Books by Ariane Varela Braga
Parue à Londres en 1856, la Grammar of Ornament de l’architecte, décorateur et théoricien Owen Jo... more Parue à Londres en 1856, la Grammar of Ornament de l’architecte, décorateur et théoricien Owen Jones (1809-1874) constitue l’une des plus importantes publications sur l’ornement du 19e siècle et l’un des ouvrages les plus influents de la culture visuelle occidentale à l’ère industrielle. OEuvre hybride, elle présente à la fois la plus riche collection de motifs historiques jusque-là publiée, un atlas global de styles et une grammaire formelle fondée sur les lois de la géométrie. Cette étude propose la première analyse détaillée de sa genèse et de ses formes structurantes, replaçant l’attention sur les tensions qui régissent le rapport entre texte théorique et image. À travers l’examen attentif de sa production matérielle, elle met en lumière l’importance des différents dispositifs qui mènent à sa création, de manière à comprendre les liens qui les unissent : de l’Exposition universelle de Londres de 1851 au Crystal Palace de Sydenham, de l’enseignement des arts décoratifs au Museum of Ornamental Art (futur Victoria and Albert Museum), du marché éditorial à l’architecture et à la décoration intérieure. Ce livre reconstruit également le cadre du débat qui touche l’ornement au milieu du 19e siècle, ainsi que le réseau des rapports qu’Owen Jones entretient avec ses contemporains et la réception immédiate de la Grammar of Ornament.
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Sede dell'Ambasciata di Svizzera a Roma dal 1937, Villa Monticello è un complesso restaurato negl... more Sede dell'Ambasciata di Svizzera a Roma dal 1937, Villa Monticello è un complesso restaurato negli anni Venti del secolo scorso dal barone Alberto Fassini su progetto iniziale di Carlo Maria Busiri Vici; le sue origini sono tuttavia assai più remote, risalendo ai tempi in cui, al di là delle mura Aureliane, si estendenva una campagna silenziosa e quasi deserta, disegnata dal rigore geometrico delle vigne alternate ai pascoli e ai canneti. Di questi Parioli antichi, Villa Monticello costituisce una delle ultime testimonianze rimaste, e tra le più significative. Il volume risale perciò alle origini cinquecentesche del complesso, e restituisce per la prima volta su basi documentali le sue intere vicende dai primi del Settecento a oggi: l'evolversi delle forme insediative e architettoniche della villa e dei suoi annessi e giardini rivelano allora l'avvicendarsi delle diverse culture cui appartennero i successivi proprietari, spinti nei loro interventi da esigenze e interessi diversi, talora materiali, spesso curiosi, mai gratuiti. Si dà altresì conto, in parallelo, delle drastiche trasformazioni territoriali subite al principio del secolo scorso dai Monti Parioli, mutatisi da paesaggio rurale ad area urbana nel breve volgere di qualche decennio.
A questa riconstruzione storica si aggiungono nel volume la descrizione analitica degli edifici e dei giardini che costituiscono la villa odierna, e una rassegna delle opere d'arte che vi sono attualmente conservate.
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Designed by the Victorian architect George Edmund Street, All Saints' Church was built between 18... more Designed by the Victorian architect George Edmund Street, All Saints' Church was built between 1882 and 1887. The volume provides a history of the church and of the Anglican presence in Rome in the 19th century.
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Edited Books and Journals by Ariane Varela Braga
Brill, 2019
This volume offers a collection of essays that examine the mechanisms and strategies of collectin... more This volume offers a collection of essays that examine the mechanisms and strategies of collecting, displaying and appropriating islamic art in the nineteenth and early twentieth centuries. Many studies in this book concentrate on lesser known collections of islamic art, situated in Central and Eastern Europe that until now have received little attention from scholars. Special attention is dedicated to the figure of the Swiss collector Henri Moser Charlottenfels, whose important, still largely unstudied collection of islamic art is now being preserved at the Bernisches Historisches Museum, Switzerland.
Contributors to the volume include young researchers and established scholars from Western and Eastern Europe and beyond: Roger Nicholas Balsiger, Moya Carey, Valentina Colonna, Francine Giese, Hélène Guérin, Barbara Karl, Katrin Kaufmann, Sarah Keller, Agnieszka Kluczewska Wójcik, Inessa Kouteinikova, Axel Langer, Maria Medvedeva, Ágnes Sebestyén, Alban von Stockhausen, Ariane Varela Braga, Mercedes Volait.
