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Journal articles on the topic 'Kunsthal'

Author: Grafiati
Published: 4 June 2021
Last updated: 10 February 2022

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1

Pijbes, W. "New Kunsthal opened in Rotterdam." Museum Management and Curatorship 11, no. 4 (December 1992): 421–24. http://dx.doi.org/10.1016/0964-7775(92)90083-h.

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2

Moussette, Michel. "‘Do we need a canopy for rain?’: interior-exterior relationships in the Kunsthal." Architectural Research Quarterly 7, no. 3-4 (September 2003): 280–94. http://dx.doi.org/10.1017/s1359135503002239.

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Several strategies are used at the Rotterdam Kunsthal to create a direct relation between the city and the interior of the building. Our hypothesis is that the frictions and difficulties that arise from this openness to the outside world are integrated into the design of the building. In fact, despite being exposed to the forces of the city, the project maintains its functionality and identity. Many existing texts have touched upon the relationship that exists between the Kunsthal and the city (for example, van Dijk [1993], Kipnis [1996], MacNair [1994]), but none clearly articulates the different paradoxes that result from this complex intertwining. The importance of systematically and critically exploring these paradoxes lies in the fact that the Rotterdam Kunsthal is one of the very first of a series of contemporary buildings that have tried to connect themselves in direct ways to their urban surroundings.
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3

Paschetta, Mg Arq Leticia. "Kunsthal. Transferencias entre pensamiento y arquitectura." ARQUISUR, no. 6 (March 30, 2015): 23–36. http://dx.doi.org/10.14409/ar.v1i6.4640.

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El Kunsthall es una obra manifiestoen la que están presentes prácticamente todos los elementos conceptuales de la arquitectura de OMA y se ponen en cuestión el programa, la tipología, la estructura, el detalle y la técnica. Un espacio a–jerárquico, sin centro, a–tipológico, donde público–privado, abierto–cerrado se funden y nunca aparecen en estado puro. Un programa híbrido, resultado de comprender la realidad como hecho complejo, buscando contener lo inestable y adaptarse a cambios continuos. Una estructura de aspecto aparentemente caótico, frente a la homogeneidad de una grilla, resultado de métodos de cálculo de simulación que permiten incorporar la complejidad de la realidad, dando por resultado una racionalidad diferente, que no es simple, ni abstracta, ni homogénea. Una mirada de la tecnología desde el pensamiento arquitectónico, donde instalaciones y estructura se convierten en elementos centrales y disparadores espaciales, mediante el trabajo conjunto con especialistas al inicio del proceso. Una estrategia selectiva del control del detalle, con una intención programática de poner en crisis los preceptos establecidos por la cultura arquitectónica, cuestionando el valor del detalle y en un sentido el valor de la técnica, en pos del puro concepto y construyendo una racionalidad diferente que contiene aspectos aparentemente irracio-nales en su misma esencia.
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4

KYONNE JINHYUN. "Etude sur les caractéristiques d’application de la Promenade architecturale de Le Corbusier dans l’architecture de Rem Koolhaas - Villa Savoye et Kunsthal -." ASSOCIATION CULTURELLE FRANC0-COREENNE ll, no. 27 (November 2013): 43–66. http://dx.doi.org/10.18022/acfco.2013..27.002.

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5

Matussek, J., and G. Neff. "Die Kunsthand." Der Orthop�de 32, no. 5 (May 1, 2003): 406–12. http://dx.doi.org/10.1007/s00132-003-0465-7.

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6

Fischer, Simone. "Kunsthaar statt Federn." JOT Journal für Oberflächentechnik 55, no. 3 (March 2015): 28–31. http://dx.doi.org/10.1007/s35144-015-0541-x.

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7

Cannon-Brookes, Peter. "The Kunsthaus, Zürich, Revisited." Museum Management and Curatorship 17, no. 4 (January 1998): 430–40. http://dx.doi.org/10.1080/09647779800601704.

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8

Wallmichrath, Jens, Riccardo Giunta, and Timm Oliver Engelhardt. "Von Kühlen bis Kunsthaut." MMW - Fortschritte der Medizin 155, no. 12 (June 2013): 50–53. http://dx.doi.org/10.1007/s15006-013-1017-7.

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9

Dreher, Johannes, Nadia Alaily-Mattar, and Alain Thierstein. "Star architecture projects. The assessment of spatial economic effects by means of a spatial incidence analysis." Raumforschung und Raumordnung | Spatial Research and Planning 78, no. 5 (November 3, 2020): 439–53. http://dx.doi.org/10.2478/rara-2020-0029.

