31.5.10

Visual Arts Discussed in Islamabad

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"Pak-German visual arts discussed," Daily Times, Pakistan, 27.5.2010

ISLAMABAD: One-day seminar under the auspices of Quaid-i-Azam University’s (QAU) National Institute of Pakistan Studies (NIPS) [and the German Embassy in Islamabad] was held here on Wednesday.
[...] Argentinean painter and art historian Mariano Akerman presented pictorial images of [...] German architecture, art and d[esign] at the seminar titled ‘Pak-German Visual Arts’. [Corrigendum. "The German Contribution to the Modern Visual Arts, 1500-1933," as the brochure states, while Pakistani were of course most of the participants].
[Surprisingly, this note says nothing about the twenty artworks by German creators discussed by Mariano Akerman during the presentation. Nor does the note explain anything about the lecturer's approach, which was highly prized by an audience listening to him attentively during some 75 or 80 minutes and under the steady pressure of 44°C in Islamabad that day].
Speaking on the occasion, Akerman said [among very many other things] that much of western modern art and architecture was [partly] inspired by [...] German [design]. “In fact, [modern design ...] has [some of] its [main] roots in [...] German art and architecture,” he added.
Participants of the seminar mostly students and professors pointed out [as a matter of fact discovered] common features between the Pakistani and German architecture [and industrial design]. [... They] were also [... concerned with] the resistance [some of] the German artists offered to the totalitarian regime of Hitler. [Neither Nazi propaganda nor its impact on German history were discussed during Akerman's presentation, yet the lecturer shared some of his knowledge on the topic when asked about them. But Akerman also spoke of the achievements of those artists the Nazis branded as "degenerate, inferior and undesirable" and even referred to the postwar decades of oblivion and remembrance. After the lecture, some of the participants approached the lecturer and warmly thanked him for "bridging cultures"].


The German Contribution to the Modern Visual Arts, 1500-1933
Quaid-i-Azam University, Islambad
May 26th, 2010
90 minutes
45 participants
Artists and architects whose work was discussed by Mariano Akerman during the event: Albrecht Dürer, Johann Heinrich Keller, Karl Friedrich Schinkel, Caspar David Friedrich, Karl Eduard Biermann, Max Liebermann, Max Laueger, Ephraim Moses Lilien, Ernst Ludwig Kirchner, Karl Schmidt-Rottluff, Franz Marc, Wassily Kandinsky, Kurt Schwitters, Max Ernst, Meret Oppenheim, Walter Gropius, Marcel Breuer, Ludwig Mies van der Rohe.
The activity at Quaid-i-Azam University is part of Akerman's series of lectures on German Art, which are developed in Pakistan thanks to the support of the German Embassy in Islamabad. See also "German Art" (5.5.2010) and "Lecture Series on German Art" (14.5.2010).

29.5.10

Alemania y las Artes Visuales

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Disertante argentino presenta en Islamabad y Rawalpindi, Pakistán, ciclo de cinco conferencias en inglés dedicadas a explorar la contribución alemana a las artes visuales desde el Renacimiento y hasta más allá de la Segunda Guerra Mundial.



EL ARTISTA, LA MODERNIDAD Y LA SOCIEDAD ALEMANA
La contribución de los artistas alemanes y sus colegas trabajando en Alemania incluye el desarrollo del grabado como un medio artístico por su propio derecho (Alberto Durero), inesperadas formulaciones de lo Grotesco (categoría estética), la aproximación subjetiva del Romanticismo enlazando a lo visible con lo espiritual (Caspar David Friedrich), incursiones en el Impresionismo (Max Liebermann), el Modernismo (Laeuger y E.M. Lilien), y el Primitivismo (Ernst Ludwig Kirchner y Karl Schmidt-Rottluff), la simplificación de la imagen que alcanza la abstracción (Franz Marc y Wassily Kandinsky), la crítica de la burguesía y las resultas de la Primera Guerra Mundial (Georg Grosz y Otto Dix), el interés por el absurdo y el por componente aparentemente irracional de los sueños (Kurt Schwitters, Max Ernst, Meret Oppenheim), y la lógica propuesta de la Bauhaus, con su amalgama de artes y oficios a fin de proveer arquetipos normativos para la industria (Walter Gropius, Breuer, Mies Van der Rohe).



En el arte alemán problemático es el impacto del totalitarismo, resistido por algunos artistas (John Heartfield, Käthe Kollwitz, Andreas Paul Weber), evitado luego mediante la abstracción (Hans Hartung) pero finalmente reconsiderado por el Neo-simbolismo (Anselm Kiefer).
Mariano Akerman explora éstos y otros aspectos considerando el contexto histórico de un conjunto de obras selectas. Su aproximación revela la gran diversidad y profundos contenidos del arte alemán.



CICLO DE CONFERENCIAS1. Arte alemán: sus particularidades y transformaciones (German Art: Its Peculiarities and Transformations. Embajada de la República Federal de Alemania, Islamabad
2. El artista, la modernidad y la sociedad alemana: entre la crítica y la aprobación (The Artist, Modernity and German Society: Between Criticism and Approval), Escuela Superior de Bellas Artes (National College of Arts), Rawalpindi
3. La contribución alemana a las artes visuales modernas, 1500-1933 (The German Contribution to the Modern Visual Arts, 1500-1933), Universidad Quaid-e-Azam (Quaid-e-Azam University), Islambad
4. Realidad e imaginación en las artes visuales de Alemania (Reality and Imagination in the Visual Arts of Germany), Universidad de Fatima Jinnah (Fatima Jinnah Women University), Rawalpindi
5. Historia del arte: el caso alemán (Art History: The German Case).