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The volume addresses the issue of migration from a particular perspective, focusing on cases of a... more The volume addresses the issue of migration from a particular perspective, focusing on cases of artists - or groups of artists - who went to Rome and remained there permanently. The intent is to deepen the understanding of the process of integration of the foreign artist in the local environment, exploring the migration patterns and the dynamics of settlement in the papal city, the parallel, complementary or contrasting experiences of artists who were gradually transformed from "itinerant" to stable "immigrants".
The volume inaugurates the series "Pensieri ad Arte", result of the collaboration between Stefan Albl, Francesca Parrilla and Ariane Varela Braga in the framework of the Rome Art History Network. The series hosts volumes of History of Art and Architecture dedicated to Italy and to Rome in particular. With a chronological period open from the Middle Ages to the contemporary, it offers a new space for original investigations, which highlight the richness of artistic contexts and the mutual exchange between local, regional and national cultures. The volumes, in the form of monographs or collections of essays, are the work established scholars and young researchers, both Italian and foreign.
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Cybèle Varela (b. 1943) is one of the key figures of Tropicalismo and Brazilian Pop Art.
The text... more Cybèle Varela (b. 1943) is one of the key figures of Tropicalismo and Brazilian Pop Art.
The texts and interview included in this catalogue shed new light on the artist’s contribution to Latin American and international artistic discourses, including Pop Art, Narrative Figuration and Video Art. Questions of identity, social and political issues and transnational experiences are central to Varela’s multifaceted production, from the 1960s to the present day.
Cybèle Varela (geb. 1943) ist eine der Schlüsselfiguren des Tropicalismo und der brasilianischen Pop-Art.
Die Texte, die zusammen mit einem Interview in diesem Katalog erscheinen, werfen ein neues Licht auf den Beitrag, den die Künstlerin für lateinamerikanische und internationale Kunstdiskurse wie die Pop-Art, die Narrative Figuration und die Videokunst geleistet hat.
Darüber hinaus spielen Fragen nach der Identität, gesellschaftspolitische Themen sowie transnationale Erfahrungen eine zentrale Rolle in Varelas vielseitiger künstlerischer Produktion von den 1960er Jahren bis heute.
Cybèle Varela (n. 1943) representa um dos marcos referenciais do Tropicalismo e da Pop Art brasileira.
Os textos e as entrevistas incluídos neste catálogo lançam uma nova luz sobre a contribuição da artista no panorama não apenas da arte latino-americana, mas também no cenário internacional, tocando a Pop Art, a Figuração Narrativa e a Videoarte. Desde as primeiras manifestações da década de sessenta até os dias atuais, a multifacetada produção artística de Varela tem seu foco nos spectos relacionados à identidade, às questões sociais e políticas e às experiências transacionais.
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This volume intends to foster a re-interpretation of the Nasrid architecture of the Alhambra in G... more This volume intends to foster a re-interpretation of the Nasrid architecture of the Alhambra in Granada and its post-Islamic appropriation and global diffusion. Taking into account the current debates on otherness, cultural exchange and artistic transfer, hybridization, stylistic renewal and national identity building, this collection of essays explores the significance of the Alhambra from the Nasrid period to the present time. Built as a military fortress and gradually enlarged to a multi-functional palace city, by the 19th century the Alhambra became a symbol of exoticism and reverie. As one of the most important legacies of the Islamic heritage of al-Andalus, its role as a mediator between East and West is more important than ever.
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As a global phenomenon of the 19th century, the Moorish Revival testifies to the fascination of W... more As a global phenomenon of the 19th century, the Moorish Revival testifies to the fascination of Western architects for the Islamic heritage of al-Andalus. This played a central role in the work of Carl von Diebitschs (1819-1869), who was one of the first German architects to study the nasrid buildings of Granada, the spectacular Palaces of the Alhambra, the Alcázar of Seville and the Mosque-Cathedral of Córdoba, in the years 1846-1847.
