– Ringelberg\, Kirstin. “Beyond Sex and Gender Binaries: The Floral Still Lives of Madeleine Lemaire (1845–1928).” [draft]– Ringelberg\, Kirst in. “Introduction.” Chez Madeleine Lemaire: Gender and Genre in the Qu eer Belle Époque (in progress) [draft]– Getsy\, David J. “Capacity. ” TSQ: Transgender Studies Quarterly 1\, no. 1–2 (May 2014): 47–49 .– Heaney\, Emma. “Introduction: Sexual Difference without Cisness.” In Feminism Against Cisness\, edited by Emma Heaney\, 1–33. Durham\, N C: Duke University Press\, 2024.Kirstin Ringelberg is Professor of Art His tory in the Department of History & Geography at Elon University in North Carolina. Their book Redefining Gender in American Impressionist Studio P aintings: Work Place/Domestic Space was re-released in paperback in 2017. Recent articles include “Reading Cisheteronormativity into the Art Hi storical Archives” in Arts\, spring 2024\, “Trans visibility and trans viability: a Roundtable\,” co-edited\, with Jill Casid and Cyle Metzger \, in the Journal of Visual Culture in 2022\, and “Prismatic Views: a lo ok at the growing field of transgender art and visual culture studies\,” co-authored with Cyle Metzger in the Journal of Visual Culture in 2020.  In 2024\, Ringelberg was the Every Page Foundation Fellow at the Clark A rt Institute\, for work on their book-length project Chez Madeleine Lemair e: Gender and Genre in the Queer Belle Époque (in progress). X-ALT-DESC:

Please send an email to \;lesbiangaze-kunsthist@unibas.c h (limited number of participants)

\n

The workshop will bring participants into shared discussion of how art his tory has supported false taxonomical binarisms—in gender\, genre\, \ ;style\, and content—and how we might undo these to have a richer unders tanding of both art and life. Readings will include essays by Ringelberg ( two of which unpublished) as well as texts by David J. Getsy and Emma Hean ey. In the second part of the workshop\, participants will have the opport unity to contribute specific questions related to their own research that resonate with the workshop’s readings and themes.

Readings:– Ringelberg\, Kirstin. “Reading Cisheteronormativity into the Art Historical Archives.” Arts 13\, Nr. 3 (2024): 89. \;https://doi.org/10.3390/arts1303008 9

\n

– Ringelberg\, Kirstin. “Beyond Sex and Gender Binaries: The Floral Still Lives of Madeleine Lemaire (1845–1928).” [draft]
– Ringelberg\, Kirstin. “Introduction.” Chez Madeleine Lemaire: Gender and Genre in the Queer Belle Époque (in progress) [draft]
– Getsy\, David J. “Capacity.” \;TSQ: Transgender Studies Q uarterly \;1\, no. 1–2 (May 2014): 47–49.
– Heaney\, Em ma. “Introduction: Sexual Difference without Cisness.” In \;Fem inism Against Cisness\, edited by Emma Heaney\, 1–33. Durham\, NC: D uke University Press\, 2024.

Kirstin Ringelberg is Professor of Art History in the Department of History &\; Geography at Elon Univers ity in North Carolina. \;Their book Redefining Gender in American I mpressionist Studio Paintings: Work Place/Domestic Space \;was re- released in paperback in 2017. Recent \;articles include \;“Read ing Cisheteronormativity into the Art Historical Archives” in Arts\, spring 2024\, “Trans visibility and trans viability: a Roundtable\, ” co-edited\, with Jill Casid and Cyle Metzger\, in the Journal of Vi sual Culture in 2022\, and “Prismatic Views: a look at the growing f ield of transgender art and visual culture studies\,” co-authored with C yle Metzger in the Journal of Visual Culture in 2020. \;In 2024 \, \;Ringelberg \;was the Every Page Foundation Fellow at the Clar k Art Institute\, for work on their book-length project Chez Madeleine Lemaire: Gender and Genre in the Queer Belle Époque (in progress).

\n\n DTEND;TZID=Europe/Zurich:20261021T123000 END:VEVENT BEGIN:VEVENT UID:news574@kunstgeschichte.philhist.unibas.ch DTSTAMP;TZID=Europe/Zurich:20260907T170928 DTSTART;TZID=Europe/Zurich:20261112T181500 SUMMARY:Forumsvortrag «ART\, ECONOMY\, AND NATURE IN MEDIEVAL NORWICH» mi t Jessica Barker DESCRIPTION:Preisverleihung des Hanna Levy-Deinhard Preises (Beste Masterar beit) X-ALT-DESC:Preisverleihung des Hanna Levy-Deinhard Preises (Beste Masterarb eit) END:VEVENT BEGIN:VEVENT UID:news575@kunstgeschichte.philhist.unibas.ch DTSTAMP;TZID=Europe/Zurich:20260907T143903 DTSTART;TZID=Europe/Zurich:20261203T181500 SUMMARY:Forumsvortrag «AGON UND MIMIKRY - ZUR BILDLICHKEIT MITTELALTERLICH ER SPIELSTEINE» mit Tobias Frese END:VEVENT END:VCALENDAR