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Bremer is a Minerva Fast Track Fellow at the Bibliotheca Hertziana – Max Planck Institute for Art History in Rome. Her current research explores the historiographical potential of the exhibition medium. After studying Art History in Milan, Tours and Berlin, she obtained her Ph.D. at Freie Universität Berlin in 2017, with a thesis on the documenta editions of the 1970s. From 2016 to 2017 she was a Fellow at the Center for Italian Modern Art in New York. From 2011 to 2015 she contributed as a Research associate to the ERC-project OwnReality at the German Forum for Art History in Paris. In 2013, she worked on the Harald Szeemann Papers at the Getty Research Institute in Los Angeles as a Library Grantee. Her research interests lie in postwar art and exhibition practice, in exhibition history and theory, with a focus on authorship, canonization, and historiography. Among her forthcoming publications is the book Individuelle Mythologien. Kunst jenseits der Kritik, which will be published in 2019 with Edition Metzel/Verlag Silke Schreiber, Munich.
Course: The Global Contemporary in Exhibitions (Fall 2020)
Nicolas Galley is the founder and director of the Executive Master in Art Market Studies (University of Zurich). He holds a PhD in art history (University of Fribourg, Switzerland). He received the Swiss Art Historians Association Award and several grants to pursue his researches at the Getty Research Institute (Los Angeles) and the Columbia University (New York). After working as a research assistant, he was active several years in the private banking industry in the art banking and wealth management fields. He was also integrated in the talent program of the Julius Baer Academy focusing on management, project management and financial analysis. He writes articles about the art market and is often invited to talks and international conferences as an art market specialist. His current researches are dedicated to the history of the art market, art market new business models and varnish as an artistic material.
Course: The Global Art Market: history, mechanisms and organisations (Fall 2020)
Dr. des. Axel Langer is curator of Islamic Near and Middle Eastern Art at the Museum Rietberg in Zurich and taught history of Islamic art at the université de Genève from 2014 to 2017. His research focuses on the transfer of artistic ideas and techniques in a transcultural context. He thus organised an exhibition on Chinese blue-and-white porcelain, the first truly global commodity, and its impact on Persian, Ottoman and European ceramics from the 9th century to 1700. Another exhibition project was dedicated to the cultural exchange between Persia and Europe in the 17th century. Further projects dealt with Qajar textiles in the 19th century. He is currently preparing a major show on the controversial role of figurative representations in Islam and Christianity.
Course: "Pers-indo-pean", or the Reception of Indian and European Art in 17th c. Safavid Book Painting (Fall 2020)
Dr. Felicity Bodenstein is an art historian specialized in the history of archaeological and ethnographic collections as well as heritage making processes involved in their classification, interpretation, display and reception during the 19th and the 20th century. After completing a Ph.D. on the history of the collections of the department of coins and medals at the National Library in Paris in the 19th century, she now works on questions of representation and narratives in the display of contested, translocated objects. In September 2019 she will begin her tenure as lecturer in the history of museums and heritage at Sorbonne Université, Paris and is currently post-doctoral research fellow in the project translocations of prof. Bénédicte Savoy at the Technische Universität, Berlin. She has been fellow at the Getty Research Institute in Los Angeles, the musée du quai-Branly-Jacques Chirac in Paris and at the Kunsthistorisches Institut in Florence. Her on-going research is dedicated to understanding the global destiny of the Benin pieces looted in 1897 by British Naval forces in present-day Nigeria and considers the value transformations and narratives that have accompanied their successive displacements and the restitution debates that they are currently part of.
Course: The World on Display – Ethnographic Museums and Debating Relationships (1860-2020) (Spring 2020)
Michele Bacci (Ph.D. Scuola Normale Superiore, Pisa, 1999), is Professor of Medieval Art at the University of Fribourg, Switzerland. He is the author of several publications on the cultural and art-historical contacts of East and West in the Middle Ages and on the history of the religious practices associated with cult-objects and holy sites. His books include Il pennello dell’Evangelista (1998), Pro remedio animae (2000), Lo spazio dell’anima (2005), San Nicola il Grande Taumaturgo (2009), The Many Faces of Christ (2014) and The Mystic Cave. A History of the Nativity Church in Bethlehem (2017).
