INTERNATIONAL CONFERENCE

Digital Art History – Methods, Practices, Epistemologies

Organizers: Institute of Art History, Zagreb SRCE – University of Zagreb, University Computing Centre

Conference location: SRCE – University of Zagreb, University Computing Centre Josipa Marohnića Street 5, Zagreb, Croatia 12th–14th November 2018

Conference Program & Book of Abstracts

ARTNET knjizica 1_N_G.indd 1 05/11/2018 14:15 ORGANIZERS

Institute of Art History, Zagreb SRCE – University of Zagreb, University Computing Centre

SCIENTIFIC COMMITTEE

Johannes Preiser-Kapeller, Austrian Academy of Science, Vienna Tania Ørum, Department of Arts and Cultural Studies, University of Copenhagen Isabel Wünsche, School of Humanities and Social Sciences, Jacobs University, Bremen Marianne Ping Huang, School for Communication and Culture, Aarhus University Vinko Zlatić, Division of Theoretical Physics, Ruđer Bošković Institute, Zagreb ​Ljiljana Kolešnik, Institute of Art History, Zagreb

ORGANIZING COMMITTEE

Institute of Art History, Zagreb / ARTNET research group Ljiljana Kolešnik, Head of the Organizing Committee Sanja Sekelj, Conference secretary Sanja Horvatinčić, Book of Abstracts editor Tamara Bjažić Klarin, Conference PR manager Petra Šlosel, e-communications SRCE – University of Zagreb, University Computing Centre Draženko Celjak, Head of data and collaboration services Ivan Marić, Deputy Director Suzana Kikić, Education Department DARIAH-HR Koraljka Kuzman-Šlogar, National Coordinator for Croatia at DARIAH-ERIC

The conference was realized and has been fully supported by the Croatian Science Foundation’s funding of the project 6270 Modern and Contemporary Artist Networks, Art Groups and Art Associations: Organisation and Communication Models of Artist Collaborative Practices in the 20th and 21st Century.

The conference was also supported by the Croatian Ministry of Science and Education.

ARTNET knjizica 1_N_G.indd 2 05/11/2018 14:15 ARTNET knjizica 1_N_G.indd 3 05/11/2018 14:15 ARTNET knjizica 1_N_G.indd 4 05/11/2018 14:15 By gathering a wide array of scientists and searchers from independent digital labs, practitioners from the fields of digital history and professionals involved with the transdis- of art and architecture, visual culture studies, ciplinary research initiatives from over dozen social and cultural history studies, museol- countries across the world (USA, Canada, ogy, media studies, sociology, information Brazil, Italy, France, Portugal, Spain, Lux- science, arts, and design, this conference embourg, Serbia, Russia, Hungary, Austria, aims to offer an overview of both theoretical Denmark and Croatia), who are interested in and experimental academic research in the critically examining recent methodological, emerging field of Digital Art History. Given analytical and theoretical developments in the relatively recent development of the field the field of Digital Art History. Organized by and its loosely defined disciplinary bound- the Institute of Art History, SRCE – University aries, we also want to present and discuss of Zagreb, University Computing Centre, the possibilities for the application of dig- and DARIAH-HR in Zagreb, the ambition of ital tools, techniques the conference is not only to connect in- and methodologies dividuals and create a fertile ground for drawn from Infor- networking and future exchange among mation Science and the participants, but also to engage and related disciplines, (re)affirm the role of local institutions which to the existing and have pioneered – each in their own field of emerging art-histor- practice – in digital humanities in the local Introduction ical fields of practice context. In this sense, we want to pay special (archival, documen- attention to the “material basis” of Digital tation, visualisation, Art History, i.e. the infrastructures that form etc.) in order to create new approach- the institutional and technological frame- es and understandings of art history, ar- work of Digital Art History: development, and chitecture, design and visual culture. accessibility of digital research infrastruc- Throughout the three days and ten sessions tures, services and resources (libraries, ar- of the conference, our aims are, indeed, chives, data repositories, databases, digital manifold. We shall focus both on the prem- museum and cultural heritage collections); ises and consequences of the main theoret- institutional support and availability of new ical and epistemological currents and prac- technologies. tices models that have recently started to emerge out of the academic field of Digital DARIAH day Art History (collaborative research groups, The closing event of the Conference, DARIAH research networks and platforms, as well as day, is conceived as an insight into the DA- the principles of interdisciplinarity, transdis- RIAH-EU activities which are supportive of a ciplinarity). At the same time, we will open up variety of networking practices in the field of space for presenting new and experimental Digital Humanities. Open to all Conference projects and collaborative platforms, all with participants, the meeting will also be used as the aim of discussing Digital Art History po- an opportunity for presenting DARIAH-HR in- lices and its future trajectories – ‘power cen- itiative for the establishment of Art, Art Histo- tres’ and ‘new’ peripheries, economic, social, ry & Technology Working Group, with the aim political and cultural dimension of Digital Art of bringing together artists, art historians, History and its capacity for self-reflection. designers, media theorists, IT specialists, and The conference is bringing together es- other professionals involved with new digital tablished and early career academics, re- media and communication technologies.

ARTNET knjizica 1_N_G.indd 5 05/11/2018 14:15 KEYNOTE LECTURES In 2005, Eiko Ikegami stated in her mon- ograph Bonds of Civility: “The increasing density, scale, and complexity of various kinds of network relationships in specific historical contexts (…) create conditions of possibility for new cultural emergent prop- erties to arise. (…) the increase in the density of intersections between networks intensifies communication and in the process produces increasingly varied publics. These publics, in turn, can provide opportunities for cultural innovation.” She added that “once a culture has arisen as a manifestation of complex network systems, the culture as an emerging property retains its own qualitative distinc- tiveness and social dynamics that cannot be exhausted by or reduced to the network rela- tions that gave rise to it.” (Ikegami, 2005, 57) While Ikegami focused on the period of Tokugawa Ja- pan (1600–1868), I will use her analysis as a starting Johannes Preiser- point for a wider-ranging Kapeller: discussion of theoretical Mapping Entanglements. approaches and practices Networks of Humans, of (historical) network re- Things and Narratives search and digital visual- isation, which allow us to explore the emergence of “cultural net- works”. Such networks not only include humans, but also objects (created, trans- ported, used or viewed by humans), and the narratives created and modified in the processes of communication between hu- mans and non-humans; these narratives, in turn, also establish frameworks for further interpretations and elucidate network ties. I approach these entanglements with a mixture of theories, ranging from Actor Network Theory (Bruno Latour) and Systems Theory (Niklas Luhmann, Harrison C. White) to Complexity Theory and Archaeology. The aim is to combine these concepts and instruments into a toolkit, which can be used in a productive way for research on actual data beyond meta-theory.

ARTNET knjizica 1_N_G.indd 6 05/11/2018 14:15 The digital turn indeed involved profound sion. For example, we need to examine how transformations in all orders – social, cul- it modified the way we produce knowledge tural, political, and institutional – giving in the context of a new ontological system rise to the configuration of new forms of in which human beings, non-human beings, access, production, distribution and com- objects, infrastructures, and programming prehension of knowledge. The set of prac- languages are involved in the creation and tices and thoughts that we today call ‘Dig- circulation of knowledge. By the same to- ital Art History’ emerged as a product of ken, we should re-evaluate the limits of this technological enthusiasm, and of the machines, algorithmic calculations, and self-awareness of a certain backwardness lines of code in the process of producing regarding the disciplines encompassed in art-historical knowledge. In other words, we the field of Digital Humanities. need to think about what is being lost along Consequently, most the way that should be important to retain. of the rhetoric that That is why thinking about Art History from we have seen to date a “post-digital” perspective leads us to a has emphasized the self-reflexive attitude, which also means Nuria Rodríguez-Ortega: disruptive potential bringing to the center of the discussion Epistemologies and of the digital turn ethical issues to the extent that the hyper Critical Re-Evaluation that has resulted technological world, where our lives unfold, of Digital Art History from the oppor- entails new responsibilities for art historians. Practices tunities offered by Therefore, one of the main questions that technical advances, we need to pose concerns not only what we computational methods, and digital me- can do with the technology, but also what dia for the production of “new” knowledge. we “should” do. In the end, this implies the However, now that the post-digital society crucial question of what does it mean to be with its pos-humanistic thinking is under an art historian in the post-humanistic age. way, it is time to re-examine this argument and to re-evaluate the development of Dig- ital Art History in light of this new scenario. Certainly, research practices must respond to the material conditions and to the pro- duction systems that are of their time. Therefore, given the consubstantial bond that exists between technology, culture and knowledge, we must ask ourselves how the ‘techne’ that define our time is transform- ing the intellectual and methodological processes on which the art historical knowl- edge has traditionally been founded, even beyond our own conscience and will. This approach involves leaving behind the in- strumental perspective that sometimes is associated with the ‘digital factor’ in order to place issues of epistemological, method- ological, cultural and institutional order in the center of a reconsidered critical discus-

ARTNET knjizica 1_N_G.indd 7 05/11/2018 14:15 CONFERENCE PRESENTATIONS grouped chronologically in sessions

Day I / Session I

ARTNET knjizica 1_N_G.indd 8 05/11/2018 14:15 The paper discusses the process of rec- because of economic reasons as well – writ- ognizing the unofficial Soviet art and the ing about art was among those rare profes- dynamics of prestige of various genera- sional jobs one got paid for. The research tions of artists in the Post-Soviet art scene, was carried out in collaboration with the represented in the early 1990s art criticism. archive of the Garage Museum of Contem- Although art criticism is one of the major porary Art. The data included 824 articles resources of legitimization in the restrict- from three major paper media of that time: ed field of cultural production before 1991 Moscow Art Magazine (‘Художественный (Bourdieu, 1993; de Nooy, 1999), one can журнал,’ 1993-1995), newspaper Today barely talk about it as a relevant source of (‘Сегодня’ 1993-1996) and Kommersant recognition for the unofficial art. Official art (1993-1999), and was analysed employing magazines ignored the existence of these social network analysis and qualitative con- artists, while samizdat was very restrict- tent analysis. The research outcomes draw ed as a professional on the importance of heritage of unofficial media: for example, art, widely represented in all three media, as Solomon (1999) and the interconnectedness of various gen- Margarita Kuleva: puts it, Kabakov was erations of artists in critical debates (i.e., The Soviet Underground not mentioned in Boris new stars of political actionism are often Outcrops: Transitional Groys’ famous article contrasted with the 1970s Collective Ac- Field of Contemporary on Moscow romantic tions’ works). The paper also analyses the Art in Early Post- conceptualism (1979) art community – specifically, artists’ careers Soviet Press due to political rea- and their social-demographic attributes – sons. On the contrary, and problematizes the under-representa- the early 1990s was the time when Russian, tion of female and non-capitalist artists in namely Moscow and St. Petersburg, criti- the scene. cism burst out: not only because of the free- dom of speech and the change of cultural policy, now recognizing all forms of art, but

ARTNET knjizica 1_N_G.indd 9 05/11/2018 14:15 The beginning of the new millennium in In other words, the spaces of networking of Croatia was characterised by the appear- the independent scene can be observed ance of a number of NGOs working in the and interpreted as “netdoms”, a term cultural field, their quick proliferation and coined by Harrison White to denote net- consolidation that resulted with a cultural work configurations that include shared complex, today most commonly called the meanings and identities, thus bridging the independent cultural scene. Although their gap between structure legal status serves as the first identifier, the and culture. Taking as its Željka Tonkovic´ affiliation of these organizations to the in- starting point the local & Sanja Sekelj: dependent cultural scene relies more upon platform Zagreb – Cul- Local Platforms, their shared aesthetic and ideological pref- tural Kapital of Europe Transnational Networks, erences, which are reflected in horizontal 3000 (2003–2005), and and the Tactical and participatory working models, critical different programmes Organizing of the stance toward the socio-political context, conducted within its Independent Cultural close collaboration with other sectors, scope by the leading or- Scene in Zagreb co-production and programme exchange ganizations of the plat- on a local, regional and transnational level, form (Multimedia Institute, What How & for as well as their joint effort to effect and ad- Whom, Centre for Dramatic Arts, Platform vance local and national cultural policies. 9.81), the objective of this presentation is The independent cultural scene can thus to demonstrate the innovative methodol- be observed as a space where complex ogy developed with the project ARTNET, personal, social and spatio-temporal re- conducted at the Institute of Art History in lations occur. Zagreb from 2014 onward. Based upon art-historical research and subsequent interpretations, the presented research relies – from one standpoint – on exploratory network analysis of the local platform Zagreb – Cultural Kapital of Europe 3000, and transnational collabo- rations of its leading organizations, while – from the other standpoint – it relies on a qualitative structural analysis of interviews with key actors of the independent cultural scene, the goal of which is to bridge the gap between quantitative and qualitative analysis of networks in the cultural field.

