Éditions de la Maison des sciences de l'homme, Paris onixsuitesupport@onixsuite.com 20260530T1307Z eng

COM.ONIXSUITE.9782735130573 03 01 Éditions de la Maison des sciences de l'homme, Paris 01 SKU 9782735130573-02 02 2735130576 03 9782735130573 15 9782735130573 00 BC 01 9.45 in 02 6.69 in 01 24 cm 02 17 cm 10 02 21049777 01 70 02 68 01 02 Passages 01 01 2025 Westkunst, 1981 A Historiography of Modernism Exhibited 1 A01 01 Onixsuite Contributor ID 5859 Mathilde Arnoux Arnoux, Mathilde Mathilde Arnoux Mathilde Arnoux est directrice de recherche, responsable des publications françaises au Centre allemand d'histoire de l'art (DFK Paris). Elle a soutenu sa thèse de doctorat en 2003 à l’université Paris IV sous la direction de Barthélémy Jobert sur La réception de la peinture germanique par les musées français entre 1871 et 1981. Elle a depuis développé des recherches sur les relations artistiques aux XIXe et XXe siècles à travers l’analyse de la presse artistique et l’étude d’échanges épistolaires. De 2011 à 2016, elle a dirigé le projet ERC (Starting Grant) OwnReality. À chacun son réel. La notion de réel dans les arts plastiques en France, RFA, RDA et Pologne, 1960-1989, travaillant avec une équipe de jeunes chercheurs européens à l’étude des relations artistiques entre pays situés de part et d’autre du rideau de fer. Ce travail l’a conduite à habiliter en 2017 à l’université Paris Ouest Nanterre, avec Ségolène Le Men pour garant. Mathilde Arnoux is an art historian specializing in transcultural processes in Europe of the 19th and 20th century. She is Research Director and Head of French Publications at the German Center for Art History in Paris. Her PhD obtained from Université Paris IV in 2003 on the reception of German paintings by French museums between 1871 and 1981 was a starting point to question the linear logic of 'introduction, dissemination, and reception' that often determines the analysis of relationships in the form of circulation phenomena. Since then, each of her research projects is in its own way part of a reflection on relationality (the ability to relate) and its multi-layered nature, focusing especially on processes of interaction, constitution, and transformation: the edition of the correspondence between Henri Fantin-Latour and Otto Scholderer, 1858–1902 (2004–2009); the team work for the ERC-funded project "OwnReality – To Each His Own Reality. The Notion of the Real in the Fine Arts of France, West Germany, East Germany and Poland between 1960 and 1989" (2011–2016) which led to her habilitation in 2017; the seminar and publication project with Anne Zeitz around the notion of polyphony in contemporary art (2021–2025). 06 www.dt-forum.org http://www.dt-forum.org 2 A01 01 Onixsuite Contributor ID 7713 Maria Bremer Bremer, Maria Maria Bremer Maria Bremer is an art historian specializing in contemporary art and exhibition history. She earned her PhD from Freie Universität Berlin in 2017 with a dissertation on the documenta editions of the 1970s, which was published in 2019 under the title Individuelle Mythologien. Kunst jenseits der Kritik. She worked as a research associate in the ERC-funded project "OwnReality" at the German Center for Art History in Paris (2011–2015) and as a postdoctoral researcher and Minerva Fast Track Fellow at the Bibliotheca Hertziana – Max Planck Institute for Art History in Rome (2017–2021). In 2021, she joined the Art History Institute of the Ruhr-Universität Bochum. Since October 2024, she has been a Visiting Professor at the Department of Art History at the University of Applied Arts in Vienna. Currently, she is developing a book project on the historiographical implications of all-women exhibitions in 1970s Italy and their contemporary restaging. Maria Bremer is an art historian specializing in contemporary art and exhibition history. She earned her PhD from Freie Universität Berlin in 2017 with a dissertation on the documenta editions of the 1970s, which was published in 2019 under the title Individuelle Mythologien. Kunst jenseits der Kritik. She worked as a research associate in the ERC-funded project "OwnReality" at the German Center for Art History in Paris (2011–2015) and as a postdoctoral researcher and Minerva Fast Track Fellow at the Bibliotheca Hertziana – Max Planck Institute for Art History in Rome (2017–2021). In 2021, she joined the Art History Institute of the Ruhr-Universität Bochum. Since October 2024, she has been a Visiting Professor at the Department of Art History at the University of Applied Arts in Vienna. Currently, she is developing a book project on the historiographical implications of all-women exhibitions in 1970s Italy and their contemporary restaging. 3 B11 01 Onixsuite Contributor ID 7409 Peter Geimer Geimer, Peter Peter Geimer 4 B19 01 Onixsuite Contributor ID 5075 Centre allemand d'histoire de l'art / Deutsches Forum für Kunstgeschichte Centre allemand d'histoire de l'art / Deutsches Forum für Kunstgeschichte Centre allemand d'histoire de l'art / Deutsches Forum für Kunstgeschichte 5 B17 01 Onixsuite Contributor ID 5109 Thomas-W. Gaehtgens Gaehtgens, Thomas-W. Thomas-W. Gaehtgens Thomas W. Gaehtgens est depuis 2004 docteur honoris causa du Courtauld Institute of Art, London et membre de nombreuses institutions internationales. En 2009, il a été décoré par le Grand Prix de l'Académie Française pour la Francophonie. Fondateur et directeur honoraire du Centre allemand d'Histoire de l’Art à Paris (1997–2007), il a été nommé directeur du Getty Research Institute à Los Angeles en 2007. Ses domaines d’études sont l’art français et allemand du XVIIIe au XXe siècle. 