#burcu dogramaci

[towneslab]

'BLAUER MATROSE' (1995) L13 by tabea blumenschein Via Flickr: tDrawing' by Tabea Blumenschein The Show Exxentrische80er opens in Munich at Lothringer13 sept 9th 2022 - where this fine drawing will be one of 50-60 works by Tabea on display. Drawings, Paintings, original Costumedesigns , origianal costumes , some of her Filmwork and Photography too the show will travel to Berlin in Dec and Hamburg in Spring 2023

[fashionbooksmilano]

Reading Andy Warhol

Author Illustrator Publisher

Text(s) by Nina Schleif, Marianne Dobner, Burcu Dogramaci, Simone Förster, Birgitta Heid, Lucy Mulroney, Susan M. Rossi-Wilcox, Anna Rühl, Jordan Troeller, Reva Wolf, Matt Wrbican, ed. Nina Schleif, graphic design by Sarah Nöllenheidt

Hatje Cantz Verlag, Berlin 2013, 301 pages, ISBN  978-3775737074

euro 40,00

email if you want to buy booksinprogressmilano@yahoo.it

Was Andy Warhol (1928–1987) an intellectual or a reader of comics? In any case, he loved books. From his student days onward, he was fascinated by the medium of print. Starting with illustrations for famous novels by Truman Capote or Katherine Anne Porter, he was a successful graphic designer who also made playful thematic booklets that he handed out to New York’s fashion scene as advertising. He designed covers for large publishing companies and made silkscreens and lithographs for the covers of poetry books written by author friends. In his own books he documented the film and photographic work done at his Factory. Warhol blasted apart the usual genres of literature by having sound recordings transcribed and published. This extensive volume presents his achievements in book design and writing from the standpoints of art history and literary theory. Exhibition schedule: Museum Brandhorst, Munich, September 18, 2013–January 12, 2014

18/09/20

orders to:     booksinprogressmilano@yahoo.it

ordini a:        booksinprogressmilano@yahoo.it

twitter:@fashionbooksmi

instagram:         fashionbooksmilano, designbooksmilano tumblr:                fashionbooksmilano, designbooksmilano

[kanjukutadashi]

Postwar Conference: NATION(S) SEEKING FORM, Panel 2 / 23.05.14

[pussylightandthepinkshit]