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AbstractFollowing the inauguration of the Guggenheim Museum Bilbao, designed by the star architect Frank Gehry, numerous cities have developed star architecture projects that try to emulate the ‘Bilbao Effect’ in the hope of triggering positive impacts for tourism and socio-economic development. However, as many projects do not achieve the set goals, their role as catalysts for urban development is debatable. We argue that the temporal and spatial economic dimension of the effects of star architecture projects – which are hardly discussed in existing literature – is crucial to assess the contribution of such projects for urban regeneration. The Kunsthaus Graz in Austria serves as a case study where we apply and modify the approach of the ‘spatial incidence analysis’ to assess the socioeconomic and intertemporal effects of a publicly funded, star architecture project. The spatial incidence analysis is closely related to the cost-benefit analysis, but takes into consideration wider aspects of the spatial distribution and intertemporal development of three dimensions of effects: payment flows, goods and services, and utility. We identify the following key findings by applying a combination of quantitative and qualitative methods: the operation of the Kunsthaus Graz provides an inflow of purchasing power for the municipality of Graz; the Kunsthaus Graz has positive, long-term effects in the fields of tourism marketing, civic pride and identification, creative industries and urban regeneration; the effects of the Kunsthaus Graz are spatially concentrated in the municipality of Graz.
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10

Weiß, Dana. "Kunsthaut offenbart, was sie verbirgt." ästhetische dermatologie & kosmetologie 7, no. 6 (December 2015): 44–45. http://dx.doi.org/10.1007/s12634-015-5173-x.

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11

Bullivant, Lucy. "BIX Matrix realities:united, Kunsthaus Graz, Austria." Architectural Design 75, no. 1 (January 2005): 82–85. http://dx.doi.org/10.1002/ad.19.

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12

Regenhardt, Alexander. "Kunstharz-Anlagen für die Rotorblatt-Produktion." adhäsion KLEBEN & DICHTEN 65, no. 4 (April 2021): 16–19. http://dx.doi.org/10.1007/s35145-021-0491-9.

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13

Ehlbeck, J., and R. Hättich. "Physikalische, insbesondere mechanische Eigenschaften von Kunstharz-Preßholz." Holz als Roh- und Werkstoff 44, no. 12 (December 1986): 449–52. http://dx.doi.org/10.1007/bf02608063.

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14

Matt, Gerald. "The Vienna Kunsthalle — its future in the Museum Quarter." Museum International 53, no. 1 (January 2001): 46–50. http://dx.doi.org/10.1111/1468-0033.00300.

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15

Franzen, Georg. "Die Linie des Lebens." Musik-, Tanz- und Kunsttherapie 25, no. 2 (June 3, 2014): 58–66. http://dx.doi.org/10.1026/0933-6885/a000180.

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Am Beispiel einer Aktion von Kunststudenten, die im Rahmen der Hundertwasserausstellung in der Bremer Kunsthalle 2012 ununterbrochen–mehr als 48 Stunden lang–vor der Eröffnung der Ausstellung eine Linie gezogen hatten und die Große Galerie in eine endlose Spirale verwandelten, wird ein rezeptiver kunsttherapeutischer Ansatz vorgestellt: Ein Kunstwerk als Induktion für eine imaginative-hypnotherapeutische Übung zu nutzen. Dargestellt wird ebenso die Bedeutung des künstlerischen Gesamtkonzepts von Friedensreich Hundertwasser, dessen Werk ebenso kunsttherapeutische und kunstpsychologische Aspekte beinhaltet.
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16

Buchzik, B. A. "Neuigkeiten im Kunstrecht am 19. Oktober 2007 im Kunsthaus Zürich." KUR - Kunst und Recht 9, no. 5 (2007): 121. http://dx.doi.org/10.15542/kur/2007/5/9.

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17

Lindstøl, Frinde, Kristian Nødtvedt Knudsen, and Jannike Orhem Bakke. "Et temanummer om dramaturgi i didaktiske kontekster." Journal for Research in Arts and Sports Education 5, no. 2 (June 30, 2021): 01–05. http://dx.doi.org/10.23865/jased.v5.3257.

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Intensjonen bak dette temanummeret i JASEd er å styrke dramaturgi som forskningsfelt koplet til klasserommet og andre didaktiske kontekster. I Norge, men også i Norden, har det de siste par tiårene vært en økende interesse for å anvende dramaturgiske perspektiver i blant annet klasserom. Didaktiske kontekster forstår vi som rom, møteplasser og situasjoner/hendelser der undervisning og læring oppstår, skapes og settes i spill. I dette temanummeret vil vi undersøke hvordan dramaturgiske praksiser, dramaturgisk teori, dramaturgisk metode og tilhørende analyser kan supplere og vitalisere undervisning og andre kontekster, som for eksempel både lærerutdanning og kunstfag.
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18

Moldoveanu, Mihail. "Towards a new vision of the museum: the Kunsthaus of Bregenz." Museum International 52, no. 3 (July 2000): 55–60. http://dx.doi.org/10.1111/1468-0033.00274.

