Chillida-Gastprofessur


Seit 2012 ermöglicht das Baskische Kulturinstitut Instituto Vasco Etxepare in Donostia-San Sebastián die Chillida-Gastprofessur am Kunstgeschichtlichen Institut der Goethe-Universität. Jedes Sommersemester unterrichten Gastprofessor*innen aus dem In- und Ausland zu moderner und gegenwärtiger Skulptur im öffentlichen Raum, den Entwicklungen und Politiken von Materialität sowie baskischer Kultur und kultureller Identität. Zusätzlich zum Seminarangebot organisiert die Professur eine große Tagung, in der Forscher*innen die Themenschwerpunkte in einen internationalen Kontext verorten.

Sommersemester 2024

Prof.'in Dr. Maite Garbayo Maetzu

Masterseminar: 
Hard, soft, living matter

Große Exkursion in Anbindung an das Hauptseminar

Maite Garbayo-Maeztu is Serra Hunter Professor in the Department of Art History at the University of Barcelona and Principal Investigator (PI) of the Project Rhythms of feminized labor in the history of art and visual culture (Spain, 1936-2022), funded by the Ministry for Science and Innovation. Her research explores the intersections between feminisms, visual and popular culture and contemporary art in Spain and Latin America during the 20th century. 

Her first book, Cuerpos que aparecen. Performance y feminismos en el tardofranquismo (consonni, 2016), analyzed the presence of the body in the performance practices of the last years of the Franco dictatorship, in connection with feminist activism of the time, and visual and popular culture. She did her postdoc at the Instituto de Investigaciones Estéticas of the Universidad Nacional Autónoma de México and later worked as a T.C. Academic in the Art Department of the Universidad Iberoamericana (Mexico). Her career has developed both in the Academy and in the professional field of contemporary art, where she has curated several exhibitions and public programs.

In the Seminar, we will approach artistic practices, and other performative practices, by closely attending to their materiality. We will address matter to consider what materials are telling us, and doing to us.
We will search for methodologies to analyze art and images by foregrounding the vitality of matter, and the intrinsic powers of material formations. In this way, interpretative analysis shifts from the epistemological terrain of representation, which has traditionally dominated art history, to one of presence.
Starting with a material genealogy of 20th-century Basque sculpture, represented by male artists such as Chillida, Oteiza, Basterretxea or Mendiburu, we will then consider the destructuring of materials that occurred from the 1990s onwards, and that is especially important in the work of some women artists.
During the seminar, we will critically engage with the premises of New Materialism, but we will also approach other conceptions of art and images that, in contraposition to Western aesthetics, are organized through non-representational logics. Conceptions that propose ways of understanding matter as something alive, and works of art as entities capable of both affecting us and being affected by us.

Sommersemester 2023

Dr. Barbara Clausen

Proseminar: 
Objekt, Bild, Geste – Performance als Medium und Praxis

Masterseminar: 
The Live Exhibition: Curating Performance and Exhibiting the Ephemeral



Barbara Clausen ist Professorin am Kunsthistorischen Institut und Vizedekanin für Forschung und Entwicklung an der Fakultät der Künste der Universität von Québec in Montréal, Kanada. Seit 2000 lehrt und schreibt sie umfassend über die Historisierung und Institutionalisierung von performativen Kunstpraktiken und die Diskurse um Politiken des Körpers und des Archivs.

Study Day

Praxis as Space

24.5 14h - 19h
>>>online per Zoom<<<<


Praxis as Space offers a moment to reflect on how the last three years have altered and heightened the awareness and experience of immediacy and distance in the arts. This workshop will focus on the lingering tensions we grapple with in thinking about duration, presence, and absence in the framework of the exhibition as a social site. Almost fifty years after RoseLee Goldberg addressed space's complex relation to the very experience of experience in her seminal essay “Space as Praxis" (1975), notions of site specificity and affective agency have changed dramatically and yet remain constant. This reciprocity between stillness and movement through various media is especially relevant when thinking about the ritual of the liminal (Wood 2017/Turner 1995) in relation to performative environments and settings that move from one institutional context to the next.

