October to November 2013
Art historian and curator Julia Moritz has been the Head of “Maybe Education and Public Programs" of dOCUMENTA (13). Before she was the curator of University of Lüneburg, where she was responsible for the program of the university’s art space, and taught cultural studies seminars. In the course of her postgraduate studies in Vienna, New York and Bilbao she completed a doctoral thesis on the institutional conditions of contemporary art. Independent projects at that time include “Critical Complicity” (with Lisa Mazza) in Vienna, Ljubljana and Bolzano (2010). She previously worked for Manifesta 7 in Trentino/Alto Adige and the German Pavilion at the 52th Venice Biennial. The volume “Question of the Day” (2007, with Nicolaus Schafhausen) gives insight into Moritz’ ongoing dialogical inquiry.
In January 2014 Julia Moritz will give a talk at the Belvedere’s Research Center prepared during her residency – more to come soon.
Over a hundred years ago leading Viennese artists and critics were turning their gazes towards Russia, and this was reciprocated with great interest. This fascinating discovery in art history is the starting point for the research of Konstantin Akinsha. His specialism is the period between 1900 and 1908 when Paris was the undisputed center of the art world. In Vienna during this time, work by Russian artists like Mikhail Vrubel, Valentin Serov, and Boris Kustodiev, were exhibited and gained recognition on the Secession’s initiative. Kustodiev’s Family Portrait (1905), for example, was acquired for the collection of today’s Belvedere in 1908. In turn, Secession exhibitions, with big names like Klimt, were discussed in Russian art magazines, for example by Leon Trotsky who was then in exile in Vienna. Shedding light on the development, extent, and intensity of this mutual reception is the research objective of the Ukrainian curator during his residency.
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