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BEGIN:VCALENDAR VERSION:2.0 PRODID:-//ical@brueckemuseum.de//NONSGML kigkonsult.se iCalcreator 2.41.92// CALSCALE:GREGORIAN METHOD:PUBLISH UID:33323830-6339-4465-a362-366261363761 X-WR-CALNAME:Brücke Museum X-WR-CALDESC: X-WR-RELCALID:c186e831-6ed4-4b8a-bd5f-531422c82034 X-WR-TIMEZONE:Europe/Berlin BEGIN:VTIMEZONE TZID:Europe/Berlin TZUNTIL:20250330T010000Z BEGIN:STANDARD TZNAME:CET DTSTART:20221030T030000 TZOFFSETFROM:+0200 TZOFFSETTO:+0100 RDATE:20231029T030000 RDATE:20241027T030000 END:STANDARD BEGIN:DAYLIGHT TZNAME:CEST DTSTART:20230326T020000 TZOFFSETFROM:+0100 TZOFFSETTO:+0200 RDATE:20240331T020000 END:DAYLIGHT END:VTIMEZONE BEGIN:VEVENT UID:event_2301@www.bruecke-museum.de DTSTAMP:20260814T005259Z CLASS:PUBLIC DESCRIPTION:This panel will explore the dissemination\, reception\, and tra nsformation of German expressionism on the European periphery and outside of Europe. Specific focus will be on the intellectual ideas and artistic c oncepts that were associated with expressionism and incorporated into mode rnist and contemporary western and non-Western art practices. Examining th e spread of expressionism to various local communities\, peripheral region s\, and non-Western art contexts\, this panel will highlight the complex p olitical\, social\, and cultural dimensions in the reception of expression ism and provide new insights into the role that expressionism as an artist ic language played in political activism\, alternative cultures\, and the ongoing anti-colonial debates.\n\nHost: Prof. Dr. Isabel Wünsche (Construc tor University)\n\nProf. Dr. Isabel Wünsche is Professor of Art and Art Hi story at Constructor University in Bremen. She studied Art History\, Class ical and Christian Archaeology in Berlin\, Moscow\, Heidelberg\, and Los A ngeles and received her PhD from Heidelberg University. Her research inter ests are European modernism and its global dissemination\, the avant-garde movements\, abstract art\, and émigré networks. She has received numerous grants and fellowships\; her most recent book publications include The Ro utledge Companion to Expressionism in a Transnational Context (2018)\, Bau haus Diaspora and Beyond: Transforming Education through Art\, Design and Architecture (2019)\, and 100 Years On: Revisiting the First Russian Art E xhibition of 1922 (2022).\n\n \n\nMiha Colner (Galerija Božidar Jakac – M useum of Modern and Contemporary Art): Peripheral Manifestations of Expres sionism: A Case Study on Slovenia (EN)\n\nReferring to the 2018–19 exhibit ion Faces of Expressionism at GBJ (Kostanjevica na Krki\, Slovenia) and GA SK (Kutna Hora\, Czech Republic)\, I will draw comparisons between German/ Austrian and other variations of expressionism across Central Europe. My f ocus will be on the characteristics of expressionism in the Slovenian cult ural milieu in contrast to other variants in Germany\, Austria\, Croatia\, and Czechoslovakia. I will highlight the specific socio-political context s that shaped Slovenian society\, culture\, and art of the 1910s and 1920s and led to the spread of expressionism in the peripheral cultural milieus by the end of the First World War and thereafter. I will furthermore addr ess local features and specific characteristics of expressionism in terms of style and subject matter.\n\nMiha Colner is an art historian who works as a curator at Galerija Božidar Jakac – Museum of Modern and Contemporary Art in Kostanjevica na Krki. He is also active as a lecturer and publicis t in the fields of visual art and visual culture. In the period 2017–2020\ , he was a curator at MGLC – International Centre of Graphic Arts and\, fr om 2006 to 2016\, at Photon – Centre for Contemporary Photography\, both i n Ljubljana. Since 2005\, he has been publishing articles in newspapers\, magazines\, and professional publications\, as well as on his own blog.