In considering this passage of time, a series of questions arise. How do recent site-specific interactions invested in social relations respond and question the cultural status quo? In what ways can the staging of materiality and immediacy challenge institutional temporalities? And how can new forms of articulating movement impact and (re)determine the significance of participation and agency in contemporary art? 

In thinking through these and other questions, the Praxis as Space study day will consider the performative as a transdisciplinary medium and discursive practice from various curatorial, artistic, and theoretical perspectives. 

Sommersemester 2022

Dr. Christian Berger

Proseminar: „In Ermanglung einer besseren Bezeichnung“ - Positionen zum Skulpturbegriff seit den 1960er Jahren

Masterseminar: Monumente in der zeitgenössischen Kunst

Exkursion: Skulpturenpark Köln


Seit 2023 hat Christian Berger die Professur für Neuere und neueste Kunstgeschichte an der Universität Siegen inne. Zuvor war er u. a. wissenschaftlicher Mitarbeiter an der Johannes Gutenberg-Universität Mainz, Vertretungsprofessor an der Universität Hamburg sowie Fellow am Getty Research Institute in Los Angeles, am Courtauld Institute of Art in London und am Kulturwissenschaftlichen Institut in Essen.

Weitere Infos: https://www.kunst-uni-siegen.de/a-prof-berger-christian/

Workshop:

Monuments & Mobility


- Programm

Sommersemester 2021

Dr. Jenny Nachtigall 

Jenny Nachtigall ist derzeit wissenschaftliche Mitarbeiterin am Institut für Philosophie und Kulturwissenschaft der Leuphana Universität Lüneburg. Zuvor war sie Vertretungsprofessorin für Kunsttheorie und -geschichte an der Städelschule in Frankfurt.

Hauptseminar: Lebendige Dinge. Skulptur, Materialität und Technologie seit 1900


Masterseminar: Artificial Bodies and Digital Minds. Art and Objecthood in the Post-war Era


Studientag: Uncontainable Materialities. Sculpture and its Mutable Bodies (09.07.2021)

A troubled relation to the materiality of sculpture runs deep in the history of art. It can be traced back to the persistent denials of ancient sculpture's polychrome skin, to anxieties of its backside and related demands of frontality, or to calls for suspending the exuberant physicality of its “theatrical" organisation of space. In its proximity to the tools, infrastructures and mundane materials that visibly and invisibly shape our lives – from brick and clay to aluminum and optical fiber – sculptural materiality always exceeded artistic codifications.

This study day engages with the myriad manifestations and promiscuous functions of an uncontainable materi- ality that has haunted theories of sculpture since the nineteenth century.

Through a series of art historical, curatorial and artistic contributions, the one-day event will focus on how artists and art historians dramatized or downplayed sculptural mutability in the post-war era. What are the social, political and aesthetic implications of an object's material entangle- mentwiththeworld? How have the hierarchies of race, gender, class or ability that define this world effected the production, reception and circulation of sculpture? What role has technology played in expanding the understanding of the medium beyond a coherent body? How and to what ends did artists mobilize the inherent instability of sculpture and its temporal conditions between art and objecthood?

In thinking through these and other questions the study day seeks to explore the past and present potentials of sculpture to unsettle art history's taxonomic impulse.

Sommersemester 2020

Dr. Marianne Wagner 

Marianne Wagner ist seit 2015 Kuratorin für Gegenwartskunst am LWL-Museum für Kunst und Kultur in Münster.

