DOCSLIB.ORG

Full Programme

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

FULL PROGRAMME [no title] — NORDIK XII Copenhagen 2018 PROGRAMME OVERVIEW WEDNESDAY 24 October 16.00–18.00 SMK (National Gallery) Optional reception THURSDAY 25 October 9.00–9.30 Coffee in front of Auditorium (23.0.50) 9.30–11.00 23.0.50 (THE LARGE AUDITORIUM) Welcome and Keynote Temi Odumosu 11.00–12.30 23.0.50 (THE LARGE AUDITORIUM) A Farewell to Critique? Reconsidering Critique as Art Historical Method #1 — What’s at stake? 27.0.09 (AUDITORIUM) Decolonial Aesthetics: A View from the North #1 — De/Colonial Landscapes 27.0.17 (AUDITORIUM) Futures from the Past? Scandinavian Exhibition Histories #1 — Nordic peripheries 27.0.47 (LECTURING ROOM) Life: On Art Animation and Biology #1 — Animating form 27.0.49 (LECTURING ROOM) To be [titled], or not to be [titled]? Art History and its “well-(un)known” masters #1 — Medieval(ists) case studies: Masters - Names 27.1.47 (LECTURING ROOM) Untitled Spaces: Scenography and Nordic Art History #1 — Scenographic thinking and memory 27.1.49 (LECTURING ROOM) Nature, non-human and ecology in modern art, architecture and environmental planning #1 — Nature, non-human and ecology in modern and contemporary art 12.30–14.00 Lunch 1 [no title] — NORDIK XII Copenhagen 2018 PROGRAMME OVERVIEW 14.00–15.30 23.0.50 (THE LARGE AUDITORIUM) A Farewell to Critique? Reconsidering Critique as Art Historical Method #2 — Art Historiography and critique 27.0.09 (AUDITORIUM) Art and Design in Translation: The circulation of objects people and approaches #1 — Nordic Identities for International Consumption 27.0.17 (AUDITORIUM) A Whiter Shade of Pale, A Whiteness Perspective on Nordic Visual Culture #1 — [no title] — I 27.0.47 (LECTURING ROOM) Showing not telling. Art institutional practices of inclusions/exclusions #1 – Inclusive practices in the art museum: experience, language and poetry 27.0.49 (LECTURING ROOM) Life: On Art Animation and Biology #2 – Life as image and principle 27.1.47 (LECTURING ROOM) Nature, non-human and ecology in modern art, architecture and environmental planning #2 — Nature, non-human and ecology in modern and contemporary architecture and environmental planning 27.1.49 (LECTURING ROOM) (In)hospitalities #1 – Practicing spaces of hospitality 15.30–16.00 Coffee in front of Auditorium (23.0.50) 16.00–17.30 23.0.50 (THE LARGE AUDITORIUM) Keynote Event Towards a New Understanding of Artistic Praxis (or How I learned that potatoes have agency) Charlotte Bydler / Åsa Sonjasdotter 2 [no title] — NORDIK XII Copenhagen 2018 PROGRAMME OVERVIEW FRIDAY 26 October 10.30–11.00 Coffee in front of Auditorium (23.0.50) 11.00–12.30 23.0.50 (THE LARGE AUDITORIUM) Mixed Media #1 — Between Matter and Materiality 27.0.09 (AUDITORIUM) A Farewell to Critique? Reconsidering Critique as Art Historical Method #3 — Critique and the post critical 27.0.17 (AUDITORIUM) Futures from the Past? Scandinavian Exhibition Histories #2 — Negotiating History 27.0.47 (LECTURING ROOM) Decolonial Aesthetics: A View from the North #2 – De/Colonial Display 27.0.49 (LECTURING ROOM) To be [titled], or not to be [titled]? Art History and its “well-(un)known” masters #2 — Anonymus - Archetype: Attribution in Early Modern understanding 27.1.47 (LECTURING ROOM) Untitled Spaces: Scenography and Nordic Art History #2 — Scenographic staging and architecture 27.1.49 (LECTURING ROOM) Medieval Nordic Art and the Un-nameable 12.30–14.00 Lunch 3 [no title] — NORDIK XII Copenhagen 2018 PROGRAMME OVERVIEW 14.00–15.30 23.0.50 (THE LARGE AUDITORIUM) Mixed Media #2 — Curating Materiality 27.0.09 (AUDITORIUM) A Farewell to Critique? Reconsidering Critique as Art Historical Method #4 — Other options 27.0.17 (AUDITORIUM) Art and Design in Translation: The circulation of objects people and approaches #2 — The Cosmopolitan in Turn-of-the-Century Nordic Design 27.0.47 (LECTURING ROOM) Decolonial Aesthetics: A View from the North #3 – De/Colonizing Institutions and Heritage 27.0.49 (LECTURING ROOM) Showing not telling. Art institutional practices of inclusions/exclusions #2 — Alternative methods, alternative facts: education, encouragement and interpretation 27.1.47 (LECTURING ROOM) Art Artists and Art Institutions in Times of War and Conflicts #1 — Exhibiting Political and National Positions during and after the Second World War 27.1.49 (LECTURING ROOM) (In)hospitalities #2 – Gestures, representations, tools 15.30–16.00 Coffee in front of Auditorium (23.0.50) 16.00–17.30 23.0.50 (THE LARGE AUDITORIUM) Keynote Nordic Stories of Modern Art 1945-1960. Exploring the Postwar Fine Art Fields in Denmark, Finland, Iceland, Norway and Sweden Marta Edling 19.00–21.00 NORDIK Dinner, Copenhagen University, City, Grand Hall (Ticket price DKK 500, only a few tickets left) 4 [no title] — NORDIK XII Copenhagen 2018 PROGRAMME OVERVIEW SATURDAY 27 October 9.00–10.30 23.0.50 (THE LARGE AUDITORIUM) Mixed Media #3 — Materiality in Individual Artistic Practices 27.0.09 (AUDITORIUM) A Whiter Shade of Pale — Whiteness Perspective on Nordic Visual Culture #2 — [no title] — II 