ARTNET knjizica 1_N_G.indd 10 05/11/2018 14:15 Contemporary art world after 1989 wit- The artistic association SIZ (meaning nessed a remarkable expansion and pro- “self-managed interest community”), was liferation of various events, both within its founded in 2002 in Rijeka with the aim of commercial and non-commercial seg- collectively approaching the art market ment. Documented in artists’ biographies, and the art system as a whole, as well as and mirroring the immense growth of the positioning the local scene within the in- distribution network, lists of exhibitions ternational context. The crucial common Željka Tonkovic´ read almost like maps, inseparably linked denominator of the artists gathered around & Sanja Sekelj: to the discussion of “globalization” of the SIZ is their political and social engagement, Local Platforms, contemporary art field. Taking the exhibi- which is at the same time a selection crite- Transnational Networks, tions as links between various actors in the rion for their gallery’s exhibition program. and the Tactical contemporary art field (artists, curators, The paper focuses on the exhibition net- Organizing of the gallerists, art institutions etc.), networks of works of SIZ artists in order to explore if their Independent Cultural relations are established, that due to their shared ideological and aesthetic position is Scene in Zagreb complexity raising, among others, from the reflected in their exhibition networks. Fur- number of exhibitions, are possible to grasp ther consideration of their position is given only if read distantly (Moretti, F. 2013). That in relation to the commercial market and approach is followed in an attempt to ad- the market of knowledge (Graw, I. 2009), dress, on one side, the impact of territorial and the construction of their international factors, and, on the other, the impact of art- “careers” is examined in that context. Ex- ists’ affinities, on the configuration of their hibition data extracted from artists’ biog- exhibition networks. raphies is analyzed computationally and Departing from a complemented with interviews to shed light broader analysis of on selection mechanism, as well as on artis- Tihana Puc: processes of recog- tic choices that shape their networks. Analyzing Subsystems nition of contempo- This paper is a part of the larger research of Exhibition Networks rary artists from Cro- project “Observatory of Artistic Work”, – The Case of atia in the post-1989 aiming to create a digital archive of con- Contemporary Artists “globalized” con- temporary art exhibitions and artists from from Croatia temporary art field, Croatia, and thus contribute to the system- that encompassed atization of knowledge on contemporary the examination of worldwide exhibition art, as well as to research in the field of activity of 61 artists from Croatia over a digital art history. twenty-year period, this paper focuses on an association of artists that has been cho- sen as a case study for their shared ideo- logical and artistic positions.

ARTNET knjizica 1_N_G.indd 11 05/11/2018 14:15 While a growing number of digital art history Our research is the product of an inter- projects utilize Big Data, many art histori- disciplinary collaboration between an art ans work on a much smaller scale, looking historian of Klien’s work and an information deeply into the work of one or a few individ- scientist specializing in personal archives. uals. This project explores how digital tools As such, it is concerned with both the con- can assist art historical research into “little tent of archival records and the custody, data.” Barriers to such research include the arrangement and accessibility of the re- geographic dispersal of archival materials; cords themselves. lack of or limited physical access to such Our presentation focuses on the first phase collections; discrepancies between mate- of our research, which consists of digitally rial classification (art vs. non-art); and the mapping the dispersion of Klien’s archival legal and ethical conditions restricting ac- materials across multiple repositories and cess to personal archives, which frequent- geographic locations. This visualization ex- ly contain references and insights into the amines not only the professional activities of artists. Little Data physical locations of in a Big World demonstrates the possibilities Klien’s archives, but of increasing ease of research into individ- the types of insti- Chelsea Gunn uals using the small set of available archi- tutions and collec- & Rae Di Cicco: val materials relating to Austrian-Italian tors serving as their Little Data in a artist Erika Giovanna Klien (1900–1957) as custodians, and the Big World: Digitally a case study. As a member of the 1920s conditions govern- Consolidating Dispersed Viennese art movement Kineticism (Ki- ing access to them. Personal Archives netismus), Klien synthesised avant-garde Through the process techniques from Expressionism, Cubism, of digitally mapping these collections, we Futurism, and Constructivism to depict illustrate both the movement of archival bodies in motion. Against a backdrop of materials over space and time and the re- the dissolution of empires, establishment search activities involved in doing art his- of new nations, and shifting gender norms tory. Connecting together these disparate in interwar Central Europe, Klien explored materials thus produces an example of the the cultural dimensions of transnational virtual consolidation of research material exchange, writing about embodied cos- and a research product in its own right, mopolitan ethics in the arts. In 1929, Klien making research into Klien accessible to emigrated to the United States, where she a larger and more diverse scholarly com- taught art at the K-12 level until she died munity. Our presentation thus discusses the relatively unknown in 1957. A decade later, ways in which both digital points of access artist Bernhard Leitner discovered Klien’s (including finding aids, metadata, and dig- work and was instrumental, along with the itized documents) and digital art history Michael Pabst Gallery, in relocating her projects such as our own may make visible American artworks, correspondence, notes, the challenges and potential solutions to and unpublished manuscripts to Europe researching personal archives held in mul- in the 1970s. This material has since been tiple private institutions. dispersed piecemeal among several (mostly private) collections.

ARTNET knjizica 1_N_G.indd 12 05/11/2018 14:15 CONFERENCE PRESENTATIONS grouped chronologically in sessions

Day I / Session II

ARTNET knjizica 1_N_G.indd 13 05/11/2018 14:15 Providing infrastructural support to scholar- More precisely, the identified shift is per- ly research in the fields of history of art and haps best epitomized by the production architecture, art theory and critique, and and management of complex formats above all the valorization and presentation (digital-born photography, digital-born of Croatian cultural heritage, the documen- architectural plans and maps) with such tation funds of the Institute of Art History in properties and functionalities that support Zagreb (IAH) comprise heterogeneous ma- versioning and production of multiple de- terial forming several collections – Photoar- rivatives, rather than single units, and their chives, Plans Library, Archival Collections reuse for various purposes (documenta- and Legacies, etc. Primarily developed as tion, research, presentation, and dissemi- a museum information system for cultur- nation of new knowledge). The presentation al heritage collections management, the will also demonstrate the use of applied Modulor++ platform is being implemented standards (particularly CIDOC CRM) and into the IAH infrastructure as a digital tool semantic technologies (Linked Open Data that provides an integrated approach to the & Resource Description Framework), and versatile and complex documentation ma- the integration of established controlled terial that is produced, gathered, and ap- vocabularies (ICONCLASS and Getty Vo- plied in the dissemination of new knowledge cabularies: AAT; TGN; CONA; ULAN) within by the IAH. The process of implementation is the Modulor++ platform, as well as the use necessarily preceded by conceptualization of other public databases such as Metelwin, and modeling of the Modulor++ platform’s OpenStreetMaps (OSMF, ODbl), etc. The metadata framework to meet the specif- authors will address the identified challeng- ic requirements defined by the heteroge- es with full comprehension of differentiating neous typology and complex structure of between the terms digitization, referring the material, with the ultimate objective of to conversion into digital format, digitali- achieving semantic interoperability. Con- zation, referring to a current to the fast-paced development and series of digital data Ivana Hanic�ar Buljan, increasing accessibility of new technologies management pro- Petra Šlosel and digital research infrastructures, the IAH cesses, and digital & Goran Zlodi: documentation funds are experiencing a transformation, re- Modulor++ as a shift and advancement from the traditional ferring to the overall Tool of Support for documentation and production paradigms effects of digitali- Documentation and to a dynamic environment defined by the zation on the fields Research Infrastructure contemporary approaches in the field of of digital art history, at the Institute of Art digital humanities. culture, and society History: Experiences in as a whole. Design and Implementation

ARTNET knjizica 1_N_G.indd 14 05/11/2018 14:15 The aim of this presentation is to outline the to a new, more operational platform. Mi- ways of organizing, managing and using gration means preserving all existing data digital/digitized data created by docu- as it has been entered, followed by a thor- menting conservation and restoration works ough assessment of the organization of the on movable cultural heritage that undoubt- entire system, in addition to the paperwork edly serve as a valuable resource for many that needs to yet be digitized and appropri- researchers. A century-old tradition of ately incorporated into the digital material. preserving and restoring movable cultural The current organization of digital/digitized heritage in this area is accompanied by data for each subject is defined under an ID written documentation. It is legally required number within various categories consist- in Croatia that, after the conservation and ing of narrative and factual input. Factual restoration work on a protected cultural input is defined through downlinking, both heritage is completed, the documentation with predefined inputs and the possibili- remains available. In ty of free input. Documents with different the last 20 years, in technical extensions are joined under an certain fields, as well ID number according to the defined work- Sanda Miloševic´: as in conservation and flow. In addition to basic data on cultural Conservation restoration, paper heritage, research notes, the course of the and Restoration documents, in some works itself is documented and accompa- Documentation of the segments, have been nied by a detailed photo-documentation. Movable Heritage on the completely replaced HRZ owns a very rich photo-documentation Digital Road by digital technology. fund, which is part of many professional and The advancement of scientific papers. With the current search the profession and digital technology re- capabilities, changes that have occurred quires constant work, good preparation over time show a steady increase in the and organization, in order to ensure easy- need for searches on specialized topics. to-find, accessible and comprehensible The unification of data under an ID num- information for the creator and user. ber is undoubtedly a good practice and Conservation and restoration activity is is to be maintained while terminological interdisciplinary and a large number of control will provide additional emphasis experts work on the movable cultural her- on the factual input and make the search itage today: conservator-restorers of var- much easier. We are confronted with the ious narrow specialties, conservator-art fact that the aforementioned interdiscipli- historians, conservator-chemists, conser- narity, the creator through everyday work vator-photographers, carpenters, etc. This and the external user, expand the array of means that they produce varied types and needs which is desirable, but also very easy technical formats of documents. The larg- to achieve through the possibilities of digital est holder of conservation and restoration development. documentation in Croatia is HRZ (Croatian Conservation Institute) whose main activity is the conservation and restoration of im- movable/movable and archaeological cul- tural heritage. The HRZ database, BREUH, was created in the mid-1990s. The current platform has reached its limit in terms of change, and the data needs to be migrated

ARTNET knjizica 1_N_G.indd 15 05/11/2018 14:15 Building Information Modelling (BIM) was VR / AR technologies, gaming, QR codes, originally developed for project manage- GIS – and is, as such, suitable for use on ment in the construction sector. However, mobile devices, it has the potential for due to the wide possibilities of use, the sys- better dissemination at multiple levels: as tem has recently been applied to historic support of scientific research, improved buildings (Historic or Heritage BIM - HBIM). understanding of heritage in society and It is a dynamic platform that has the ability the possibility of a virtual tour to the archi- to include different types of information tectural heritage or sites that are difficult that can be graphically and semantically to reach. united in one place, as well as a multidisci- Creating a HBIM library is based on dif- plinary system that, simultaneously and ac- ferent default parameters (e.g., specific cording to its needs, can be used by archi- architectural elements, designers, etc.) that tects, construction engineers, geodesists, can be associated with additional descrip- archaeologists, architects and other pro- tive and numerical information (material, fessionals. This enables interoperability and texture, building phases, etc.). Since data easier distribution of information among within a library can be quickly and easily all the participants involved in the project. compared, HBIM is a useful tool for analy- Its interactive character provides the ability sis, interpretation, teaching, and mapping. to attach technical information to other The presentation will also include an over- information related to historical buildings, view of a one-year project of historical including historical, cultural or artistic in- building research – the palace of the for- formation. Therefore, HBIM proved to be mer Slavonian Gener- a powerful tool for documenting and re- al Command in Osijek Margareta Turkalj cording historical building information, Fortress (18th centu- Podmanicki & Dina research, analysis and dissemination of ry), analysed and in- Stober: knowledge of historical architecture. terpreted using BIM HBIM in Documentation, software combined Research and In other words, HBIM provides opportunities with a scanning la- Dissemination of such as: ser and a thermal Knowledge About Historic camera – the meth- Buildings – Example of Creating 3D digital models enriched odology adapted to the Former Palace of with semantic information (e.g., the mate- measuring and in- the Slavonian General rial, history, art and architectural values) terpreting historical Command in Tvrda- that help in understanding the heritage ei- facts and values of ther through models for documenting the the researched building. The aim of the current state of the building, or 3D recon- research was to selectively verify the in- structions of missing heritage. terpretation of the building’s genesis, the Reconstruction and presentation of interpretation of its development based important building phases. This allows the on new results, and the analysis of space. visualization of the changes made to the In addition to the results of the research, building throughout its history, and thus be- the multidisciplinary nature of the project, comes a tool for re-examining the hypothe- which has enabled the creation of a wider ses set up in research as well as the current context of the historic building, will be em- evaluation of the observed changes. phasized, as well as ways of reflection and Since HBIM is compatible with the new understanding of architectural heritage.

ARTNET knjizica 1_N_G.indd 16 05/11/2018 14:15 Established as the first documentation centre and archives for national art his- tory, Fine Arts Archives have been contin- uously developing an information system and support for the expert and scientific community. In this paper, we will present the history of the Archives’ digitization process started in 1998 – from simple Excel tables and Access databases, cre- ated for Fine Archives specific needs, to a complex open access digital platform structure (dizbi.hazu.hr), as a source of the growing field of digital art history. Through various examples we will show possibilities of a simple concept search at Jasenka Ferber Bogdan offline databases and more & Andreja Der-Hazarijan advanced possibilities of an Vukic´: online search based on the Fine Arts Archives – semantic web technology, Two Decades in Digitized available through the DiZbi Art History portal, enabling connectiv- ity of fifteen Academy units’ digitized textual and visual material. In or- der to present digital objects in a more vivid and interactive way, new content is created through virtual exhibitions as one of the visually appealing portal features. Continuous digitization process of the Ar- chives holdings opened up new opportu- nities for collaboration with national and international institutions through several - projects, such as Europeana Cloud, Athena Plus, Getty Research Portal, Znameniti.eu, etc. Finally, we will present the current pro- ject “Digitization of Salon Ullrich Archives” that has a potential to develop into a prov- enance research infrastructure.