Hauptseminar: Archive als Ressourcen – Künstler*innen arbeiten mit Archiven


Masterseminar: Das Versprechen der Zukunft. Vorstellungen vom Archiv als Speichermedium


Studientag: SELECT. Konzeptionen aktiver Archive (05.02.2021)


Archive treten zunehmend nicht nur als Speicherorte, sondern auch als soziale Räume oder Netzwerke mit partizipatorischem Potential in Erscheinung. Die Arbeit mit und am Archiv bringt bestimmte Narrative hervor, zeichnet selektiv Entwicklungen nach und entwirft somit auch Perspektivierungen für Dokumentationsstrategien. Insofern sind Archive keineswegs neutral. Sie bringen durch das gesammelte Material Erfahrungs- und Erinnerungsräume mit eigenen Qualitäten und Möglichkeiten zur Wissensproduktion und -Distribution hervor.

Mit SELECT. Konzeptionen aktiver Archive findet im Rahmen der Chillida Gastprofessur am Kunstgeschichtlichen Institut im Sommersemester 2020 ein Studientag statt, der anhand von unterschiedlichen Zugängen zu Archivbeständen Modelle des Sammelns und die Kontextualisierung von Material zur Debatte stellt. Ausgehend von den unterschiedlichen Konzeptionen werden ausgewählte Materialien näher in ihren Sammlungszusammenhängen betrachtet. Im Zentrum stehen Fragen dazu, wie Archive aktiv Formen der Identitätsbildung fördern oder selbst mittels Objekten, Praktiken und Methoden hervorbringen. Auf welche Weise werden personelle oder thematische Netzwerke, politische, persönliche und künstlerische Anliegen sichtbar? Mit welchen Strategien können Ressourcen künstlerisch, kuratorisch oder wissenschaftlich aktiviert und für die Öffentlichkeit zugänglich gemacht werden? Wie werden Archive zu Orten des zeitgenössischen Diskurses, zu Plattformen des Austauschs? Wie kann ein Archiv zum aktiven, in die Gegenwart und Zukunft wirkenden Erinnerungsort einer Gemeinschaft werden?

Sommersemester 2019

Kristina Scepanski

Kristina Scepanski ist seit 2013 Direktorin des Westfälischen Kunstvereins in Münster.

Hauptseminar: Kunst im öffentlichen Raum


Masterseminar: Kulturelle Konstruktionen von Identität


Workshop: Meanwhile, in the Basque Country… Relations of Hegemony and Minority in Art, Culture, and Identity



How can national and cultural identities be formed and defended against more dominant ideologies? Which roles are assigned to artistic production, its institutions and protagonists? The panel brings together two practitioners from the Basque Country offering insights into their academic/curatorial and artistic approaches.

Sommersemester 2018

Dr. Tobias Vogt

Seit 2020 hat Tobias Vogt die Professur für Kunstgeschichte: Geschichte und Theorie der visuellen Kultur am Institut für Kunst und visuelle Kultur der Universität Oldenburg inne. 2015 bis 2019 war er Vertretungs- und Gastprofessor u.a. an der Ruhr-Universität Bochum, der Universität Tübingen, der Freien Universität Berlin, der Ludwig-Maximilians-Universität München und der Universität der Künste Berlin.

Hauptseminar: Kunst im öffentlichen Raum. Zum Beispiel von Frankfurt am Main und Berlin 


Masterseminar: Zwischen self-made und ready-made: Plastische Produktion seit 1900


Workshop: Assemblage: Sculptural Production in Modern and Contemporary Art from a Transcultural and Technological Perspective




Since the beginning of the modern age, the use of sculptural materials and media in the visual arts has changed significantly. Individually shaped marble, bronze or iron sculptures have almost disappeared. Contemporary installations now contain such an unlimited range of means of production that this diversity has itself become a signature aspect of contemporary art.

The conference takes its starting point in the supposed primordial scenes of connecting everyday life and art: the terms papier collé, ready-made and objet trouvé have become inscribed in the history of the avant-garde. They are responsible not only for the inclusion of new materials and media that were previously used solely in everyday life, but also for an allegedly innovative moment of appropriation that posits the obsolescence of old artistic techniques and their concepts of authorship.

