kritische berichte - Zeitschrift für Kunst- und Kulturwissenschaften

Index 2021

2025-03-04T14:00:10+01:00

Bildnachweise

2025-03-04T13:57:04+01:00

Autor*innen

2025-03-04T13:53:02+01:00

Rettung in letzter Sekunde – Kunsthistorikerinnen in Historienfilmen zum Thema Kunstraub in der NS-Zeit / Kriegsende

2025-03-04T13:51:40+01:00

Weltenretterin, Hellseherin, Emanze

2025-03-04T13:48:10+01:00

Wider das heutige Image der Kunsthistorikerin?

2025-03-04T13:46:18+01:00

Wie die eigene Wahrnehmung zu wissenschaftlicher Erkenntnis wird – untersucht anhand von Lees und Anstruther-Thomsons «Beauty and Ugliness» (1897)

2025-03-04T13:44:34+01:00

Zur Un/Möglichkeit des Gelehrtinnenbildes

2025-03-04T13:42:11+01:00

Gruppenbilder mit Dame

2025-03-04T13:26:34+01:00

Hedda Guradze und Hanna Grisebach – unsichtbare (Vor)Bilder und ein nicht erteilter Auftrag

2025-03-04T13:23:54+01:00

Inhaltsverzeichnis

2025-03-04T13:20:20+01:00

Bildnachweise

2025-03-03T19:57:10+01:00

Autor*innen

2025-03-03T19:55:51+01:00

Hochschulinnovation und kein Ende?

2025-03-03T19:53:28+01:00

Die Schandwache am Lueger-Ehrenmal in Wien im Oktober 2020

2025-03-03T19:51:19+01:00

Smashing Figures – Ein performativer Spaziergang im Olympiapark Berlin

2025-03-03T19:49:55+01:00

Am Rand der Stadt und der Gesellschaft: Das Wohnbauprojekt Poblado Gitano. O Vao, Pontevedra

2025-03-03T19:47:58+01:00

Von der ‹Wiedergutmachung› zum «Kampf gegen Antisemitismus»

2025-03-03T19:46:14+01:00

Deconstructing Nationalist Mindsets in Architectural History and Theory by Questioning the Concept of the Single-Family House

2025-03-03T19:44:44+01:00

Politisches über zwei «unpolitische» Architekten. Roland Rainer und Karl Schwanzer im Nationalsozialismus

2025-03-03T19:43:17+01:00

Bilder wurden auf Wunsch der Autorin geschwärzt.

Der Der ‹blutige› Durchbruch der belgischen Art Nouveau

2025-03-03T19:41:21+01:00

On the Coloniality of Architectural Modernism in Germany

2025-03-03T19:39:28+01:00

From Postcolonial to Decolonial Architectural History: A Method

2025-03-03T19:38:21+01:00

Aus dem ‹Toten Winkel› zum Mainstream? Eine Bestandsaufnahme

2025-03-03T19:35:40+01:00

Auf Wunsch der Autorin Monika Platzer wurden die Bilder geschwärzt.

Inhaltsverzeichnis

2025-03-03T19:21:15+01:00

Bildnachweise

2025-03-03T19:20:14+01:00

Autor*innen

2025-03-03T19:18:57+01:00

Struktur und Diversität. Zur Debatte über die Arbeitsbedingungen in der Wissenschaft

2025-03-03T19:17:16+01:00

Galaktischer Engpass und verdichteter Kanon: Kunst und Kulturerbe im Raumschiff

2025-03-03T19:15:59+01:00

Reliable Things: The Exhibition Romanische Kunst (Cologne, 1947)

2025-03-03T19:14:40+01:00

Die Kehrseite des Fragments? – Überlegungen zur Integrität historischer Objekte bei John Ruskin und Alois Riegl

2025-03-03T19:12:23+01:00

Auferstehung in Erz – das Weimarer Residenzschloss im Zyklus von Vernichtung und Erneuerung

2025-03-03T19:10:58+01:00

Maria, der in den Flammen unversehrte Dornbusch

2025-03-03T19:09:36+01:00

Inhaltsverzeichnis

2025-03-03T19:08:27+01:00

Bildnachweise

2025-03-03T19:04:00+01:00

Autor*innen

2025-03-03T18:56:43+01:00

Die Grenzen des Galanten. Zu transgressiven Rahmenstrukturen in Antoine Watteaus Arabesken

2025-03-03T18:54:50+01:00

Ornamentwerden. Techniken der Ornamentalität in Blockintarsien

2025-03-03T18:50:34+01:00

Aus den Fugen. Bilder zum Klappen

2025-03-03T18:48:51+01:00

Riquadratura.