ARTNET knjizica 1_N_G.indd 17 05/11/2018 14:15 CONFERENCE PRESENTATIONS grouped chronologically in sessions

Day I / Session III

ARTNET knjizica 1_N_G.indd 18 05/11/2018 14:15 “The Rembrandt question” is straightfor- period, 1625–1631. Rembrandt’s earliest ward — did he paint a given work? — yet, it history paintings from 1625–1626 can be often seems intractable. After half a century chronologically placed in relation to his of gathering technical information about undated head studies, based on himself the paintings associated with Rembrandt, and family members as models, which the Rembrandt Research Project (RRP) end- are mistakenly dated to a later period. In ed inconclusively. Concrete problems with 1627–1628, he developed his use of light their method included their ambiguous cat- and shadow in connection with his etchings egories of (A) (Rembrandt), (B) (uncertain), and drawings as a means to integrate few- and (C) (not Rembrandt); later changing er, progressively larger figures within limited their minds about the categories of many spaces. His subsequent paintings through paintings, and ultimately abandoning the 1629–1631 incorporate increasingly metic- categories altogether. The technical ex- ulous details and diverse textures. amination also proved irrelevant for distin- Rembrandt’s Self-portrait in a Gorget in guishing between paintings by Rembrandt The Hague, considered a masterpiece and his students, a task the RRP did not until 1998, was thereafter demoted to an undertake. In fact, from Abraham Bredius’ unknown follower’s copy after a version in now standard 1935 catalogue down to Wer- Nuremberg. However, Rembrandt’s orig- ner Sumowski’s volumes on “the Rembrandt inal in The Hague can be recognised as School” scholars did not recognize paint- corresponding to the refined mastery of his ings by Rembrandt’s students produced other signed paintings, in contrast to the in his studio, partly for teaching purposes, loose, rough treatment and flat, slanted that were later assigned to Rembrandt, a posture of the Nuremberg version, char- blind-spot bound up with the investments acteristic of the free copies made by his in Rembrandt’s name. The familiar accu- student Isaac Jouderville. Similarly, paint- sation that connoisseurship reflects sub- ings by Rembrandt’s studio-mate and rival jective opinions and personal investments Jan Lievens, in which he was competing in is confirmed by the excessive inflation of his own more shallow and grandiose idiom Rembrandt’s oeuvre. with Rembrandt’s compositions, based on The pertinent task similar subjects, and using the same family Benjamin Binstock: is to distinguish be- members as models, were later assigned Digital Art History tween paintings by to Rembrandt along with other paintings and “the Rembrandt Rembrandt and those by Lievens. Once these works mistakenly Question”: Digital of his students, not assigned to Rembrandt are restored to their Painting-By-Painting through technical ex- respective painters, Rembrandt’s own dis- Catalogue in Color and amination, but rather tinctive approach and gradual, consistent Scale of Re m brandt’s on the basis of visual development can emerge. Leiden Period similarities and differ- Digital art history can help provide an- ences evident to the swers to “the Rembrandt question,” and naked eye. Such visual comparisons can help forge an epistemology of Rembrandt, be made objectively accessible to all—in or how we know which works Rembrandt — a way not possible in conventional colour or his individual students — painted, and monographs — through digital catalogues, what makes them unique. including Rembrandt’s painting-by-paint- ing development presented in colour and relative scale, starting with his first Leiden

ARTNET knjizica 1_N_G.indd 19 05/11/2018 14:15 The present paper aims to examine the to retrace the works’ provenance, such as challenges and advantages of combining auctions, exhibitions, art dealers and an- methodologies and work tools within the tiquarians. framework of Digital Art History (DAH), in Centred on a common artistic heritage — the context of two projects with different the azulejo — and two research approach- characteristics — Az Infinitum and ORI- es based on the use of digital tools, we aim ON. Both based on relational databases, to create a “space” for data processing these projects document the azulejos still capable of combining, in different phas- found in situ and Portuguese art collections es, the perspectives opened up by these and collectors, respectively. Azulejos stand two projects, as well as establishing links, out among other art forms for their unique on a wider scale, with other projects and characteristics, namely the fact that they databases. To showcase the potentialities are originally conceived as architectural of this approach, enabled by DAH, we have elements, designed to cover the walls of selected a specific case study as the pilot buildings, and thereby transform the visual for this crossover. Indeed, by studying the perception of the space they are part of. collection of Ernesto Vilhena (1876-1967), However, from the 19th century onward, and whose pieces were sold in auction in the particularly during the 20th century, due 20th century and scat- to a series of political, social and religious tered throughout public Rosário Salema de factors, many of these decorations were and private collections, Carvalho, Vera Mariz removed from their original locations and we aim to retrace the & Fábio Ricardo: ended up in private collections. This change paths followed by these WITH(OUT) A TRACE: disrupted the very nature of the azulejo, azulejos and identify Exploring the which ceased to be an operative element in their provenances and Provenance and a specific location, lost its original context owners/collectors. Using Collection of Azulejos and was thus deprived of its relationship the two aforementioned in a Digital Realm with the surrounding space. The epistemo- databases as a means logical implications of this transformation of organizing and cross-referencing infor- constitute a challenge, but also an oppor- mation, our goal is to gain a multifaceted tunity to develop new methodologies and insight into the azulejo, both as an archi- work tools within the framework of DAH. tectural element and as an object. The con- Az Infinitum — Azulejo Indexation and Ref- vergence of the two projects will allow us to erencing System (see http://redeazulejo.le- establish, without sacrificing their specific tras.ulisboa.pt/pesquisa-az) is a framework identities, a wider timeline for each work, created to document and study tile deco- and map out the complex networks involv- rations still found in situ, available online in ing Portuguese tile decorations and collec- open access. The platform is divided into tions. Resorting to a digital environment, we five main areas, which are interconnected hope to enhance the existing knowledge in and provide a comprehensive understand- a solid and systematic way. ing of each tile decoration. ORION’s main aim, on the other hand, is to systematize, display and share information concerning art collections (collected artistic objects) and collectors either of Portuguese origin or based in Portugal. The system also contains information on events and entities relevant

ARTNET knjizica 1_N_G.indd 20 05/11/2018 14:15 The Institute of Art History’s multi-discipli- search methodologies for this project par- nary research project, “Grand Tour Dal- ticularly in terms of the spatial, temporal matia” (2014-17), which was supported by and typological synchronicities of data. the Croatian Science Foundation, brought Thus, our aim moved beyond cliometrics; together a team of theorists in the fields of we wanted to transform our data into a comparative literature, architectural and more useful set of information, so that it art history, history, and architecture. Their could represent more than just a collection task was to identify, study and interpret phe- of sources and could help generate new nomena related to the description of space research questions. in the eighteenth and the nineteenth cen- This presentation outlines the collaborative tury, with a focus on Dalmatia. The project research and design process used to estab- began with the collection of various works lish the chrono-geographical database of by important author-travellers that visited ‘Grand-Tourism’ as a new tool for interdis- Dalmatia in this period, which were scat- ciplinary historical research. This digital tool tered across a wide variety of sources and is based on the ‘time-space-information’ archives. The overall aim was to research concept. It comprises books, images, pho- the following topics together: textual and tographs, essays and letters created as a visual records of space throughout time; result of the direct experience of a place, the formation of perceptions of a particu- at a particular time, from the perspective lar space (Dalmatia) of the author (traveller). The methodology in its socio-cultural used to create the database will be pre- contexts throughout sented as a system of multiple synchronic- Ana Šverko & time (the 18th and ities: both within a set of structured data, Damir Gamulin: the 19th century); as well as through their integration with Synchronicities. and the influence the spatial and temporal dimensions. We Mapping History of travellers’ expe- will explain the principles behind the or- through the Works riences on intellec- ganization of data, design concepts and of Travellers tual, cultural, artis- visualization process through which data tic and architectural are re-contextualised and transformed into practices in a specific period (Neoclassi- dynamic systems that allow for numerous cism and Romanticism), in local and global tactical decisions and combinations of in- contexts. Together, these research topics formation. We will highlight the foundation- lead to a rethinking and deeper valorisation al, ongoing synchronization between the of the Dalmatian urban landscape in its historical and visualization approaches to historical context, thus creating the basis exploratory mapping. This is an essential for the preservation and more profound underlying structure upon which all oth- transformation of its inherited spaces. er synchronicities are built, and the basis As professionals from two separate fields for further development of this tool, which – design and app development, and ar- allows records of space in time to extend chitectural history, respectively – we have beyond the limits of our imaginations, of- been exploring the possibilities of compu- fering us opportunities for research in new, tation and visualization in the study of trav- interdisciplinary directions. elogues about Dalmatia, which have never before been collected in one place. We realized that a computational approach can provide an opportunity to develop re-

ARTNET knjizica 1_N_G.indd 21 05/11/2018 14:15 CONFERENCE PRESENTATIONS grouped chronologically in sessions

Day I / Session IV

ARTNET knjizica 1_N_G.indd 22 05/11/2018 14:15 “ArchiteXt Mining. Spanish modern archi- sical bibliographic fields but other rele- tecture through its texts (1939–1975)” is a vant data in terms of the text type, a brief research project funded by the Government description of its topic, the description of of Spain through the 2015 Call for ‘Excel- the section where the text is included, data lence Projects’ of the Ministry of Economy about the building, the type of an event to and Competitiveness. Despite the success which it is dedicated, etc. Getting access of the development of data analysis as a to this information is already a big step tool in different disciplines, the research on forward and provides researchers with a architectural theory has never made the powerful tool to engage in a first quan- most efficient use of these technologies. titative analysis and searches that would It is time to face a new in-depth research help begin their studies. Furthermore, we based on objective data. In order to ob- aim to bring additional values. We apply tain this, we propose the application of text different statistical techniques and obtain mining techniques to take advantage of the more information from all the complete best data source in the field: architectural texts stored in our database using some of magazines. Our objective is to offer a new the text mining techniques, such as the text vision of the transformation of architectural similarity studies, the correlations between production and how it is divulged through words, and the global or lineal frequencies the texts published in these magazines. of a series of words in a text. ArchiteXt Mining (the In its first step, this project focuses on Spain Ana Esteban-Maluenda, acronym of Architec- as a pilot case study for a bigger worldwide Laura Sánchez Carrasco, tural Text Mining) pro- research. In particular, this stage will begin Luis San Pablo poses to use the most with the Spanish architecture magazines Moreno & Francisco advanced techniques published during the Dictatorship period Fernández Rodríguez: of data analysis for the (1939–1975), when the cultural relations of ArchiteXt Mining: creation of a new tool. the country were more limited at an interna- Taking Advantage of This facilitates the work tional level. We will be able to compare the Periodicals as an of all the researchers issues that Spanish architects considered Architectural Data Base who use architectural important with those in Europe, America magazines as a source and Asia, as expressed in the magazines, of information. The current computer en- which will provide a new interpretation of gineering possibilities allow us to perform Spanish architecture regarding the inter- something previously impossible: a global national panorama. The project is sched- analysis of the contents of architectural uled to be completed by the end of 2018, magazines. We aim at creating a powerful although a one-year extension has been database hosted on a public website ac- requested. cessible to the global scientific community. This database contains not only the clas-

ARTNET knjizica 1_N_G.indd 23 05/11/2018 14:15 This presentation will overview the research As a totality, they embody various discursive programme of the project The Site of Dis- lines, which formed, over time, an editori- course (funded by the Portuguese Agen- al culture supported by constellations of cy for Science and Technology), which, relations between editors, critics and ar- through a dialogue between Architecture, chitects. Thus, beyond their diversities, the Art History, Sociology and Design, focus- printed specialized magazine was consid- es on studying Portuguese architectural ered a privileged medium of discussion and periodicals throughout the 20th century. dissemination of work, innovations, trends Currently, there is a widespread consensus and ideas. In this sense, they constitute a that architectural magazines have played privileged focus of observation enlighten- a fundamental role in shaping identities ing the interactions between different dis- and giving rise to new orders of thought ciplinary fields, the relationship between on the practice and representation of ar- textual and visual discourses. This presenta- chitecture. Editing and design have thus tion explores part of the research criteria become so inextricably linked that it seems and corpus of the project The Site of Dis- reasonable to claim that they share a com- course, which mapped mon ground beyond the contingencies of all the articles, authors, constructive practice, resting upon a web works and other content of both conceptual and professional rela- included in a universe Rute Figueiredo tionships. Bearing in mind that architectural of 28 Portuguese archi- & Ivo Veiga: culture has been shaped, produced and tectural magazines. The Architectural disseminated by professional journals and survey systematises, in a Periodical Press specialized magazines, this project argues database, about 20 000 and Research that specialised architectural periodicals articles, more than 2000 Challenges are more than a mere sequence of isolated authors and around printed objects. 6000 architectural works. Given such an amount of data, the research project has been constructed from an exploratory perspective, combining methods and re- search tools that come from different fields of knowledge.