The conference shifts the focus to the artistic practices in their respective transcultural and technological contexts. It addresses the genealogies of terms developed in different contexts, especially the assemblage, but also the bricolage, and récuperation. It will be questioned to what extent a different story can be developed in focusing on compiling materials with a certain origin, which connects the plastic arts with their cultural and, more recently, also technological contexts.


Wintersemester 2016/2017

Dr. Nina Schallenberg

Seit 2017 ist Nina Schallenberg Kuratorin am Hamburger Bahnhof – Museum für Gegenwart in Berlin. Zuvor war sie von 2010 bis 2017 Sammlungskuratorin am Wilhelm-Hack-Museum in Ludwigshafen.

Proseminar: Theorie der abstrakten Skulptur


Masterseminar: Abstrakte Skulptur im öffentlichen Raum – Eine Geschichte der Ablehnung


Sommersemester 2015

Dr. Wouter Davids

Wouter Davidts ist Associate Professor am Department of Architecture & Urban Planning und dem Department of Art History, Musicology and Theatre Studies der Universität Gent.

Hauptseminar: Larger than the Body: Issues of Size and Scale in Postwar Art: The case of Eduardo Chillida


Masterseminar: Triple Bound: Art, Architecture and the Museum. The case of MMK Frankfurt





Sommersemester 2014

Dr. Jonathan Wood

Jonathan Wood war Head of Research des Henry Moore Instituts in Leeds. Er arbeitet als freier Kurator und Autor.

Proseminar: Sculpture and Display: from Chillida to Cragg


Masterseminar: The Places and Spaces of Contemporary Sculpture: the Sculptor's Studio from Chillida to Cragg


Workshop: Form – Material – Space: Chillida and his Contemporaries (03. - 05.07.2015)

The work of Eduardo Chillida is usually viewed in terms of modernist art. This view is reinforced by Chillida’s own highly elaborate and eloquent accounts of his artistic practice. Chillida frequently positioned his work in a field of artistic and philosophical discourse that emphasises medium specificity and

a metaphysics of form. He referred to the exemplary nature of the art of Brancusi, Braque and Giacometti for his own creative work; and, in his philosophical exchange

with Martin Heidegger, developed the notion of sculptural space as an ontological space evoking the boundless nature of „being“ itself. The conference reconsiders the prevailing interpretations of Chillida’s work, based largely on his own statements, as a seamless continuation of a modernist aesthetic. It takes its cue from the observation that Chillida has rarely ever been viewed within the context of his contemporaries, specifically minimalist and conceptual artists such as Donald Judd, Sol LeWitt or Anthony Caro.

Sommersemester 2013

Dr. Ana Maria Rabe

Ana Maria Rabe ist seit 2014 Professorin am Institut für Philosophie der Universidad de Antioquia in Medellín, Kolumbien. Zwischen 2011 und 2013 war sie Lehrbeauftragte an der Universität der Künste Berlin, der Burg Giebichenstein Kunsthochschule Halle, der Kunsthochschule Berlin-Weißensee, der Hochschule für Bildende Künste Braunschweig und der Philipps-Universität Marburg.

Proseminar: Raum, Zeit, Materie. Eduardo Chillida und die Herausforderung der modernen Skulptur


Haupt-/Masterseminar: Die Bedeutung des Ortes für die Kunst. Vom Ausstellungsraum zu Chillidas Orten der Begegnungen


Abendvortrag: „Stets nie verschieden, doch niemals immer gleich“ – Eduardo Chillidas Werk und seine Suche nach Einheit und Dialog






Fotos im Bilderkarusell:

Skulpturenpark, Chillida-Leku-Museum, Hernani; Foto: S. Heraeus
Innenraum, Chillida-Leu-Museum, Hernani; Foto: S. Heraeus
La casa de Goethe (Das Haus von Goethe), 1986, Frankfurt ; Foto: A.M. Rabe

Benvenuto Cellini Gesellschaft. e.V.Kunstgeschichtliches Institut
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