From 27 October 2017 to 10 January 2018, Carl von Diebitsch's architectural studies and building designs, are the object of the exhibition “A Fashionable Style. Carl von Diebitsch and the Maurische Revival”, held at the Architectural mMuseum of the Technical University of Berlin. The publication has been designed to accompany the exhibition and offers a deepening view of the exhibits and thematic priorities. The focus is on Carl von Diebitsch's years in the Berlin Bauakademie, his studies on Islamic architecture of al-Andalus and its neo-Moorish buildings and interiors in Germany and Cairo. Other aspects are the Löwenhof as a nucleus the Alhambra style and its transformation in the 19th century, Owen Jones' internationally acclaimed Alhambra Court of 1854, the serial reproduction of nasrid architecture and ornamentation in plaster castings, architectural models and furniture or the importance of stucco and iron in the work of the Prussian architect. Carl von Diebitsch succeeded in revitalizing the nasrid architecture and its manufacturing methods, from Berlin into the world.
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The third issue of the bfo-Journal examines the question of cultural and artistic hybridisation i... more The third issue of the bfo-Journal examines the question of cultural and artistic hybridisation in relation to architectural ornament.
Issue Editor: Ariane Varela Braga
Editorial Board: Francine Giese, Richard Buser, Ariane Varela Braga, Irina Davidovici, Sonja Hildebrand
Contributors: Nicolas Reveyron, Caroline Helmenstein, Claire Zimmerman, with Jim Cogswell
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This volume commemorates the 160th anniversary of the Selamlik of Oberhofen Castle near Thun – on... more This volume commemorates the 160th anniversary of the Selamlik of Oberhofen Castle near Thun – one of the most significant Swiss Orientalist interiors, designed by the Bernese architect Theodor Zeerleder (1820-1868) – by presenting the latest research on the spectacular smooking room inspired by the luxurious reception halls in Cairo Zeerleder discovered during his travels to the East. At the same time, this collection of essays explores the signification of the famous city on the Nile as a privileged model for 19th century architecture and ornamentation, bringing together papers by Mercedes Volait (Paris), Romain Siegenfuhr (Paris), Richard Parisot (Besançon), Elke Pflugradt-Abdel Aziz (Düsseldorf), Tarek Ibrahim (Berlin), Vincenza Garofalo (Palermo), Andrea Lermer (München), Rémi Labrusse (Paris), Ariane Varela Braga (Zürich), Leïla el-Wakil (Genève), Francine Giese (Zürich) and Annette Loeffel (Bern).
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Rome's identity expresses itself through the variety of its marbles. Symbol of luxury, power and ... more Rome's identity expresses itself through the variety of its marbles. Symbol of luxury, power and sacrality, the marbles gathered during the Roman Empire were reused in the next centuries, but a new taste modifies their perception in the Sixteenth century, turning them into the protagonists of every exceptional artistic enterprise in Rome and in the European Courts.
This volume examines the use of coloured marbles, antique and modern, in architecture, the decorative arts and sculpture, from the reign of Paolo III Farnese until the mid-nineteenth century
In the 27 essays, written by international experts, Roma appears as the center of an identity – that of the magnificence of marble –, which strength is illustrated through a series of case studies taken from Italy, France, and Spain, with incursions into Portugal, Russia and England.
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Da ormai qualche anno lo studio dell'ornamento è oggetto di rivalutazioni sia nella storia dell'a... more Da ormai qualche anno lo studio dell'ornamento è oggetto di rivalutazioni sia nella storia dell'arte che nell'architettura e nelle arti contemporanee. Nel 2009 l'Istituto Svizzero di Roma ha promosso una giornata di studi dedicata al tema e incentrata su una rilettura delle teorie sviluppate nell'Ottocento, il secolo nel quale l'ornamento viene gradualmente liberato della retorica tradizionale del decorum.
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Articles by Ariane Varela Braga
British Art Studies , 2021
DOI
This article looks at the interface between art, science, and design by considering the role ... more DOI
This article looks at the interface between art, science, and design by considering the role of microscopes, the visualisation of microorganisms and British mid-nineteenth century design theories. In particular, it examines the dialogue between microscopical arranged slides that became popular in the second half of the century and the design theories of Owen Jones, diffused through the seminal Grammar of Ornament and the South Kensington system. Whereas the scientific observation of plants and their role in the development of guiding principles of ornament has attracted the attention of scholars, especially in relation to the Department of Science and Art, the intersections between the “microscope mania”, the material culture of microscopy, and design theories have been overlooked. Through the lenses of the microscope, a new world was revealed that potentially exposed general laws of harmony in form and colour. Coinciding with the emergence of microbial biology, the microscope was looked at as a tool for the renewal of the decorative arts. At the crossroads between art and science, the popular production of arranged slides both confirmed and performed the principles of ornament, at a time when both the visualisation of these principles and the transcription of microscopic observation shared common practices.