ARTNET knjizica 1_N_G.indd 24 05/11/2018 14:15 The paper deals with the intergenerational By observing the mentioned CIAM con- and ideological frictions among the ar- gresses as event-based social networks, chitects and architectural groups within the paper will detect and trace the evolu- CIAM (Congrès internationaux d’architec- tion of opposed discourses and ideologi- ture modern) in two distinct historical peri- cal positions within specific social cliques ods: between the fourth and fifth congress organised around Weissmann and Bakema. (1933–1937), and between the ninth con- Relying on the knowledge from the field of gress and the last CIAM meeting in Otterlou digital humanities and using the IT tools for (1953–1959). visualisation of artists’ and architects’ net- From its founding to works of the 20th century, developed within its dissolution, CIAM’s the ARTNET project, the paper will provide a leadership tended to series of data visualisations that will enable Tamara Bjažic´ Klarin maintain the organ- a detailed analysis of interactions among & Nikola Bojic´: isation’s apolitical architectural groups and individuals, as well Tracing the Ideological position, claiming its as a comparative analysis of the networking Frictions within CIAM “ideological diver- models rendered through the ideological as a Case for a sity” and, primarily, frictions in two historical periods. Network Analysis the technical nature of the architectural discipline. Opposed to the stances of the leadership, groups of mostly young archi- tects in both periods, argued for the so- cial role of architecture rooted in their left ideological positions. The frictions before World War II emerged after the group of leading European CIAM constructivists had left for the USSR, opening up the space for the generation of younger left-oriented architects organised around Croatian ar- chitect Ernest Weissmann. In the post-war period, the opposition to the CIAM lead- ership was maintained through the work of an international architectural group, Team X, and especially through the engagement of Dutch architect Jaap Bakema as one of its central figures.

ARTNET knjizica 1_N_G.indd 25 05/11/2018 14:15 CONFERENCE PRESENTATIONS grouped chronologically in sessions

Day II / Session I

ARTNET knjizica 1_N_G.indd 26 05/11/2018 14:15 Taking into account all possible differences The aim of this paper is to present differ- between digital and digitized art history ent theories of writing and reading digi- (according to Johanna Drucker), as well tal art history, as well as a big turn in their as the history of the methodology of ″ana- process in order to demonstrate that art logue″ and ″digital″ art history, this paper historians need a new exercise and a new explores the characteristics and changes understanding of media messages, but also in the process of writing and reading art to show that the essential changes of the history in a digital environment. The ap- science itself, its methodology and goals proach used in this paper is an approach are actually lacking because the same pro- that is media sensitive, but not technologi- cess is happening all the time, only in this cally hyperdetermined; i.e., this work comes moment written in different media. In the with the view that the new media and the end, the paper concludes that the con- language of new media (Manovich) cer- cepts of writing and reading art history in tainly influence both the reading and the this (digital/online/new media/cyber, etc.) writing of art history, but that they may not environment have changed, but that it is fundamentally change the methodology not really a new art history, only art history and goals of this science. in a new space. In this regard, I am examining here the question of the author and authorship in the process of writ- ing digital art histo- ry on the example of the ARTL@S project and the so-called global/total ap- Ana Kneževic´: proach in art histo- Writing and Reading ry. It can be said that Digital Art History the authorship here is collective, that the author is only a selector, that he is the one who only recycles written material after the death of the author (Barthes) or even that the concept of the author is ridiculous. On the other hand, the reading that occurs both in the ARTL@S project and in many other digital art history projects could be called distant reading (Moretti), but also forensic, interactive and multi-scale read- ing. Such a reader could be called an art historical flâneur who is bicycling through the screens.

ARTNET knjizica 1_N_G.indd 27 05/11/2018 14:15 Digital Art History (DAH), which embraces The Frick Art Reference Library’s Digital Art massive data sets, innovative methodolo- History Lab (DAHL) was founded in 2014 to gies based on computational techniques address the increasing need for art histo- and collaborative paradigms, promises rians to organize, visu- to offer new perspectives on the history of alize and interpret the art. For example, as has been suggested flood of “big data” re- elsewhere, DAH has the potential to shift leased by museums and the discipline’s focus away from traditional cultural institutions, as Ellen Prokop: topics of inquiry, such as aristocratic pa- well as experiment with (Digital) Art tronage, to less explored aspects of the recently developed dig- History for the Masses? field, such as networks among guild mem- ital tools and methodol- The Role of the Public bers and labourers—in short, to reposition ogies. The DAHL is ac- Digital Art HistoryLab the discipline’s traditional preoccupations cessible free of charge from the concerns of the elite to the expe- to all adults and functions not only as a riences of the marginalized (Jaskot, 2016). research centre but also as a communi- Yet this displacement from the centre to the ty for unaffiliated art historians — a rap- periphery is not restricted to DAH research idly growing demographic in the United questions but frequently applies to other States as tenure‐track teaching jobs and aspects of DAH as well: to its status within full‐time curatorial positions vanish. While the digital humanities; to the demographic similar digital humanities centres exist in it often attracts; and to the infrastructure(s) New York City, most are oriented towards developed to support it. In many respects, textual analysis, which is not useful for art DAH occupies the periphery. The proposed historians. More importantly, these resourc- paper problematizes these issues as crys- es are available only to university faculty tallized by the establishment of a digital and select students. The DAHL serves a art history lab at a privately funded library non‐academic community, thus placing that serves the general public. Through this the development of art historical research discussion, it will explore one instance of questions in the hands of the public. how DAH has forced the North American Yet despite its reach and productivity, the academy to reflect further on issues of priv- DAHL has no dedicated space or budget. ilege, access and the future of art history. Those of us involved with the Lab have had to be resourceful and rely on the goodwill of the digital humanities community to fulfil our mission. By operating on the periphery in multiple ways, we have created an in- stitution that may not be sustainable, but as funding for the arts becomes scarce, there is no alternative. If scholarship in the arts is to advance, if art historians and the public are to be encouraged to embrace new technologies, all adults interested in the arts will require access to digital tools; to open collections; and to a community with which to share, discuss and develop these innovations.

ARTNET knjizica 1_N_G.indd 28 05/11/2018 14:15 According to Johanna Drucker, there are research and to the growth of a digital mu- objective criticalities in conforming to seum intended not as an immaterial, virtual and “taking root” in the digital technolo- space, but as a complex of digital collec- gies applied to cultural heritage. Namely, tions that participate in the perception of there is a linguistic artworks. On the other hand, there is a kind problem regarding of scepticism towards the proliferation of the image transla- digital objects that in various forms – da- Stefania De Vincentis: tion as the Digital tabases, devices, web platforms – seem to Digital Art History and Humanities work in replace the real vision of a work of art, un- Audience Development. the transpositions dermining the “aura” and thus guiding the A Challenge for of languages: either resistance of historical and artistic subjects the Research of manuscript codes, towards an active investment in research Museum’s Collections inventories, archival on digital technologies applied to cultural sources, laser scans heritage. This opposition is driven by the or photogrammetric analysis. In addition to notion that a digital collection is a mere the topic of reinterpreting art history in the substitute for the original. light of the technologies that can take part The paper will analyse how modern re- in the in-depth reading and reconstruction search assigns to these technological re- of artistic data on the basis of material ele- sources the task of making the museum ments of an artefact, the problem emerges into not only a virtual environment but a of how to manage digital resources – de- mediated context, a space for study and veloped within applied computer science communication, where the visitors can get – intervening on a work of art. These meth- in touch with both the real work of art and odologies and technologies are constantly its digital representation, a frame of knowl- being updated and require historical and edge that allows the visitors to identify the artistic research related to contemporary objects, classify them and bring them back contexts and temporalities. within their field of knowledge. This is a par- According to Aby Warburg’s theories, an ticipatory museum where those who enter artistic object testifies to events, people, can enjoy the opportunity not only to be and is a source of knowledge in itself; it is a observers, but accomplices in the process repository of both material and immaterial of interpretation and artistic production. data, elements that can be read and trans- lated due to the interdisciplinary approach offered by digital databases, real congre- gations of authoritative resources that are structured following the composite discipli- nary fields. Platforms like the Perseus Digital Library, the Deutsche Digitale Bibliothek or Europeana exemplify this. Such databases are resources that contribute to art history

ARTNET knjizica 1_N_G.indd 29 05/11/2018 14:15 By reflecting on the challenges and The art historians that manage the pro- achievements of an ongoing collaborative ject each year bring with them a unique research project, this presentation offers set of language abilities, sub-discipline or insights from a project manager on the region of study, and theoretical and meth- structures and roles of trans- and interdis- odological interests that affect the kind of ciplinary cooperation, offering recommen- work they accomplish during their tenure dations for assuaging high collaborator as project managers. Such diversity of col- turn-over in digital projects. The project laborators has supported more inclusive examined, Itinera, is a digital environment representations of location, gender, cul- that includes geographic and network ture, and language. While such oversight visualizations to explore the movement of ensures Itinera represents a broad array of early-modern people and objects. The un- eighteenth-century cultural producers, high dertaking was inspired by the central role turnover can prove dif- that such mobility played in the eighteenth ficult for data steward- century and stemmed from the desire to ship. This experience has Sarah Reiff Conell: better collect and convey the uncovering highlighted the expec- Advancing and of historical capta. tations of humanists who Adjusting: Lessons Itinera is housed in the Visual Media engage in such work Learned from High- Workshop at the University of Pittsburgh, and helped cast light Turnover in a a technologically-focused humanities lab on one of the greatest Collaborative that fosters collaboration and creativity by challenges of varied Long-Term Project bringing together students and faculty from skillsets and experience many departments to apply digital methods in collaboration, that of consistency. thoughtfully to interpretative research and The presentation will discuss lessons instruction. PhD students from the History of learned from Itinera that may help others Art and Architecture Department fulfil the make more informed decisions about col- role of Itinera’s project managers, form- laborative, long-term projects in the future. ing the bridge between faculty and under- I conclude by offering some solutions for graduates while growing and maintaining this project, and ideas on training, invest- the database. In addition to collaborators ment, and oversight well suited for a high on Itinera working overlapping hours in a turnover, collaborative environment. Each shared environment, a Data Stewardship challenge and potential solution aims to PhD student also shares this same space empower each collaborator to think criti- while managing another project. Most col- cally about problems and stimulate an on- laborators serve a term of a single academ- going dialogue necessary for a rigorous ic year, and this physical proximity supports and engaging project. communication and fosters research that crosses traditional disciplinary boundaries. In addition to the collaborative environment and interdisciplinary work, there are many affordances of the variety of skill sets at the disposal of Itinera.

ARTNET knjizica 1_N_G.indd 30 05/11/2018 14:15 CONFERENCE PRESENTATIONS grouped chronologically in sessions

Day II / Session II

ARTNET knjizica 1_N_G.indd 31 05/11/2018 14:15 Recent extensive digitization efforts led to a The first part of my presentation will focus significant increase of digitized and online on how deep neural networks can be em- available fine art collections. The increased ployed in order to automatically classify visibility of digitized artworks is particu- artworks based on categories such as artist, larly useful for art history education and style or genre. Although automatically rec- research purposes. Apart from the advan- ognizing the artist, style or genre, it is not a tages of the visibility boost, the very trans- trivial task; the attempt to computationally lation of information, from the domain of understand artworks goes beyond the chal- the physical artwork into the digital image lenge of classification. Fine art collections format, plays an important role in opening are a data source of historical relevance, new research perspectives grounded in the as well as perceptually and emotionally intersection of computer vision, machine intriguing visual information. Because of learning and art history. its manifold nature, the domain of fine art Visual analysis of artworks includes under- images represents a fruitful data source for standing different aspects such as form, formulating semantically relevant image expression, content and meaning. Various analysis tasks, as well as for challenging computational image features can be used neural networks in learn- in order to analyse and describe formal ing representations of a elements of paintings such as line, shape, higher abstraction lev- colour, texture and composition. Howev- el. Therefore, the second Eva Cetinic´: er, narrowing the semantic gap between part of my presentation Towards Computational computational image features and artistic will be dedicated to the Understanding concepts remains a great challenge. The question of using deep of Fine Art: successful performance of deep learning neural networks for de- A Deep Learning techniques for a wide variety of computer signing and extracting Perspective vision tasks, motivates us to explore their high-level and seman- potential in enabling new ways of exploring tically relevant features that can serve as digitized art collections. a basis for discovering new knowledge patterns and meaningful relations among specific artworks or artistic oeuvres. Additionally, I will try to give a critical over- view of the proposed methods, their possi- bilities and limitation, as well as tackle the scope of interpretability of the presented results. Furthermore, I would like to make use of the transdisciplinary research en- vironment to discuss the applicability of the proposed computational methods for art history-related research questions, as well as to identify points of convergence of different research streams united under the term “Digital Art History”.