Speakers: Barbara Carrasco, Lara Demori, Esther Gabara, Andrea Giunta, Sophie Halart, Giulia Lamoni and Cecilia Vicuña (video contribution) Conveners: Burcu Dogramaci, Laura Karp Lugo and Stephanie Weber Program 11.00 Welcome by Ulrich Wilmes, Chief Curator Haus der Kunst 11.15 Introduction by Lara Demori, Goethe-Institut Fellow Haus der Kunst 1st Session 11.30 Sophie Halart (Universidad Alberto Hurtado, Santiago de Chile) "Mater chilensis toward a maternal re-reading of the Chilean neo-avantgarde" 12.00 Lara Demori (Haus der Kunst) "Transnational influences in Marta María Pérez Bravo's series Para Concebir (1985-1986) 12.30 Q&A moderated by Laura Karp Lugo (LMU) 13.00 Lunch break 2nd session 14.00 Barbara Carrasco (Artist and Muralist, Los Angeles, CA) "Chicana Artist in a U.S. Context" 14.30 Esther Gabara (Duke University) “¿Acaso hay otro orden?: Shouts and Murmurs from the 1970s” 15.00 Q&A moderated by Burcu Dogramaci (LMU) 15.30 Break 3rd Session 16.00 Giulia Lamoni (Universidade Nova de Lisboa) "Artists as Radical Educators in Latin America (1960s-1970s): A feminist research project" 16.30 Andrea Giunta (Universidad de Buenos Aires) "Race, Ethnicity and Empathy in Latin American Women Artists, 1960-1985" 17.00 Q&A moderated by Stephanie Weber (Lenbachhaus) 17.30 Cecilia Vicuña: an artist interview (video contribution) 18.00 Closing remarks and panel discussion Barbara Carrasco, Burcu Dogramaci, Esther Gabara, Andrea Giunta, Sophie Halart, Laura Karp Lugo, Giulia Lamoni and Stephanie Weber 19.00 End This one-day symposium explores the diverse forms of feminist artistic practices that developed in Central and South America between 1960 and 1980, and proposes a reevaluation of the notion of the ‘Third World’ via an examination of the historiography of exhibitions alongside artistic and activist practices that draw on the symbolic frame of feminism. Emerging from the 1955 Bandung Conference and subsequent formation of the Non-Aligned Movement, the term ‘Third World’ has traditionally shifted between denoting a political position that was ancillary to both the capitalist West and communist East, to identifying the cultural and economic conditions of so-called ‘underdeveloped’ countries; a position which in turn perpetuated a fallacious, homogenized understanding of the countries that constituted it. Such a misnomer is particularly egregious when one considers the pluralities of race, ethnicity, and gender that constitute Latin America, a region whose multiple identities and intercultural complexities are commonly analyzed within the framework of 'mestizaje' (miscegenation, mixing. Nevertheless, as Gerardo Mosquera has warned, even a notion as fluid as 'mestizaje' cannot escape the tendency to erase imbalances and conflicts within diverse cultural communities and, in so doing, similarly runs the risk of becoming “an attractive stereotype for the outside gaze.” Situating itself between the totalizing tendency of the “Third World” and the orientalist proclivities of 'mestizaje', "Decolonizing Third World Feminism: Latin American Women Artists (1960-1980)" will utilize the lens of feminism in order to excavate the aforementioned historical moment, exposing its inherent contradictions, as well as probe its political and cultural specificities so as to emphasize and locate modes of resistance against patriarchal hierarchies and hegemonic forms of feminist identification. In so doing, it will circumvent the notion that “Third World” women constitute a homogenous category “victimized by the combined weight of their traditions, culture and beliefs, and “our” (Eurocentric) history,” as well as abstain from promulgating the notion of some form of “universal sisterhood” that assumes a commonality of gender experience across race and nationality. In place of this, the symposium takes up the call of several scholars who advocate for a new analytical methodology that acknowledges the struggles of Latin American women in relation to their history, cultural context, economic class, and social identity. "Decolonizing Third World Feminism: Latin American Women Artists (1960-1980)" will strive to unveil the presence of multiple feminisms and their decolonizing subaltern positions. It takes  ethnic and cultural differences into account, as well as to exploring their political and economic implications. By investigating as well the intersectionality between the presence of African populations in Latin American, movements of Native Americans and differences between Latino and Latin American identities, “Decolonizing Third World Feminism: Latin American Women Artists (1960-1980)” aims to further complicate the idea of feminism in Latin America. Unfortunately there is a sound interference during video photos by Marion Vogel

[benevolent-blackhole]

2021 Favorites List

Favorite novel I read this year: Both Ammonite by Nicola Griffiths and the whole Xenogenesis series by Octavia Butler are my favorite things forever, so both. Xenogenesis absolutely got me through the worst summer of my life.

Favorite history book: this is insane, but I read no full length history books this year. A lot of articles and chapters, but no full books. Darcy Buerkle's chapter on Fred Zinnemann in the Passages of Exile (ed. Burcu Dogramaci and Elizabeth Otto) edited volume made me cry so I'm excited for the forthcoming book.

Favorite nonhistory nonfiction book: so many, but Alice Miller's For Your Own Good either broke my brain more or kept me from like, stepping on the shards of my own psyche this summer, so it has to be that.

Favorite artist I started listening to this year: Lucy Dacus (but also Maisie Peters)

Favorite album: Home Video (Lucy Dacus) but also You Signed Up For This (Maisie Peters) and also the Vault in RED (Taylor's Version). But Home Video overall.

(somehow, Adele, Lorde, and Julien Baker all released this year, and yet...) (do love both Little Oblivions and Solar Power, just not as much as I hoped)

Favorite 2021 show: Literally just watched more Taskmaster and rewatched Six Feet Under.

