Uwe Fleckner – författare

Das Exil als Ort künstlerischer Erfahrung, die Wanderschaft und das Reisen von Malern, Bildhauern und Architekten als Möglichkeit ambulanter Welterschließung sind seit vielen Jahren wichtige Gegenstände kunst- und kulturhistorischer Forschung, und auch die Migrationsbewegungen der Kunstwerke selbst geraten zunehmend in den wissenschaftlichen Fokus. Der Band unternimmt es, diese bislang getrennt untersuchten Einzelphänomene im Zusammenhang darzustellen. Migration, Reise und Exil sollen gemeinsam als spezifische Ausprägungen eines übergeordneten Sachverhalts betrachtet werden, nämlich der Mobilität des Künstlers, des Künstlers in der Fremde.

From time immemorial, works of art have been moved in space and time to locations that are significantly different from the places they are thought to originate from. But how do such translocations come about? What are the consequences for the appearance, semantics, and function of the artefacts? And how are they categorized or manipulated by contemporaries and researchers? These questions are addressed by the publication’s contributions which, in particular, analyze the ideological and power-political dimensions of such migrations. The case studies cover stolen god statues in antiquity through to borrowed motifs in the early modern age, misunderstood works of supposedly "primitive" art through to "rescued" architecture fragments at the present time.

The Nähe auf Distanz (Proximity at a Distance) project examines the semantic change of photographs and videos in the age of the internet. The contributions are dedicated to examples of selfie protests, images of the Arab Spring, of the Israeli-Palestinian conflict, of the Gezi Park protests, of the Syrian war, and the image politics of the "Islamic State." The project critically analyzes their potential, even across great distances, to exert and emotional and communicative impact, and to trigger political actions. The concept of image reflected here is based on digital transmission; it is marked by the permanent modifications of images through data transfers and postproduction.

The fourteenth volume of the Vorträge aus dem Warburg Haus brings together lectures, whose spectrum of contents extends from the "pillar of angels" of the Strasbourg Cathedral to the aesthetic potential of "mille artifex" in the early modern period and views of the island of Taiwan on leather wall hangings of the eighteenth and nineteenth centuries, up to Donald Trump’s use of images. With texts by Jacqueline E. Jung, Jörg Jochen Berns, Elisabeth Bronfen, Shai-Shu Tzeng, and Uwe Fleckner.

The fifteenth volume of lectures from the Warburg House brings together contributions whose spectrum of content ranges from the dispute over the dome of St. Peter's Basilica in Rome in the mid-18th century to Aby Warburg's scientific and popular educational commitment to the Hamburg Planetarium and the aesthetic treatment of machine and technology. With contributions by Pascal Dubourg Glatigny, Emmanuel Alloa, Alexander Honold, Birgit Recki, and Gertrud Koch.

The 16th volume of lectures from the Warburg House, Hamburg, brings together contributions covering a spectrum ranging from the different modes of perception of late antique and medieval mosaics in the light of modern reproduction techniques to Las Hilanderas of Diego Velázquez, the afterlife of Théodore Géricault’s Raft of the Medusa and René Magritte's „images peintes“ to new reflections on femininity, the gaze and the „afterlife“ of the Shoah in the work of Boris Lurie. With contributions by Barbara Schellewald, Victor I. Stoichita, Gregor Wedekind, Wolfram Picher, and Katharina Sykora.

When Aby Warburg (1866-1929) set off for the USA in September 1895, he had no idea that his search for the symbolic foundations of art would become one of the most fascinating events in the history of science in his field. Warburg's American journey lasted only months, his stay in the Pueblo regions even only a few weeks, but in 1923 - a quarter of a century after the journey - he presented his findings in the groundbreaking lecture on the ""Snake Ritual"".With the help of selected photographs by Warburg and ethnological drawings made by him and others during the journey, with the help of maps, notes and much more, a (virtual) voyage of discovery is encouraged here in the form of a story and picture book. We cross an extensive continent of exploration, where we meet Warburg's interlocutors, some of them indigenous, including a trader and a missionary, a chief and a man accused of witchcraft. Settlements and villages are traversed, full of ritual objects and works of art, full of symbolic representations of lightning and snakes, which Warburg studies and collects. The documents shown here, however, are not only evidence of his activities in the territory of the Cochiti and Zuni, the Tewa and Hopi, but above all testimony to the emerging change in Warburg's scientific thinking, which ultimately leads to the transnational cultural comparative methodology for which Aby Warburg is today appreciated all over the world.

Aby Warburg in America: An Album When Aby Warburg left for the United States in September 1895, it was not foreseeable that his search for the symbolic foundations of art would become one of the most fascinating events in the history of his field. Warburg’s American journey lasted only months, and his stay in the Pueblo communities only a few weeks, but in 1923 he presented his findings in the groundbreaking lecture on the “Snake Ritual”. Using selected photographs, ethnologic drawings, and numerous documents, this story and picture book details a journey of discovery. It traverses a vast continent of research, showing Warburg’s diverse interlocutors — from chiefs to missionaries — and especially his records of dances, ritual objects, and artworks full of symbolic representations. The documents are evidence of the emerging shift in Warburg’s scholarly thinking, which would eventually lead to the cross-border cultural comparative methodology for which he is now held in worldwide esteem.

From Acquisition to Will—A critical compendium The provenance of artworks is a burning issue in current scholarship and politics. Transpose provenance into architecture and it reveals new and surprising dimensions in the social, material and cultural lives of buildings and architectural artefacts, reframing questions of migration, movement and circulation. Provenance in architecture illuminates the intricate trajectories of fundamentally composite objects from their complex origins to their uncertain destinations. This dictionary examines architectural provenance across 101 key concepts from "Acquisition" to "Will". The entries provide new ways of writing architectural history, highlighting how architecture moves, is destroyed, survives and is transformed.