Enfilade

Exhibition | Witches: Metamorphosis of Goya

Posted in exhibitions by Editor on August 19, 2017

Press release (via Art Daily) for the exhibition:

Denise de la Rue, Witches: Metamorphosis of Goya / Brujas: Metamorfosis de Goya
Lázaro Galdiano Museum, Madrid, 21 June — 31 October 2017

Curated by Carmen Espinosa and Flavia Hohenlohe

Denise de la Rue, ‘Maribel Verdú y Goya’, a partir de ‘El Aquelarre’ de Francisco de Goya (1798), 2017.

Witches, an exhibition by Mexican artist Denise de la Rue, curated by Carmen Espinosa and Flavia Hohenlohe at the Lázaro Galdiano Museum in Madrid, is the second component of her series Angels and Witches: Goya, Metamorphose, a study of Francisco de Goya’s paintings through a reinterpretation of the old master’s work. De la Rue has created a series of photographs juxtaposing iconic Spanish actresses with the painter’s work, analysing the dichotomies and similarities between these characters whilst engaging with historical and relevant sites such as the Museum. Taking elements of the actor profession that coincide with the characteristics of angels and witches such as mysticism, magic, life, death and the power of creation, transformation and destruction, De la Rue has created a dialogue between the actresses and Goya’s paintings. The essence of this series is the interest of the artist in researching the capability of women to transform and empower themselves, which historically has been seen as threatening to the conservative preconception of patriarchal societies.

Denise de la Rue, a partir de ‘Vuelo de Brujas’ de Francisco de Goya (Prado, 1798), 2017.

As a starting point to create Witches, a new body or work, De la Rue has taken Goya’s Vuelo de Brujas (Witches’ Flight), Prado Museum; El Aquelarre (Witches’ Sabbath) and Las Brujas (The Witches), both at the Lázaro Galdiano Museum; Hechizado a la Fuerza (The Forcibly Bewitched), National Gallery London; La Cocina de las Brujas (The Witches’ Kitchen), untraced; and Don Juan y el Comendador (Don Juan and the Commander), untraced. The series was commissioned by the Dukes of Osuna between 1797 and 1798 for the Alameda Palace in Madrid, best known as El Capricho.

Two of these pieces, Las Brujas and El Aquelarre, are part of the Museum’s permanent collection and will be displayed alongside De la Rue’s work, creating a conversation between the old master and the contemporary artist. The extravagance of these two pieces also draws special attention. Here the unreal becomes visible, riding between the terrifying and the ironic. Both paintings appear to be inspired by eighteenth-century texts as well as popular tradition, a key focus in De la Rue’s research. The exhibition of Witches is a unique opportunity not only to see two of Goya’s original paintings of witches together but to appreciate the full series through De la Rue’s work.

Two of the original paintings have been lost, and De la Rue has recaptured them by retrieving historic files that include details of the works. Using photography technology, the artist has reconstructed the works and reunited them in the same space for the first time since the pieces left the Dukes of Osuna’s hands.

In addition to the photographs, the Museum will present De la Rue’s video dedicated to the painting Las Brujas in which the actress Bárbara Lennie dances to the poem “Pequeño vals Vienés” (“Little Venice Waltz”) by Federico Garcia Lorca interpreted by flamenco singer Enrique Morente.

The first component of the exhibition Angels and Witches Goya, Metamorphose was the chapter of Angels at the Royal Chapel of San Antonio de la Florida in Madrid where Goya remains rest, as well as where some of his most recognised frescos are. The exhibition opened in February and was a highlight of the Madrid cultural calendar. Having the two exhibitions of Angels and Witches in dialogue with Goya’s work in these unique venues is a rare opportunity to see and understand Goya’s interest in witchcraft and the holy, revised by photography and a contemporary perspective.

Video from the previous installation Ángelas:

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Conference | Digital Art History: Practice and Potential

Posted in conferences (to attend) by Editor on August 19, 2017

From the Paul Mellon Centre:

Digital Art History: Practice and Potential
Paul Mellon Centre and the Courtald Institute of Art, London, 11 October 2017

Organized by Hana Leaper, Sophie Hatchwell, and Fern Insh

The first conference of the Early Career Researchers in British Art Network in partnership with The Courtauld Institute of Art’s Digital Art History Research Group (#DAHRG) and the Paul Mellon Centre for British Art

This conference, organised under the auspices of the Early Career Researchers in British Art Network, and Digital Art History Research Group (#DAHRG), provides a platform for Early Career Researchers engaged or interested in digital art history to showcase their work, develop skills, and think broadly about how digitisation can innovate, challenge convention, and inform art-historical practice.

In recent years, academics and institutions engaged in the Digital Humanities have brought together new technologies with historical research and scholarship. As a result, departments and institutions dedicated to the study of the Digital Humanities are becoming increasingly commonplace. Concurrently, art historians have sought to define what Digital Art History is, with eminent scholars such as Johanna Drucker and Diane M. Zorich interrogating its place within disciplinary practice and theory and many conferences and publications devoted to specifically defining what Digital Art History means. By inviting an emergent generation of scholars together, this conference intends to move beyond defining Digital Art History. Instead, we consider how digital technology integrates with and enhances art historical methodologies and theories in today’s digital world.

Convened by Dr Hana Leaper (Paul Mellon Centre), Dr Sophie Hatchwell (University of Bristol), and Dr Fern Insh (Courtauld Institute of Art)

S C H E D U L E

9.30  Registration and introduction at the Paul Mellon Centre

10.00  Panel 1 | Practice: Exploring the Nexus of Digital Technologies and Art Historical Research
• Élodie Gössant, Reconstructing a Lost Country House: The Case of Erlestoke Park (Wiltshire)
• Phillippa Plock and Colette Warbrick, Digital/ized Art History at Waddesdon Manor
• Shu-Chi Shen, Revisualising, Reconstruction and Recreation: The Case Study on a Digital Exhibition in the National Palace Museum

11.30  Break

12.00  Panel 2 | Potential: Evolution and Synthesis of Art Historical Methodologies
• Nirmalie Alexandra Mulloli and Christina Bartosch, Exhibitions of Modern European Art, 1905–15: Building Metadata to Reveal Artist Exhibition Strategies and Advance Theoretical Possibilities of Exhibition Spaces
• Ricarda Brosch and Adam Knight, The Quantitative Turn: Big Data Ethics in Digital Art History
• Rosário Salema de Carvalho and Inês Aguiar, Match! Image recognition issues on Az Infinitum: Azulejo Indexation and Referencing System

1.30  Lunch

1.30  Workshop Session
• Fern Insh, App Building for History and Heritage

3.30  Break

4.00  Roundtable Discussion
• Early Career Researchers’ Role in Developing Digital Practice

6.00  Lecture, at the Courtauld Institute of Art
• Emma Stanford, The Art of Losing: A Wishlist for Responsible Digitization

7.15  Reception

Abstracts are available here»

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