Course: Transregional Perspectives: Dynamics of Artistic Interaction in the Medieval Mediterranean (Fall 2019)
Raphaèle Preisinger maintains a major focus on art in colonial Latin America and in the age of early modern globalization. She studied Art History, History and Philosophy at the Rheinische Friedrich-Wilhelms-University in Bonn and received her Ph.D. in Art History from the Karlsruhe University of Arts and Design. She was a Researcher and Postdoctoral Lecturer on medieval and early modern art at the Institute for Art History at the University of Bern from 2009 until 2016. Her research has been funded by the Deutsche Forschungsgemeinschaft (DFG), the Swiss National Science Foundation (SNSF), the Gerda Henkel Foundation and The John Carter Brown Library, amongst others. The title of her first book is Lignum Vitae: Zum Verhältnis materieller Bilder und mentaler Bildpraxis im Mittelalter (2014). She is currently working on her habilitation project on Christian cult images in early colonial New Spain.
Course: The Art of New Spain in the Age of the Baroque (Fall 2019)
Nadia Radwan is an art historian specialized in visual arts in the Middle East. She teaches World Art History at the University of Bern, Switzerland, where she was also the director of the doctoral program for Global Studies/Walter Benjamin Kolleg from 2015 to 2017. In 2014, she was Assistant Professor of Art History at the American University in Dubai, UAE. Her research focuses on Middle Eastern modernisms in art and architecture (19th-20th century), curatorial practices in the United Arab Emirates, as well as Swiss orientalist photography. She recently published her book entitled Les modernes d’Egypte: une renaissance transnationale des beaux-arts et des arts appliqués (Bern: 2017) and is currently working on her habilitation project about the aesthetics and politics of abstraction in the Middle East. Further information
Course: Global Manifestoes: a Cartography of Other Modernisms (Spring 2019)
Claire Farago is Professor Emerita of Art History at the University of Colorado Boulder, and currently based in Los Angeles, where she is working a new, post-academic book project, Imagining Art History Otherwise (forthcoming from Routledge). Often working collaboratively, she is contributing editor of Reframing the Renaissance: Visual Culture in Europe and Latin American 1450-1650 (1995), among the first studies to shift emphasis in art history toward transcultural studies. Author of sixteen books and edited volumes, and over 70 articles ranging from Leonardo da Vinci’s writings and European art theory to Latin American studies, art historiography, and contemporary critical theory. Her book publications include Art Is Not What You Think It Is (2012), and Grasping the World: The Idea of the Museum (2004), both collaborations with Donald Preziosi. Directing an international team of scholars, she just published a transcultural study of Leonardo da Vinci’s Treatise on Painting originally issued in 1651, a key text in the institutional history of western art and the result of a longstanding collaboration with an international group of Leonardo scholars (with Janis Bell, Carlo Vecce, and additional contributors, The Fabrication of Leonardo da Vinci’s Trattato della pittura, with a scholarly edition of the editio princeps (1651) and an annotated English translation, Leiden: Brill Press, 2018).
