https://journals.ub.uni-heidelberg.de/index.php/xxi/issue/feed21: Inquiries into Art, History, and the Visual2024-07-11T17:12:17+02:00Katharina Böhmer M.A./Alessandra Fedrigo/Lia Schüpbach21-inquiries@unibe.chOpen Journal Systems<p><em>21: Inquiries into Art, History, and the Visual – Beiträge zur Kunstgeschichte und visuellen Kultur</em> ist eine mehrsprachige Fachzeitschrift (<em>double blind peer-reviewed</em>), die im Open Access (<em>Diamond/Platinum</em>) unter der Lizenz CC BY-NC-ND 4.0 publiziert wird. Die Autor*innen behalten das Urheberrecht an ihren Texten und die vollen Veröffentlichungsrechte ohne Einschränkungen; „Author Processing Charges“ (APCs) werden nicht erhoben. <em>21: Inquiries</em> ist als <em>scholar-led journal</em> aktuell im <a href="https://doaj.org/toc/2701-1550?source=%7B%22query%22%3A%7B%22bool%22%3A%7B%22must%22%3A%5B%7B%22terms%22%3A%7B%22index.issn.exact%22%3A%5B%222701-1569%22%2C%222701-1550%22%5D%7D%7D%5D%7D%7D%2C%22size%22%3A100%2C%22sort%22%3A%5B%7B%22created_date%22%3A%7B%22order%22%3A%22desc%22%7D%7D%5D%2C%22_source%22%3A%7B%7D%2C%22track_total_hits%22%3Atrue%7D">DOAJ</a>, in <a href="https://www.ebsco.com/m/ee/Marketing/titleLists/vth-coverage.htm">EBSCO</a>, in <a href="https://kanalregister.hkdir.no/publiseringskanaler/erihplus/periodical/info.action?id=505471">ERIH PLUS</a> (European Reference Index for the Humanities and Social Sciences) und <a href="https://www.worldcat.org/de/formats-editions/1165542631">WorldCat (OCLC)</a> indiziert.</p>https://journals.ub.uni-heidelberg.de/index.php/xxi/article/view/104824Weltausstellung auf Dauer?2024-05-16T10:14:50+02:00Andreas Fahrmeirfahrmeir@em.uni-frankfurt.de<p>While the legacy of the Great Exhibition of 1851 as the starting point of world exhibitions and for the development of South Kensington’s museum district is well understood, less attention has been paid to its third offshoot: the attempt to create a more permanent way of showcasing the world in a second Crystal Palace. On the basis of recent scholarship, this contribution discusses its economic and conceptual basis, and the reasons for its temporary success and ultimate decline.</p>2024-07-11T00:00:00+02:00Copyright (c) 2024 Andreas Fahrmeierhttps://journals.ub.uni-heidelberg.de/index.php/xxi/article/view/104827Une symphonie des cultures ?2024-05-16T10:34:10+02:00Claire Couturierclaire_couturier@hotmail.fr<p>From May 7 to October 9, 1892, an international exhibition was held in Vienna, the aim of which was to present the evolution of theater and music, from their origins and through each country. Focusing on the musical aspect of the event, this article examines the contradiction between the organizers’ initial idea and the final result. Analysis centers on the historical context that necessitated the setting up of a new event and its consequences for the event’s organization. This observation leads to a study of the methodology used and the resulting hierarchy, even though the initial project aimed to avoid competition and conflict. With a focus on the ethnographic aspect of the Rotonde and the place given to the operetta, we will finally question the valuations and exclusions brought to light by the exhibition and ask if the event generated the “symphony of cultures” initially hoped for.</p>2024-07-11T00:00:00+02:00Copyright (c) 2024 Claire Couturierhttps://journals.ub.uni-heidelberg.de/index.php/xxi/article/view/104828Enge Weltinnenräume2024-05-16T10:36:44+02:00Marion Pickermarion.picker@univ-poitiers.fr<p>The dimensions of the giant globes built in the second half of the nineteenth century quickly make us forget that they are paradigmatic cases of miniaturized worlds. This article focuses on Élisée Reclus’s project for the Paris “Exposition Universelle” of 1900. A relief globe of about 127 meters in diameter was to be housed in an even bigger globe. The “Grand globe” could thus be considered as a prefiguration of the “world interior” [“Weltinnenraum”], a term Rainer Maria Rilke used in one of his poems a few years later. The theatrical staging of a globe within a globe combines aesthetic and affective, pedagogical and political objectives. However, this article is less about the politics and convictions of Reclus than about the relationship of his project to cartographic practices and “world views” at the time. What is it that distinguishes the “Grand globe” from other world models, from competing exhibits and views at the Paris exhibition? And what does the inward turn of geographic representation tell us about the “world” around 1900?