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19

Schaefer, Barbara. "Wirklichkeit wirkt." Künstlerische Therapien, herausgegeben von Jan Sonntag und Michael Ganß 16, no. 1 (March 2019): 81–87. http://dx.doi.org/10.30820/1613-2637-2019-1-81.

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Welche Auswirkungen hat es, wenn in einem Wohnund Pflegeheim künstlerische Arbeit angeboten wird? Beispiele aus der Praxis zeigen: Künstlerisches Handeln öffnet Begegnungsräume außerhalb der Alltagsrollen. Die Möglichkeit des eigenständigen, künstlerischen Ausdrucks wird als Freiheit erlebt, als autonomer Spielraum jenseits des Pflegeund Versorgungsalltags. Der Kunstraum eröffnet die Möglichkeit hierarchiefreier Begegnung zwischen pflegebedürftigen Menschen und ihren Angehörigen. Gäste und Mitarbeiter berichten, wie sich ihr Blick für den inneren Reichtum von Menschen mit Demenz geöffnet hat. Das ästhetisch-emotionale Erleben von Kunstwerken anlässlich von Besuchen der Hamburger Kunsthalle und die damit verbundene soziale Teilhabe hinterlassen auch bei demenziell veränderten Menschen eine nachhaltige Wirkung.
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20

Sparrow, Lori. "Carbon offsets and First Nations in British Columbia." Forestry Chronicle 88, no. 05 (October 2012): 609–12. http://dx.doi.org/10.5558/tfc2012-113.

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A comparison of pre-Treaty and post-Treaty land title and authority for First Nations pursuing carbon offsets in British Columbia will be filtered through three themes: property rights, shared decision-making and forest governance. The Indian Act (1876) has unclear jurisdiction for pursuing carbon offsets. The Haida Reconciliation Protocol-Kunst’aa guu-Kunst’aayah (2009), Coastal First Nations Reconciliation Protocol (2010) and Nanwakolas First Nations Reconciliation Protocol (2011) address this grey area and achieve protocols that provide certainty for carbon rights. Nisga’a, Tsawwassen, Maa-nulth and Sliammon treaties do not include carbon rights but have the power to instill a carbon project.
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21

Weiner, Andrew Stefan. "Stoffbilder: On Capitalist Realisms." ARTMargins 4, no. 3 (October 2015): 81–102. http://dx.doi.org/10.1162/artm_r_00124.

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This essay critically examines the exhibition Leben mit Pop: Eine Reproduktion des Kapitalistischen Realismus, which was first staged in 2013 at the Kunsthalle Düsseldorf. This exhibition surveyed the emergence of Capitalist Realism as a regional form of Pop Art in West Germany during the 1960s. The article evaluates Leben mit Pop as a modification of established art historical scholarship and as an intervention within ongoing debates in curatorial practices and critical cultural theory. It aims to resituate Capitalist Realism relative to the consolidation of the North Atlantic art market, arguing that this allows for a more incisive account of its relevance to contemporary art.
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22

Akinsha, Konstantin. "Why Can't Private Art “Trophies” Go Home from the War?" International Journal of Cultural Property 17, no. 2 (May 2010): 257–90. http://dx.doi.org/10.1017/s0940739110000111.

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AbstractThis article is dedicated to the collection from the Bremen Kunsthalle, comprising 1715 drawings, 50 paintings, and about 3000 prints found by Soviet troops in castle of Karnzow near Berlin in May 1945. The collection was not seized by Soviet trophy brigades but was looted by soldiers and officers of the 38th Field Engineers' Brigade of the Red Army.After their return to the USSR and demobilization, some of the officers donated their loot to different museums around the Soviet Union. One of the most important parts of the collection, with 362 drawings and two paintings—among them works of Dürer, Rembrandt, Goya, and Van Gogh, was appropriated by Captain Viktor Baldin. In 1948 Baldin deposited his loot in the A. V. Shchusev State Research Museum of Architecture in Moscow. Later Baldin became the director of the museum and advocated return of the art to its rightful owners.Since the days of Gorbachev's perestroika, these art works have frequently attracted public attention and provoked fierce debates. The Federal Law on Cultural Valuables adopted in 1998 did not cover art works looted by private individuals. Rather, such conflicts have to be solved within the framework of Russian criminal law.In contrast, other works of art from the same Bremen Kunsthalle collection were restituted from the United States, Ukraine, and Estonia. Another 101 drawings and prints of the collection, seized by another member of Baldin's brigade, were returned from Russia to Bremen in 2000, but that was in “exchange” for an original mosaic from the legendary Amber Chamber. However, despite more than 20 years of efforts by German officials and endless negotiations, the Baldin Collection remains in the Russian Federation. The return of those stolen drawings any time soon now looks highly improbable. The case of the Baldin Collection became the most striking example of the Russian nonrestitution of cultural property looted during World War II.
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23

