BeninKunst.de > Künste & Traditionen > Bibliographie > Benin um 1700 > Museen > Symposium

Benin : Höfische Kunst ... Symposium ... (Mai 2007)

Im Museum für Völkerkunde Wien fand vom 9. bis 10.Mai zur Eröffnung der Ausstellung Benin - Könige und Rituale, Höfische Kunst aus Nigeria, ein international besetztes Symposium statt.

APA Pressebilder mit Fotos von © Niko Formanek, 08.05.07
und
© Robert Strasser, 08.05.07 [zu externen Links, deren inhaltliche Verantwortung nicht bei www.beninkunst.de liegt, vgl. Impressum].

Benin - Könige und Rituale - Ausstellungseröffnung / © pressefotos.at/Niko Formanek [zur Verwendung freigegeben lt. http://prfoto.at] Benin - Könige und Rituale - Ausstellungseröffnung / © pressefotos.at/Niko Formanek [zur Verwendung freigegeben lt. http://prfoto.at]
-© pressefotos.at/Niko Formanek -- -- -- --© pressefotos.at/Niko Formanek

Benin - Könige und Rituale - Ausstellungseröffnung / © pressefotos.at/Niko Formanek [zur Verwendung freigegeben lt. http://prfoto.at] Benin - Könige und Rituale - Ausstellungseröffnung / © pressefotos.at/Niko Formanek [zur Verwendung freigegeben lt. http://prfoto.at]
-© pressefotos.at/Niko Formanek -- -- -- --© pressefotos.at/Niko Formanek

Barbara Plankensteiner, Curator, Museum für Völkerkunde Wien: Benin Art. The Causes and Routes of its Dispersal Worldwide; Prince G.I. Akenzua, Benin City : The Loss of the Benin Artworks and their Original Function; Joseph Eboreime, Director General, National Commission for Museums and Monuments of Nigeria: Benin Art in the Future Scheme of Nigerian Museums; Christian Feest, Director, Museum für Völkerkunde Wien: Observations on the Restitution of Cultural Property in a Global Perspective; Patrick Darling, Bournemouth University, UK: Re-Writing Benin’s History: The Conflicting Roles of Archaeologists, Historians, Ethnographers and Traditional Politics over time; Adam Jones, Institut für Afrikanistik, Universität Leipzig: European Sources for Benin and its Art in the 17th and 18th Centuries; Benson Osarhieme Osadolor, University of Benin, Benin City: Benin History Studies. The State of the Discipline and the Flowering of Local History; Stefan Eisenhofer, Staatliches Museum für Völkerkunde München: Local Histories in Benin and their Problematic; Kathy Curnow, Philadelphia, USA: Benin Art and its Position and Relations in a larger Regional Perspective;
Barbara Winston Blackmun, Las Mesa College San Diego, California, USA: State of Research on the Interpretation of Benin Iconography; Flora Edouwaye Kaplan, New York University: Photography in Benin. A Source of Memories; Peju Layiwola, Lagos University: New Forms of Commemoration and Remembrance:
Commemorative Textiles in Benin; Charles Gore, SOAS (School of Oriental and African Studies) London: Memory-Making in Art, Ritual and Performance of Benin; Gisela Völger, Köln: Felix von Luschan and his Relevance for Contemporary Research on Benin; Silvia Dolz, Museum für Völkerkunde Dresden: History and Relevance of the Fairly Known Dresden Benin Collection; Kay Heymer, Essen: Benin Art and Modernism; Daniel Inneh, Benin City: Surviving Guilds in Benin. Their Function in Society and Relation to the Royal Palace; Osarhenhen Inneh, Benin City, Ine of the Bronzecasters Guild: Prospects for the Bronzecasters Guild in Benin; Joseph Nevadomsky, Fullerton University California, USA: Contemporary Brass-Casting Production and Styles in Benin; Paula Ben-Amos Girshick, Indiana University, USA: Benin Art in the Global Market: Circulating across the African Continent; Chika Okeke-Agulu, Philadelphia: The Burden of Tradition: Modern Edo Artists and the Legacy of “Benin” Art; Thomas Fillitz, Universität Wien: The Issue of Authenticity in Relation to African Art; Peter Junge, Ethnologisches Museum Berlin: The Chronology of Benin Art. Limitations of Stylistic and Scientific Methods of Dating. [Angaben nach khm; ohne Gewähr]
© Thorsten Spahr // www.BeninKunst.de 2006-