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menu-item-type-post_type menu-item-object-page menu-item-13509"><a href="https://web.archive.org/web/20210921162821/https://dhd-blog.org/?page_id=13428">Redaktion</a></li> </ul></nav> </div> </div> </div> </header> <div id="main" class="single-post"> <div id="content"> <article class="article"> <header class="heading-holder"> <h1><a href="https://web.archive.org/web/20210921162821/https://dhd-blog.org/?p=16450">CFP: Konferenz „Das Kunstmuseum im digitalen Zeitalter – 2022</a></h1> <div class="meta"> <span class="counter "><a href="#comments" title="Zu den Kommentaren">0</a></span> <span>Veröffentlicht von <a href="https://web.archive.org/web/20210921162821/https://dhd-blog.org/?author=302">Anna-Marie Kroupova</a> am <time datetime="2021-09-06">06. September 2021</time></span> </div> </header> <p><strong>Ort:</strong> Belvedere, Wien (Online)<br/><strong>Datum:</strong> 17.–21. Jänner 2022<br/><strong>Eingabeschluss:</strong> 17. Oktober 2021<br/><strong>Webseite:</strong> <a href="https://web.archive.org/web/20210921162821/http://www.belvedere.at/digitalmuseum2022">www.belvedere.at/digitalmuseum2022</a></p> <p>Das Belvedere Research Center setzt seine Tagungsreihe zur digitalen Transformation der Kunstmuseen mit der vierten Veranstaltung zum Thema fort. Die COVID-19-Pandemie mit all den damit einhergehenden Problemen, Nähe zu Menschen und Objekten herstellen zu können, hat der Problematik in den Museen zusätzliche „Virulenz“ gegeben. Wenngleich vieles schon zuvor breit diskutiert und ansatzweise auch umgesetzt worden war, schufen die Maßnahmen gegen das Virus eine ganz spezielle Versuchsanordnung, bei der die digitale Präsenz nicht mehr bloß eine mögliche Erweiterung des Ausstellungsraums sondern schlicht den einzigen Weg zur Öffentlichkeit darstellte. Während die Schwerpunktsetzung unserer Konferenz von 2021 der Prämisse einer krisenbedingten Rückbesinnung auf die eigenen Sammlungen nachging, soll diesmal die Ausdifferenzierung analoger und digitaler Medien im Mittelpunkt der Debatte stehen. Ist die binäre Rhetorik von analog/digital, konservativ/progressiv, entweder/oder… im post-digitalen Zeitalter noch angebracht, oder geht es nicht längst schon um Fragen nach Medienspezifizität, Hybridität und Mixed-Reality?<br/><br/>Medientheoretiker wie Peter Weibel waren schnell, angesichts der Pandemie die analoge Nahgesellschaft diskursiv zu Grabe zu tragen. In gigantischen Stadien, Konzerthäusern und Museen konnte er nur noch „die Pharaonengräber der Zukunft“ erkennen. Dass die Menschen nicht so einfach in eine rein digitale Welt übersiedeln würden, ließen bereits die ersten Lockerungen im Sommer 2020 erahnen, als eine geradezu exzessive Rückbewegung zum Analogen feststellbar wurde. Die Originale waren gefragter denn je, der Hunger nach Begegnung mit anderen Menschen und Objekten im Museum groß. Es gibt, so scheint es, trotz erweiterter technologischer Möglichkeiten doch so etwas wie anthropologische Konstanten. Was aber bedeutet das für das Kunstmuseum im digitalen Zeitalter und die Stellung des Digitalen im Kulturbereich? Wie sehen gelungene Formen der Vermittlung angesichts der Dialektik von Virtualität und körperlicher Präsenz aus? Und welche neuen Herausforderungen müssen dabei bewältigt werden?<br/><br/>An insgesamt fünf Abenden versammelt die Online-Konferenz unter diesem Aspekt interdisziplinäre Beiträge, die vor allem – aber nicht ausschließlich – folgende Themenbereiche kritisch reflektieren:</p> <ul> <li>Der Strukturwandel der Öffentlichkeit im digitalen Zeitalter</li> <li>Selektions- und Interpretationslogiken des modernen Mediensystems</li> <li>„Plattformisierung“ und die Erosion traditioneller Rituale der Kunstaneignung</li> <li>Künstliche Intelligenz und neue Formen des Kuratierens</li> <li>Mensch-Computer-Interaktion im Museum</li> <li>Formen der Partizipation im realen/digitalen Raum</li> <li>Das Verhältnis von Original-Digital-Virtuell</li> <li>Hybrides Publizieren und neue Repräsentationsformen des Wissens</li> </ul> <p>Wir freuen uns über Ihre Themenvorschläge aus den Bereichen Museum/Museologie, Kunst- und Kulturgeschichte, Medienwissenschaft und Digital Humanities. Bitte senden Sie uns Ihre Abstracts für einen 20- bis 25-minütigen Vortrag in deutscher oder englischer Sprache (max. 250 Wörter), einschließlich einer kurzen Biografie inklusive vollständiger Kontaktinformation zusammengefasst als <strong>ein PDF-Dokument</strong> bis 17. Oktober 2021 an: <a href="https://web.archive.org/web/20210921162821/mailto:a.kroupova@belvedere.at">a.kroupova@belvedere.at</a>.<br/><br/>Als <strong>Keynote Speaker</strong> konnte <strong>Max Hollein</strong> (Direktor, The Metropolitan Museum of Art, New York) gewonnen werden.<br/><br/>Alle Vorträge werden online abgehalten. Die Teilnahme an der Konferenz ist kostenlos!<br/><br/><strong>Konferenzkomitee</strong>: Christian Huemer, Ralph Knickmeier, Anna-Marie Kroupová (Belvedere, Wien), Liz Neely (Georgia O’Keeffe Museum, Santa Fe), John Tain (Asia Art Archive, Hongkong), Chiara Zuanni (Universität Graz).