Warning: Undefined variable $config in /html/neu/controllers/events_ical.inc.php on line 56
BEGIN:VCALENDAR VERSION:2.0 PRODID:-//ical@brueckemuseum.de//NONSGML kigkonsult.se iCalcreator 2.41.92// CALSCALE:GREGORIAN METHOD:PUBLISH UID:39386234-3030-4163-a261-363036663233 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:20280326T010000Z BEGIN:STANDARD TZNAME:CET DTSTART:20251026T030000 TZOFFSETFROM:+0200 TZOFFSETTO:+0100 RDATE:20261025T030000 RDATE:20271031T030000 END:STANDARD BEGIN:DAYLIGHT TZNAME:CEST DTSTART:20260329T020000 TZOFFSETFROM:+0100 TZOFFSETTO:+0200 RDATE:20270328T020000 END:DAYLIGHT END:VTIMEZONE BEGIN:VEVENT UID:event_4644@dev.bruecke-museum.de DTSTAMP:20261107T025123Z CLASS:PUBLIC DESCRIPTION:With Kervin Saint Pere (artist and researcher)\, Moderation: Ta nja-Bianca Schmidt (art historian\, art mediator)\n\nWhat exactly is a lan dscape? For Expressionist painters\, landscapes were characterised by moti fs such as the sea\, the sun\, lakes or primeval forests as a vision of pa radise. Originally\, the term ‘landscape’ did not refer to nature or a vis ta\, but to a territory shared by people with common rights and customs. T he view of landscape as an aesthetic pictorial space originated in Dutch p ainting. Nature was thus conceived as something distant\, framed and admir ed. In Expressionism\, however\, space is sensed\, experienced and emotion ally charged. A passionate depiction can be understood as an expression of landscape ideals. Is Expressionist landscape painting a return to the ori ginal meaning of the term\, or does it represent the most radical reversal of this concept? Perhaps its appeal lies precisely in the tension between the two.\n\nKervin Saint Pere Huarcaya is a Peruvian artist and researche r of Indigenous heritage. He currently lives in Berlin and works as an art and research associate at the Hochschule für Grafik und Buchkunst Leipzig (Academy of Fine Arts Leipzig). His artistic practice and research focuse s on decolonial theories and visual practices\, with a particular interest in archival materials\, ethnological museum spaces and colonial traces in the urban environment. Building on Aby Warburg’s visual studies\, Huarcay a reinterprets Warburg’s concept of an ‘afterlife’ through a decolonial pe rspective.\n\nTanja-Bianca Schmidt studied art history in a global context . Her areas of focus are critiques of power\, Black identity and postcolon ial theory. As a freelance political educator\, she advises various museum s in Germany on diversification and decolonisation strategies. Schmidt reg ularly organises workshops on discrimination-sensitive approaches in art h istory. She is currently doing her PhD in the DFG-funded research project “Image Protests on Social Media” at the TU Dresden (Dresden University of Technology). DTSTART;TZID=Europe/Berlin:20260726T150000 DTEND;TZID=Europe/Berlin:20260726T235900 SEQUENCE:1 SUMMARY:Brücke Museum: In Dialogue - Landscape Painting TRANSP:OPAQUE END:VEVENT END:VCALENDAR