Article for the exhibition catalogue “Hagenbund. A European network of modernism 1900 to 1938” (2014)

Completed in early 1944, Robert Desnos’s militant series of 25 poems in Contrée evokes memories of a lost peace and calls for the defeat of the German occupiers. Suggesting the desecration of the human body by the occupiers, Picasso cut his cubist–surrealist frontispiece etching of Dora Marr to produce severed heads and dismembered body part…[Read more]

Aufgrund der Vorstellungen der ‚fränkischen Völkertafel‘ erlaubte die Gleichung Wenden = Vandalen die Einordnung der Slawen in die anerkannten Völkergenealogien. Die Gleichsetzung Wenden = Vandalen zeugt von den Schwierigkeiten, die ethnische Landschaft Osteuropas im Frühmittelalter zu klassifizieren. Diese Gleichsetzung wurde vor dem Stadium…[Read more]

Zusammenfassung: Aus der schriftlichen Überlieferung der antiken Ethnographie kennen wir ethnische Bezeichnungen oder Gentilnamen, deren Bedeutungen und Bedeutungskontinuitäten oft nur schwer zu fassen sind. In den Peripherieräumen des Imperiums agierten gentes bzw. ἔθνη. Die römische und griechische Literatur bietet diesbezüglich aber keine…[Read more]

For more than four hundred years, up to the accession of the present king Carl XVI Gustaf in 1973, did the Swedish monarchs hold the title “King of the Wends“. The first evidence of this claim dates from the reign of Gustav I Vasa (1523-1560), who adopted the title Sveriges, Göthes och Wendes Konung in official sources around the year 1540. In L…[Read more]

This essay will show, however, that the text is not linked to diplomas, but belonged to an African version of Prosper’s chronicle. I will propose a new edition, which will put the text back in its original context. Rather than looking for ‘good’ and ‘bad’ texts according to 19th-century categories, I will try to analyze the specific character…[Read more]

In addition to the enigmatic The Codomas, Henri Matisse distinguished three other images with a name, Icarus, Monsieur Loyal and Pierrot’s Funeral for his landmark livre d’artiste Jazz. While the characters Loyal, Pierrot and Icarus were readily identifiable and the images could be interpreted within the context of the difficulties of the Ger…[Read more]

In the valuation of works of art, the setting of a price is the last step, the result of a discursive attribution of quality; in this regard, aesthetic and commercial evaluations merge. The structure of this mediation is characterised by the concept of the “knowledge market;” knowledge that is ordered and able to spread is essential in order to…[Read more]

Digital images with metadata contain unique potential for research into the history of the art market. The embedding of digital images in a database allows for the possibility of an association with their historical context due to the presence of metadata, which includes economic data, such as the provenance chain, as well as information about…[Read more]

Henri Matisse’s images in Jazz, created during the disruption of the German Occupation of France, were embedded with symbols of cultural resistance, while his text, which he composed after the defeat of the Germans, reflected the transition to a post-Liberation France. The wartime symbols and allusions camouflaged within these images are readily r…[Read more]

In this article Stephe Harrop combines theatre history and performance analysis with contemporary agonistic theory to re-conceptualize Greek tragedy’s contested spaces as key to the political potentials of the form. She focuses on Athenian tragedy’s competitive and conflictual negotiation of performance space, understood in relation to the…[Read more]

It has been widely acknowledged that reinstallations and re-executions of contemporary artworks substantially rely on available documentation. Especially for installations and performances it is crucial to record the artist’s intent, past iterations, and tacit knowledge involved in staging the artwork. The growing presence of contemporary a…[Read more]

A text on feminist 1970s avant-garde performance for the camera (Hannah Wilke, Birgit Jürgenssen, Ana Mendieta, Eleanor Antin) and the implications of the “wall” (lense) for the relationship between work and audience, as well as a text on VALIE EXPORT’s Touch Cinema (1968).

A syllabus for an undergraduate course, taught in English, on the visual culture (primarily film, photography, and aesthetic theory) of the Weimar Republic. The course is housed in German Studies and crosslisted with Art History, Cinema, and other departments.

The altar screen mosaic icons were ordered and installed on a new reconstructed altar screen in the Žiča Monastery in 1993. The sketches made by a painter, Mladen Srbinović were approved by a committee consisting of eminent experts. Furthermore , The Serbian Patriarch Paul gave his blessing to the icons. However, soon after they were put up, th…[Read more]

The paper deals with the so called griffin lamps. In the group of early Christian bronze lamps, a relatively large number of those with handles in the form of griffin-shaped protome have been preserved. Griffin lamps could be called the prototype of Late Antique production, owing to the manner in which stylistic and iconographic elements of the…[Read more]

Between Continuity and Negation – Reception of the Ancient Spolia in the Christian Tradition in the North of Kosovo The use of spolia has been recorded on numerous sacred objects in the Northern Kosovo, especially in the micro region around the Roman settlement in Sočanica. Spolia were mostly used for construction and paving; however, their use…[Read more]

CERTAIN ASPECTS OF THE CULT OF ANTINOUS IN THE ROMAN SETTLEMENT AT SOČANICA This Roman settlement, located on the territory near Sočanica, was parтly explored around the 1950’s. Systematic excavations, headed by E.Češkov, resulted in quite a large number of mobile and immobile finds, helped to form a clearer picture about the history, econom…[Read more]

Jewish relation to representational art is determined mostly by the Second Commandment: “You shall not make for yourself a carved image, or any likeness of anything that is in heaven above, or that is in the earth beneath, or that is in the water under the earth; you shall not bow down to them nor serve them.” As science has observed, the…[Read more]

The aim of this research, focusing on representations of light and the symbolism of early Christian lamp decorations, has been to examine and summarise the existing knowledge of the symbolism of light in the Mediterranean region and the models by which this symbolism was manifested in the early Christian visual culture. Lamps with Early Christian…[Read more]