ARTNET knjizica 1_N_G.indd 32 05/11/2018 14:15 “The Adriatic Highway: Infrastructure as a system that enables the specialisation and Generator of Territory” is an independent facilitates the diagrammatic representation interdisciplinary research project that uses of the various features of the route. archival research and textual and visual In parallel to the development of this meth- analysis in order to develop original qual- odology, the project includes the acquisi- itative cartographic methods. The project tion and systematisation of an extensive uses the route of the Highway as an organ- database of historical and modern maps, izational and narrative device for the struc- aerial and satellite imagery, spatial and turing of acquired data. It is motivated by urban plans along with a collection of his- the inquiry into the infrastructural inception torical photographs and travel guides. The of a unified coastal territory and the trans- first application of this tool has enabled the formation of the previously underdeveloped collection of a dense sequence of points coast into a continuous peri-urban strip along the route rendered by the photo- incorporating an array of emerging land- graphic capture of images publicly avail- use and landscape patterns. able through various mapping services that Departing from the investigations of con- were geometrically transformed in a way to temporary visual arts as opposed to the portray two opposing angles perpendicular procedures of cartographic and statistical to the route. Rather than showing the con- methods of spatial analysis, this research tinuity of the view from the windshield, this aims at the formulation of qualitative comprehensive dataset illustrates the route and artistic tools as two separate linear corridors and allows Damir Gamulin for understanding for an analysis of various disruptions, dis- & Antun Sevšek: and representing continuities, and breaks that would not be Linear Mapping of this vast territory. discernible using conventional cartograph- a Coastal Territory. Through an iterative ic or photographic sources. By joining the Sequencing and research process indexing system with the distinct thematic Recombination of the since the start of layers we were able to produce a large da- Constituent Elements the project in 2014, taset of different sources, forming an inter- of the Adriatic Highway we have devised a woven and linearly structured foundation hybrid analytical for further research. framework that fuses the analysis of his- The main goal of the project is to transform torical tabular itineraries with sequential a system of aggregating and overlapping narrative conventions, perceiving the en- fragments of individual data-points into an vironment as a sequence of known points/ overall cognitive map. That could lead to moments. Through the process of layering the creation of novel interpretations and visual and textual sources, this project in- representations of this territory, as well as vestigates the method of ‘Linear Mapping’ to the unexpected and unorthodox char- as a viable alternative to the complexity acterisations of larger portions or the en- of the dominant paradigm of geographic tire length of the route, enabling new ways information systems. This methodology is of addressing the potentials for its further based on sub-dividing the linear territory development. into distinct sequences and further into dis- tinct spatial units, according to their posi- tion along the route, or their distance from it. The constituent spatial units form the ba- sis of a robust indexing and classification

ARTNET knjizica 1_N_G.indd 33 05/11/2018 14:15 The Experiments in Art and Technology or Initially conceived as a multidisciplinary re- E.A.T. datascape is a project developed at search project in art history and aesthetics, the Sciences Po médialab, in 2011, by Chris- the digital methodology implemented and tophe Leclercq, Paul Girard, and Daniele the new possibilities of reading offered not Guido. Its aim was to study as closely as only help to provide new insights into this possible the complexity of interdisciplinary complex topic of social art history and, from collaborative works and was implemented a sociology of art perspective, to better during the processing of the E.A.T. archives. describe this particu- E.A.T. was an organization co-founded in lar “art world” (Becker), 1966 by the artists Robert Rauschenberg but also lead to epis- and Robert Whitman, and the engineers temological changes: Christophe Leclercq, Billy Klüver and Fred Waldhauer, in order the datascape helps to Paul Girard to support collaboration between artists modify certain habits & Daniele Guido: and engineers. of thought specific to The E. A. T. Datascape: The E.A.T. datascape can be defined as art history itself (the Experiment in Digital a digital instrument for exploration and notion of author, the Social Art History analysis of the digitized traces left by these relationship of the artists, engineers and other “actors” (me- work to a so-called context or even the very diators, curators, etc.) through many avail- concept or definition of a work of art). In able resources. By taking a joint interest in other words, it allows us to reflect on what the life of the works and those of the actors digital design does, in turn, to the social his- involved in their conception, production, tory of art, and to put forward hypotheses exhibition and critical fortune, the E.A.T. da- about what a digital social art history might tascape provides synoptic, sequential and be or could offer to the study of complex, reticular views, and combines a close and interdisciplinary projects that are multiply- a “distant reading” (Moretti) of this particu- ing in the contemporary art world. lar organisation through activities, actors and overviews corresponding to different levels of data aggregation. It, therefore, displays both qualitative and quantitative data – allowing an art historian to visual- ize the sources from which the data were extracted.

ARTNET knjizica 1_N_G.indd 34 05/11/2018 14:15 Many artists dedicate a significant amount We will explore these dualities within our of time to studying visual references. own art practices, as well as work of art- Searching for reference materials is one ists Frances Stark, Anthony Antonellis, way we can learn from the work of others, Kara Stone and Taryn Simon. It is our hope understand materials, and learn how pro- that an analysis of this particular form of cesses and techniques are enacted. The visual association will bring forth valua- visual analysis of reference materials may or ble elements of artists’ daily routines and may not be identifiable in the finished prod- practices that may not always end up in uct, but is often crucial to the end result. the finished product. This proposal stems Locating these visual materials is becoming from a discussion between the presenters a largely digital process – taking place on around the division of digital and traditional platforms like Google, Instagram, YouTube, labour. Historically, there is a complicated Facebook, eBay, and Pinterest. The collec- relationship between the handmade and tions of images and resources acquired the mechanical or digital. However, we can reveal associative patterns and reflect have found that within our respective art reactions to content, evidencing trains of practices, it is no longer useful to make a thought. In his book Wasting Time on the hard distinction between these modes of Internet, Kenneth Goldsmith suggests “our production. Ann-Sophie Lehmann, in her browser history could be seen as a scrap- article Hidden Practice: Artists Materials, book, a textual and visual travelogue.” Tools and Working Spaces in the Digital Likewise, we argue that the images and Domain argues that work often takes place information we collect, as well as the tra- in an oscillating creative space between the jectory we follow to get there, is capable of traditional studio and programmes which revealing the important thought processes simulate the studio such as Photoshop and at stake when producing art. Paint. She argues that tools in the digital We would like to propose a collaborative talk studio require an equivalent amount of ex- that explores the intimate labour of locat- pertise and sensitivity as “traditional” tools. ing, selecting, and interpreting source ma- Upon reflection, we have both observed terials online from a that digital research and tools play an in- research-creation creasingly important role in the ways we perspective. This produce physical products. For our pro- labour is often per- posed contribution to the Digital Art History formed alone, as a Conference, we would like to explore the Kristie MacDonald means of internally ever-changing and often tangential life of & Ella Tetrault: processing a given digital source material drawing from our Browsing for Images subject, in order to own practices and those of other digital as Intimate Labour formulate a project, and post-internet visual artists. or argument. Brows- ing the internet is a productive “push and pull of opposites: intuition and intention, conscious and unconscious, drift and de- termination.”

ARTNET knjizica 1_N_G.indd 35 05/11/2018 14:15 CONFERENCE PRESENTATIONS grouped chronologically in sessions

Day II / Session III

ARTNET knjizica 1_N_G.indd 36 05/11/2018 14:15 In February 2017, the Getty Foundation is- The objective of the project was to iden- sued a report on the symposium “Art History tify, describe, and explain organizational in Digital Dimensions”, held in October 2016 models from the background of modern at The Phillips Collection, Washington D.C., and contemporary artists’ and architects’ and the University of Maryland. Subtitled as networks, using custom-made digital tools “White paper”, it summarizes the three-day for network visualization, spatial data vis- discussions “on the current state of digital ualization and collaborative research, de- art history (DAH)”, led by the international, veloped parallel to the historiographical multigenerational group of professionals and methodological project investiga- from different strands of art history. tions. Using a brief description of ARTNET’s Discussions resulted working procedures, methods, results and with “a roadmap for conclusions, as the framework for the re- Ljiljana Kolešnik & the future practice in sponse to Getty’s DAH roadmap, we shall Sanja Horvatinc�ic´: the field” – a rather also question the notion of digital art history Current Challenges and interesting document as yet another in a range of recent meth- Future Prospects of intended to identify odological turns in the recent history of art Digital Art History. and articulate the history, advocating for its understanding in Lessons Learned at most important chal- terms of paradigmatic shift, symptomatic the Project ARTNET lenges facing DAH, for the profound transformation of the en- but also to provide tire field of humanities. possible responses and future solutions to these issues. Referring to the standpoints, projections and propositions elaborated in the report, in this paper we shall try to provide a somewhat different view of DAH and its problems, based on the multi-disci- plinary research project ARNET, conducted in the last four years at the Institute of Art History, and supported by the Croatian Sci- ence Foundation.

ARTNET knjizica 1_N_G.indd 37 05/11/2018 14:15 The increasing use of Information and or in the art market. We intend to extend Communication Technologies is deeply the conceptual model in order to include changing the pre-existent teaching and non-physical forms of circulation and cul- research methodologies in a large num- tural contexts other than institutional ones. ber of disciplines including Art History. In CIDOC RCM focuses on information from this rapidly evolving context, it is conceiv- the museum collections to support docu- able that, in the coming years, Art History mentation and interoperability. In this con- will more and more profit from Knowledge text, the artistic status of an artefact derives Representation & Automated Reasoning from the fact that, with the acquisition by methodologies in several aspects such as a museum, it has already publicly gained data classification and integration, inter- a special value that dis- operability of different data sources, and tinguishes it from other semantically-driven query answering. In artefacts with similar particular, on the one hand, the Semantic formal characteristics. Web standards and infrastructures provide Conversely, in case of the required ecosystem for implementing objects whose artistic Maria Giovanna Mancini flexible and effective data retrieval at the value is not institution- & Luigi Sauro: Web scale. Conversely, Art History offers ally established – like the A Conceptual Model new challenges to the Semantic Web in spontaneous interven- for Art Criticism the development of specification lan- tions of street art that guages and formal ontologies allowing to are performed without commission from describe at the right level of abstraction anonymous authors – the knowledge of the complexity and heterogeneity of da- critical debates allows both end users and tasets concerning this domain of interest. researchers to reconstruct the contexts of In this respect, considerable efforts have production and fruition. Information related been devoted thus far to define conceptual to art criticism does indeed contribute to models that properly represent the domain forming knowledge of new forms of art that of cultural heritage. Among others, one of increasingly more often consist of ephem- the most prominent projects, which has de eral processes, widespread experiences facto become an ISO standard, is CIDOC which today find traces exclusively in criti- RCM. The International Council of Muse- cism, but in the future will also become part ums (ICOM) has been developing CIDOC of the museum collections. RCM over the last ten years and it is one of the largest and well established formal ontologies for describing general concepts and relationships in the domain of cultural heritage. To benefit from the power of the Semantic Web, CIDOC has been recently serialised in the RDFS and OWL languages. Our proposal aims to include in CIDOC RCM concepts and relationships concerning art criticism, such as references on artworks, artists, and the like in articles, catalogues, monographic or collective volumes. CIDOC RCM already allows to properly represent the presence of an artwork in a collection

ARTNET knjizica 1_N_G.indd 38 05/11/2018 14:15 In my presentation, I intend to address the pos- framework, I examined whether specific acqui- sible epistemological consequences and chal- sition strategies are related to the underlying lenges of regarding Big Data usage related to features of artists’ exhibition histories, taking research into art phenomena. I intend to do into account different modes of acquisition and so by presenting a case study from my doc- multiple time periods in the acquisition history of toral research conducted at the Department the three mentioned museums. I built a dataset of Network and Data Science (DNDS) of CEU. comprising all the acquired artists in Tate, MoMA My doctoral research aims to contribute to and Pompidou, as well as all the acquisition-re- the discourse on the ways of canon formation, lated information. As for the artists’ exhibitions, more specifically, on the incorporation of the I built a dataset comprising more than 100 Central-East European (CEE) artists in core 000 exhibitions of more than 3500 CEE artists. museum collections of the western art world. Numerous epistemological questions have been Museums – arguably top institutions of dom- raised throughout the research in regard to the inant narrative formation – define themselves use of available data repositories. Building the through the exhibitions they organize and how database on the artfacts.net – to my knowledge, their collections get the richest of its kind – by comprising exhibition enlarged via specific data on around 550 000 artists, not only opens Júlia Perczel: acquisition strategies. up possibilities for novel research questions in Epistemological Nevertheless, muse- sociology of art due to the scale of the avail- Aspects of Big Data ums operate as parts able data, but also raises new questions and Usage and Network of a bigger system, uncertainties regarding its usage which we ha- Representation in Art the art world, where ven’t met before in traditional data gathering. Historical Research: different actors oc- While the source is said to be a comprehensive A Case Study cupy different pow- dataset, and that all information is unbiased, er positions finding verified and up-to-date, through analysing its themselves in competition with each other in structure I found the dataset to be far from being order to reinforce their positions, to strive for unbiased or complete. This is normal, given it a better one or to create new ones. Conse- is not an ahistorical or acontextual repository, quently, the above-mentioned processes of but one built with certain means. Nevertheless, self-definition may also function as tools of due to the fact that these means are reflected in competition for determining the leading inter- the data, its unreflecting usage would reinforce pretations of artistic tendencies and, thereby, the power structure based on which dataset gaining more powerful positions in the system. biases came into being in the first place. What Building on Pierre Bourdieu’s relational theory can thus a researcher do? Try not to think about of artistic fields, Bruno Labour’s approach to it? State the biases in the restriction part of the ‘modes of existence’, Pascale Casanova’s notion paper, but go on as planned? Collect the miss- of the competition among central actors in the ing data manually? If available, match it with field who strive for dominance, and the perspec- other sources? Estimate the missing data points tive of world-systems analysis, I conceptualize and its features with statistical techniques and the struggle among actors of a semi-peripheral fill the gaps with them? Go slow? The different region from the perspective of the central ac- strategies will result in affecting the research, its tors in the western art world. I thus focused on implications and evolving possible interpretive the competition among three central actors – frameworks in various ways. In my presentations, Tate, MoMA and Pompidou – by analysing their while discussing the research, I also intend to different acquisition strategies deployed while tackle these questions and strategies along with incorporating artists from the CEE region. In this their possible epistemological consequences.