Course: Imagining Art History Otherwise: Transcultural Approaches to Early Modernity (Fall 2018)
Vera Wolff ist derzeit Oberassistentin an der Professur für Wissenschaftsforschung der ETH Zürich, wo sie an einem Buch zum Verhältnis von Wissenschaft, Industrie und Kunst im Kalten Krieg arbeitet. Zuvor war sie u.a. Mitglied des NFS Bildkritik eikones an der Universität Basel und Wissenschaftliche Mitarbeiterin am Kunstgeschichtlichen Seminar der Universität Hamburg, wo sie mit einer Arbeit zur Diskursgeschichte der japanischen Kunst und Materialästhetik (Die Rache des Materials. Eine andere Geschichte des Japonismus, diaphanes 2015) promoviert wurde. 2014/2015 arbeitete sie als Research Fellow am Internationalen Forschungszentrum Kulturwissenschaften (IFK) in Wien. Seit 2015 ist sie assoziiertes Mitglied des Zürcher Zentrums Geschichte des Wissens (ZGW). Ihre Forschungsschwerpunkte liegen auf der Kunst- und Wissensgeschichte der Internationalisierung und Globalisierung, dem Verhältnis von Wissenschaft, Kunst und Technik sowie auf wahrnehmungshistorischen und materialikonographischen Fragestellungen.
Course: Was war „Westkunst“? Kunst und Kunstgeschichtsschreibung im Kalten Krieg (Fall 2018)
Hannah Baader ist Permanent Senior Research Scholar am Kunsthistorischen Institut in Florenz (Max-Planck-Institut). Gegenwärtig leitet sie „Art Histories and Aesthetic Practices. Kunstgeschichte und ästhetische Praktiken“ am Forum Transregionale Studien, Berlin, sowie „Connecting Art Histories in the Museum. Africa, Asia, The Mediterranenan and Europe“, eine Kooperation des KHI Florenz und der Staatlichen Museen zu Berlin. Nach einem Studium der Rechtswissenschaften, der Philosophie und der Kunstgeschichte in Berlin und Wien wurde sie 2001 an der Freien Universität Berlin mit einer Arbeit über die Kunst des Porträts und Theorien der Freundschaft in der Frühen Neuzeit promoviert. Sie war Stipendiatin der Gerda-Henkel Stiftung, arbeitet als wissenschaftliche Mitarbeiterin an der Freien Universität, in Rom an der Bibliotheca Hertziana sowie am KHI in Florenz. Von 2007–2012 war sie Leiterin der Max-Planck-Minerva Forschergruppe „Kunst und die Kultivierung der Natur 1200-1650“. 2010–2016 entwickelte Hannah Baader zusammen mit Avinoam Shalem und Gerhard Wolf „Art, Space, Mobility in Early Ages of Globalization. The Mediterranean, Central Asia and The Indian Subcontinent 400–1650“, das von der Getty-Foundation gefördert wurde; sowie mit Kavita Singh an der Universität JNU New Delhi die Max-Planck Partner Group „The Temple and the Museum“. Sie war Gast am Max-Planck-Institut für Wissenschaftsgeschichte in Berlin, Research Scholar am das Getty Research Institute, Los Angeles (2014 und 2016) und zuletzt Visiting Professor an Cluster of Excellence „Asia and Europe in a Global Context“ der Universität Heidelberg. Gegenwärtig arbeitet sie an einem Buch zur Ikonologie des Meeres, einer Publikation zu Kunst und Globalisierung vor dem Beginn der Moderne, sowie einem Sammeband zu Kunst und Ökologie.
Course: Art and the Aesthetics of the Sea, ca. 1250–2018 (Spring 2018)
Dr. Michaela Alejandra Oberhofer ist seit 2014 Kuratorin für Afrika und Ozeanien sowie Leiterin des Bereichs Sammlungsdienste am Museum Rietberg in Zürich. Ihre Dissertation über Identität und Ethnizität basierte auf einer insgesamt 1 ½-jährigen Feldforschung im Südwesten von Burkina Faso. Nach Lehr- und Forschungstätigkeit an den Universitäten in Frankfurt am Main, Mainz und Berlin arbeitete Michaela Oberhofer zunähst am Ethnologischen Museum Berlin und am GRASSI Museum für Völkerkunde in Leipzig. In ihrer bisherigen musealen Arbeit setzte sich die Kunstethnologin nicht nur kritisch mit der (kolonialen) Erwerbungsgeschichte ethnographischer Sammlungen (z.B. Bernhard Ankermann, Leo Frobenius) auseinander, sondern versuchte auch in multimedialen Ausstellungen die Ästhetik und Kreativität afrikanischer Künstlerinnen und Künstler in den Mittelpunkt zu setzen. Neben Ausstellungen zur Kunst aus dem Königtum Benin (Nigeria) und Bamum (Kamerun) kuratierte Michaela Oberhofer mit Esther Tisa und Ralf Burmeister 2016 die Schau „Dada Afrika“, die ausser in Zürich auch in Berlin und Paris gezeigt wurde. Erstmals wurde dabei die dadaistische Rezeption aussereuropäischer Kunst und Kulturen ins Zentrum gerückt.