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Historismus, 2020
This article documents the finding of three architectural models of the Alhambra and two ornament... more This article documents the finding of three architectural models of the Alhambra and two ornamental windows from Tunis in the collections of the Musée d'art et d'histoire of Geneva and discusses their origins in relation to the local school and museum of decorative arts.
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Palindromo , 2020
Following the first London Universal Exhibition in 1851, architects Owen Jones and Gottfried Semp... more Following the first London Universal Exhibition in 1851, architects Owen Jones and Gottfried Semper appealed to primitive cultures to affirm the anthropological nature of ornamental art.
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REGARDS CROISÉS SUR LES ARTS À GENÈVE (1846-1896), ed. by F. Heuber and S. Wenger, 2019
This articles examines for the first time the activity of Hermann Hammann within the Société des ... more This articles examines for the first time the activity of Hermann Hammann within the Société des Arts in Geneva and his portfolio of ornament, in which he demonstrated a special attention towards efxtra-european ornamentation. It also considers his others publications related to the preservation of local heritage.
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Exposiciones Internacionales de Artes Decorativas III Encuentro Internacional. Artes Decorativas: Coleccionismo y Exposiciones en Europa (1851-1929), 2019
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Revista de Historia de Arte - Série W, 2019
This article examines the strategies used by Owen Jones in his seminal "Grammar of Ornament" to p... more This article examines the strategies used by Owen Jones in his seminal "Grammar of Ornament" to put an end to the indiscriminate re‑use of historical styles by establishing a new style that would authentically express contemporary culture.
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International Journal of Islamic Architecture, 2019
In the nineteenth century, the display of Islamic art and furniture was not only integrated into ... more In the nineteenth century, the display of Islamic art and furniture was not only integrated into ethnographic collections and international exhibitions, but also formed an essential part of the home of amateurs as well as of the political, social, and cultural elites. Private collections accounted for an important step towards the valorization and reception of Islamic art in the west. This article examines the display strategies of collections located at the crossroads between private and public space by closely examining two style rooms integrated in private museums – the Stibbert collection in Florence, Italy, and the Moser collection in Neuhausen, near Schaffhausen, Switzerland. Both collectors had first-hand experience of the Orient due to their travels, with Stibbert focusing on al-Andalus and Moser on Central Asia, which inspired them to build up extensive art collections. The examples illustrate the importance
of transnational relations for the establishment and display of collections that re-contextualized objects by presenting them within seemingly authentic oriental
atmospheres specifically created for this purpose.
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Books by Ariane Varela Braga
A questa riconstruzione storica si aggiungono nel volume la descrizione analitica degli edifici e dei giardini che costituiscono la villa odierna, e una rassegna delle opere d'arte che vi sono attualmente conservate.
Edited Books and Journals by Ariane Varela Braga
Contributors to the volume include young researchers and established scholars from Western and Eastern Europe and beyond: Roger Nicholas Balsiger, Moya Carey, Valentina Colonna, Francine Giese, Hélène Guérin, Barbara Karl, Katrin Kaufmann, Sarah Keller, Agnieszka Kluczewska Wójcik, Inessa Kouteinikova, Axel Langer, Maria Medvedeva, Ágnes Sebestyén, Alban von Stockhausen, Ariane Varela Braga, Mercedes Volait.
The volume inaugurates the series "Pensieri ad Arte", result of the collaboration between Stefan Albl, Francesca Parrilla and Ariane Varela Braga in the framework of the Rome Art History Network. The series hosts volumes of History of Art and Architecture dedicated to Italy and to Rome in particular. With a chronological period open from the Middle Ages to the contemporary, it offers a new space for original investigations, which highlight the richness of artistic contexts and the mutual exchange between local, regional and national cultures. The volumes, in the form of monographs or collections of essays, are the work established scholars and young researchers, both Italian and foreign.