Sommermeyer, Barbara, and Claartje van Haaften. "Examining the digital future of analogue slide-based artworks at the Hamburger Kunsthalle." Studies in Conservation 61, sup2 (June 2016): 219–26. http://dx.doi.org/10.1080/00393630.2016.1190908.

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24

Seldin, Claudia. "Práticas culturais como insurgências urbanas: o caso do Squat Kunsthaus Tacheles em Berlim." Revista Brasileira de Estudos Urbanos e Regionais 17, no. 3 (December 20, 2015): 68. http://dx.doi.org/10.22296/2317-1529.2015v17n3p68.

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Este artigo aborda o tema da “insurgência” através da análise de práticas culturais que emergem como resistências aos crescentes processos de “culturalização” do espaço urbano. Partindo do princípio de que a criação e a venda de imagens de cidade dominam o campo do Planejamento Urbano contemporâneo, propomos investigar alguns casos que atuem contra essa tendência, com foco no recorte espacial de Berlim. Apresentamos um breve histórico das insurgências urbanas na capital alemã – hoje tida como um dos exemplos emblemáticos de “cidade criativa”, tão em voga no início do século XXI. Atenção especial será dada aos squats berlinenses, especialmente ao Kunsthaus Tacheles. Apesar de serem apropriados pelo marketing urbano oficial – que visa à construção de uma imagem de cidade alternativa e atraente aos profissionais criativos –, os squats sofrem negativamente com a gentrificação. Como consequência, veem-se obrigados a criar modos verdadeiramente criativos para garantir seu direito à cidade.
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25

Erdede, Nistiman, Regina Vogel, and Erica Foden-Lenahan. "Decolonization is a process, not a goal: Encounters in the library of the Kunsthalle Basel." Art Libraries Journal 45, no. 4 (October 2020): 162–76. http://dx.doi.org/10.1017/alj.2020.25.

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AbstractChance encounters, some several years apart, form the basis of this article between 2 librarians and an artist, all 3 considering the process of decolonizing libraries within the wider context of colonial legacies in the societies in which they were born and in which they now live. The librarians Regina Vogel and Erica Foden-Lenahan have been friends and colleagues for many years, and their personal conversations over the years have often involved discussions of equality and injustice. The overlap in their professional interests led to this article proposal. A serendipitous meeting between Vogel and decolonial artist and curator Nistiman Erdede at an event2 organized by Abendschule Import in co-operation with the famous Cabaret Voltaire in Zurich and later when he visited the Kunsthalle Basel where Vogel is the librarian, changed the original direction of the article, but presented an opportunity for a 3-way discussion of decolonization in the context of a Swiss and a German art library and a refugee artist's experience. The Covid-19 border and workplace lockdowns necessitated that some of these encounters happened virtually.
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26

Seidel, Anna. "‘The Revival of the Medal’." Journal of the History of Collections 32, no. 2 (April 1, 2019): 303–12. http://dx.doi.org/10.1093/jhc/fhz013.

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Abstract Alfred Lichtwark (1852–1914) was the first director (1886–1914) of the Hamburger Kunsthalle. At his personal instigation, a sculpture collection was founded. Focusing on contemporary sculpture, he became a pioneer in the museum world. Lichtwark aimed at introducing sculpture to a wider public: he considered contemporary medals and plaquettes to be the most suitable material for his purpose, and consequently he initiated the sculpture collection in 1891 by assembling ‘sculptures en miniature’ from Paris. In his practice he probed questions of the medals’ art historical context, as well as processes of making and display. When Lichtwark published his book on the revival of the medal – Die Wiedererweckung der Medaille – in 1897, his engagement and expertise in the field were already widely respected. While he is well known as an innovative museum director, his role as collector of contemporary sculpture has not been sufficiently appreciated. This paper suggests a re-evaluation of his achievements.
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27

Van den Berg, Karen. "Zur Epistemologie gegenwärtiger Zeigeregime." Zeitschrift für Medien- und Kulturforschung 8, no. 1 (2017): 41–60. http://dx.doi.org/10.28937/1000107621.

