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Institut d'histoire de l'art et de muséologie
Organisation mère
Courriel
Téléphone
+41 32 718 19 30
Fax
+41 32 718 18 71
Rue
Espace Tilo Frey 1
Code postal
2000
Ville
Neuchâtel
Pays
CH
Type d'institution
Academic Institute
Identifiants
366 Résultats
Voici les éléments 1 - 10 sur 366
- PublicationMétadonnées seulement
- PublicationMétadonnées seulementLe livre d'histoire de l'art en France (1810-1850) - une genèse retardée. Pour une nouvelle étude de la littérature historiographique.(Paris: La Documentation française, 2008)
; - PublicationMétadonnées seulement
- PublicationAccès libreMécènes, les bâtisseurs du patrimoine(Neuchâtel/Martigny: Chaman / Edition & Fondation Pierre Gianadda, 2011)
; - PublicationMétadonnées seulementThe Bauhaus and the Russian avant-gardeIn 1995, Jean-Claude Marcadé declared that research into the relationship between the Bauhaus and the Russian avant-garde was essentially nonexistent. In recent years, new studies on the Hungarian Bauhaus master László Moholy-Nagy and his compatriots Lajos Kassák, Béla Uitz, and Alfréd Kemény, have yielded fresh insights into the development and transfer of ideas. The essay provides an overview of the most important mediators, publications, and private and state initiatives that undertook to promote exchange between the two sides.
- PublicationMétadonnées seulement« Friedrich Karl Gotsch : ‹ The wind is not behind the sails of our kind › »As a painter of the so-called second Expressionist Generation, Friedrich Gotsch stood in the shadow of the great Expressionists of the first guard throughout his life. His name is closely linked with his former master Oskar Kokoschka to this day, although he benefited from only two years of his teaching at the Saxon Academy of the Arts (1921 - 1923)
- PublicationAccès libreKokoschkas Kampf um Anerkennung in England und in den USA nach 1938Am 17. Oktober 1938 landete Oskar Kokoschka mit seiner Freundin Olda Palkovská als mittelloser Flüchtling mit tschechoslowakischem Pass auf dem Croydon Airport bei London. Nicht zum ersten Mal in seinem Leben musste er sich nach einem Landeswechsel einen neuen Kreis von Auftraggebern und Mäzenen aufbauen. Als extrovertierter Netzwerker hatte er bereits von Prag aus Kontakte zu wichtigen Persönlichkeiten der britischen und amerikanischen Kunstwelt geknüpft. Mit Hilfe von teilweise noch unbekannten Briefen sollen Kokoschkas Strategien in der Suche nach Aufträgen für Porträts von Politikern, hohen Würdenträgern, wohlhabenden Unternehmern und Kunstsammlern aufgezeigt werden. Kokoschka zielte als Porträtist zeitlebens auf international bekannte Persönlichkeiten, auf dass sein Name auf ewig an die ihrigen gebunden sei. Um die nötigen Kontakte zu knüpfen, schickte er einflussreiche Mittelsmänner voraus. Unter diesen waren viele Emigranten, die nach dem Anschluss Österreichs bzw. dem Münchner Abkommen nach England oder in die USA geflohen waren.
- PublicationMétadonnées seulement« Die ‹ Paper Tube Structures › von Shigeru Ban. ‹ Architektur als Objekt › im wörtlichen Sinne »Paper held at the 33rd Congress of the International Committee of the History of Art in Nürnberg; The Challenge of the Object: The architect Shigeru Ban, born in Tokyo in 1957, shows with his buildings from cardboard tubes that architecture can certainly have the character of an object that is both portable and that one can actually grasp. His paper tube structures can be moved from one place to another without any effort. The tent roof of his Paper Church of 1995, built to replace a building destroyed in the Kobe earthquake, is built on 58 cardboard tubes. Ten years after its consecration, the church was disassembled into its constituent tubes and sent to Taiwan. Shigeru Ban makes it possible to present a finished sacred building as a gift to a neighbouring country as if it were an ‘object’. In April 2008, the auction house Phillips de Pury & Company auctioned off a finished paper tea house by the architect for £31,700. With his Japan Pavilion at the World Expo 2000 in Hanover, Ban created the biggest construction that had ever been made of paper. The Pavilion comprised a three-dimensional mesh of 440 cardboard rolls whose outer surface was made of a water-resistant paper membrane. In keeping with the eco-political guiding theme of Expo 2000, all the materials of the building were intended to be able to be recycled and re-used after the end of the exhibition. Up to this point, the work of an architect had been regarded as finished once the building was complete. Shigeru Ban, however, sees his paper buildings only as ‘completed’ when they have fulfilled their temporary purpose and have been disposed of in an ecological manner. They thereby comply with the same norms as the packaging materials for consumer products. The fact that concepts such as ‘architecture’ and ‘mobility’ are by no means mutually exclusive is proven by the Nomadic Museum that the architect constructed in 2005 from paper tubes and 148 shipping containers, next to the Hudson River in New York. It was built for the exhibition ‘Ashes and Snow’ by the photo artist Gregory Colbert. As the adjective ‘nomadic’ suggests, the architecture travels along with the exhibits in this touring exhibition. From this combination of paper tubes and containers, Shigeru Ban developed the ephemeral ‘Papertainer Museum’ in 2006 for the Korean publisher ‘Design House’ in Seoul. The present lecture will illustrate the notion of ‘architecture as object’ in its literal sense and will question the traditional concept of architecture.