1 01 eng 00 475 03 181 illustrations, vues d'expositions et plans de l'exposition 26 1 10 ART000000 10 HIS000000 12 A 12 HB 93 NH 93 A 93 AB 01 01 01 06 03 00 In 1981, the Cologne Trade-Fair centre hosted a large exhibition titled Westkunst: Zeitgenössische Kunst seit 1939 (Western Art: Contemporary Art since 1939). Organized by art critic Laszlo Glozer and curator Kasper König, the Western-centric survey highlighted avant-garde art and the politically charged themes of freedom and individual expression. By examining Westkunst's historiographical stakes in light of the Cold War division of Europe, the show is revealed as paradigmatic of the ways in which hegemonic concepts of 'Western art' and the accompanying processes of othering were fashioned in the art world. In this collective volume, Westkunst’s universalising claims are scrutinised by focusing on the artistic tendencies exhibited; on exhibitionary discourses and practices of decontextualisation, comparison, and appropriation; on the alleged realisation of the values of progress, freedom, and autonomy; on the enacted conceptions of temporality and the architectural devices of narrativisation; on the exhibition’s blind spots and exclusions and the critical reactions it elicited. This analytic output makes fresh use of the archival materials, which are neither centralised nor systematized, with significant excerpts republished throughout the book. Seen through the lens of exhibition history, this revisiting of Westkunst sheds light on a broader trend of cultural conservatism that was gaining strength in the 1980s, just before the end of the Cold War, and on the start of a new form of globalisation. 02 00 Seen through the lens of exhibition history, Westkunst, a large survey of contemporary art since 1939, organized in 1981 in Cologne, is revealed as paradigmatic of the way in which the hegemonic concept of 'Western art' was fashioned during the Cold War. 04 00 Editors' Note Introduction: Unlearning Westkunst, 1981 Mathilde Arnoux and Maria Bremer Ungers' Column Grid and a Naked Support: Westkunst's Mock-Up Architecture as Artefact Samuel Korn An Exhibited Historiography of the Present: Historical References and Temporal Constellations of Comparison in the Westkunst Exhibition Britta Hochkirchen Fabricating the Universal: The Westkunst Documentaries Mathilde Arnoux The Threshold of the West? The Danish Cobra Artists Exhibited at Westkunst and behind the Iron Curtain, 1948–1988 Kristian Handberg Theatricalizing History: Thomas Schütte's Westkunst Modelle in Context Stefan Vervoort Passiv-Explosiv: Artistic and Curatorial Protest against the Westkunst Exhibition Friederike Sigler Peripheralism as a Cultural Privilege? Investigating the 'Ostkunst’ and 'Westkunst’ Discourse before and after 1989 Andrea Bátorová Documents <ul> <li>Westkunst Exhibition Guide</li> <li>From the heute Section Booklet</li> <li>From the Westkunst Exhibition Handbook</li> <li>About the Installation Views</li> </ul> Sources 16 00 Les ouvrages de la collection Passages/Passagen sont le fruit de projets de recherche sur l'art et l'architecture allemands et français, du Moyen Âge à nos jours. 17 00 Les ouvrages de la collection Passages/Passagen sont le fruit de projets de recherche sur l'art et l'architecture allemands et français, du Moyen Âge à nos jours. Recueils d'articles scientifiques, recherches approfondies, actes de colloques, traductions, anthologies, ils contribuent à diffuser les connaissances scientifiques françaises et allemandes en histoire de l'art et encouragent les collaborations internationales entre chercheurs autour de thèmes s'attachant à l'histoire des relations artistiques européennes 01 00 03 02 01 D502 02 2835 03 2020 06 e742ee93321af26ef1288c789d0e7b8b 07 413672 http://msh.giantchair.com/resources/titles/27351100582640/images/47d40767c7e9df50249ebfd9c7cfff77/HIGHQ/9782735130573.jpg 17 20241213T1509Z 02 01 D502 02 175 03 125 06 9ca41247a4b44e6db8fb4617e7cb1bd6 07 12406 http://msh.giantchair.com/resources/titles/27351100582640/images/47d40767c7e9df50249ebfd9c7cfff77/THUMBNAIL/9782735130573.jpg 17 20241213T1509Z 26 00 04 02 Extrait de l'introduction - Westkunst, 1981 02 01 E107 07 218195000 http://msh.giantchair.com/resources/titles/27351100582640/extras/Westkunst-extrait-intro.pdf 01 Publisher's proprietary name code E-MSH 06 3052735100019 07 0581esp57 16 0000 0001 2165 7042 Éditions de la Maison des sciences de l'homme, Paris 01 01 Dilicom MSH PARIS 06 3052735100019 Éditions de la Maison des sciences de l'homme, Paris 01 Site Officiel EFMSH https://www.editions-msh.fr/ 02 Centre allemand d'histoire de l'art / Deutsches Forum für Kunstgeschichte (DFK Paris) 02 Éditions de la Maison des sciences de l'homme, Paris Laura Olber lolber@msh-paris.fr 04 01 20250417 11 20250417 01 WORLD 00 02 01 GCOI 27351100582640 15 978-2-7351-3057-3 WORLD 06 06 3012262710000 CID - Fondation MSH Distribution 33 www.cid-difusion.fr http://www.cid-difusion.fr 00 06 06 3012262710000 CID - Fondation MSH Distribution +33(0)153485630 +33(0)53482095 cid@msh-paris.fr 33 www.cid-difusion.fr http://www.cid-difusion.fr 20 04 30.00 01 R 5.50 28.44 1.56 EUR