</p>2024-07-11T00:00:00+02:00Copyright (c) 2024 Marion Pickerhttps://journals.ub.uni-heidelberg.de/index.php/xxi/article/view/104829Botanische Gärten als Ausstellung2024-05-16T10:39:33+02:00Stefanie Heraeusheraeus@kunst.uni-frankfurt.de<p>As places of recreation and pleasure for the urban bourgeoisie, botanical gardens in the late nineteenth century staged elaborately designed landscape imaginaries of primordiality and wilderness. Far more than museums, these exhibition sites aimed at sensual and physical experience – with their specific types of planting, spectacular scenery and glass architecture. Unlike academic collections they did not work with a systematic display, but with scenographic visual and auditory means. In recent years, artists and curators have focused on the illusionary spaces of botanical gardens. Colonial involvements or the display of plants that are considered exotic have become the starting point of artistic deconstruction, as well as the hierarchization of creatures and species.</p>2024-07-11T00:00:00+02:00Copyright (c) 2024 Stefanie Heraeushttps://journals.ub.uni-heidelberg.de/index.php/xxi/article/view/104830Exposer l’art rupestre2024-05-16T10:41:39+02:00Jean-Louis Georgetjean-louis.georget@institutfrancais.deRichard Kubakuba@em.uni-frankfurt.de<p>Often located in places difficult to access – caves, rock shelters, and deserts – prehistoric paintings and engravings were first generally known to the wider public in the 1930s through reproductions presented in publications and exhibitions in major European and American cities. The German anthropologist Leo Frobenius (1873–1938) played a decisive role in this diffusion by creating the world’s largest collection of prehistoric art facsimiles: about 5,000 so-called “original” copies faithfully reproducing the size, shapes, and colors of the paintings. The copies were made throughout the world primarily by professionally trained young women artists who accompanied Frobenius on his expeditions. These watercolors brought these rarely seen and distant images into the larger world. In numerous exhibitions, rock art – converted into two dimensions, in rectangular form, and hangable on a wall – was presented to the public like recognized masterpieces. This article explores the history of the collection and today’s exhibition concepts.</p>2024-07-11T00:00:00+02:00Copyright (c) 2024 Jean-Louis Georget, Richard Kubahttps://journals.ub.uni-heidelberg.de/index.php/xxi/article/view/104831Zeitlos und weltumspannend?2024-05-16T10:43:52+02:00Lisa Anette Ahlerslisa.anette.ahlers@gmail.com<p>The article examines a rhetoric employed by some modern art collections from the beginning of the twentieth century until the late 1950s that drastically expanded the concept of modernism in time and space. Enabled by imperial and colonial access to a multitude of artifacts, contemporary Western works were arranged with works from other epochs and continents in long genealogies, often spanning several thousand years, insisting on a shared “kinship” or “timelessness”. The focus lies on two historical moments when such comparative displays were attempted: the German Weimar Republic with the newly opened Museum Folkwang in Essen (1922–1933), and the early post-war United States, with the anniversary exhibition <em>Timeless Aspects of Modern Art</em> (1948) at the Museum of Modern Art, New York, and the traveling show <em>4000 Years of Modern Art</em> (1953/56) at the Walters Art Gallery and the Baltimore Museum of Art. To what extent do these projects echo the premises of a supposedly universal “world art”, as developed from 1900 onwards by an increasingly anthropologically oriented art history and in popular albums?