Dr. des. Nanina Guyer studierte Ethnologie und Wirtschafts- und Sozialgeschichte in Zürich. 2015 promovierte sie in neuerer allgemeiner Geschichte an der Universität Basel mit der Arbeit „Full of History: Photographs of the Sande and Poro Associations in Sierra Leone and Liberia, 1890–1930”. 2010–2011 war sie Förderstipendiatin und Mitglied der Basel Graduate School of History und der Burckhardt-Bürgin-Stiftung, 2011–2014 wissenschaftliche Mitarbeiterin am SNF Projekt „Picturing Secrecy“. Von 2007 bis 2011 arbeitete sie an Projekten der Afrika-Abteilungen des Museum of Fine Arts Boston und Museum Rietberg Zürich mit. 2015–2017 war sie wissenschaftliche Mitarbeiterin am Digitalisierungsprojekt zum fotografischen Nachlass Hans Himmelheber am Museum Rietberg Zürich. Seit Januar 2018 ist sie Kuratorin für Fotografie am Museum Rietberg Zürich.
Course: Exhibiting Congo. Rezeptions- und Ausstellungpraxis am Beispiel Kongo (Spring 2018)
Angela Dimitrakaki is a writer and Senior Lecturer in Contemporary Art History and Theory at the University of Edinburgh where she directs the MSc Modern and Contemporary Art and leads the Global Contemporary research group. She is the author of over 50 articles and book chapters on contemporary art. Her academic books include Gender, ArtWork and the Global Imperative: A Materialist Feminist Critique (Manchester 2013); Politics in a Glass Case: Feminism, Exhibition Cultures and Curatorial Transgressions (Liverpool 2013, co-edited with Lara Perry); Art and Globalisation: From the Postmodern Sign to the Biopolitical Arena (Hestia 2013, in Greek) and ECONOMY: Art, Production and the Subject in the Twenty-First Century (2015, co-edited with Kirsten Lloyd). She serves on the editorial board of Third Text, for which she co-edited the special issue Social Reproduction and Art (September 2017). She is a corresponding editor of Historical Materialism: Research in Critical Marxist Theory, for which she co-edited the special issue on social reproduction in 2016 and co-organises the Marxist feminist London conference stream since 2012. In 2013 she co-curated the international exhibition ECONOMY in Edinburgh and Glasgow, while she recently collaborated with Sanja Ivekovic on the public engagement programme for Monument to Revolution, Documenta 14. Angela is also an essayist and award-winning novelist. Angela is currently working on the book Feminism, Art Capitalism.
Course: The Feminist Contemporary. Art, Theory, Society 1967–2017 (Fall 2017)
T.J. Demos is Professor in the Department of the History of Art and Visual Culture, University of California, Santa Cruz, and Founder and Director of its Center for Creative Ecologies. He writes widely on the intersection of contemporary art, global politics, and ecology and is the author of Decolonizing Nature: Contemporary Art and the Politics of Ecology (Sternberg Press, 2016); The Migrant Image: The Art and Politics of Documentary During Global Crisis (Duke University Press, 2013)—winner of the College Art Association’s 2014 Frank Jewett Mather Award—and Return to the Postcolony: Spectres of Colonialism in Contemporary Art (Sternberg Press, 2013). Demos co-curated Rights of Nature: Art and Ecology in the Americas, at Nottingham Contemporary in January 2015, and organized Specters: A Ciné-Politics of Haunting, at the Reina Sofia Museum in Madrid in 2014. He is currently completing a new book for Sternberg Press entitled Against the Anthropocene: Visual Culture and Environment Today.