27.0.17 (AUDITORIUM) Art and Design in Translation: The circulation of objects people and approaches #3 — Translations and Mistranslations 27.0.47 (LECTURING ROOM) Queer Art: Artists and Identity: Nordic and Global Contexts 27.0.49 (LECTURING ROOM) Networks and Collaborations in Nordic Architectural Culture #1 — Institutional Formations 27.1.47 (LECTURING ROOM) Untitled Spaces: Scenography and Nordic Art History #3 — Multisensory scenographic immersion 27.1.49 (LECTURING ROOM) Remembering — Art History and Curatorial Practices in Nordic Post-War Exhibition Studies 10.30–11.00 Coffee in front of Auditorium (23.0.50) 5 [no title] — NORDIK XII Copenhagen 2018 PROGRAMME OVERVIEW 11.00–12.30 23.0.50 (THE LARGE AUDITORIUM) Mixed Media #4 — Materiality in Specific Media 27.0.09 (AUDITORIUM) Post democratic culture and culture in Post democracy 27.0.17 (AUDITORIUM) Futures from the Past? Scandinavian Exhibition Histories #3 — Countering Oblivion 27.0.47 (LECTURING ROOM) Art and Spirituality in a Secular Society 27.0.49 (LECTURING ROOM) Networks and Collaborations in Nordic Architectural Culture #2 — Professional Exchange 27.1.47 (LECTURING ROOM) Art Artists and Art Institutions in Times of War and Conflicts #2 — Artists and Nordic Networks in the Years of Conflict from the 1910s to the 1940s 27.1.49 (LECTURING ROOM) (In)hospitalities #3 — Film screening and discussion 12.30–13.00 Closing remarks: Presentation of the new Board of NORDIK, see you in 2021 in NORWAY 6 [no title] — NORDIK XII Copenhagen 2018 PROGRAMME D etails Keynote presentations THURSDAY 25 October 9.30–11.00 23.0.50 (THE LARGE AUDITORIUM) Keynote Event Temi Odumosu 16.00–17.30 23.0.50 (THE LARGE AUDITORIUM) Keynote Event Towards a New Understanding of Artistic Praxis (or How I learned that potatoes have agency) Charlotte Bydler / Åsa Sonjasdotter FRIDAY 26 October 16.00–17.30 23.0.50 (THE LARGE AUDITORIUM) Keynote Nordic Stories of Modern Art 1945-1960. Exploring the Postwar Fine Art Fields using Relational Methods Marta Edling KEYNOTE INTRODUCTION Even if, as Anna Brzyski remarks, “the critique of canonicity has become…commonplace” and art historians agree upon the “historic existence of multiple, temporally and geographically situated canonical formations", the question remains what difference this makes? If the differentiation of the canon is accomplished by the use of the “mechanics of the canonical system” (Bryzki 2007) is "canon-busting" (Smith 2007) really the effect? One possible answer is negative. Global art history e.g. does not represent any true change, James Elkins argues (2007), only an expansion of the old model. It offers "regional differences" that are "variations on the basic model" of Western art history. On the other hand, one could give an affirmative answer. The outcome of this fragmentation of the old model is a discipline challenged by variety of different agendas, and a multi-faceted pluralism. The vitality of the discipline today is indeed the result of many years of critique of the gender, colonial and capitalist bias of earlier preferences. The self-critical awareness of the "canon's function as a mechanism of oppression, a guardian of privilege, a vehicle of exclusion" (Brzyski 2007) is today a default setting of the discipline. What is clear, irrespective of what answer one prefers, is that the "mechanics" of canon- formation comes with a consensus on the necessity of value-systems. In this sense nothing has busted. Put another way, canon-critique do not necessarily call into question the process of evaluation and selection that canon-formation presuppose. What is at stake is rather which objects should be chosen (Deepwell 1998, Preziosi 1998, Locher 2012, Karlholm 2014). 1 [no title] — NORDIK XII Copenhagen 2018 PROGRAMME D etails Keynote presentations Now, if an evaluative approach lays down conditions for our research, what underlying assumptions on value come with the "interpretive agendas" and "scholarly protocols" (Elkins 2015)? What preconceived conceptions on what constitutes pertinent properties are tacitly implied in studies on overlooked, peripheral or seemingly odd materials? And is it at all possible to escape from the “the inherently evaluative approach” (Brzyski 2007) that all canon formation entails? Can we accomplish a non- or, a-canonical art history? Do we want to? Should we want to? In my presentation I will discuss how the problem of the canon became a vital question when I started researching art from the "semi-periphery” (Bydler 2004, Ring Petersen 2015) of the Nordic countries 1945-1960. I will discuss how 'discordant' features of the art and the archival data made it clear that I had to find approaches that would allow me to research it outside of the grids of "the center-periphery frame" (Joyeux-Prunel 2015) and the "aesthetic standard" of modernist scholarship (Harrison 2003). It forced me to find art historical research that had challenged these protocols and to take on the methodological problem of selection.
Recommended publications
  • Legal Regulations of Transfer Pricing in Poland