The texts and interview included in this catalogue shed new light on the artist’s contribution to Latin American and international artistic discourses, including Pop Art, Narrative Figuration and Video Art. Questions of identity, social and political issues and transnational experiences are central to Varela’s multifaceted production, from the 1960s to the present day.
Cybèle Varela (geb. 1943) ist eine der Schlüsselfiguren des Tropicalismo und der brasilianischen Pop-Art.
Die Texte, die zusammen mit einem Interview in diesem Katalog erscheinen, werfen ein neues Licht auf den Beitrag, den die Künstlerin für lateinamerikanische und internationale Kunstdiskurse wie die Pop-Art, die Narrative Figuration und die Videokunst geleistet hat.
Darüber hinaus spielen Fragen nach der Identität, gesellschaftspolitische Themen sowie transnationale Erfahrungen eine zentrale Rolle in Varelas vielseitiger künstlerischer Produktion von den 1960er Jahren bis heute.
Cybèle Varela (n. 1943) representa um dos marcos referenciais do Tropicalismo e da Pop Art brasileira.
Os textos e as entrevistas incluídos neste catálogo lançam uma nova luz sobre a contribuição da artista no panorama não apenas da arte latino-americana, mas também no cenário internacional, tocando a Pop Art, a Figuração Narrativa e a Videoarte. Desde as primeiras manifestações da década de sessenta até os dias atuais, a multifacetada produção artística de Varela tem seu foco nos spectos relacionados à identidade, às questões sociais e políticas e às experiências transacionais.
From 27 October 2017 to 10 January 2018, Carl von Diebitsch's architectural studies and building designs, are the object of the exhibition “A Fashionable Style. Carl von Diebitsch and the Maurische Revival”, held at the Architectural mMuseum of the Technical University of Berlin. The publication has been designed to accompany the exhibition and offers a deepening view of the exhibits and thematic priorities. The focus is on Carl von Diebitsch's years in the Berlin Bauakademie, his studies on Islamic architecture of al-Andalus and its neo-Moorish buildings and interiors in Germany and Cairo. Other aspects are the Löwenhof as a nucleus the Alhambra style and its transformation in the 19th century, Owen Jones' internationally acclaimed Alhambra Court of 1854, the serial reproduction of nasrid architecture and ornamentation in plaster castings, architectural models and furniture or the importance of stucco and iron in the work of the Prussian architect. Carl von Diebitsch succeeded in revitalizing the nasrid architecture and its manufacturing methods, from Berlin into the world.
Issue Editor: Ariane Varela Braga
Editorial Board: Francine Giese, Richard Buser, Ariane Varela Braga, Irina Davidovici, Sonja Hildebrand
Contributors: Nicolas Reveyron, Caroline Helmenstein, Claire Zimmerman, with Jim Cogswell
This volume examines the use of coloured marbles, antique and modern, in architecture, the decorative arts and sculpture, from the reign of Paolo III Farnese until the mid-nineteenth century
In the 27 essays, written by international experts, Roma appears as the center of an identity – that of the magnificence of marble –, which strength is illustrated through a series of case studies taken from Italy, France, and Spain, with incursions into Portugal, Russia and England.
Articles by Ariane Varela Braga
This article looks at the interface between art, science, and design by considering the role of microscopes, the visualisation of microorganisms and British mid-nineteenth century design theories. In particular, it examines the dialogue between microscopical arranged slides that became popular in the second half of the century and the design theories of Owen Jones, diffused through the seminal Grammar of Ornament and the South Kensington system. Whereas the scientific observation of plants and their role in the development of guiding principles of ornament has attracted the attention of scholars, especially in relation to the Department of Science and Art, the intersections between the “microscope mania”, the material culture of microscopy, and design theories have been overlooked. Through the lenses of the microscope, a new world was revealed that potentially exposed general laws of harmony in form and colour. Coinciding with the emergence of microbial biology, the microscope was looked at as a tool for the renewal of the decorative arts. At the crossroads between art and science, the popular production of arranged slides both confirmed and performed the principles of ornament, at a time when both the visualisation of these principles and the transcription of microscopic observation shared common practices.
of transnational relations for the establishment and display of collections that re-contextualized objects by presenting them within seemingly authentic oriental
atmospheres specifically created for this purpose.
A questa riconstruzione storica si aggiungono nel volume la descrizione analitica degli edifici e dei giardini che costituiscono la villa odierna, e una rassegna delle opere d'arte che vi sono attualmente conservate.