Favorite movie: Ammonite (unrelated to the book)

Most proud of: I think every year forever is just going to be like, "externally, objectively, x and y, but actually z." So externally, being 3-1 on getting major research fellowships and getting a provisional article acceptance, but also really, actuality, surviving the absolute worst summer of my life and specifically recognizing that I was being told to do a women's writing retreat not because I'm smart but because the person getting me to do it felt it was dangerous for me to keep staying with my parents, and I wasn't too proud to do it anyway.

New place I travelled to: Hamburg, Germany

[freunde-kunstakademie-muenster]

MÜNSTER LECTURE /// PROF.IN DR. BURCU DOGRAMACI, LUDWIG-MAXIMILIANS-UNIVERSITÄT MÜNCHEN

COVID-19 hat der prekären Lebens- und Arbeitssituation osteuropäischer Saisonarbeiter*innen Sichtbarkeit gegeben: Hohe Infektionszahlen und der drohende Ausfall von Ernten führten zu medialer Aufmerksamkeit. In ihrem Vortrag diskutiert Burcu Dogramaci, wie sich die künstlerische Fotografie der Feldarbeit und den Arbeiter*innen nähert, die nur für begrenzte Zeit aus Polen und Rumänien nach Deutschland und in andere westeuropäische Staaten kommen. Welche Annäherungsweisen und Methoden werden gewählt, in welchem Verhältnis stehen Fotografierende und Fotografierte? Und wie wird mit dieser Grenze und den sprachlichen Herausforderungen, den Asymmetrien im sozialen Status und den beobachteten Lebenswirklichkeiten umgegangen?

18.05.2021 18:00

Die Münster Lectures 2021 finden als Zoom-Konferenzen statt.

http://wwu.zoom.us/j/64330861073

Meeting-ID: 643 3086 1073 Kenncode: 884112

[emigrearthistoriansuk]

Conference Registration and Programme

Innovation & Acculturation: The Émigré Art Historians and Britain

5-6th November 2019 * Queen Mary, University of London

The conference aims to reappraise and – where appropriate – to challenge the received narrative about the history of art history in Britain. It will seek to re-evaluate just how ‘German’ British art history became between 1920 and 1970, and to explore the interactions with neighboring disciplines, such as Medieval History and Classics. Our aim is to examine the interaction between the practices ‘exported’ by the German émigrés and the British traditions of art historiography. Revisiting the shaping of art-historical discourse goes hand in hand with a reconsideration of the way émigrés scholars in Britain reacted to their new surroundings.

The conference is free. All welcome! Please register here to assist administration. 

PROGRAMME

TUESDAY, 5TH NOVEMBER

13.45 Welcome and Introduction

14.00 Art History in Britain

Sam Rose (St Andrews) – Roger Fry as Art Historian

Johannes von Muller (Warburg Institute) – ‘Under the most difficult Circumstances’. The Warburg Institute’s Exhibition Practice, 1933-48

15.20 Coffee Break

15.50 Competing Methodologies Beyond Academia

Anne Uhrlandt (Munich) – Selling German and Dutch art abroad: The émigré Art Historian and Art Dealer Max Stern in London

Morwenna Blewett (Oxford) – Reception, Recognition and Rancour: The Barbed Hand of Rescue and the Impact of Refugee Restorers 1933-1948

17.20 Break

17.30 Burcu Dogramaci (Munich) – Immortal Portraits – Émigrés in Britain and the Historiography of early Photography

18.00 Discussion and wine reception

WEDNESDAY, 6TH NOVEMBER

10.00 Women’s Career Paths

Vivian Zech (Vienna) – The Viennese School of Art History as a Lifeline: Dr. Betty Kurth’s Impact on a Science in Migration

Yonna Yapou (Jerusalem) – Edith Hoffmann: Not quite Czech, German, or British – but anchored by Britain

11.20 Coffee Break

11.50 Exchanges in Writing and in Practice

Astrid Swenson (Bath) – To Relinquish, Rebuild or Ignore: Thinking about Breaks and Continuities in Anglo-German Art Historical Exchanges through Writings on Cologne Cathedral, 1914-1946

Emilie Oléron Evans (QMUL, Modern Languages and Cultures) – Nikolaus Pevsner’s ‘Reflections on not teaching Art History’