    Legal Regulations of Transfer Pricing in Poland

    LEGAL REGULATIONS OF TRANSFER PRICING IN POLAND ALEKSANDRA SULIK-GÓRECKA [email protected] Brno, June 2019 Aim of presentation . to present legal regulations concerning transfer pricing in Poland in 2019, . to compare them with previously applicable regulations: regulations in force until 2016, regulations in force in 2017-2018 Due to the right to control taxes up to 5 years back, groups capital in Poland must adapt to three different legal orders History . Poland became a member of the OECD on November 22, 1996 . The first provision on transfer prices was introduced into the Polish legal order in 1935 by amending the Law on state income tax . Post-war regulations to a certain extent regulated the issue of international trade and leveled the impact of differences in the tax systems of individual countries on the tax base of Polish enterprises. The income tax decree of 1946 provided for the possibility of estimating the taxpayer's income in a situation when one of the related parties of the transaction benefited from specific tax reliefs. Two years later, national entities were also subject to regulations limiting the transfer of income . Later, due to the functioning of the centrally controlled economy, the regulation of transfer prices lost their importance. Interest in this issue returned in the early 90s of the twentieth century along with the beginning of the market economy. The Law on Corporate Income Tax, in force since February 15, 1992, includes a provision regulating the issue of links between business entities . Since 1996, work has begun to adapt Polish law to international regulations in the field of transfer pricing.
  • Sport Gulf Times

    Sport Gulf Times

    FORMULA 1 | Page 4 NBA | Page 8 Ecclestone’s Heat stun To Advertise here exit marks Warriors, Call: 444 11 300, 444 66 621 end of an era Cavs fall for Formula 1 to Pelicans Wednesday, January 25, 2017 FOOTBALL Rabia II 27, 1438 AH Injury-hit GULF TIMES Real wait on Ronaldo for comeback SPORT Page 4 FOCUS SPOTLIGHT Wood hopes Offi cials celebrate to repeat his landmark 20th 2013 title feat edition of CBQM Now broadcast to an audience of 400 million and attracting 25,000 spectators each year, the Commercial Bank Qatar Masters has developed beyond recognition since its inauguration in 1998, when it helped form a two-leg Desert Swing on the European Tour By Yash Mudgal contention. You know, one shot, Doha one putt missed here or there can make all the diff erence…” “It’s hard to explain until hris Wood has set his you’ve been in that position, sights on reclaiming but it really is the reason that the Mother of Pearl we play; the pressure that you trophy in the 20th edi- put yourself under trying to Ction of the Commercial Bank win a tournament, trying to Qatar Masters. fi nish a tournament off . It’s like “Every year I come back here, something I’ve never experi- I sort of feel like I’m going to give enced week-in and week-out, (From left) Qatar Golf Association Executive Director Mohamed Faisal al-Naimi, Nick Tarratt (Director of International Off ice, European Tour), QGA General Secretary Fahad Nasser myself a chance, just because of really,” Wood added.
  • 2ANGLAIS.Pdf