Contributors to the volume include young researchers and established scholars from Western and Eastern Europe and beyond: Roger Nicholas Balsiger, Moya Carey, Valentina Colonna, Francine Giese, Hélène Guérin, Barbara Karl, Katrin Kaufmann, Sarah Keller, Agnieszka Kluczewska Wójcik, Inessa Kouteinikova, Axel Langer, Maria Medvedeva, Ágnes Sebestyén, Alban von Stockhausen, Ariane Varela Braga, Mercedes Volait.
The volume inaugurates the series "Pensieri ad Arte", result of the collaboration between Stefan Albl, Francesca Parrilla and Ariane Varela Braga in the framework of the Rome Art History Network. The series hosts volumes of History of Art and Architecture dedicated to Italy and to Rome in particular. With a chronological period open from the Middle Ages to the contemporary, it offers a new space for original investigations, which highlight the richness of artistic contexts and the mutual exchange between local, regional and national cultures. The volumes, in the form of monographs or collections of essays, are the work established scholars and young researchers, both Italian and foreign.
The texts and interview included in this catalogue shed new light on the artist’s contribution to Latin American and international artistic discourses, including Pop Art, Narrative Figuration and Video Art. Questions of identity, social and political issues and transnational experiences are central to Varela’s multifaceted production, from the 1960s to the present day.
Cybèle Varela (geb. 1943) ist eine der Schlüsselfiguren des Tropicalismo und der brasilianischen Pop-Art.
Die Texte, die zusammen mit einem Interview in diesem Katalog erscheinen, werfen ein neues Licht auf den Beitrag, den die Künstlerin für lateinamerikanische und internationale Kunstdiskurse wie die Pop-Art, die Narrative Figuration und die Videokunst geleistet hat.
Darüber hinaus spielen Fragen nach der Identität, gesellschaftspolitische Themen sowie transnationale Erfahrungen eine zentrale Rolle in Varelas vielseitiger künstlerischer Produktion von den 1960er Jahren bis heute.
Cybèle Varela (n. 1943) representa um dos marcos referenciais do Tropicalismo e da Pop Art brasileira.
Os textos e as entrevistas incluídos neste catálogo lançam uma nova luz sobre a contribuição da artista no panorama não apenas da arte latino-americana, mas também no cenário internacional, tocando a Pop Art, a Figuração Narrativa e a Videoarte. Desde as primeiras manifestações da década de sessenta até os dias atuais, a multifacetada produção artística de Varela tem seu foco nos spectos relacionados à identidade, às questões sociais e políticas e às experiências transacionais.
From 27 October 2017 to 10 January 2018, Carl von Diebitsch's architectural studies and building designs, are the object of the exhibition “A Fashionable Style. Carl von Diebitsch and the Maurische Revival”, held at the Architectural mMuseum of the Technical University of Berlin. The publication has been designed to accompany the exhibition and offers a deepening view of the exhibits and thematic priorities. The focus is on Carl von Diebitsch's years in the Berlin Bauakademie, his studies on Islamic architecture of al-Andalus and its neo-Moorish buildings and interiors in Germany and Cairo. Other aspects are the Löwenhof as a nucleus the Alhambra style and its transformation in the 19th century, Owen Jones' internationally acclaimed Alhambra Court of 1854, the serial reproduction of nasrid architecture and ornamentation in plaster castings, architectural models and furniture or the importance of stucco and iron in the work of the Prussian architect. Carl von Diebitsch succeeded in revitalizing the nasrid architecture and its manufacturing methods, from Berlin into the world.
Issue Editor: Ariane Varela Braga
Editorial Board: Francine Giese, Richard Buser, Ariane Varela Braga, Irina Davidovici, Sonja Hildebrand
Contributors: Nicolas Reveyron, Caroline Helmenstein, Claire Zimmerman, with Jim Cogswell
This volume examines the use of coloured marbles, antique and modern, in architecture, the decorative arts and sculpture, from the reign of Paolo III Farnese until the mid-nineteenth century
In the 27 essays, written by international experts, Roma appears as the center of an identity – that of the magnificence of marble –, which strength is illustrated through a series of case studies taken from Italy, France, and Spain, with incursions into Portugal, Russia and England.