\n \n \n\nLisa Hörstmann (Hamburger Bahnhof – Nationalgalerie der Gegenwart): German Expressionism and the Emergence of a Female Avant-Garde in South A frica (EN)\n\nSouth African modernism was largely coined by two women expr essionists: Irma Stern (1894–1966) and Maggie Laubser (1886–1973). Having spent their childhoods (and in Laubser’s case early adulthood) in South Af rica\, they both came into contact with Brücke expressionism during extens ive sojourns in Berlin in the 1910s and 1920s. Benefiting from the current interest in supposedly “primitive” cultures\, Stern especially was able t o position herself as a woman and painter deeply familiar with South Afric a’s Black “natives.” In the German press\, she was described as superior t o Paul Gauguin and Max Pechstein in this respect. My presentation will loo k at the reception of her work in Germany as well as in South Africa. Whil e Stern concentrated on the “exotic\,” Laubser’s expressionism was more do mestic. Her consciously naïve portrayals of rural farm scenes that showed Black and Coloured workers in harmony with the (cultivated) land and lives tock were read as authentic representations of a simple truth. Although th eir works can be considered to pay respect to Black South Africans\, I wil l show that they also reinforced the segregation of South African society at the time.\n\nLisa Hörstmann obtained her PhD in Art History in the Glob al Context/Africa from Freie Universität Berlin. Her dissertation focuses on South African modernity. She holds master's degrees in Art History from Open University and in Curating Visual Culture from Sheffield Hallam Univ ersity\, both in the United Kingdom. She has worked as a curatorial assist ant at MaximiliansForum in Munich and as a research assistant at Heiner Ba stian Fine Art in Berlin. Currently\, she is an assistant curator at Hambu rger Bahnhof – Nationalgalerie der Gegenwart in Berlin.\n\n \n\nDr. Erin S ullivan Maynes (Los Angeles County Museum of Art): Käthe Kollwitz and the New Woodcut Movement in China (EN)\n\nIn the early 1930s\, a group known as the New Woodcut Movement pioneered a powerful form of printmaking that drew on China’s long tradition of block printing combined with the rough\, energetic style and politically engaged subject matter of modern–especial ly German–woodcuts. These artists encountered the work of their western co unterparts through the promotion of the writer\, critic\, and poet Lu Xun (1881–1936)\, an advocate who considered the woodcut the most accessible v ehicle for circulating revolutionary ideas among the masses. My presentati on will look at the dissemination of prints by Käthe Kollwitz in China du ring the 1930s\, as well as the ways her subject matter and style were ado pted and adapted by Chinese artists.\n\nDr. Erin Sullivan Maynes is Assist ant Curator in the Robert Gore Rifkind Center for German Expressionist Stu dies at the Los Angeles County Museum of Art. Her exhibitions include the current Pressing Politics: Revolutionary Graphics from Mexico and Germany (2022–23). Among her recent publications are Pressing Politics (LACMA\, 20 22) and “Making Money: Notgeld and the Material Experience of Inflation” ( Art History\, 2019). Her curatorial practice centers on histories of print and paper\, and her research interests focus on the materials\, technolog ies\, and dissemination of print in the 19th and 20th centuries.\n\n \n\nT amari Mchedlishvili (Ivane Javakhishvilli Tbilisi State University): The I nfluence of German Expressionism on Georgian Art of the 1980s and 1990s (E N)\n\nThe influence of German expressionism is prominent in Georgian art o f the 1980s and 1990s\, specifically in the works of The 10th-Floor Artist s. Starting in 1986\, this group of young painters congregated on the tent h floor of the art academy studio building and turned discussions about Eu ropean modernism into practical work. Painting their new ideas on linens\, their abstract and figurative compositions\, shaped by distorted forms\, unusually strong and unnatural colors\, thick black contours\, and express ive brush strokes\, were inspired and influenced by the art of the Brücke artists. The expressionist style of Die Brücke served them as a tool to ex press their resistance and protest to the established Soviet art system. I n my paper\, I will explore how expressionism became a major influence on Georgian art of the 1980s and 1990s and in what ways it shaped the artists ’ work.