    2ANGLAIS.Pdf

    ANGLAIS domsdkp.com HERE WITHOUT YOU 3 DOORS DOWN KRYPTONITE 3 DOORS DOWN IN DA CLUB 50 CENT CANDY SHOP 50 CENT WHAT'S UP ? 4 NON BLONDES TAKE ON ME A-HA MEDLEY ABBA MONEY MONEY MONEY ABBA DANCING QUEEN ABBA FERNANDO ABBA THE WINNER TAKES IT ALL ABBA TAKE A CHANCE ON ME ABBA I HAVE A DREAM ABBA CHIQUITITA ABBA GIMME GIMME GIMME ABBA WATERLOO ABBA KNOWING ME KNOWING YOU ABBA TAKE A CHANCE ON ME ABBA THANK YOU FOR THE MUSIC ABBA SUPER TROUPER ABBA VOULEZ VOUS ABBA UNDER ATTACK ABBA ONE OF US ABBA HONEY HONEY ABBA HAPPY NEW YEAR ABBA HIGHWAY TO HELL AC DC HELLS BELLS AC DC BACK IN BLACK AC DC TNT AC DC TOUCH TOO MUCH AC DC THUNDERSTRUCK AC DC WHOLE LOTTA ROSIE AC DC LET THERE BE ROCK AC DC THE JACK AC DC YOU SHOOK ME ALL NIGHT LONG AC DC WAR MACHINE AC DC PLAY BALL AC DC ROCK OR DUST AC DC ALL THAT SHE WANTS ACE OF BASE MAD WORLD ADAM LAMBERT ROLLING IN THE DEEP ADELE SOMEONE LIKE YOU ADELE DON'T YOU REMEMBER ADELE RUMOUR HAS IT ADELE ONLY AND ONLY ADELE SET FIRE TO THE RAIN ADELE TURNING TABLES ADELE SKYFALL ADELE WALK THIS WAY AEROSMITH WALK THIS WAY AEROSMITH BECAUSE I GOT HIGH AFROMAN RELEASE ME AGNES LONELY AKON EYES IN THE SKY ALAN PARSON PROJECT THANK YOU ALANIS MORISSETTE YOU LEARN ALANIS MORISSETTE IRONIC ALANIS MORISSETTE THE BOY DOES NOTHING ALESHA DIXON NO ROOTS ALICE MERTON FALLIN' ALICIA KEYS NO ONE ALICIA KEYS Page 1 IF I AIN'T GOT YOU ALICIA KEYS DOESN'T MEAN ANYTHING ALICIA KEYS SMOOTH CRIMINAL ALIEN ANT FARM NEVER EVER ALL SAINTS SWEET FANTA DIALO ALPHA BLONDY A HORSE WITH NO NAME AMERICA KNOCK ON WOOD AMII STEWART THIS
  • Byeong-Hun An

    Byeong-Hun An

    Byeong-Hun An Representerar Sydkorea (KOR) Född Status Proffs Huvudtour PGA Tour SGT-spelare Nej Aktuellt Ranking 2021 Byeong-Hun An har i år spelat 22 tävlingar. Han har klarat 12 kval. På dessa 22 starter har det blivit 1 topp-10-placeringar. Som bäst har Byeong-Hun An en 8-plats i The American Express. Han har i år en snittscore om 71,32 efter att ha slagit 4850 slag på 68 ronder. Byeong-Hun An har på de senaste starterna placeringarna MC-35-MC-MC-20 varav senaste starten var Korn Ferry Tour Championship presented by United Leasing & Finance. Han har i år som bästa score noterat 65 (-5) i The American Express på PGA WEST (Stadium). 29 av årets 68 ronder har varit under par. Vid 19 tillfällen har det noterats scorer på under 70 slag men också vid 7 tillfällen minst 75 slag. Årets tävlingar Plac Tävling Plac Tävling Plac Tävling 20 Korn Ferry Tour Championship presented by UnitedMC Travelers Leasing Championship& Finance MC The Honda Classic Victoria National GC, Korn Ferry Tour TPC River Highlands, PGA Tour PGA National (Champion) , PGA Tour MC Nationwide Childrens Hospital Championship 52 Palmetto Championship at Congaree MC THE PLAYERS Championship OSU GC - Scarlet Course, Korn Ferry Tour Congaree Golf Club, PGA Tour TPC Deere Run, PGA Tour MC Albertsons Boise Open presented by Kraft NabiscoMC the Memorial Tournament presented by Nationwide35 Puerto Rico Open Hillcrest CC, Korn Ferry Tour Torrey Pines (South), PGA Tour Grand Reserve Country Club, PGA Tour 35 Wyndham Championship 50 Charles Schwab Challenge 53 Waste Management Phoenix
  • OTTE Samtidskunstnere REVITALISERER