This article looks at the interface between art, science, and design by considering the role of microscopes, the visualisation of microorganisms and British mid-nineteenth century design theories. In particular, it examines the dialogue between microscopical arranged slides that became popular in the second half of the century and the design theories of Owen Jones, diffused through the seminal Grammar of Ornament and the South Kensington system. Whereas the scientific observation of plants and their role in the development of guiding principles of ornament has attracted the attention of scholars, especially in relation to the Department of Science and Art, the intersections between the “microscope mania”, the material culture of microscopy, and design theories have been overlooked. Through the lenses of the microscope, a new world was revealed that potentially exposed general laws of harmony in form and colour. Coinciding with the emergence of microbial biology, the microscope was looked at as a tool for the renewal of the decorative arts. At the crossroads between art and science, the popular production of arranged slides both confirmed and performed the principles of ornament, at a time when both the visualisation of these principles and the transcription of microscopic observation shared common practices.
of transnational relations for the establishment and display of collections that re-contextualized objects by presenting them within seemingly authentic oriental
atmospheres specifically created for this purpose.
Through specific case studies, the contributions will focus on the material and technical issues, the actors involved in this valorisation, the devices at play, and the ideological and aesthetic issues, between tradition and modernity, of the revival of marble in the architecture of this period.
Comité scientifique: Basile Baudez (université de Princeton), Jean-François Bédard (université de Syracuse), Jérémie Cerman (CREHS, université d’Artois, Arras), Sophie Derrot (INHA), Jean-Philippe Garric (HiCSA, université Paris 1 Panthéon-Sorbonne), Valérie Nègre (IHMC, université Paris 1 Panthéon-Sorbonne), Estelle Thibault (AUSser, école nationale supérieure d’architecture ParisBelleville), Ariane Varela Braga (université nationale d’enseignement à distance, Madrid)
Comité scientifique: Basile Baudez (université de Princeton), Jean-François Bédard (université de Syracuse), Jérémie Cerman (CREHS, université d’Artois, Arras), Sophie Derrot (INHA), Jean-Philippe Garric (HiCSA, université Paris 1 Panthéon-Sorbonne), Valérie Nègre (IHMC, université Paris 1 Panthéon-Sorbonne), Estelle Thibault (AUSser, école nationale supérieure d’architecture ParisBelleville), Ariane Varela Braga (université nationale d’enseignement à distance, Madrid)
Escuela Técnica Superior de Arquitectura de la Universidad Politécnica de Madrid
Organizers: Fernando Vela Cossío (ETSAM), Francine Giese (UZH) and Ariane Varela Braga (UZH)
18 October 2018, Swiss Institute in Rome, 6 pm.
Through his 1914 donation to the Bern Historical Museum, Moser assured that after his disappearance the Orientalische Sammlung Henri Moser Charlottenfels (Oriental collection Henri Moser Charlottenfels) of over 4000 objects would remain available to the public in an exhibition hall specially built for that purpose. The conference wants to present Henri Moser and his collection in an international context. Does Moser’s activity of collecting and exhibiting Islamic art reflect a widespread tendency of his period? How have strategies of presentation, re-contextualisation and didactics changed since the 19th century? To what extent have private collections influenced the making of Islamic departments in national museums? And which role did private collectors such as Moser play in transmitting and appropriating Islamic art and architecture in the West during the 19th and early 20th century?
This conference addresses the issue of mobility from a novel perspective, by concentrating on case-studies of artists – or groups of artists – that not only travelled to, but settled in, Rome, in order to elicit a richer understanding of the process of integration in the local artistic panorama. It explores models of migration and dynamics of settlement in Rome and examines issues of mobility, artistic exchange and cultural transfer, patronage and professional networks, cultural identity, and strategies for integration or voluntary exclusion from the local artistic life.
When (and how) do foreign artists become Roman artists? What is the role played by social and institutional networks for their integration? How does the process of integration evolve and modify over time? For what sort of clientele (particularly foreign or local) do foreign artists work? How do foreign artist interact with the local artistic environment? How does their activity shape questions of Romanitas or Roman cultural identity?