</p> <p><strong>Konferenzsprachen:</strong> Deutsch & Englisch</p> <p><strong>Konferenzpartner:</strong> ICOM Österreich, Museumsbund Österreich</p> <p><strong style="font-size: inherit">Hashtag: </strong><span style="font-size: inherit">#digitalmuseum</span><br/><br/></p> <p><em>[English version]</em></p> <p><strong>Location: </strong>Belvedere, Vienna (Online)<strong><br/>Dates: </strong>17–21 January 2022<strong><br/>Submission:</strong> 17 October 2021<strong><br/>Website:</strong> <a href="https://web.archive.org/web/20210921162821/https://www.belvedere.at/en/digitalmuseum2022">www.belvedere.at/en/digitalmuseum2022</a></p> <p><strong>The Art Museum in the Digital Age – 2022</strong><br/>The Belvedere Research Center is continuing its conference series on the digital transformation of art museums with its fourth event on the topic. The COVID-19 pandemic, and our resultant inability to experience proximity to people and objects, has given the matter additional “virulence” in museums. Although the topic of digitization was gaining ground before the pandemic, the measures taken against the virus created a very special experimental arrangement in which the digital presence of museums was no longer merely a possible extension of exhibition spaces but rather the only way to reach the public. While the focus of our 2021 conference explored the premise of a crisis-induced return to the museum’s own collections, the 2022 edition centers on the convergence of analog and digital media. Is the binary rhetoric of analog/digital, conservative/progressive, either/or … still appropriate in the post-digital age, or should we address questions of media specificity, hybridity, and mixed reality?<br/><br/>Media theorists like Peter Weibel were quick to bury the body-based “society of proximity” discursively in the face of the pandemic. In gigantic stadiums, concert halls, and museums, he could only recognize “the pharaonic tombs of the future.” That people would not simply relocate to a purely digital world was already foreshadowed by the first easing of restrictions in the summer of 2020, when an almost excessive return to the analog took place. Original artworks were more in demand than ever, and there was a hunger for encounters with other people and objects in the museum. There are, it seems, anthropological constants, despite the expanded purview of technological possibilities. But what does this mean for the art museum in the digital age and the position of the digital in the cultural sector? What do successful forms of mediation look like in view of the dialectic of virtuality and physical presence? And what new challenges must be overcome in the process?<br/><br/>During five evenings, the online conference will feature a range of interdisciplinary contributions, which above all – but not exclusively – critically reflect on the following topics:</p> <ul> <li>The structural transformation of the public sphere in the digital age</li> <li>The logic of selection and interpretation in the modern media ecosystem</li> <li>“Platformization” and the erosion of the traditional rituals for engaging with art</li> <li>Artificial intelligence and new forms of curating</li> <li>Human-computer interaction in the museum</li> <li>Forms of participation in real/ digital spaces</li> <li>The relationship between original-digital-virtual</li> <li>Hybrid publishing and new forms of knowledge representation</li> </ul> <p>We look forward to receiving your proposals for topics in the fields of museum/museology, art and cultural history, media studies and digital humanities. Please send your abstracts for a 20- to 25-minute presentation in German or English (max. 250 words), including a short biography with complete contact information as <strong>one P</strong><strong>DF document</strong> by 17 October 2021 to <a href="https://web.archive.org/web/20210921162821/mailto:a.kroupova@belvedere.at">a.kroupova@belvedere.at</a>.<br/><br/>We are delighted that <strong>Max Hollein</strong> (Director, The Metropolitan Museum of Art, New York) will be our <strong>keynote speaker</strong>.</p> <p>All presentations will be online. Participation in the conference is free of charge!</p> <p><strong>Conference Committee</strong>: Christian Huemer, Ralph Knickmeier, Anna-Marie Kroupová (Belvedere, Vienna), Liz Neely (Georgia O’Keeffe Museum, Santa Fe), John Tain (Asia Art Archive, Hong Kong), Chiara Zuanni (University of Graz).</p> <p><strong>Conference Languages:</strong> English & German</p> <p><strong>Conference Partners:</strong> ICOM Austria, Museumsbund Österreich</p> <p><strong>Hashtag: </strong>#digitalmuseum</p> <div class="social-share"> <div class="addthis_toolbox addthis_default_style addthis_32x32_style"> <a class="addthis_button_preferred_1"></a> <a class="addthis_button_preferred_2"></a> <a class="addthis_button_preferred_3"></a> <a class="addthis_button_preferred_4"></a> <a class="addthis_button_compact"></a> <a class="addthis_counter addthis_bubble_style"></a> </div> <script type="text/javascript" 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