    OTTE Samtidskunstnere REVITALISERER

    MELLEM MUSKELSVULMENDE MÆND bejdede skulpturer, der træder frem i al deres Tegner, ville de omvendt næppe have påkaldt fortryllet, erotiseret verden, fyldt med under- OG EROTISEREDE KVINDEr – otTE hvidhed, især i det centrale, oktagonale rum sig hans opmærksomhed, hvis han havde haft fundigheder, ekspansive muligheder, eventyr, med de 11 meter til loftet og med dagslyset, mulighed for at møde dem, da han i pagt med vovede drømme og listige overskridelser. Det SAMTIDSKUNSTNERE REVITALISERER der vælder ned fra oven. Man føler, at man de fleste mænd i sin samtid mente, at kvinden er en meget rig billedverden, der mere tager træder lige lukt ind i evigheden, når man har performede bedst, når hun stod bag manden, afsæt i mytologien end i Tegners egen samtid. passeret det lille musehul af en dør i den store, bundet, som hun var, til livets mere trivielle og Tegner sætter ikke samfundsproblemer under BILLEDHUGGEREN RUDOLPH TEGNER vinduesløse betonkolos, der udefra ligner en materielle sider i modsætning til manden, der debat. Nej, hos Tegner lever vi i en ideel og overdimensioneret tyskerbunker. havde adgang til kosmos og ”så lyset”. Kvin- ofte dæmoniseret symbolverden, befolket AF LISBETH BONDE Billedhuggeren Rudolph Tegner (1853-1950) som tænkes kan hos Tegner, der så tilværelsen der kunne aldrig blive gode kunstnere, hertil af mytologiske urtyper og farlige dyr. Tegner står ganske i modsætning til den ofte kon- i evighedens perspektiv og benyttede sine mu- At tiden arbejder for Tegner, der i dag er langt behøvedes et intellekt, som hun ingenlunde navigerer i en selvskabt, potenseret, poetisk ceptuelle og materialeeksperimenterende skelsvulmende mænd og erotiserede kvinder mere værdsat end i sin samtid, skal ses i lyset besad, mente man(d) dengang.
  • 2 Sessions at NORDIK (Copenhagen, 25-27 Oct 2018)

    2 Sessions at NORDIK (Copenhagen, 25-27 Oct 2018)

    2 sessions at NORDIK (Copenhagen, 25-27 Oct 2018) University of Copenhagen, [no title] - NORDIK conference 2018, Oct 25–27, 2018 Deadline: Mar 23, 2018 ArtHist Redaktion [1] To be [titled], or not to be [titled]? Art History and its “well-(un)known” masters… [2] Life: On Art, Animation, and Biology --- [1] To be [titled], or not to be [titled]? Art History and its “well-(un)known” masters… From: Julia Trinkert <[email protected]> Date: Dec 8, 2017 Session convenors: Julia Trinkert / Institut für Kunstgeschichte der Heinrich-Heine-Universität, Düsseldorf, Germany Reinhard Köpf / Institut für Kunstgeschichte der Heinrich-Heine-Universität, Düsseldorf, Germany It seems to be impossible to imagine an art history without names. In scientific practice the attribution to a “name” can significantly influence the perception and assessment of traditional works of art. Since the beginning of the 20th century art historians – starting with Adolf Goldschmidt (1863-1944) or Wilhelm Vöge (1868-1952) – often have used to handle art works – especially medieval objects – by their mostly unknown masters (“Künstlerkunstgeschichte”). In Sweden, Johnny Roosval (1879-1965) e. g. finds himself in this tradition by documenting and classifying the inventory of medieval art on Gotland inventing names for artists such as the well-known masters “Byzantios”, “Majestatis” or “Calcarius” Meanwhile, art historians who deal with Gotland’s artworks still invoke these artists without knowing more than their speculative names. This applies as well to the presumptive Saxonian carver “Master of the Immaculata”, whose oeuvre might be found in Uppland and Ångermanland. Lately large exhibition projects such as “The Naumburg Master” in Naumburg 2011 or “Cranach.
  • George Coetzee