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"Wie kommt es, dass sich der Flagship-Store eines Technikkonzerns präsentiert wie eine öffentliche Kunsthalle, während die Dependance des Louvre in Nord-Pas-de-Calais wirkt, als würde man eine iPad-Benutzeroberfläche betreten? Der Beitrag liefert eine Analyse des Louvre Lens und beleuchtet das Projekt in Hinblick auf seine verblüffenden ästhetischen Familienähnlichkeiten in Materialsprache, Struktur und Atmosphäre zu neueren Apple Stores. Dabei wird versucht, die kulturellen und mentalitätsgeschichtlichen Codes zu entziffern und zu plausibilisieren, dass sich hier eine Epistemologie entfaltet, die die Welt als simultan präsentes Symbolsystem begreift. How is it that the flagship store of a technology company presents itself as a public arthall, while the branch of the Louvre in Nord-Pas-de-Calais looks like the user interface of an iPad? The paper provides an analysis of the Louvre Lens and illuminates the project in terms of its stunning aesthetic similarities in material language, structure and atmosphere to recent Apple Stores. Furthermore, it attempts to decipher the cultural and mental-historical codes and argues that an epistemology is developing here which comprehends the world as a simultaneous symbolic system. "
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28

von Eschen, Friedrich Frhr Waitz. "Carl Zumbe – Montanexperte in braunschweigischen und hessen-kasselischen Diensten. Fallstudie zur praktischen Verwissenschaftlichung des Montanwesens um 1700 / Carl Zumbe, Mining Expert in the Services of Brunswick and Hessian Cassel. A Case Study on the Practical Scientifi cation of the Mining Sector." Technikgeschichte 87, no. 3 (2020): 201–30. http://dx.doi.org/10.5771/0040-117x-2020-3-201.

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Diese Fallstudie befasst sich mit der praktischen Verwissenschaftlichung und den sie gestaltenden Experten des Montanwesens der frühen Neuzeit, die im Vergleich zur zeitgenössischen technischen Montanliteratur kaum untersucht sind. Mit der Biografie des Carl Zumbe (1662-1735) wird die Karriere eines Montanexperten nachverfolgt, der nach einer juristischen Ausbildung in Italien und einer wichtigen bergtechnischen Erfindung (Letten-Schießen) eine hüttentechnische Laufbahn im Harz begann und zunächst seine metallurgischen Kenntnisse erweiterte. Nach dem Wechsel in hessen-kasselische Dienste verband er in seiner berg- und hüttenfachlichen Aufsichtstätigkeit detaillierte betriebswirtschaftliche Untersuchungen und Berichte mit metallurgischen und chemischen Analysen zur Verbesserung der betrieblichen Prozesse. Zugleich versorgte er die naturwissenschaftlichen Forscher am Kasseler Kunsthaus und Collegium Carolinum mit entsprechenden Untersuchungen. Neben der Leitung von Prestigeprojekten (Wasserstollen für die Kaskaden des Herkules) oblag ihm auch der Aufbau völlig neuer Industriezweige (Blaufarbenindustrie) und die Einführung neuer Techniken. Bis zum Ende seiner Karriere in der mittleren Leitungsebene des Montanwesens verbleibend agierte er als Berater und Vermittler zwischen den betrieblichen Praktikern und der Bergstube bzw. Rentkammer. Der Transfer seines Wissens lässt sich nicht nur in seinen dienstlichen und wissenschaftlichen Netzwerken, sondern auch in familiären Beziehungen nachverfolgen.
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Christison, Kathleen. "Macro Microcosm: Their Promised Land: Arab and Jew in History's Cauldron-One Valley in the Jerusalem Hills . Marcia Kunstel, Joseph Albright." Journal of Palestine Studies 21, no. 4 (July 1992): 98–100. http://dx.doi.org/10.1525/jps.1992.21.4.00p0145b.

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30

Mariko, IKEDA. "Cultural Squatting, Conflict Involved, and Role as Free Space in Urban Transformation: Case Study of the Kunsthaus Tacheles in the Former East District of Berlin." Geographical review of Japan series A 87, no. 3 (May 1, 2014): 224–47. http://dx.doi.org/10.4157/grj.87.224.

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31

Gristina, Giorgio. "Kunstman, Adi and RebeccaStein. 2015. Digital militarism: Israel's occupation in the social media age. Redwood City, CA: Stanford University Press. 192 pp. Pb.: £15.99. ISBN: 9780804794909." Social Anthropology 25, no. 1 (February 2017): 121–23. http://dx.doi.org/10.1111/1469-8676.12386.

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32

Koroleva, A. Y. "Густав Хартлауб и «новая вещественность»: выставка, собирание коллекции, судьба." Iskusstvo Evrazii [The Art of Eurasia], no. 4(19) (December 30, 2020): 156–67. http://dx.doi.org/10.46748/arteuras.2020.04.013.

