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Girl with Dead Bird
Life and death in a sixteenth-century masterpiece The portrait we have come to call Little Girl with Dead Bird is an enigma. On the one hand, we hardly know anything about this sixteenth-century masterpiece. But even so, on the other hand, the picture fascinates viewers to this day. This painting's indeterminate yet compelling status provides Volkmar Mühleis grounds to look beyond its historical significance and to explore its anthropological scope as well, from an intercultural perspective and, moreover, against the backdrop of its complex of themes concerning life and death. To do so, Mühleis returns to the conceptual premises that frame the relationship between the history of art and the anthropology of images, along with those that juxtapose Western and Eastern philosophies.
Zukunft Publikum
Wie sehen Kulturangebote der Zukunft aus? Wer sind die Besucher von morgen, wer die Kulturschaffenden? Wie äußern sich Überschneidungen zwischen Kulturkonsum, Kulturproduktion und Kulturgestaltung? Ausgehend von diesen Fragen befasst sich das Jahrbuch für Kulturmanagement 2012 mit dem Konstrukt »Kulturpublikum« und dessen Rolle im Kulturbereich. Bereits heute sehen sich Kulturproduzenten immer heterogeneren Formen dieses Publikums gegenüber. Demografischer Wandel, Erlebnisorientierung, Eventkultur und Kulturtourismus sind nur einige Schlagworte, welche Tendenzen gesellschaftlicher Entwicklungen benennen, die sich in der Kulturnutzung und -gestaltung niederschlagen. Die Beiträge befassen sich aus theoretischer und anwendungsorientierter Perspektive sowohl mit Zielen und neuen Strategien kultureller Beteiligung als auch mit den Paradigmen von Kultur und Publikum.
Reverse Perspective
Reverse Perspective' presents practice-based architectural, art historical and philosophical research on presence via images, buildings, and texts. Therefore, the Belgian architect Wim Goes explores three of his main projects: the Yohji Yamamoto Boutique Antwerp, the Royal Belgian Sailing Club and Refuge II. In conversation with Volkmar Mühleis with supplement questions of Wim Goes, the Bulgarian art historian Clemena Antonova discusses the concept of reverse perspective, in relation to Orthodox icons, cubism, the cinema of Andrei Tarkovsky and paintings of David Hockney. Mühleis himself is reflecting on practice and theory in this context, by two experimental, philosophical meditations.
Artuarium. The Grammar of Art School
The 'Artuarium' presents keywords to reflect on art education today. Every keyword contains a text and/or an image that has been constitutive for the formation of the art school. Some texts unfold critical ideas and questions, some images evoke careful observations, some texts tell stories, others reflect on the reflection. 00With contributions by: Giorgio Agamben Aristoteles, Herman Asselberghs, Maïté Baillieul, Joseph Beuys, Augusto Boal, Agnes Bube, Leonardo da Vinci, Serge Daney, Marc De Blieck, Fernand Deligny, John Dewey, Ana Dimke, Mattijs Driesen, Marguerite Duras, Jerzy Grotowski, Boris Groys, Kerstin Hallmann, Lisa Jevbratt, Allan Kaprow, Paul Klee, Eva Koethen, Wiebe Koopal, Julie Lesenne, Tyson E. Lewis, Audre Lorde, Pierangelo Maset, Maurice Merleau-Ponty, Volkmar Mühleis, Ludwig Münz, Kakuzo Okakura, Jacques Rancière, Adrienne Rich, Andrea Sabisch, Ousmane Sembene, Richard Serra, Michel Serres, Friedrich Schiller, Susan Sontag, Nancy Vansieleghem, Ella Ziegler.
Bien Fait?
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Media for All
This book, a first in its kind, offers a survey of the present state of affairs in media accessibility research and practice. It focuses on professional practices which are relative newcomers within the field of audiovisual translation and media studies, namely, audio description for the blind and visually impaired, sign language, and subtitling for the deaf and the hard-of-hearing for television, DVD, cinema, internet and live performances.Thanks to the work of lobbying groups and the introduction of legislation in some countries, media accessibility is an area that has recently gained marked visibility in our society. It has begun to appear in university curricula across Europe, and is the...
Goodbye to Morrissey. An Essay on Art and Morals
Goodbye to Morrissey' is a case study about what about what it means in Pop culture to place trust in someone, to be their fan. As such, it deals on the surface with the political and ethical conflict exemplified by the swing of the singer Morrissey to the radical right. On a deeper level, it treats the fundamental questions accompanying Morrissey's shift: the relationship between art and morality, idol and idolizer, critique and myth. Superficiality and profundity ? Pop and philosophy ? illuminate each other in one provocative essay.
Abschied von Morrissey
Was bedeutet Vertrauen schenken und "Fan sein" in der Popkultur? In seinem Essay über den britischen Sänger Morrissey setzt sich Volkmar Mühleis mit dieser Frage auf zwei Ebenen auseinander. Im Vordergrund steht der Konflikt um den Sänger, dessen Rechtsruck im Umfeld von Rechtspopulismus und Rassismus politische und ethische Fragen aufwirft. Auf einer zweiten Ebene adressiert der Autor in diesem Beispiel das Verhältnis von Kunst und Moral, von Idol und Fan wie auch von Mythos und Kritik. Mühleis, der Philosophie und Ästhetik an der LUCA-Kunsthochschule Brüssel unterrichtet, behandelt mit seiner Fallstudie ebenso engagiert wie informiert ein Thema, das für die Pop- und Alltagskultur interessante Erkenntnisse liefert.
In Memory of the Exhibition Published By: MER. Paper Kunsthalle
This publication by De Vleeshal and MER. Paper Kunsthalle is realised in the framework of the past exhibition "Published by MER. Paper Kunsthalle" held at De Kabinetten van de Vleeshal, the Netherlands (October - December 2013). It features talks between Lorenzo Benedetti (then curator of De Vleeshal) and Luc Derycke (publisher) about art, books and artists' books.0.
Zien, doen, denken
This publication contains reflections on Jacques Rancière's essay 'The Ignorant Master' by the artist Marc De Blieck and the art philosopher Volkmar Mühleis. The artist's practice is assuming an expanding variety of forms, the artist can leap from one method to another, and the media available to him, old and new, appear inexhaustible. Can and should art education prepare the artist for this? One possibility is to bring a never-ending abundance of experts into the art schools. Rancière offers us a provocative alternative in the form of Jacotot, the ignorant master. In part, the book indirectly endorses present-day art education, but at the same time a number of the controversial arguments it contains challenge one to self-reflection.