    George Coetzee

    George Coetzee Representerar Sydafrika (RSA) Född 1986-07-18 Status Proffs Huvudtour European Tour SGT-spelare Nej Aktuellt Ranking 2021 George Coetzee har i år spelat 14 tävlingar. Han har klarat 8 kval. På dessa 14 starter har det blivit 1 topp-10-placeringar. Som bäst har George Coetzee en 10-plats i Saudi International powered by SoftBank Investment Advisors. Han har i år en snittscore om 70,48 efter att ha slagit 3101 slag på 44 ronder. George Coetzee har på de senaste starterna placeringarna 26-MC-MC-27-75 varav senaste starten var BMW PGA Championship. Han har i år som bästa score noterat 64 (-8) i Dimension Data Pro-Am på Fancourt Golf Estate. 20 av årets 44 ronder har varit under par. Vid 15 tillfällen har det noterats scorer på under 70 slag men också vid 1 tillfällen minst 75 slag. George Coetzee har klarat kvalet i de 2 senaste tävlingarna. Kvalsviten i år löper från DS Automobiles Italian Open (vecka 35/2021). Årets tävlingar Plac Tävling Plac Tävling Plac Tävling 75 BMW PGA Championship MC Dubai Duty Free Irish Open MC Commercial Bank Qatar Masters Wentworth Golf Club, European Tour Mount Juliet Estate, European Tour Education City GC, European Tour 27 DS Automobiles Italian Open MC PGA Championship 10 Saudi International powered by SoftBank Investment Advisors Marco Simone GC, European Tour Ocean Course at Kiawah Island, PGA Tour Royal Greens G&CC, European Tour MC Omega European Masters 14 Dimension Data Pro-Am 60 Omega Dubai Desert Classic Crans-sur-Sierre GC, European Tour Fancourt Golf Estate, European Challenge Tour
  • Uaac-Aauc Conference 2014

    Uaac-Aauc Conference 2014

    UAAC-AAUC CONFERENCE 2014 October 23 to October 26 OCAD University www.uaac-aauc.com Toronto, Canada 1 Bienvenue au congrès! Au nom du conseil d’administration de l’Association d’art des universités du Canada, je souhaite la bienvenue à tous les participants au congrès 2014 de Toronto. C’est toujours un plaisir pour l’Association de venir à Toronto, mais cette année, nous sommes particulièrement heureux d’être accueillis par l’Université OCAD, un établissement jouissant d’une longue et brillante feuille de route en ce qui a trait à la production de certains des plus importants artistes du Canada. J’aimerais remercier l’Université OCAD et sa présidente, Sara Diamond, pour le parrainage de cette conférence. Des remerciements particuliers vont aux coprésidents du comité d’organisation sur place, Charles Reeve et Caroline Langill, ainsi qu’aux membres de leur équipe, Claudette Lauzon, Keith Bresnahan, Anda Kubis, Adam Tindale, Audrey Hudson, Jessica Wyman, Laragh Halldorson et Sarah McLean Knapp. Le programme du congrès de cette année s’annonce très excitant—et rempli! Nous essayons une nouveauté cette année, une journée supplémentaire dédiée au perfectionnement professionnel et à des séances pédagogiques. En tant qu’Association d’art des universités du Canada, nous avons une responsabilité particulière à l’égard du perfectionnement professionnel de nos étudiants aux cycles supérieurs. Comme les emplois traditionnels en enseignement et dans les musées se raréfient, il nous faut aider nos étudiants à trouver des carrières intéressantes, tant au sein des universités qu’à l’extérieur de celles-ci. Je vous encourage à venir écouter notre conférencière Jennifer Polk, du site From PhD to Life, parler de ces possibilités dimanche matin à 9 h 30, et à participer aux tables rondes sur le perfectionnement professionnel et pédagogique qui suivront.
  • Pigment Traces on Medieval Stonework in Gotland's Churches –Examination of Seven 12Th Century Baptismal Fonts and a Limeston