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The author of article views the curator activity of famous German art-historian and director of Mannheim Kunsthalle Gustav Friedrich Hartlaub in the context of the collecting and patronage. His interest to actual art has turned to most large-scaled project in the art of Weimar republic, that fixes the bone of new «neorealistic» art in the period between two world wars, that has got a name «New objectivity» after the Hartlaubs exhibition. The aim of article is the study of Hartlaubs role as a gallerist in the awareness of changing, which have took a place in the German art after expressionism and their fixation in the social consciousness by exhibition actual pieces of art and following acquiring of them for different museum collections. For the first time in Russian language tells this article about the rising of interest to the «New Objectivity», the history of the organization of famous exhibition in 1925 and her tourney about Germany, about the problem, that have took a place, also about the contradictions between the participants of two wings inside the movement. Special attention is given to the fate of collection, which was scattered by Nazi. В контексте рассмотрения проблемы коллекционирования и меценатства автор статьи рассматривает кураторскую деятельность известного немецкого искусствоведа Г.Ф. Хартлауба, чей интерес к актуальному искусству в период Веймарской республики обернулся широкомасштабным проектом, зафиксировавшим рождение нового «неореалистического» направления в искусстве между двумя мировыми войнами, получившего название с легкой руки куратора Мангеймского Кунстхалле «новая вещественность». Целью статьи является изучение роли Хартлауба как галериста в осознании перемен, произошедших в немецком искусстве после экспрессионизма, и фиксации их в общественном сознании путем экспонирования произведений остроактуального искусства и их последующего приобретения музеем в свою коллекцию. Статья впервые в русскоязычной литературе освещает предпосылки возникновения интереса к живописи «новой вещественности», историю организации и последующего турне знаменитой выставки 1925 года, рассматривает те проблемы, с которыми столкнулись организаторы, а также внутренние противоречия между участниками и течениями внутри движения. Отдельное внимание уделено судьбе коллекции, разрозненной нацистскими властями.
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Estevez, Lisandra. "The Spanish Golden Age: Painting and Sculpture in the Time of Velázquez. Gemäldegalerie: Staatliche Museen zu Berlin, and Kunsthalle München. Exh. Cat. Munich: Hirmer Verlag, 2016. 336 pp. $49.95." Renaissance Quarterly 71, no. 1 (2018): 250–51. http://dx.doi.org/10.1086/697779.

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Beer, Manuela. "Hiltrud Kier/Frank Günter Zehnder (Hg.): Lust und Verlust. Kölner Sammler zwischen Trikolore und Preußenadler, Katalog zur Ausstellung in der Kölner Kunsthalle vom 24. Oktober 1995 bis 11. Februar 1996." Geschichte in Köln 41, no. 1 (December 1997): 141–43. http://dx.doi.org/10.7788/gik.1997.41.1.141.

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Kuyvenhoven, Fransje. "De aan Hendrik Voogd (1768-1839) toegeschreven tekeningen in de Gallerie dell'Accademia te Venetië Hun herkomst en hun ware auteur: Francesco Londonio." Oud Holland - Quarterly for Dutch Art History 106, no. 1 (1992): 20–31. http://dx.doi.org/10.1163/187501792x00136.

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AbstractIn 1956 Ilaria Toesca published an article in Bolletino d'Arte on a group of 19th-century drawings of North European origin cntitled : 'Alcuni disegni delle gallerie di Venezia. The drawings in question were by the Englishman William Young Ottley and the Dutchmen David Pierre Giottin Humbert de Superville and Hcndrik Voogd. I confine my remarks to the latter, who lived in Rome from 1788 until his death in 1839. The drawings come from the bequest of the Milan art-lover Giuseppe Bossi, with whom Voogd had a good business relationship. Discussing a signed drawing by Voogd, Toesca attributed 21 other drawings to him. The signature on the Venetian sheet is not the only proof of Voogd's authorship. Further evidence is provided by the circumstance that it is a preliminary study for a worked-up wash drawing in Hamburg (Kunsthalle) and also that it was preceded by a sketch in the Amsterdam Historical Museum. The topographical particulars of these three drawings arc discussed here. The attribution of the other 21 drawings is made 'dubitativamente' by Toesca. In my opinion her doubts are justified. Neither stylistically nor technically do they bear a resemblance to the rest of Voogd's oeuvre. The fact that the motifs (landscapes, cattle, studies of trees and plants) do occur in Voogd's work probably led to the attribution. The back of one of the drawings is inscribed 'Londonio'. The sale catalogue of Bossi's bequest (1818) lists both the Voogd drawing and work by Londonio. Francesco Londonio (1723-1783) was a Milan engraver and draughtsman who is chiefly known for his prints. Various print rooms in Europe possess work by him. It appears that the drawings attributed to Voogd are really preliminary studies by Londonio which he used for his oeuvre of prints. Indeed, some of the motifs in a series of etchings in the Rijksprentenkabinet in Amsterdam derive from the Venetian drawings. I therefore conclude that the Gallerie dell'Accademia in Venice own only one (signed) drawing by Hendrik Voogd, purchased by Bossi personally from the artist during his second visit to Rome (1810), and that the name of the true artist - Francesco Londonio - was lost when the sheets were removed from the original collector's albums.
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Muehlstein, Verena. "WHAT CAN YOU DO? THIS IS DRESDEN. Vot ken you mach? Art, Films, Concerts, Lectures, Talks, Comics on Jewish Identities in Europe Today. Kunsthaus Dresden, 1 December 2013 – 5 May 2014." Jewish Quarterly 61, no. 2 (April 3, 2014): 55–57. http://dx.doi.org/10.1080/0449010x.2014.941630.