\n\nTamari Mchedlishvili is pursuing her doctorate in art history a t Tbilisi State University\, Georgia. Her research focuses on the influenc e of German expressionism and neo-expressionism on Georgian art in the 198 0s and 1990s. In 2018\, she founded the Contemporary Art Studio “not a mus eum\,” an educational center and research laboratory. She is also a member of the non-profit organization “new collective for art” which addresses s ocial issues through creative work. Since 2012\, she has participated in v arious artistic events and projects. Currently\, she works as an art manag er and curator at the Contemporary Art Gallery Novo in Tbilisi.\n\n \n\nKa trin Nahidi (Universität Graz): Expressionistic Tendencies in Iran (EN)\n \nAnalyzing Charles Hossein Zenderoudi’s work\, Who is this Hossein the Wo rld is so crazy about? (1958)\, I will examine religious iconography in an expressionist language as an important tool to situate artistic expressio n in the ongoing anti-colonial debates about Iran’s westoxification. This artistic language enabled the artist to explore Shi’ite iconography from a fresh perspective and bring Shi’ite traditions back to the present. Expre ssionism provided a political legacy and an effective yet figurative langu age to reject the decorum of the established Shi’ite iconography in Iran\; it represented a visual means of intensifying Imam Hussein’s suffering as an experience of pain\, misery\, and devastation\, which informed the pol itical and intellectual discourse in Iran from the 1960s onward.\n\nKathri n Nahidi is a research assistant for modern and contemporary art in the In stitute of Art History at the University of Graz. She studied Art History\ , History and Culture of the Middle East\, and Modern German Literature at Ludwig-Maximilians-Universität in Munich. Her dissertation was funded by the Swiss National Science Foundation as part of the Sinergia project Othe r Modernities – Practices and Patrimony of Visual Expression Outside the W est at the University of Bern and the Free University Berlin (2013–2017). In 2023\, her monograph titled The Cultural Politics of Art in Iran: Moder nism\, Exhibitions\, and Art Production will be published by Cambridge Uni versity Press.\n\n \n\nDr. Rahul Dev (National Museum Institute\, Noida/Ne w Delhi): German Expressionism and its Reception in Indian Modernism (EN) \n\nExpressionist worldviews are reflecting changes in war ridden societie s and are opposing the industrialization and rationalization of everyday l ife. Looking at the reception of expressionism in Indian modernism of the late 1980s to 2000s\, I will explore how the expressionist idiom became a vital characteristic in the practice of a number of Indian artists whose w ork was charged by political cataclysm and activism and shaped at the inte rsection of gender\, class\, and caste.\n\nDr. Rahul Dev teaches Art Histo ry and German at the National Museum Institute (NCR) in Delhi\, India. His dissertation (from Jawaharlal Nehru University\, Delhi) focuses on German expressionism and its reception in modern Indian art. His current researc h interests include art history\, art criticism\, German studies\, and mar ginal art. He has received fellowships from institutions such as Staatlich e Museen zu Berlin and the Getty Research Institute and worked on publicat ion projects with Asia Art Archive and the Arts Development Program in Del hi. As a co-curator\, he contributed to the Bodhgaya Biennale. His reviews and essays\, among them a recent article on “Expressivity” in Indian art collectives\, are published widely. DTSTART;TZID=Europe/Berlin:20230602T100000 DTEND;TZID=Europe/Berlin:20230602T123000 SEQUENCE:1 SUMMARY:Brücke Museum: Expressionism Revisited TRANSP:OPAQUE END:VEVENT END:VCALENDAR