ARTNET knjizica 1_N_G.indd 39 05/11/2018 14:15 BIOGRAPHIES

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ARTNET knjizica 1_N_G.indd 40 05/11/2018 14:15 Benjamin Binstock Eva Cetinić

teaches Renaissance and Baroque Art History at is currently working as a Professional Associate at Cooper Union in New York City. Simon Schama called the Ruđer Bošković Institute and pursuing a PhD Binstock’s 2001 essay on Rembrandt’s Syndics “a in Computer Science at the University of Zagreb, stunning insight […that] can stand for the peculiar Faculty of Electrical Engineering and Computing, genius of Dutch art at this moment in its history.” where she received her M.Sc. in Information and Julian Bell characterized Binstock’s 2009 book Ver- Communication Technology with a Master’s Thesis meer’s Family Secrets as “the most comprehensive titled “Paintings classification by author using neu- and detailed analysis ever published of Vermeer… ral networks”. She is particularly interested in using full of ideas that could fundamentally change the computer vision and machine learning techniques current understanding of his paintings.” Binstock’s to expand the research potential of digitized fine art essay “Why was Jan van Eyck here? The Sitters, collections. In her PhD thesis, titled “Computational Subject, and Significance of The Arnolfini Marriage detection of stylistic properties of paintings based Portrait” was recently published in Venezia Arti (Vol. on high-level image features analysis”, she is trying 26, 2017). to address the challenge of narrowing the semantic gap between artistic concepts and computational Tamara Bjažić Klarin image features, with the aim to provide a novel framework for exploring visual art image data. She is a Senior Research Associate at the Institute of attended several digital art history related events Art History in Zagreb. Her work focuses on the 19th such as the Coding Dürer Hackathon in Munich and and the 20th-century architecture and urbanism. the Digital Art History Summer School in Malaga, She authored the book Ernest Weissmann: Social- organized in 2017. She is actively involved in two ly Engaged Architecture 1926–1939, a number of Horizon 2020 projects, INDIGO-DataCloud and scientific papers and book chapters, and co-au- EGI-Engage, by working on establishing and dissem- thored several documentaries. She participated in inating cloud-based solutions for the requirements a number of national and international research of the DARIAH (Digital Research Infrastructure for projects, conferences and workshops. In 2006, she the Arts and Humanities) research community. The received a fellowship by the French government, and intersection of art and technology constitutes an in 2014 a fellowship awarded by the Swiss National essential characteristic of her professional path, as Science Foundation, on which occasion she spent an well as her personal interests. academic residence at the Institute for the History and Theory of Architecture (gta eth) in Zürich. Rae Di Cicco

Nikola Bojić is a PhD candidate in the History of Art and Archi- tecture Department at the University of Pittsburgh, holds a Master’s Degree in History of Art and Infor- specializing in Central European modern art. Her mation Sciences from the Faculty of Philosophy and dissertation, titled “The Kosmos, the Body, and Social Sciences, University of Zagreb (2011), and a the Other: The Cosmopolitan Imagination of Erika postgraduate Master’s Degree from the Graduate Giovanna Klien,” traces the development of Klien’s School of Design, Harvard University (2013). He is cosmopolitan ethics across her career in Austria and currently a PhD candidate at the Faculty of Philos- the United States. ophy and Social Sciences, University of Split, where he is conducting research on physical planning in Andreja Der-Hazarijan Vukić Croatia from 1955 to 1975, and Lefebvre’s theory of the production of space. Under the mentorship of graduated with a Master’s Degree in Art History and Ljiljana Kolešnik, he is engaged as a Research As- Ethnology at the Faculty of Humanities and Social sistant at the Institute of Art History in Zagreb within Sciences in Zagreb, in 1993. Since 1994, she has the ARTNET project on digital humanities. In the fall worked as an Associate, and from 2008 as a Senior of 2016/2017, Nikola was a visiting researcher and a Associate at the Croatian Academy of Sciences and lecturer at the School of Architecture and Planning Arts – Fine Arts Archives. at Massachusetts Institute of Technology (SA+P/ACT), where he co-taught a class “Advanced Studio in Ana Esteban-Maluenda Production of Space” (with Prof. Urbonas). In 2015, he edited a thematic issue of Život umjetnosti magazine is a tenured lecturer at the School of Architecture in (“From Territory to Specific Site”, no. 96). He has held Madrid. She is an architect who received a PhD Sum- several public and guest academic lectures, as well ma Cum Laude of Theory and History of Architecture as a series of workshops, seminars and presentations (Universidad Politécnica de Madrid, 2008). She won at international scientific conferences. the UPM Doctoral Extraordinary Award 2007–2008,

ARTNET knjizica 1_N_G.indd 41 05/11/2018 14:15 and Special Mention in the XXII Awards Urbanism, chitect, proven history of building large-scale data Architecture and Public Works for her doctoral thesis, processing systems, and serving as an expert in data titled “The Imported Modernity. Madrid 1949–1969: warehousing solutions while working with a variety of Diffusion Channels of Foreign Architecture”. Based database technologies, and Data Analysis Expert, on the research areas she has developed to date improving the effectiveness of Big Data systems, de- – “20th century architecture and its diffusion”, “Ar- scriptive analytics systems, and prescriptive analytics chitecture and architects in Spain since 1950” – she systems, as well as working knowledge of machine has published articles in international publications in learning and/or predictive modeling. In 2014, he Spain, Portugal, Italy, United Kingdom, United States began his career at BNP personal finance as a data of America, Japan, Brazil, Colombia, Argentina and scientist and data engineer. Expert in the definition Chile. She has taken part in several international and implementation of data warehouse systems, as conferences. Likewise, she has given lectures at well as in the implementation and design of systems European and South American universities, and is for the automatic processing of information using involved in different research projects funded by databases with large volumes of structured and the government, institutional and private sources. unstructured information, and in the definition of She is currently a member of four research groups in statistical models implemented in R. From 2016, he three countries: Spain, Portugal and Brazil. She is a has worked as the data engineer of AchiteXt Mining member of the editorial board and a peer reviewer research team. He develops ingestion pipelines and of several scientific journals, as well as a member of data analysis system, designing and developing the the Organization Board of many international con- ingestion pipeline to process several TB of data and gresses in the Ibero-American sphere. She curated providing technical expertise and creating software the exhibition Three Magazines in Madrid. The Inter- design proposals for upcoming components. national Glance in the Local Context (1949–1968), organized by the library of the School of Architecture Rute Figueiredo (UPM) in 2011, and was also involved in research for international cultural events such as the Shanghai is an architect and architectural historian (MA in Art International Exhibition 2010, and the Spanish Pavil- History). She received her PhD in History and Theory ion of the XIV Venice Architecture Biennale 2014. She of Architecture at the ETH – Swiss Federal Institute has received grants to develop her work in several of Technology, Zurich (2017). Her research work has institutions, as the Ministry of Economy and Compet- been focused on the architectural critical practice, itiveness of the Government of Spain, the Carolina as well as on the relationship between architecture Foundation, and recently the Society of Architectural and periodical press. She is the author of a book Historians of Chicago. titled Architecture and Critical Discourse in Portugal 1893–1918 (Prize José Figueiredo in 2008, awarded Jasenka Ferber Bogdan by the Portuguese National Academy of Fine Arts). Between 2012 and 2015, she led the R&D project graduated with a Master’s Degree in Art History The Site of Discourse, sponsored by the Portuguese and Ethnology at the Faculty of Humanities and Foundation for Science and Technology, which con- Social Sciences in Zagreb in 1994. She worked as ducted the study of Portuguese architectural peri- a conservator-researcher at the Regional Institute odical press in the 20th century. She has also been for Protection of Cultural Monuments in Zagreb from researching the impact of cultural institutions, such 1993 to 1997. From 1997 to 2008, she worked as an as the Venice Biennale, on the experience, rhythms, Associate, and from 2008 as a Senior Associate at and modes of architectural knowledge construction the Croatian Academy of Sciences and Arts - Fine and communication today. She is finishing a book on Arts Archives. this topic. In addition, she has held several research grants from the Swiss National Scientific Foundation, Francisco J. Fernández Rodríguez and the Portuguese Foundation for Science and Technology. She is a member of the European Archi- is a technical engineer in management computer tectural History Network, the Society of Architectural science from the Pontifical University of Salamanca Historians, and the CEEA/Escola Superior de Artes since 2001. He has started his professional career in Porto where she is working as a researcher on the the IT departments of such prestigious companies HERA project MODSCAPES-Modernist Reinventions as Endesa and SGS Spain, developing systems for of the Rural Landscape. Currently, she is a Research decision making, definition of balanced scorecards, Fellow at the Rennes 2 University, working on the and analytical models for reporting to management. project Mapping Architectural Criticism. He is a Big Data Architect, certified by the University of Columbia, and expert in the definition of models and algorithms under the standards of machine learning. He has worked as Data Warehousing Ar-

ARTNET knjizica 1_N_G.indd 42 05/11/2018 14:15 Damir Gamulin Ivana Haničar Buljan

studied Design at the Faculty of Architecture, Univer- holds an M.Arch. from the Faculty of Architecture, sity of Zagreb. He has been working as a freelance University of Zagreb (1996). Since then, she has been designer and consultant since 2001. He is involved working at the Institute of Art History as an associate in designing and researching various media, tech- researcher in the field of architecture. Since 2011, nologies and approaches. In recent years, his work she has been Head of the Expert Technical Support has been focused on projects that take space as Department and assistant to the Head of the IAH. their theme; either in terms of spatial design or in Participated in various field projects of architectural the design of the space itself. He develops, in col- surveying and documenting of historical buildings laboration with other professionals, methods and and sites, held under the auspice of the Institute. digital tools for the integrated formatting, editing She has collaborated in the scientific research IPA and interpreting of physical and conceptual con- project Thematic route Zrinski-Suleiman, (Croa- tent as an upgrade to basic design activity. He is tia-Hungary-Turkey). With Ratko Vučetić, PhD, she a member of Platforma 9,81, an NGO for research is the leader of the project Researching and docu- and education in architecture and urbanism, and menting the urban core of the Fortress of Osijek for OOO, an NGO that organizes and manages projects the purpose of conservation and urbanistic studies. related to art and curation practices. Coordinator for digital mapping on the project Cities of Croatian Medieval: urban elites and urban Paul Girard space (URBES) at the Croatian Institute of History (leader Irena Benyovsky Latin, PhD). She is a member is an Information Technology engineer specializing in of Croatian Chamber of Architects and Croatian collaborations between technology and non-tech- Architects’ Association. Her professional interests nical domains. He joined the Sciences Po Medialab include interdisciplinary researching, documenting, at its foundation in spring 2009, as digital manager analyzing historical layers, conservation guidelines, of this digital research laboratory dedicated to fos- visualization, and production of ideal presentation tering the use of digital methods and tools in social design using new technology for protecting and sciences. Since then, he has overseen the technical revitalisation of architectural and urban heritage. direction of the laboratory’s many research pro- jects, in a collaboration between social sciences, IT Mariana von Hartenthal engineering and information design. His present re- search fields are digital methods for social sciences, completed PhD in Art History at Southern Methodist exploratory data analysis and enhanced publication University, Dallas, in 2017. She holds a Master’s De- through digital storytelling. URL: https://medialab. gree in the Social Studies of Technology, from the sciencespo.fr/fr/people/paul-girard/ Federal Technological University of Paraná, Brazil, and a Master’s Degree in Museum Studies from the Daniele Guido University of Southampton, England. As an under- grad, she studied Architecture at the Federal Uni- is the lead designer at the Luxembourg Centre for versity of Paraná, Brazil. Her main area of research Contemporary and Digital History at the University is the History of Photography. She has also worked in of Luxembourg. He joined the centre after several Museums in Brazil, the United States, and England for years of working as a designer and developer at the twelve years. She is currently directing the creation Sciences Po Medialab. Specializing in data visuali- of the first online glossary of Art Historical processes zation, network visualization and digital methods, he in Portuguese, under the auspices of the Instituto works closely with historians and engineers to boost Moreira Salles, the most important photographic their practice in digital publications and to develop archive in Brazil. experimental web applications for the exploration of historical archives. URL: https://www.c2dh.uni.lu/ Sanja Horvatinčić people/daniele-guido is a Postdoctoral Researcher at the Institute of Art Chelsea Gunn History in Zagreb. In 2010 she received a Master’s Degree in Art History, and English Language and is a PhD candidate in Library and Information Sci- Literature, from the Faculty of Humanities and Social ence at the University of Pittsburgh’s School of Com- Sciences, University of Zagreb. In 2017, she obtained puting and Information. She received her MLIS from her PhD at the Postgraduate Study of Humanist Simmons College. Her research focuses on personal Sciences, University of Zadar, with the thesis “Memo- archives, digital preservation, and the technical and rials from the Socialist Era in Croatia – Typology Mod- ethical challenges faced by archivists who collect el”. She conducts comprehensive primary research born-digital networked personal records. on memorial sculpture and architecture in Croatia,