13.20 Lunch

15.00 Art Histories and Jewish Identity

Rachel Dickson (Ben Uri Gallery) – Helen Rosenau and J P Hodin: Addressing Jewish ‘Art’ and Artists 1934-1972

Adrian Rifkin (London) – Hearing Voices, between Exile and the Desire to be without: Finding Place to practice Histories of Art

The event is co-organised by Hans C. Hoenes (Courtauld Institute) and Emilie Oléron Evans (Dept of Modern Languages and Cultures, Queen Mary University of London), and hosted by the Centre for Anglo-German Cultural Relations at QMUL, with generous funding from the Paul Mellon Centre for Studies in British Art. It is part of the Insiders/Outsiders Festival – a nationwide arts festival celebrating refugees from Nazi Europe and their contribution to British culture.

Registration via Eventbrite.

Location: Graduate Centre GC 601, Queen Mary, University of London, 404 Bancroft Road, London, E1 4DH United Kingdom + Google Map

[diefabrikanten-liveartcoop]

LITERATUR & INTERVIEWS zu Live Art

Definition Live Art https://www.youtube.com/playlist?list=PLxWhADE2FXjbMLM7bJ6zImMehdqaC83G_ und http://www.thisisliveart.co.uk/about/what-is-live-art/

Partizipation als künstlerische Strategie Kunstforum Band 240, 2016, Titel: Get involved!  https://www.kunstforum.de/lesen/artikel.aspx?a=240100

One to One Performance Study Room Guide by Rachel Zerihan, 2009 http://www.thisisliveart.co.uk/resources/catalogue/rachel-zerihans-study-room-guide

Perform, Repeat, Record: Live Art in History herausgegeben von Amelia Jones, Adrian Heathfield

Fotografie der Performance: Live Art im Zeitalter ihrer Reproduzierbarkeit Burcu Dogramaci, Verlag Wilhelm Fink

Curating Live Arts: Critical Perspectives, Essays, and Conversations on Theory and Practice von Dena Davida (Herausgeber), V. Hudon (Herausgeber), Marc Pronovost (Herausgeber)

Artificial Hells: Participatory Art and the Politics of Spectatorship von Claire Bishop

The Gestures of Participatory Art von Sruti Bala

Crowd and Art - Kunst und Partizipation im Internet von Manuela Naveau

Partizipative Kunst: Genese, Typologie und Kritik einer Kunstform zwischen Spiel und Politik von Silke Feldhoff

[fashionbooksmilano]

Traces

Fashion & Migration

edited by Olga Blumhardt  and Antje Drinkuth

Distanz Verlag, Berlin 2017, 208 pages, approx. 120 color and 20 b/w images ISBN  978-3954761975

euro 40,00

email if you want to buy booksinprogressmilano@yahoo.it

Fashions have always also been reflections of issues in society. Migration is a more topical, volatile, and controversial issue right now than it has been in a long time. Cultural diversity is embraced when it comes to musical, linguistic, or culinary influences. Critics devote ample space to celebrating the success of renowned international fashion designers—Haider Ackermann, Azzedine Alaïa, Yohji Yamamoto, and others—who hail from far-flung places. Contemporary fashion design in Germany is a different matter. This book, the result of a research project at the AMD Academy of Fashion and Design in Berlin, portrays and visualizes the enormous positive influence migration has had on contemporary fashion in Germany and around the world. Olga Blumhardt and Prof. Antje Drinkuth, who specialize in fashion journalism and design, and the well-known graphic and communication designer Mario Lombardo seek to highlight what may seem obvious: fashion with a migrant background enriches our culture and opens novel perspectives. With contributions by Burcu Dogramaci, Jan Kedves, Jina Khayyer, and Mahret Kupka and photographs by Horst Diekgerdes, Benjamin Alexander Huseby, Katja Rahlwes, and others.

06/02/20

orders to:     booksinprogressmilano@yahoo.it

ordini a:        booksinprogressmilano@yahoo.it

twitter:@fashionbooksmi

instagram:         fashionbooksmilano

                        designbooksmilano

tumblr:               fashionbooksmilano

                        designbooksmilano