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Maciuika, John V. "Peter Behrens: Vom Jugendstil zum Industriedesign.Edited by Peter Thomas Föhl and Claus PeseGerman-language exhibition catalogue for the exhibition at the Kunsthalle Erfurt, March 24–June 16, 2013.Weimar: Weimarer Verlagsgesellschaft, 2013.368 pp.; color ills. throughout.€38.00ISBN 9783865396860." West 86th: A Journal of Decorative Arts, Design History, and Material Culture 21, no. 2 (September 2014): 284–86. http://dx.doi.org/10.1086/679989.

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Burmeister, Stefan. "Im Zeichen der Goldenen Greifen: Königsgräber der Skythen. Ausstellung im Martin-Gropius-Bau, Berlin (6 Juli–1 Oktober 2007), Hypo-Kunsthalle, München (26 Oktober 2007–27 Januar 2008), und dem Museum für Kunst und Gewerbe, Hamburg (15 Februar–25 Mai 2008)." European Journal of Archaeology 11, no. 2-3 (2008): 273–76. http://dx.doi.org/10.1179/eja.2008.11.2-3.273.

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Burmeister, S. "Reviews: Exhibition Review: Im Zeichen der Goldenen Greifen: Konigsgraber der Skythen. Ausstellung im Martin-Gropius-Bau, Berlin (6 Juli--1 Oktober 2007), Hypo-Kunsthalle, Munchen (26 Oktober 2007--27 Januar 2008), und dem Museum fur Kunst und Gewerbe, Hamburg (15 Februar--25 Mai 2008)." European Journal of Archaeology 11, no. 2-3 (August 1, 2008): 273–76. http://dx.doi.org/10.1177/14619571080110020803.

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Cermatori, Joseph. "Misled by Nature: Contemporary Art and the Baroque, edited by Catherine Crowston, Josée Drouin-Brisebois, and Jonathan Shaughnessy. National Gallery of Canada: Ottawa, 2012. Riotous Baroque: From Cattelan to Zurbarán — Tributes to Precarious Vitality, edited by Bice Curiger, Carlotta Graedel Matthäi, Franziska Lentzsch. Kunsthaus Zürich and Snoeck Verlagsgesellschaft, Cologne: 2012." PAJ: A Journal of Performance and Art 37, no. 3 (September 2015): 134–35. http://dx.doi.org/10.1162/pajj_r_00286.

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Gardner, K. B. "Japanische Handschriften und traditionelle Drucke aus der Zeit vor 1868 in Bonn, Japanologisches Seminar der Universität; Bremen, Kunsthalle Bremen, Übersee-Museum; Hamburg, Museum für Kunst und Gewerbe Hamburg, Hamburgisches Museum für Völkerkunde; Köln, Museum für Ostasiatische Kunst. Beschrieben von Eva Kraft. (Verzeichnis der Orientalischen Handschriften in Deutschland Bd. XXVII, 3.) pp. xxiii, 341, 15 pl. Stuttgart, Franz Steiner Verlag, Wiesbaden GMBH, 1988. DM 220." Journal of the Royal Asiatic Society of Great Britain & Ireland 122, no. 1 (January 1990): 213–15. http://dx.doi.org/10.1017/s0035869x00108469.

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Wild, David. "Albers and Moholy-Nagy: from the Bauhaus to the New World Exhibition at Tate Modern, London, 9 March – 4 June 2006, Kunsthalle, Bielefeld, 25 June – 1 October 2006, Whitney Museum, New York, 2 November 2006 – 21 January 2007 Catalogue by Achim Borchardt-Hume, Hal Foster et al Tate Publishing, London, 2006 192 pp., 180 illus. ISBN 1-85437-691-8, £35.00 (hb) ISBN 1-85437-638-1, £24.99 (pb)." arq: Architectural Research Quarterly 9, no. 3-4 (September 2005): 297. http://dx.doi.org/10.1017/s1359135505210357.