    Pigment Traces on Medieval Stonework in Gotland's Churches –Examination of Seven 12Th Century Baptismal Fonts and a Limeston

    Pigment traces on medieval stonework in Gotland’s churches – examination of seven 12th century baptismal fonts and a limestone pew Anders G. Nord et al. http://kulturarvsdata.se/raa/fornvannen/html/2016_017 Fornvännen 2016(111):1 s. 17-26 Ingår i samla.raa.se Art. Nord et al 17-26_Layout 1 2016-02-15 16:52 Sida 17 Pigment traces on medieval stonework in Gotland’s churches –examination of seven 12th century baptismal fonts and a limestone pew By Anders G. Nord, Kate Tronner, Kjell Billström and Marianne Gustafsson Belzacq Nord, A.G., Tronner, K., Billström, K. & Gustafsson Belzacq, M., 2016. Pigment traces on medieval stonework in Gotland's churches – examination of seven 12th century baptismal fonts and a limestone pew. Fornvännen 111. Stockholm. The authors have analysed pigments on eight medieval stone objects in Gotland’s churches. They are seven 12th century baptismal fonts made of sandstone and a ce­ remonial limestone pew in Burs church from about 1350. Fragments of medieval paint were sampled and analysed by SEM/EDX, FTIR, GC­MS and MC­ICP­MS. 57 samples were collected. Infinitesimal traces of cinnabar, ultramarine and gold foil were sparsely found. Iron oxide (Fe2O3) and lead pigments occur commonly, while green and blue pigments seem less frequent. Later “improvements” of green copper arsenites were found on the limestone pew in Burs church. Lime has prima­ rily been used as a binding medium, possibly in combination with now complete­ ly degraded organic substances. Isotope analyses indicate that the lead pigments most likely have a provenance in the Harz and Erzgebirge mountains in Germany, possibly also in Eisleben.
  • Wersja Elektroniczna Open Access Fragment

    Wersja Elektroniczna Open Access Fragment

    IRENA KOSSOWSKA WYDAWNICTWO NAUKOWE UNIWERSYTETU MIKOŁAJA KOPERNIKA TORUŃ 2017 Recenzent prof. dr hab. Tomasz Gryglewicz prof. dr hab. Lechosław Lameński Redaktor wydania Ewelina Gajewska Projekt okładki Rafał Kossowski BIAŁY KOS Na okładce wykorzystano reprodukcję obrazu: Massimo Campigli, Kobieta przy fontannie, 1929, © De Agostini Picture Library / / A. De Gregorio / Bridgeman Images / PhotoPower Indeks Grażyna Grochowiak Publikacja powstała w ramach projektu badawczego „Pamięć i widzenie: paradygmaty realizmu w sztukach plastycznych Polski i Euro- py 1919–1939”, sfinansowanego ze środków Narodowego Centrum Nauki przyznanych na podstawie decyzji numer DEC-2012/07/B/ /HS2/00300 Publikacja powstała dzięki finansowemu wsparciu Fundacji Lanckorońskich Printed in Poland © Copyright by Wydawnictwo Naukowe Uniwersytetu Mikołaja Kopernika Toruń 2017 ISBN 978-83-231-3915-7 WYDAWNICTWO NAUKOWE UNIWERSYTETU MIKOŁAJA KOPERNIKA Redakcja: ul. Gagarina 5, 87–100 Toruń tel. +48 56 611 42 95, fax +48 56 611 47 05 e-mail: [email protected] Dystrybucja: ul. Mickiewicza 2/4, 87–100 Toruń tel./fax: +48 56 611 42 38, e-mail: [email protected] www.wydawnictwo.umk.pl Wydanie pierwsze Druk: Drukarnia Wydawnictwa Naukowego Uniwersytetu Mikołaja Kopernika SPIS TREŚCI OD AUTORKI / 7 I. ZWROT KU PRZESZŁOŚCI / 19 Włochy / 23 Niemcy / 31 Francja / 41 Nowy klasycyzm / 53 Nowy realizm / 64 II. TRZY TOTALITARYZMY / 67 „Lenin sztuki sowieckiej jeszcze się nie narodził”. Sztuka radziecka w Warszawie 1933 r. / 69 „Drogie słowo »Ukraina«”. Retrospektywna wystawa sztuki ukraińskiej w Warszawie 1934 r. / 88 „Ku szczęściu narodu”. Sztuka ventennio fascista w Warszawie 1935 r. / 96 „Artysta musi być polityczny!”. Rzeźba niemiecka w Warszawie 1938 r. / 117 III. ROZPAD IMPERIUM / 135 Po upadku monarchii austro-węgierskiej.
  • New Orleans Nostalgia