2025-03-03T18:47:01+01:00

Rahmungen als Ornament? Filippo Brunelleschi und das Phänomen peripherer Bildlichkeit in der vormodernen Architektur*

2025-03-03T18:40:24+01:00

Rand – Rahmen – Rahmung. Zur Frage der Bedeutung von Rahmen und rahmendem Ornament in der mittelalterlichen Glasmalerei

2025-03-03T18:39:09+01:00

Inhaltsverzeichnis

2025-03-03T18:20:52+01:00

Index 2020

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Bildnachweise

2025-03-03T18:17:08+01:00

Autor*innen

2025-03-03T18:15:49+01:00

Coded Gaze & Male Default

2025-03-03T18:13:58+01:00

«Dismediation»

2025-03-03T18:12:32+01:00

Exhibiting Health and Difference at Henry Wellcome’s Historical Medical Museum

2025-03-03T18:10:54+01:00

Reframing Monstrosity as Disability in Early Modern Art and Literature

2025-03-03T18:09:18+01:00

Disability und das Nicht-Sichtbare

2025-03-03T18:07:42+01:00

DIS_ABILITY ART HISTORY. Editorial

2025-03-03T18:05:51+01:00

Inhaltsverzeichnis

2025-03-03T18:04:26+01:00

Bildnachweise

2025-03-03T18:01:15+01:00

Kurzbiografien Autor*innen

2025-03-03T18:00:02+01:00

Digitales Publizieren in der Kunstgeschichte

2025-03-03T17:58:31+01:00

Das ‹Multiple› im 19. Jahrhundert. Von Skulpturmaschinen, Techniktraktaten und Porträt-Miniaturbüsten

2025-03-03T17:56:59+01:00

Inhaltsverzeichnis

2025-03-03T17:54:16+01:00

Credits

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Authors of this Volume

2025-02-25T17:19:21+01:00

We are Gardeners of Public Space – An Interview with the Director of IBA’27 by Regine Heß

2025-02-25T17:01:32+01:00

(Re-)Building Nations: Housing Regimes in Postwar Israel and Germany

2025-02-25T16:57:44+01:00

Housing Ideas at Building Exhibitions in Eretz Israel, 1934–1944

2025-02-25T16:52:06+01:00

Organised Architectures: New Frankfurt and the Bureaucratisation of Modernity

2025-02-25T16:20:30+01:00

Housing Regimes – New Approaches to a State-Citizen-Relation

2025-02-25T16:17:06+01:00

Inhalt

2025-02-25T16:15:56+01:00

Titelei

2025-02-25T16:02:08+01:00

Titelei

2025-02-25T16:00:55+01:00

Inhalt

2025-02-25T15:48:39+01:00

Autor:inneninfos

2025-02-25T15:45:19+01:00

Martin Warnke (1937–2019)

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Norbert Schneider (1945–2019)

2025-02-25T15:30:32+01:00

Migration, globale Kunstgeschichte und die Chancen des Digitalen

2025-02-25T15:13:33+01:00

Lernort contra Erlebnistempel: Das (Digitale) Museum zwischen Überforderung und Entgrenzung

2025-02-25T15:10:23+01:00

#Partizipation: Neuverhandlungen von Sichtbarkeit im Zeichen des Hashtags

2025-02-25T15:06:36+01:00

Architektur und Architekturgeschichte(n). Partizipation auf dem Prüfstand

2025-02-25T15:03:46+01:00

«We’ll need to rethink a few things...» Überlegungen zu einer Kunstwissenschaft der nächsten Gesellschaft/en

2025-02-25T15:00:49+01:00

Kritische Kunstgeschichte als produktiver Streit

2025-02-25T14:58:51+01:00

50 Jahre Künstliche Intelligenz

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Inhalt

2025-02-24T18:08:23+01:00

Titelei

2025-02-24T18:06:57+01:00

Autor:inneninfo

2025-02-24T18:05:20+01:00

Nachruf auf Jörg Trempler (1970–2024)

2024-12-13T15:45:47+01:00

«Da habe ich dann gedacht: Jetzt reicht es»

2024-12-13T15:38:12+01:00

Der Weltgeist als Horror-Mystery-Sci-Fi-Thriller. Soziale Differenzierung und kapitalistische Totalität in Melanie Gilligans Video-Serie Popular Unrest (2010)