Conçue en partenariat avec la Fondazione Giorgio Cini, l’exposition fait dialoguer deux centres de l’art du verre – Venise et Romont – et explore les possibilités offertes par les outils numériques pour les arts. Elle présente une sélection d’œuvres de la fameuse manufacture Seguso Vetri d’Arte de Murano dont deux vases et leurs dessins préparatoires réalisés par Flavio Poli (1900-1984), directeur artistique de cette entreprise. A partir de ces dessins, des copies de ces vases ont été spécialement créées pour l’exposition selon deux méthodes : l’une suivant la technique moderne de l’impression en 3D à partir d’une élaboration numérique et l’autre suivant la technique traditionnelle du soufflage, réalisée par l’artiste suisse Thomas Blank (*1973). La juxtaposition des originaux et de ces deux formes de copies nous incite à nous interroger sur les possibilités apparemment illimitées de reproduction des œuvres d’art à l’ère digitale.
Curator of the section "Théorie de la couleur"
Exhibition concept: Francine Giese and Ariane Varela Braga
Visit on: http://wilhelmmeyer.transculturalstudies.ch/en/al-andalus-in-zurich.html
From the Middle Ages to today, this summer school will trace that story. Marble and decorative stones will be approached as a key to understanding the complex tensions between the construction of a local artistic and cultural identity, the processes of negotiation at the crossroads of various cultural traditions, and the city’s embeddedness in both a local and global ecology. Exploring the uses and associative meanings of marble in Palermo through the combined perspectives of art and architectural history, archaeology, heritage studies, geology, and the history of science, we will examine the material, technical and aesthetic values of these materials, their use and reception throughout history, and their role for the valorisation of Sicilian cultural heritage. Students will be able to discuss these issues with a group of experts, attend daily lectures at the monumental Palazzo Butera and gain first-hand experiences through on-site visits in the city of Palermo as well as excursions to Monreale and the quarries of Custonaci.
Organizers: Sandra Gianfreda (Kunsthaus Zürich), Francine Giese (Universität Zürich), Ariane Varela Braga (Universität Zürich) and Axel Langer (Museum Rietberg Zürich)
Venue: Museum Rietberg Zürich / Kunsthaus Zürich
As established religious protestant and catholic communities, especially in Western Europe, decline, many traditional spaces of gathering like churches, chapels, cathedrals and monasteries are opening their premises to new communities, other, e. g. post-migrant congregations or even different religions, invite additional social and cultural uses of their spaces or are transformed entirely into museums, hotels, community centers, amongst other. How do these challenges affect the architecture and what questions and problems do these processes pose to architectural and art historical conservation?
At the same time, expositions like the Vatican Chapels, the Vatican's contribution to the Venice Biennale of Architecture 2018 on Isola di San Giorgio Maggiore, as well as the rise of multifaith spaces or prayer rooms reflect the vibrant contemporary interest in creating architectures that hold spiritual value, often even beyond a clear confessional or even religious affiliation.
The 2019 issue invites proposals that critically analyze, reflect and question one or both of these contemporary dynamics and their effects on existing religious spaces, as well as on the creation of new spaces today. Specific case studies are just as welcome as theoretical reflections on these transformation processes. Possible topics amongst other are the re-use of religious spaces from a sociological or anthropological perspective; the architectural adaptation and transformation of religious spaces by different religious communities or for non-religious purposes; the challenges of architectural conservation in case of dynamically used historical religious spaces; new concepts of alternative sacred or spiritual spaces; investigations into new spatial, architectural and material propositions.
The first day is organised by Grégoire Extermann, Ruggero Longo, and Ariane Varela Braga, members of the NeReMa project (International Network for Research on Marble and Decorative Stones), who will chair sessions related to the theme of “Marble as a Device”; the second day by Adriano Aymonino and Geraldine Leardi, who will chair more “unconventional” contributions by artists and scholars, the presentation of
an ongoing digital project on ancient marbles, as well as the launch of the Allemandi volume. The day will conclude with the screening of the documentary Ancient Stones, Eastern Words: A Portrait of Raniero Gnoli by Adriano Aymonino and Silvia Davoli, and a tour of the Galleria Borghese’s stone and marble treasures by Lorenzo Lazzarini and Geraldine Leardi.
Die Konferenz bietet die Gelegenheit, die Forschung zu diesen beiden Themen in der Schweiz zu erneuern und zu vertiefen. Bevorzugt werden unveröffentlichte oder wenig erforschte The- men und Überlegungen zur Architektur und zum Kunstgewerbe des «langen 19. Jahrhunderts» in der Schweiz.