Course: Against the Anthropocene: Conflicts in Visual Culture and Environment Today (Spring 2017)
Birgit Hopfener ist Habilitandin am Lehrstuhl für Globale Kunstgeschichte von Prof. Monica Juneja an der Universität Heidelberg mit dem Projekt «Disjunktive Zeitgenossenschaft. Künstlerische Kartographien der Selbstverortung und Kanonkritik» (Arbeitstitel). Aktuell ist sie Dozentin an der UDK Berlin. Zuvor war sie wissenschaftliche Mitarbeiterin im Institut für Kunstgeschichte an der FU Berlin und Vertretungsprofessorin für chinesische Kunstgeschichte an der Universität Heidelberg. Zu ihren Publikationen zählen u.a. Transkulturelle Reflexionsräume einer Genealogie des Performativen: Bedingungen und Artikulationen kultureller Differenz in der chinesischen Installationskunst (Bielefeld: transcript 2013), Negotiating Difference: Chinese Contemporary Art in the Global Context (Weimar: VDG 2012), Situating Global Art: Conference Proceedings (Bielefeld: transcript 2016). Birgit Hopfener ist Mitbegründerin des ForscherInnennetzwerks «Arts and Humanities Research Network for Transcultural Perspectives (RNTP)», das als kritisches, interdisziplinäres und internationales Netzwerk konzipiert ist und dem Austausch von WissenschaftlerInnen, KünstlerInnen und KuratorInnen dient, die künstlerische Phänomene und Prozesse des kulturellen Austauschs erforschen.
Course: Zum «historiographic turn» in der globalen Kunst der Gegenwart (Spring 2017)
Patrick D. Flores is Professor of Art Studies at the Department of Art Studies at the University of the Philippines, which he chaired from 1997 to 2003, and Curator of the Vargas Museum in Manila. He was one of the curators of Under Construction: New Dimensions in Asian Art in 2000 and the Gwangju Biennale (Position Papers) in 2008. He was a Visiting Fellow at the National Gallery of Art in Washington, D.C. in 1999 and an Asian Public Intellectuals Fellow in 2004. Among his publications are Painting History: Revisions in Philippine Colonial Art (1999); Remarkable Collection: Art, History, and the National Museum (2006); and Past Peripheral: Curation in Southeast Asia (2008). He was a grantee of the Asian Cultural Council (2010) and a member of the Advisory Board of the exhibition The Global Contemporary: Art Worlds After 1989 (2011) organized by the Center for Art and Media in Karlsruhe and member of the Guggenheim Museum’s Asian Art Council (2011 and 2014). He co-edited the Southeast Asian issue with Joan Kee for Third Text (2011). He convened in 2013 on behalf of the Clark Institute and the Department of Art Studies of the University of the Philippines the conference “Histories of Art History in Southeast Asia” in Manila. He was a Guest Scholar of the Getty Research Institute in Los Angeles in 2014. He curated the Philippine Pavilion at the Venice Biennale in 2015.
Course: What Does it Mean to Imagine the Southeast? Four Questions on Southeast Asian Art, 19th Century to Present (Fall 2016)
Course: «Reporting from the Front» Exkursion an die 15. Architekturbiennale Venedig (Fall 2016)
Course: Wie afrikanische Kunst nach Europa kam. Rhetoriken des Handelns, Sammelns und Ausstellens in der Moderne (Spring 2016)
Course: Globale Handelswege und ihre künstlerischen Ablagerungen (Spring 2016)
Course: Alltagsobjekt, religiöse Ikone, Kunstwerk. Indische Kunst im Museum Rietberg (Spring 2016)