    New Orleans Nostalgia

    NEW ORLEANS NOSTALGIA Remembering New Orleans History, Culture and Traditions By Ned Hémard True Bohemian Rhapsody The true “Bohemian Rhapsody” is neither “Caprice Bohémien” by Rachmaninoff, nor is it the 1975 hit by the rock group Queen. Freddie Mercury and Queen provided the world with its extremely popular (yet intensely cryptic) “Bohemian Rhapsody”, a stream-of-consciousness nightmare of a song that offered lyrics like: “I see a little silhouetto of a man, Scaramouche, Scaramouche, will you do the Fandango?” Research indicates that “Bohemian Rhapsody” is the second most played song on British radio and jukeboxes, and in clubs collectively, after “A Whiter Shade of Pale” by Procol Harum. Could it be because both songs incorporate the word “fandango” into their lyrics? But is there a song more truly worthy of the title “Bohemian Rhapsody”, especially in a place that has been called America’s most Bohemian city? And how was it that Carnegie Mellon University professor Richard Florida (author of “The Rise of the Creative Class”) gave New Orleans a fairly low standing in his “Bohemian Index”? How could it be that the Crescent City (with its French Quarter, musicians, writers, artists, eccentric characters, jazz and funky vibe) ranked below Salt Lake City? And why the beaucoup boo hoos over such a low boho rating (41st out of the 49 largest metro areas)? These questions will soon be answered. Bohemians refer, of course, to the inhabitants of the former Kingdom of Bohemia, located in the modern day Czech Republic. Their leader back in the day was “Good King Wenceslas”, Duke of Bohemia, who cruised around Prague in the early tenth century.
  • KARAOKE Buch 2019 Vers 2

    KARAOKE Buch 2019 Vers 2

    Wenn ihr euer gesuchtes Lied nicht im Buch findet - bitte DJ fragen Weitere 10.000 Songs in Englisch und Deutsch auf Anfrage If you can’t find your favourite song in the book – please ask the DJ More then 10.000 Songs in English and German toon request 10cc Dreadlock Holiday 3 Doors Down Here Without You 3 Doors Down Kryptonite 4 Non Blondes What's Up 50 Cent Candy Shop 50 Cent In Da Club 5th Dimension Aquarius & Let The Sunshine A Ha Take On Me Abba Dancing Queen Abba Gimme Gimme Gimme Abba Knowing Me, Knowing You Abba Mama Mia Abba Waterloo ACDC Highway To Hell ACDC T.N.T ACDC Thunderstruck ACDC You Shook Me All Night Long Ace Of Base All That She Wants Adele Chasing Pavements Adele Hello Adele Make You Feel My Love Adele Rolling In The Deep Adele Skyfall Adele Someone Like You Adrian (Bombay) Ring Of Fire Adrian Dirty Angels Adrian My Big Boner Aerosmith Dream On Aerosmith I Don’t Want To Miss A Thing Afroman Because I Got High Air Supply All Out Of Love Al Wilson The Snake Alanis Morissette Ironic Alanis Morissette You Oughta Know Alannah Miles Black Velvet Alcazar Crying at The Discotheque Alex Clare Too Close Alexandra Burke Hallelujah Alice Cooper Poison Alice Cooper School’s Out Alicia Keys Empire State Of Mind (Part 2) Alicia Keys Fallin’ Alicia Keys If I Ain’t Got You Alien Ant Farm Smooth Criminal Alison Moyet That Old Devil Called Love Aloe Blacc I Need A Dollar Alphaville Big In Japan Ami Stewart Knock On Wood Amy MacDonald This Is The Life Amy Winehouse Back To Black Amy Winehouse Rehab Amy Winehouse Valerie Anastacia I’m Outta Love Anastasia Sick & Tired Andy Williams Can’t Take My Eyes Off Of You Animals, The The House Of The Rising Sun Aqua Barbie Girl Archies, The Sugar, Sugar Arctic Monkeys I Bet You Look Good On The Dance Floor Aretha Franklin Respect Arrows, The Hot Hot Hot Atomic Kitten Eternal Flame Atomic Kitten Whole Again Avicii & Aloe Blacc Wake Me Up Avril Lavigne Complicated Avril Lavigne Sk8er Boi Aztec Camera Somewhere In My Heart Gesuchtes Lied nicht im Buch - bitte DJ fragen B.J.