2024-12-13T15:34:12+01:00

Gespräch vor digitalen Bildern. Sammlungs-Interieurs auf Instagram

2024-12-13T15:29:07+01:00

Web-Site-Specificity. Zur Medien- und Ortsspezifik der digitalen Ausstellung

2024-12-13T15:25:46+01:00

Das Gesetz als Genre. Digitale Orte der unterhaltsamen Gerichtsbarkeit

2024-12-13T15:22:08+01:00

Verlaufende Verbindlichkeit. Mikrogenres auf TikTok

2024-12-13T15:17:18+01:00

Die Persistenz der Gattungen. Editorial

2024-12-13T15:10:28+01:00

Autor:inneninfo

2024-12-03T16:19:56+01:00

Autor:inneninfo

2024-12-03T16:17:15+01:00

Autor:inneninfo

2024-12-03T16:08:55+01:00

Cheese. Production and Gender Relations in Mika Rottenberg’s Dairy

2024-08-21T15:06:23+02:00

Mika Rottenberg’s video installation Cheese examines the relationship between production and biological reproduction, challenging the notion that they can be easily separated as Western political theory suggests. The installation highlights physical processes such as hair growth and lactation, which cannot be halted like labour. This paper analyses the production relations of milk from a materialist and feminist perspective, focusing on actors and practices. It argues that the video stages them as hyper-feminine, avoiding any didactic content on veganism, anti-speciesism or feminism.

Keywords
biological reproduction, Milk, Udder, Mika Rottenberg, feminist art history

Social Reproduction Struggles and Art Making in 1970s Italy: On the Work of Le Pezze and Gruppo Femminista Immagine di Varese

2024-08-21T15:02:31+02:00

Focusing on the context of 1970s Italy, the article analyses the practices of two women-only art collectives whose artistic production materialised the ongoing struggle against the mechanisms of social reproduction and the labour it entailed for women. Notably, it explores the artistic and militant strategies they devised to discard traditional gender roles, disrupt the sexual division of labour operating at both socioeconomic and cultural levels, and emerge as creative and political subjects.

Keywords
Social reproduction struggle, Artistic and reproductive work, Feminist subjectification, Le Pezze, Gruppo Femminista Immagine di Varese

Women and Work: Feminist Factory Interventions in 1970s London

2024-08-21T14:59:32+02:00

In the context of their joint political work in the Women’s Workshop of the London Artists’ Union, the artists Margaret Harrison, Kay Fido Hunt and Mary Kelly conducted a two-year research project in a canning factory. The research results, which they presented as an exhibition in 1975, focused on the gender-based division of labour and the realities of life for women in the factory. The conceptual techniques employed by the artists demonstrate, in my argument, the profound and pervasive influence of the sexual division on the industrial mode of production, and the extent to which female artists were similarly shaped by the conditions of the 1970s.

Keywords
Art and labour, female labour, factory interventions, feminist art, conceptual art

Andere Arbeit? El Anatsuis Communal Works

2024-08-21T14:55:32+02:00

The Ghanaian artist El Anatsui, who works mainly in Nigeria, has become famous for his stunning works made of thousands of bottle caps and bottle labels. My contribution examines the processes and organisation of the extensive manual labour required to transform the metal parts from industrial production, which are usually considered waste. While in Anatsui’s workshop "communal labour" is honoured and remunerated under the patriarchal protection of the artist as a specific resource of African communities, its attraction for Post-Fordist capital interests is to be questioned.

Keywords
Abfall, communal labour, El Anatsui, Handarbeit, Kolonialismus, Künstlerwerkstatt, Postfordismus

Undermining Publishing Monopolies. On the Production and Distribution of Artists’ Books since the 1970s

2024-08-21T14:47:08+02:00

Artistic production may be contingent upon factors such as access to materials, censorship and the influence of political forces. The books of the Brazilian artist Regina Silveira and the German artist Martin Kippenberger exemplify the extent to which different political systems affect and interlink the conceptual rubric of production, distribution and consumption. The following text argues that the production of artists’ books is not solely concerned with the production of an object, but also encompasses a programmatic aspect that considers and tests the potential meanings that production can have within the context of political, artistic and economic paradigms.

Keywords
Artists’ Books, Mail Art, Regina Silveira, Martin Kippenberger, Production

Industrial Materials, Industrial Forms

2024-08-21T14:44:33+02:00

This essay considers the emphasis on industrial materials in the work of Carl Andre and on the forms of industrial buildings in the work of Bernd and Hilla Becher as occupying different positions within the unified ensemble of material and technical object that defines industrial production, an ensemble from which labour has been separated.

Keywords
Carl Andre, Bernd and Hilla Becher, industrial production, labour, form

«Steal me»: KP Brehmer’s Post-Production

2024-08-21T14:38:19+02:00

The artists of Capitalist Realism launched their response to mass media imagery in the 1960s. In works such as Hommage à Dürer (1966) and Rosa Luxemburg (1973) KP Brehmer addressed relations of production and state policies in West and East Germany. He appropriated tools from the printing trade to intervene in the flow of collective signs with a strategy of «ideological kleptomania», inviting viewers to join in the action. The political practice of this ‹artful socialism› is sited above all within post-production; the images manifest as temporary endpoints in a network.

Keywords
Capitalist Realism, KP Brehmer, post-production, Cold War, printing press