ARTNET knjizica 1_N_G.indd 43 05/11/2018 14:15 with the focus on their relation to cultural production Art History, 2006. She also authored numerous ar- and memory politics in socialist Yugoslavia. She is ticles on art, art criticism, and cultural policies of researching new methodologies and the application Socialist Yugoslavia, but also on the history of art of digital tools in mediating memorial heritage of history in Southeast Europe, and most recently, on socialism under the conditions of capitalist cultural the digital art history. Ljiljana Kolešnik is the head production. She is a member of two research projects and founder of the Regional Centre for Art, Culture funded by the Croatian Science Foundation ARTNET and New media, established at the Institute of Art (since 2014), and CRO_SCULTPURE (since 2017). She History in Zagreb in 2013, and the co-founder of was a lecturer at the Post-graduate course Art for the Centre for Women’s Studies in Zagreb. She is Collective Use: Monument, Performance, Ritual, currently leading the research project in digital art Body (2015/16, University of Ljubljana), and an expert history ARTNET, funded by the Croatian Science advisor for the major survey exhibition project “To- Foundation, and teaching at postgraduate studies ward a Concrete Utopia: Architecture in Yugoslavia, of several Croatian Universities. She is the member 1948–1980” (MoMA, 2018). She is currently co-editing of DiMPO – DARIAH-EU WG Digital Methods and a comprehensive scholarly publication on Yugoslav Practices Observatory. monuments (Archive Books, 2019). Margarita Kuleva Ana Knežević is a researcher and lecturer at the National Research is an associate of the Museum of African Art – Veda University Higher School of Economics and a fellow and Zdravko Pečar Collection, freelance curator, of the Centre for German and European studies St. and independent art history researcher, currently Petersburg State University – University of Bielefeld. engaged as an Italian language teacher of Art Creative labour is one of her main research inter- Education at the Third Belgrade Gymnasium. She ests along with network approach in the sociology defended her MA thesis in 2016, titled “Art History of the arts and the clothing consumption/fashion as a Discipline in the Age of Cyberculture”. She is production. Kuleva has collaborated with a number the organizer of the regional student conference of Russian and international cultural institutions as Literature and Art in Yugoslavia: (dis)continuity Manifesta Biennale, Garage MoCA, Goethe Institute, (1918–1992) and member of the editorial board for New Holland St. Petersburg and many others. the art history journal Artum. She published several articles and book chapters, including: “Residential Christophe Leclercq and Commercial building Objektiv – the Final Work of Aleksandar Đokić (1936–2002)” (Leskovac Almanac, is a lecturer at the École du Louvre, and Research 2016), and “Architecture of the MAA: from Concrete Associate at the Sciences Po médialab in Paris. His Pavilion to ‘African house’” (Nympa kor ndzizi: (Re) research is based on the relationship between art conceptualization of the Museum of African Art – and technology, the collaboration between artists the Veda and Dr. ZdravkoPečar Collection, 2017), and engineers, digital archives (anarchive, a series “Education and Animation as an Extended Field of of interactive multi-media projects designed to ex- preschool, school, faculty and non-formal educa- plore an artist’s overall oeuvre via diverse archival tion on the example of the Museum of African Art in material; and the Experiments in Art and Technology Belgrade” (Proceedings of the Regional Conference: Datascape), and on digital social art history. He School and Museum, 2018). Among her research co-curated and co-edited with Bruno Latour the interests are art history methodology, history of art Reset Modernity! exhibition and the accompanying history, museology, art education, cyber studies, new catalogue (2016, ZKM | Center for Art and Media media studies, and history of architecture. Karlsruhe / MIT Press). URL: https://medialab.scienc- espo.fr/people/christophe-leclercq/ Ljiljana Kolešnik Kristie MacDonald is a Senior Fellow at the Institute of Art History in Zagreb. In the focus of her research is post-war lives and works in Toronto, Canada. Her art practice modern and neo-avant-garde art in the Central engages notions of the archive and the collection, and South-East Europe, post-war cultural policies, as well as their roles in the evolving meanings and and practices of international, and trans-continental contextual histories of images and artefacts. Mac- cultural exchange. She is the author and editor of Donald is a recipient of awards from the Toronto several books, among them French Artistic culture Arts Council, Ontario Arts Council, Canada Council and Central-East European Modern Art, 2017; Social- for the Arts, and the Toronto Friends of the Visual ism and Modernity – Art, Culture, Politics 1950–1974, Arts. Her work has recently been exhibited at the 2013; Modern Art in Croatia 1896–1975, 2012; Work Art Gallery of Mississauga, the MacLaren Art Centre of Art as social artefact. A Critical Perspectives of (Barrie ON), BABEL Visningsrom for Kunst (Trondheim

ARTNET knjizica 1_N_G.indd 44 05/11/2018 14:15 NO), Reed College (Portland OR), The International servation Institute in Zagreb, Department of Easel Print Center (New York NY), Open Studio Contempo- Painting, where she attained the rank of conservator. rary Printmaking Centre (Toronto ON), and Gallery In 2008, she moved to the Department of Information 44 (Toronto ON). She has been invited to work as and Documentation within the same Institute where an artist in residence at the Finnish Artists’ Studio she currently works as a conservator-art historian. Foundation (Helsinki, FI), Skaftfell Center for Visual She completed her postgraduate studies in 2016 at Art (Seyðisfjörður, IS), and Lademoen Kunstnerverk- the Department of Information and Communication steder (Trondheim, NO). MacDonald is currently a Sciences, Faculty of Humanities and Social Sciences PhD candidate in the Department of Visual Art at in Zagreb. Her doctoral thesis is closely related to her York University, and an Instructor in the Department work practice, as it deals with the handling of data of Visual Studies at the University of Toronto. Web: collected during conservation-restoration works on kristiemacdonald.com movable heritage.

Maria Giovanna Mancini Júlia Perczel

is a Temporary Research Fellow at Università de- is a social scientist, art historian and curator. Her gli Studi di Salerno, where she works on a project main focus of research is the applicability of social titled Global Art History or Global History of Art? science approaches and network methodology to Questioni di metodo e prospettive per una storia the understanding of contemporary art phenom- dell’arte nell’epoca della globalità. Her research ena. She completed her MAs in Social Science interests focus on public art and the role of criticism (Social and Organizational Psychology) and Art and curatorship in the age of globalization. She has History at Eötvös Loránd University (Budapest) and published numerous essays and books, including at Tilburg University (Tilburg). Between 2013 and a book titled L’arte nello spazio pubblico (2011), 2014, she conducted research into the patterns of Alternative Spaces of Production. Group Material networking and functional mechanism of the con- e Tim Rollins con K.O.S. nella New York degli anni temporary art field in Hungary. As a curator, she ’80 (2013), «October». Una rivista militante (2014). In gained professional experience at the Württem- 2016 she published an e-book titled A Picture of a bergischer Kunstverein Stuttgart and participated Critical Practice. Conversation with Douglas Crimp. in the 1st OFF-Biennale Budapest. She was part of She curated the documentary exhibition Le carte the Kassák Museum Research Group, resulting in del critico. Documenti e materiali dall’archivio di the book Doublespeak and Beyond: Art in Hunga- Filiberto Menna at the Archivio di Stato in Salerno ry 1956–1980 by Thames&Hudson, London, 2018 (2017). Since 2013, she has been a member of the (credited as a co-author). She is currently working Italian Society of Art Criticism (SISCA). She regularly on her PhD at the Department of Network and Data collaborates with Artforum online. Science at Central European University, Budapest.

Vera Mariz Johannes Preiser-Kapeller

is a Researcher at ARTIS (History of Art Institute, holds a PhD in Byzantine Studies from the University School of Arts and Humanities, University of Lisbon). of Vienna (2006). He is a Senior Research Associate She is currently developing a post-doctoral project and Working Group Leader at the Division for Byz- on the Portuguese Art Market (1833–1945), which was antine Research/Institute for Medieval Research of awarded the Foundation for Science and Technology the Austrian Academy of Sciences and Lecturer at post-doctoral fellowship. She has a PhD in History / the University of Vienna. His research focus is based Art History, Art, Heritage and Restoration (2016) and on Byzantine history in comparison and entangle- a Master’s Degree in Art, Heritage and Restoration ment within the medieval world as well as social Theory (2011), both from the School of Arts and Hu- and spatial network analysis, complexity theory manities (ULisboa). Her research interests, generally and environmental sciences. Websites: http://oeaw. limited to the 19th and the 20th century, concern academia.edu/JohannesPreiserKapeller and https:// the history of collecting, art market, and history of www.dasanderemittelalter.net/ architectural restoration. She has published several articles in national and international scientific jour- Ellen Prokop nals, as well as book chapters and a book. is an Associate Head of Research at the Frick Art Sanda Milošević Reference Library, New York, USA, where she serves on the institution’s Digital Art History Lab Commit- graduated in 2004 at the Department of Art History tee. She was the co‐editor of a special theme issue and Archaeology, University of Zagreb. After grad- on digital art history for The Journal of Interactive uating, she started working at the Croatian Con- Technology and Pedagogy (2018), and the main

ARTNET knjizica 1_N_G.indd 45 05/11/2018 14:15 contributor to and editor of the final report on the where he works in the projects Az Infinitum — Azulejo symposium “Art History in Digital Dimensions” (2017). Indexation and Referencing System and ORION – Art She has also published several articles and essays collections and collectors in Portugal. He is currently on Spanish art of the sixteenth and the seventeenth starting an MA in History of Art and Heritage at the century, including most recently a chapter in El Greco same university. His main research interests are ar- Comes to America: The Discovery of a Modern Old cheology, ancient history, azulejo and photography. Master (2017). She is currently preparing a book manuscript on the collecting histories of El Greco, Nuria Rodríguez-Ortega Diego de Velázquez, and Bartolomé Esteban Murillo. Her post‐doctoral research has been supported by is the Chair of the Art History Department at the the Samuel H. Kress Foundation, the Andrew W. Mel- University of Málaga, where she teaches courses lon Foundation, and the National Endowment for the in digital humanities, digital cultural heritage, and Humanities. She regularly teaches undergraduate digital art history. Currently, she is the director of and graduate-level courses at New York University the research group iArtHis_Lab (http://iarthislab and Hunter College, City University of New York. es), whose main purpose is the development of the Digital Art History in the Spanish context. She is also Tihana Puc the promoter and coordinator of ReArte.Dix, the First International Network about Digital Studies of the graduated Art History and Ethnology at the Faculty of Artistic Culture in the Spanish-speakers countries, Humanities and Social Sciences, University of Zagreb. and the President of the Sociedad Internacional de She holds a PhD in Management and Development Humanidades Digitales Hispánicas (HDH). Nuria of Cultural Heritage from IMT Institute for Advanced Rodríguez-Ortega has a wide experience leading Studies, Lucca. She worked at the Department of Art international digital projects in the field of Art History History, Faculty of Humanities and Social Sciences, and Cultural Heritage. Among them, it deserves to be University of Rijeka (2005–2008), at the Museum of mentioned the pioneering Digital Mellini: Exploring Contemporary Art Zagreb (2004, 2008–2010), and New Tools & Methods for Art-historical Research & she is currently employed at the Ministry of Culture of Publication, in collaboration with the Getty Research the Republic of Croatia. Her recent projects include Project; and the Exhibitium Project (www.exhibitium. Proposition for a Map of “trigon” (KM-Künstlerhaus com) devoted to enhance the studies on art history Halle für Kunst & Medien, Graz, 2017), Observatory exhibitions from the Data Science and Network Sci- of Artistic Work (SIZ Gallery, Rijeka and Format C, ence perspectives. She is the author of numerous Zagreb, 2017-), and Youth Salon Cartogram: Award books and articles related to digital resources for the Winning Artists Network (HDLU, Zagreb 2018). history of art and cultural heritage, and their theoret- ical, critical and methodological problematic issues. Sarah Reiff Conell She is also engaged with the design of new curricula to promote digital training among the students and is a fourth-year PhD student in the History of Art scholar community, leading several seminars on this and Architecture Department at the University of topic, such as the Digital Art History Summer School Pittsburgh. She studies late medieval and early mod- (DAHSS), a joint initiative of the University of Málaga ern cultic practice in southern German-speaking and the UC at Berkeley. areas, including relics of Christ’s Blood and mirac- ulous images of the Virgin Mary. Her dissertation Rosário Salema de Carvalho research traces the replicative networks of mirac- ulous images, and the distribution of agency in the is a researcher at ARTIS (History of Art Institute, fifteenth and the sixteenth century. She is passionate School of Arts and Humanities, University of Lisbon), about parsing out the flexibilities and conventions and executive coordinator of the group Az – Azulejo of cross-media reproduction, often making use Research Network. She has a PhD in History / Art of digital methods and tools in conjunction with History (2012), from the School of Arts and Humanities more traditional forms of scholarship. During the (ULisboa) and a Master’s Degree in Art, Heritage and 2017/2018 academic year, she was the project man- Restoration Theory from the same School (2007), ager for Itinera, a collaborative, digital project that granted on the grounds of her theses on Baroque facilitates the collection and presentation of histor- Azulejos. She is currently developing a post-doctoral ical information concerning culturally-motivated research (supported by the Foundation for Science travel in the eighteenth and the nineteenth century. and Technology – FCT), dedicated to the issue of frames in Baroque tile decorations, hosted by AR- Fábio Ricardo TIS (Az) and the National Azulejo Museum. Rosário Salema de Carvalho is the author of several books holds a grant from ARTIS (History of Art Institute, and articles published in national and international School of Arts and Humanities, University of Lisbon), scientific journals.