</p>2024-07-11T00:00:00+02:00Copyright (c) 2024 Lisa Ahlers / Freier Zugang - alle Rechte vorbehaltenhttps://journals.ub.uni-heidelberg.de/index.php/xxi/article/view/104832L’économie de la visibilité2024-05-16T10:45:28+02:00Guillaume Beringerguillaume.beringer@gmail.com<p>In 1927, the city of Frankfurt am Main in Germany organized an exhibition about music. Among the visitors was the sociologist Theodor Adorno, who takes a critical look at what he considers to be an “encyclopedia for the eye” intended for an audience that does nothing but passively contemplate. Adorno highlights evidence that art is no longer defined in terms of its auratic aspect, which mobilizes a historical and social context, but of its unique immediate presence. Adorno’s observations are thus a prelude to the critical construction of the sociological theory of <em>exhibition value</em>, which postulates the goal of commercializing visibility. This work will determine to what extent the exhibition is the result of advertising promotion which contributes to the commodification for a public and to the intensification of the lived experience in a logic of entertainment.</p>2024-07-11T00:00:00+02:00Copyright (c) 2024 Guillaume Beringerhttps://journals.ub.uni-heidelberg.de/index.php/xxi/article/view/104833„Capturing Iran’s Past“2024-05-16T10:47:12+02:00Agnes Ramederagnes.rameder@smb.spk.de<p>Using the example of the exhibition <em>Capturing Iran’s Past</em>, which was displayed in the Museum of Islamic Arts in Berlin, in 2019, I discuss problems that arise when contemporary art is exhibited in historical museums. By drawing on critical curatorial theory, analysis of exhibitions, and my own reflections as a co-curator of <em>Capturing Iran’s Past</em>, I argue that these problems are grounded in the ignorance of contemporary art museums toward artists who are operating outside the geographical canon. Therefore, works of artists who are not based in Europe/North-America are often presented in ethnographic or Islamic museums, which work primarily with historical artifacts rather than contemporary art. However, these museums are practicing curatorial activism by providing space for these very artists.</p>2024-07-11T00:00:00+02:00Copyright (c) 2024 Agnes Ramederhttps://journals.ub.uni-heidelberg.de/index.php/xxi/article/view/104825Weltausstellungen – Modell und Variationen2024-05-16T10:29:10+02:00Annika Haßahass@cs.uni-saarland.deCéline Trautmann-Wallerceline.trautmann-waller@ephe.psl.eu2024-07-11T00:00:00+02:00Copyright (c) 2024 Annika Haß, Céline Trautmann-Wallerhttps://journals.ub.uni-heidelberg.de/index.php/xxi/article/view/104826Expositions universelles – modèle et variations2024-05-16T10:31:48+02:00Annika Haßahass@cs.uni-saarland.deCéline Trautmann-Wallerceline.trautmann-waller@ephe.psl.eu2024-07-11T00:00:00+02:00Copyright (c) 2024 Annika Haß, Céline Trautmann-Wallerhttps://journals.ub.uni-heidelberg.de/index.php/xxi/article/view/104834Buch und Literatur im digitalen Zeitalter ausstellen2024-05-16T10:52:41+02:00Heike Gfrereisheike.gfrereis@dla-marbach.deStephanie Jacobss.jacobs@dnb.deUlrich Johannes Schneideru.j.schneider@uni-leipzig.deAnnika Haßahass@cs.uni-saarland.deCéline Trautmann-Wallerceline.trautmann-waller@ephe.psl.eu2024-07-11T00:00:00+02:00Copyright (c) 2024 Heike Gfrereis, Stephanie Jacobs, Ulrich Johannes Schneider, Annika Haß, Céline Trautmann-Wallerhttps://journals.ub.uni-heidelberg.de/index.php/xxi/article/view/105607Andrew James Hamilton, The Royal Inca Tunic. A Biography of an Andean Masterpiece2024-06-24T16:48:34+02:00Bill Sillarb.sillar@ucl.ac.uk2024-07-11T00:00:00+02:00Copyright (c) 2024 Bill Sillarhttps://journals.ub.uni-heidelberg.de/index.php/xxi/article/view/105482Elizabeth Horodowich and Alexander Nagel, Amerasia2024-06-13T16:41:13+02:00Sugata Raysugata@berkeley.edu2024-07-11T00:00:00+02:00Copyright (c) 2024 Sugata Rayhttps://journals.ub.uni-heidelberg.de/index.php/xxi/article/view/105606Nazanin Hedayat Munroe, Sufi Lovers, Safavid Silks and Early Modern Identity2024-06-24T16:47:03+02:00Amanda Phillipsahp2n@virginia.edu2024-07-11T00:00:00+02:00Copyright (c) 2024 Amanda Phillipshttps://journals.ub.uni-heidelberg.de/index.php/xxi/article/view/105460Giedrė Mickūnaitė, Maniera Greca in Europe’s Catholic East. On Identities of Images in Lithuania and Poland (1380s–1720s)2024-06-13T12:40:15+02:00Dorota Zaprzalskadorota.zaprzalska@doctoral.uj.edu.pl2024-07-11T00:00:00+02:00Copyright (c) 2024 Dorota Zaprzalska