Labrusse, Rémi
Discovering/Uncovering the Modernity of Prehistory
The research field of prehistory and modernity is very topical in both French as well as German art history, though the traditions differ. In view of this historical situation, the conference’s goal (German Center for the History of Art Paris, 2017) was to raise awareness and initiate a dialog, which opened up new perspectives for all participants and generated innovative research. Prehistory, or primeval times, leads back to fundamental art historical questions: When did abstraction begin? What specific qualities of prehistoric artefacts contributed to solutions to artistic problems of the European avant-gardists like Picasso, Miró, Baumeister, Giacometti or Bataille? What is characteristic of prehistoric art as compared to other arts premiers? Work-related questions stood at the center of the discussions and revealed interdisciplinary connections and opened debates intended to inspire further research.
L’art en France à la croisée des cultures
This book collects the reflections and discussions generated at the DFK Paris in the context of the annual theme 2016/17 “Art in France in a Transcultural Context”. The intense exchange between this year’s researchers expanded beyond their individual projects and questioned Eurocentrism, analyzed specific forms of hegemony and demonstrated the consequences of colonial history. By exploring different case studies in African, American, Asian, European, and Oceanian contexts, it could be shown how artistic and intellectual creation and engagement inscribe themselves into the mobilities of globalism. Reflecting on the interdependencies between the repositionings described and art history, the need to acknowledge in art historical analysis the cross-paths, the disorientations, the fragmentary, and the uprooted – here and now, here and elsewhere – becomes clear.
Cet ouvrage rassemble la somme des réflexions et discussions menée au DFK Paris dans le cadre du sujet annuel de 2016/17 « Les arts en France à la croisée des cultures ». Avec leur échange intensif, les chercheurs ont pu renforcer le questionnement de l’eurocentrisme ainsi que démontrer et analyser les différentes formes de l’hégémonie et les conséquences des histoires coloniales. En examinant des différentes études de cas dans les contextes africains, américains, asiatiques, européens et océaniens, il devient évident que la création et l’engagement artistiques et intellectuels appartiennent aux mobilités de la mondialité. Mettant en avant les interdépendances entre les repositionnements décrits et l'histoire de l'art, on comprend la nécessité de reconnaître dans l'analyse en histoire de l'art les chemins de traverse, les désorientations, le fragmentaire et les déracinements - ici et maintenant, ici et ailleurs.