ARTNET knjizica 1_N_G.indd 46 05/11/2018 14:15 Laura Sánchez Carrasco of Spain titled ArchiteXt Mining. The Spanish mod- ern architecture through its texts (1939–1975), to be is an Associate Professor at the School of Archi- developed up to 2019. As the Data Scientist of this tecture in Madrid. She is an architect (Universidad project, he has taken part in several international Politécnica de Madrid UPM, 2007), and PhD Summa conferences, including the International Sympo- Cum Laude of the “Analysis, Theory and History of sium Architectural and Planning Cultures across Architecture” (UPM, 2017) with the doctoral thesis Regions. Digital Humanities Collaboration towards entitled “Kevin Roche John Dinkeloo and Associates: Knowledge Integration, held in March 2017 at the ideas that sustain their architectural work. In the Kyoto University, and the International Workshop meantime, she obtained her Master in Analysis, The- Mapping Visions, Discourses, Theories. Journals as ory and History of Architecture” (UPM, 2014). Within Platform for Architecture and Urban Knowledge. A the Department of Architectural Composition (DAC), Network of Projects, held in December 2017 at the she lectures “Introduction to Architecture” at the School of Architecture of the Politecnico di Milano. Architecture Degree, and “Architectural Composi- He is author of several texts about the results of this tion” at Master in Architecture. Her research, based project, among them “‘ArchiteXt Mining’ Project. on projects 20th Century Architecture in the USA Developments and last adjustments”, published in and Post-World War Architecture in the USA through 2018 at the Discussion Paper Series of the Center for periodical publications, has been disseminated in Integrated Area Studies (CIAS) of the Kyoto University. international publications and conferences. She is a member of the research team for the project Luigi Sauro of the Ministry of Economy and Competitiveness of the Government of Spain titled ArchiteXt Mining. is an Assistant Professor at the Department of Elec- Analysis of modern Spanish Architecture through trical Engineer and Information Technology of the its texts (1939–1975) to be developed between 2016 University of Naples Federico II. His research interests and 2018. She collaborated as bibliographic re- concern several aspects of Artificial Intelligence searcher and documentalist in Atlas of European including Computational Game Theory, Security & contemporary collective housing, project financed Privacy, Automated Reasoning. In particular, he con- by Ministry of Science and Innovation (Spain). She tributed to the field of the Semantic Web with several was also contracted by ICO Foundation in Madrid as works presented at top international conferences responsible documentary for the exhibition project and published in journals, such as the International Export: Spanish Architecture abroad. Team assis- Semantic Web Conference (3 papers), International tant for the Organization of the 1st International Joint Conference on Artificial Intelligence (3 papers), Conference Ibero-American Routes, held in the AAAI Conference on Artificial Intelligence (1 paper), Polythecnic University of Madrid in 2015, and for Journal of Artificial Intelligence Research (1 paper), the 4th International Workshop of Museography and Artificial Intelligence (2 papers), Journal of Web Se- Architecture of Museums – Museology and Heritage mantics (1 paper). that took place in Madrid in 2014. She is a scientific journal referee at Cuaderno de Notas (Spain) and Sanja Sekelj Estoa (Peru). is a Research Assistant at the Institute of Art History Luis San Pablo Moreno in Zagreb, Croatia and a PhD candidate at the Post- graduate program in Humanities at the University of is a Data Scientist at BNP Paribas Personal Finance. Zadar since 2015. She received her MAs in French He is a physicist (Universidad Complutense de Ma- Language and Literature and Art History from the drid, 1993) who after a period of working for the Con- Faculty of Humanities and Social Sciences, University federación Española de Cajas de Ahorro, developed of Zagreb, in 2014. She is a team member of the his professional career at the Technological Area of ARTNET project, conducted at the Institute of Art BNP Paribas Group. He has experience in Information History in Zagreb, within which she is researching Technologies (IT) in banking environments, and is an artist networks, art associations and art groups from expert in Data Warehouse and Data Mining Tech- the 1990s and early 2000s, with an emphasis on new nologies. Currently, he is more focused on Big Data media networks and strategic networking of cultural processes and particularly in Text Mining Analysis. workers on the independent cultural scene. She is a Initially, he developed his career as a programmer member of the curatorial team of the Gallery Miro- in C technologies. Expert in Oracle technologies slav Kraljević and an executive editor of the scientific and relational data bases, he has been in charge of journal Život umjetnosti. the implementation of the Corporative Data Ware- house of his company. From 2016 he is member of the research team of the project of the Ministry of Economy and Competitiveness of the Government

ARTNET knjizica 1_N_G.indd 47 05/11/2018 14:15 Antun Sevšek Networks, Art Groups and Art Associations – Organ- isation and Communication Models of Collaborative is a freelance architect and researcher who gradu- Art Practices in the 20th and 21st Century (ARTNET) ated from the Zagreb Faculty of Architecture in 2006. supported by of the Croatian Science Foundation He was part of the curatorial team of the international (HRZZ). Since 2018, she has been working at the research project Unfinished Modernisations and the Institute of Art History as a professional associate editor of the subsequent publication in 2012. He has – documentalist. She is a member of the Croatian designed numerous exhibitions and projects for cul- Society of Art Historians and ICOMOS Croatia. tural institutions. Among them, he recently realized the new Memorial Centre “Lipa Remembers” together with Ana Šverko Damir Gamulin. He is a long-time member of Platfor- ma 9,81, an NGO for research and education in archi- is a Senior Research Assistant at the Institute of Art tecture and urbanism. Since 2014 he has been active History – Cvito Fisković Centre in Split. She graduated in the Right to the City organization in Zagreb, through from the Faculty of Architecture, University of Zagreb. which he is engaged with the topics of urban and na- In 2002, she earned her Master’s Degree from the tional spatial planning. He is currently employed at the University of California at Berkeley, in the area of Alliance Operation city NGO where he is conducting urban design, and acquired a doctorate in architec- the analysis of urban management policies along tural history from her alma mater in Zagreb, in 2011. with the development of new institutional models. She was the principal investigator on the project Grand Tour Dalmatia (2014–2017) funded by the Dina Stober Croatian Science Foundation. She publishes papers about selected topics from architectural history in is an Assistant Professor at the Faculty of Civil Engi- the period from the 16th to the 19th century, as well as neering Osijek, University of Osijek, where she teach- from contemporary conservation and urban design. es courses on urban planning, design of industrial She takes part in the organization of professional and buildings, and integral design in architecture and scholarly public lectures, seminars and conferences civil engineering. She studied Architecture and Urban for the sake of popularising science and scholarship. Planning at the Faculty of Architecture, University of Zagreb, Croatia, and holds a PhD in spatial and Ella Tetrault urban planning from the University of Ljubljana, Slovenia (2013). Her interest is digital heritage and is a Canadian artist recently returned from Berlin. She integral design (HBIM). She is an active member of holds an MFA in Public Art and New Artistic Strategies the Association of Architects Osijek. She has pub- from the Bauhaus University, and a BA in Internation- lished papers on Osijek heritage industrial buildings, al Development from the University of Toronto. As a heritage in rural settlement, urban public spaces, former youth worker and international development and place attachment topics. She collaborated on student, she often makes use of qualitative research several scientific projects: COST Action TU1401 RELY and narrative therapy methods. Her projects tend “Renewable Energy and Landscape Quality”, funded to take place over a long period of time. She uses by the EU COST framework with funds from the EU lectures, film and installation to explore the idea that framework programme Horizon 2020 (2014–2018); individuals are continuously reinventing their own his- UNIREG IMPULSE Regional Universities as initiators tory through re-telling their story. She is a recipient of of transnational region of knowledge, funded by awards from Nova Scotia Communities, Culture and IPA Cross-border Co-operation Programme 2011 Heritage and The 4C’s Foundation. Her work has been (2011–2013); CARDS 2003 Sustainable development in Germany, Greece, the United States and Canada. of small family farms in Baranja (2005–2006). She shares a collaborative practice with Bethany Riordan Butterworth. Together, they curate the Fuller Petra Šlosel Terrace Lecture Series, a community lecture series and online platform in Halifax and Berlin. Tetrault has just holds MAs in Art History (Monument Conservation), begun her PhD in the Department of Visual Art at York and English Language and Literature (Translation University, and is a sessional Instructor in the Art Edu- Studies) from the Faculty of Humanities and Social cation Department of the University of Cologne. Web: Sciences, University of Zagreb (2015). From 2016, cargocollective.com/ellatetrault & fullerlectures.com she worked as a professional associate for projects in culture at the Croatian Association of Fine Artists. Željka Tonković As a member of research teams at the Institute of Art History in Zagreb, she has been participating in the is an Associate Professor at the Department of Soci- project of publishing a monograph marking the 150 ology, University of Zadar. She graduated History and years since the foundation of the Art Society in Croa- Sociology from the same university, while in 2012, she tia, and the project Modern and Contemporary Artist received her PhD in Sociology from the Faculty of Hu-

ARTNET knjizica 1_N_G.indd 48 05/11/2018 14:15 manities and Social Sciences, University of Zagreb. Her and qualitative textual analysis, count data models, research interests include network analysis, sociology and correspondence analysis. More recently, he was of culture and urban sociology, and spatial sociology. awarded the Marie Sklodowska-Curie Actions Seal She presented her work at international conferences of Excellence (European Commission, 2017). and attended summer schools and workshops. She researches various aspects of networking within the Stefania De Vincentis cultural sector, the development potential of cities and local communities, cultural capital and cultural con- is pursuing her PhD in Digital Art History at the De- sumption. She regularly cooperates with independent partment of Humanities, Ferrara University. She is a cultural associations. She is the coordinator of Space Research Fellow at the same university where she Section at the Croatian Sociological Association. works on a communications and marketing strategy in disseminating art history to a wider audience, Margareta Turkalj Podmanicki as well as on the valorisation of cultural heritage and conducts research related to cultural tourism. is an art historian employed as an Assistant Professor She holds a double degree in Art History (Bologna at the Department of Fine Arts, Academy of Fine Arts Academy of Fine Arts, and Architecture Institute of in Osijek. She focuses her scientific and professional the University of Venice). She received an MA degree interests on art and architecture from the 15th to the in Management of Cultural Heritage from the Ferrara late 18th century, the cultural heritage of eastern University, all the while working within international Croatia and its valuation in the Croatian and Central art history centres, such as the Ermitage Italia Foun- European context, the application of contemporary dation. As a Research Fellow, she has been working digital methods in the presentation of cultural heritage since 2013 with TekneHub, one of the Technopoles of and cultural tourism. At the Academy of Arts, she is a Ferrara University, with the main aim of supporting representative of the DARIAH–EU consortium in Croa- SMEs to develop new products, methods and services tia, a member of the Commission for Scientific, Artistic for the specific needs of cultural heritage. Within the and Professional Activities and, since 2014, a member Laboratory she also conducted valorisation activities of the ARTos Network Magazine Editorial Board. From for art-historical cultural heritage with the Art History 2015, she has been a member of the COST Action Chair of the Department of Humanities. Group TD1406 – Innovation in Intelligent Manage- ment of Heritage Buildings, and a coordinator of the Goran Zlodi topic “Augmented Reality and 3D Reconstructions” (together with Prof. Jose Eloy Hortal Munoz from Uni- holds a PhD in Museology/Information Sciences and versidad Rey Juan Carlos, Madrid). From 2017 to 2018, works as an assistant professor at Chair of Museology she has been the head of the International University on Department of Information and Communication Project “Palace of Slavonian General Command in Sciences, Faculty of Humanities and Social Sciences, Osijek Fortress - Context and Valorisation within Cro- University of Zagreb, where he teaches the following atian and Central European Baroque Architecture”. courses: Museum documentation, Information tech- nology for archaeologists, Metadata for resource Ivo Veiga management and Virtual museum. He is currently involved in the projects Virtual Multimodal Museum is a history and social science researcher with in- (http://www.vi-mm.eu/) and InterPARES Trust – Trust terests in transitions to democracy, comparative and Digital Records in an Increasingly Networked historical analysis, innovation processes in changing Society (https://interparestrust.org/). Previously regimes, and computational history. He holds a PhD he worked on research and development projects from the University College London, and has pub- Preservation and Communication of Cultural Her- lished articles in scientific journals and presented itage (1999–2003), TEMPUS Joint European Project papers at international congresses. Veiga is the – Aspects of Organization and Information Systems: author of two books centred on the Portuguese Curriculum Development (CD_JEP-16086-2001), transition to democracy, A 5ª Divisão no Processo CRAFTATTRACT – Old Crafts – New Attractions for Revolucionário Português (IN-CM, 2017), and Os Cultural Tourism (2006–2008), Heritage Users Re- Constituintes (Assembleia da República, 2018). He search (2007–2013). He is a member of the ICOM – is currently finishing a book that analyses the inter- The International Council of Museums, and CIDOC action of institutional actors, social movements and – ICOM’s International Committee for Documentation. parties during the Portuguese and Spanish transition His research interests include metadata, semantic to democracy. He also co-edited a book focused interoperability, controlled vocabularies, Linked Open on democratization issues, A Constituição de 1976 Data, museum documentation, participatory ap- (Assembleia da República, 2016). He employs several proaches in cultural heritage, crowdsourcing digital methods to examine different research problems cultural heritage, interactive multimedia, and virtual and puzzles: social network analysis, quantitative museums.

ARTNET knjizica 1_N_G.indd 49 05/11/2018 14:15 Impressum

International Conference Digital Art History – Methods, Practices, Epistemologies / Conference Program & Book of Abstracts

Publisher Institute of Art History, Zagreb, Croatia

For the publisher Milan Pelc

Editor Sanja Horvatinčić

Language editor Dunja Opatić

Design & Layout Damir Gamulin, Nives Sertić

Print Sveučilišna tiskara

Edition 150

ISBN 978-953-7875-56-5

A CIP catalogue record for this book is available from the National and University Library in Zagreb under 001011809

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