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Ostrowski, Kasper. "Song Dongs’s Exhibition ‘Collaborations’, 01.09-31.10.2017, Kunsthal Aarhus, Denmark." Science & Technology Studies, November 12, 2018, 130–35. http://dx.doi.org/10.23987/sts.76339.

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In the fall of 2017 Kunsthal Aarhus presented the first “solo” exhibition in Denmark by the contemporary Chinese artist Song Dong. The non-monographic exhibition was entitled Collaborations – hence the quotation marks – and focused on collaborative forms. The title of the exhibition accentuates Song’s strong interest in artistic collaborations – often involving members of his own family. On display was both some of the artist’s best-known works and new creations. Song’s work often focuses on family relations and geopolitics. They have a powerful way of expressing the effects of radical change and social transformation on members of his own family. He strives to combine the past and the present, the personal and the universal, the poetic and the political. Collaboratively. In Kunsthal Aarhus each gallery was dedicated to one chapter of Song Dong’s artistic practice and collaborations, offering an overview of his diverse practice that embraces performance, installation, video and photography.
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Kempf, Jean. "A propos de deux expositions au Kunsthal, Rotterdam." Transatlantica, no. 2 (December 27, 2009). http://dx.doi.org/10.4000/transatlantica.4620.

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Shvartzberg, Manuel. "Mythopoetics of the Kunsthalle." Architecture_MPS, October 1, 2012. http://dx.doi.org/10.14324/111.444.amps.2012v1i2.001.

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In the midst of an architectural landscape replete with empty discourses on technology, environmentalism, and fetishistic spectacles, is there space for an architecture that holds on to the idealistic values of modernity? Is there space for an architecture that has not succumbed to the flattening logic of the market, indistinctly banalizing space either as utilitarian infrastructure or as propagandistic theme park? In other words, is it still possible to construct an architecture underpinned by what we might call ‘humanist’ values: universality, egalitarianism, and civility – a civic architecture – in the face of a post-humanist critique? Can ‘the civic’ be encapsulated and activated by a building? In this article we will trace two different approaches for addressing this specific question by looking at a typology, the ‘Kunsthalle,’ through the prism of two buildings: Turner Contemporary, UK, and Kunsthaus Graz, Austria. Through this comparison we will examine the Kunsthalle as a typology articulating social ideas through seemingly opposing architectural forms, but, more importantly, we will question whether its underlying ideas and principles could be applicable to the practice of architecture itself. In such a hypothetical scenario we will suggest that the Kunsthalle could be viewed as more than a typology; it could be viewed as a conceptual model conveying the fundamental instability of ‘the civic,’ and thus challenge architectural culture – its normative forms of subjectivity and attendant social relations – from within.
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"hand - handlos - kunsthand." Handchirurgie · Mikrochirurgie · Plastische Chirurgie 40, no. 1 (February 2008): 2–3. http://dx.doi.org/10.1055/s-2008-1038359.

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"Neubau der Kunsthalle Portikus." Mauerwerk 10, no. 5 (October 2006): NA. http://dx.doi.org/10.1002/dama.200690064.

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"Neubau für Kunsthalle Portikus." Mauerwerk 10, no. 5 (October 2006): 223–24. http://dx.doi.org/10.1002/dama.200690070.

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"Second Skin — Kunsthaut imitiert natürliche Eigenschaften." ästhetische dermatologie & kosmetologie 8, no. 4 (August 2016): 20–21. http://dx.doi.org/10.1007/s12634-016-5301-2.

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Volkland, Anna. "Kunstrealität im abgesicherten Modus. Das ›feature theatre piece‹ TO BREAK – The Window of Opportunity von Robbert&Frank/Frank&Robbert." itw : im dialog 2 (January 17, 2017). http://dx.doi.org/10.16905/itwid.2016.14.

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Die beiden jungen, miteinander seit zehn Jahren befreundeten Belgier Frank Merkx und Robbert Goyvaerts alias Robbert&Frank/Frank&Robbert sind keine Theatermacher, aber sie erforschen am Theater- und Kunsthaus CAMPO in Gent genau das: Theater(machen), anders als gewohnt. Der auf der Homepage des Duos auftauchende Begriff ›feature theatre‹ – in diesem Fall sicher treffend übersetzbar mit dem eher anachronistisch anmutenden ›Zeige- und Schau-Theater‹ – bezeichnet somit für ihre aktuelle Arbeit TO BREAK – The Window of Opportunity (2014) Wesentliches.
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