<TitleType>01</TitleType> <TitleText>Passages</TitleText>

Éditions de la Maison des sciences de l'homme, Paris onixsuitesupport@onixsuite.com 20260621 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 BC 02 21049777 01 70 <TitleType>01</TitleType> <TitleText>Passages</TitleText> B11 Peter Geimer Geimer, Peter Peter Geimer B19 Centre allemand d'histoire de l'art / Deutsches Forum für Kunstgeschichte Centre allemand d'histoire de l'art / Deutsches Forum für Kunstgeschichte B17 Thomas-W. Gaehtgens Gaehtgens, Thomas-W. Thomas-W. Gaehtgens 2025 <TitleType>01</TitleType> <TitleText textcase="01">Westkunst, 1981</TitleText> <Subtitle textcase="01">A Historiography of Modernism Exhibited</Subtitle> 01 GCOI 27351100582640 15 978-2-7351-3057-3 1 A01 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. 06 www.dt-forum.org http://www.dt-forum.org 2 A01 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. 1 01 eng 475 00 475 03 181 illustrations, vues d'expositions et plans de l'exposition 26 1 ART000000 A 10 HIS000000 12 HB 93 NH 93 A 93 AB 01 01 01 06 01 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. 03 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 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 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 43 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. 44 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 06 03 01 http://msh.giantchair.com/resources/titles/27351100582640/images/47d40767c7e9df50249ebfd9c7cfff77/HIGHQ/9782735130573.jpg 20241213 07 03 01 http://msh.giantchair.com/resources/titles/27351100582640/images/47d40767c7e9df50249ebfd9c7cfff77/THUMBNAIL/9782735130573.jpg 20241213 02 http://msh.giantchair.com/livre/?GCOI=27351100582640 01 Publisher's proprietary name code E-MSH Éditions de la Maison des sciences de l'homme, Paris 06 3052735100019 Éditions de la Maison des sciences de l'homme, Paris 07 0581esp57 Éditions de la Maison des sciences de l'homme, Paris 16 0000 0001 2165 7042 Éditions de la Maison des sciences de l'homme, Paris 01 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) 04 20250417 2025 01 WORLD 01 9.45 in 02 6.69 in 01 24 cm 02 17 cm 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 06 WORLD 20 04 30.00 EUR R 5.50 28.44 1.56 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 06 WORLD 00