Course Schedule
Lehrveranstaltungen
The Times of the Artwork: Image Mobility and Globality Since 1989 (Seminar)
Dozent/in: Ying Sze Pek
Termin:
wöchentlich | Donnerstag | 18:15 - 19:00 | 12.10.2020 - 29.01.2021 | C 14.201 Seminarraum
Inhalt: How can close attention to the temporality of artworks help us think about contemporary conditions of globality? This module investigates the image and its mobility within global digital networks since 1989, in what critics have viewed as a period of historical and technological homogenization. We explore how contemporary artists have posed timely and temporally-directed interventions through historical and fictive archives, artistic and historical reenactments, and networks of circulation and communication. This introductory seminar to recent contemporary art probes the time of contemporaneity – does it represent a continuation of or a rupture with those of artistic modernism and postmodernism? Is contemporaneity a historically or future-oriented temporality?
The Times of the Artwork: Image Mobility in Postwar and Contemporary Art (Seminar)
Dozent/in: Ying Sze Pek
Termin:
wöchentlich | Donnerstag | 16:15 - 17:45 | 12.10.2020 - 29.01.2021 | C 14.201 Seminarraum
Inhalt: How have artworks offered ways of thinking about time and temporality? The seminar pursues this inquiry within the histories of art, photography, and cinema since 1960, examining artists’ representations and negotiations of time and motion, as well as critics’ accounts of the time of the artwork and the spectator. The seminar investigates the mediation of temporality through techniques of mobility and animation, technologies of recording and reproduction, and devices of seriality and repetition. Students will gain an introduction to works from artistic movements such as minimalism, post-minimalism, expanded cinema, and institutional critique, and canonical texts by critics including Michael Fried, Rosalind Krauss, and George Kubler. In examining the history of art as a history of temporalization, the seminar proposes alternative media genealogies of art historical modernity and contemporaneity, as well as models for cultural history and memory.