Referencias


Islamabad, Embajada de la República Federal de Alemania, German Art, Its Peculiarities and Transformations - A Series of Lectures by Mariano Akerman, 12 de mayo de 2010. Catálogo.


Hayatt, Ishrat. "Lectures Series on German Art," International The News, Pakistán, 14 de mayo de 2010, City News, p. 20. Enlace incluye traducción castellana del artículo.


Dauth, Andreas. "Deutsche Kunst ihre Wandlungen und ihre Besonderheiten. Eine Vorlesungsreihe von Mariano Akerman," Botschaft der Bundesrepublik Deutschland, Islamabad, 28 de mayo de 2010. Sitio oficial de la embajada de Alemania en Islamabad, incluye versión inglesa, y pdf del catálogo oficial, 28.5.2010 - PDF del Programa

Conferencias e instituciones
1. German Art: Its Peculiarities and Transformations
Embassy of the Federal Republic of Germany, Islamabad
2. The Artist, Modernity and German Society: Between Criticism and Approval
National College of Arts, Rawalpindi
3. The German Contribution to the Modern Visual Arts, 1500 to 1933
Quaid-i-Azam University, Islamabad
4. Reality and Imagination in the Visual Arts of Germany
Fatima Jinnah Women University, Rawalpindi
5. Art History: The German Case
Islamabad College for Girls, Islamabad

28.5.10

Deutsche Kunst von Mariano Akerman

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Deutsche Kunst - ihre Wandlungen und ihre Besonderheiten
Eine Vorlesungsreihe von Mariano Akerman

Der Beitrag deutscher Künstler und ihrer Kollegen, die in Deutschland gearbeitet haben, umspannt den Druck als künstlerisches Ausdrucksmittel (Albrecht Dürer), herausragende Abfassungen über das Groteske (als ästhetische Kategorie), der subjektive Ansatz der Romantik, der das Sichtbare und das Spirituelle miteinbezieht (Caspar David Friedrich), Einfälle des Impressionismus (Max Liebermann) und der Jugendstil (Läuger und Ephraim Lilien), die Verknüpfung des Primitivismus mit der Seele (Ernst Ludwig Kirchner und Karl Schmidt-Rotluff), die Simplifizierung des Bildes, die zur Abstraktion der Kunst des 20-ten Jahrhunderts führte (Franz Marc und Wassily Kandinsky), scharfe Kritik an der Bourgeoisie und an den Nachwirkungen des 1. Weltkrieges (Georg Grosz und Otto Dix), die Erkundung des Absurden und dem offensichtlich irrationalen Wesen der Träume (Kurt Schwitters, Max Ernst, Meret Oppenheim) und eine konsequente Verschmelzung der Kunst und des Kunsthandwerkes, um der Industrie normative Modelle zu liefern, wie sie im Bauhaus-Stil entwickelt wurden (Walter Gropius und Mies van der Rohe).
Umstritten ist der Einfluss des Totalitarismus auf die deutsche Kunst. Trotzdem gibt es brilliante Beiträge deutscher Künstler während des 2. Weltkrieges und der Nachkriegszeit, wie etwa Hans Hartung und Anselm Kiefer.

Mariano Akerman geht diesen Aspekten in seinen Vorlesungen nach, indem er den historischen Kontekt ausgewählter Meisterwerke darstellt. Insgesamt ist es das Ziel Akermans aufzuzeigen, wie vielseitig und bedeutsam deutsche Kunst ist.



Mariano Akerman - Maler und Kunsthistoriker

In Buenos Aires 1963 geboren, studierte Mariano Akerman an der "School of Architecture of Universidad de Belgrano" (Argentinien). Für seine Abschlussarbeit zum Thema "Limits and Space in Modern Architecture" (1987) wurde Akerman ausgezeichnet. Seit 1991 lebt er im Ausland und erforschte die Gemälde von Francis Bacon und die Architekturprojekte von Louis Kahn.

Bei seinen Aufenthalten in Asien entwickelte Akerman die Konferenzreihen "In the Spirit of Linnaeus" (2007), "Discovering Belgian Art and Raisons d’être: Art, Freedom and Modernity" (2008-10) und "German Art" (2010).

Akerman hat sich auf visuelle Kommunikation spezialisiert und ist ein erfahrener Pädagoge. Er hielt Vorlesungen über moderne Kunst bei renommierten Institutionen wie dem "Museo Nacional de Bellas Artes" in Buenos Aires, dem "National Museum of the Philippines" in Manila, der "University of Modern Languages" in Islamabad und dem "National College of Arts and Beaconhouse University" in Lahore.

Mariano Akerman ist selbst praktizierender Maler und stellt seine Bilder, Zeichnungen und Kollagen seit 1979 aus. Er wurde mit mindestens 12 internationalen Kunstpreisen ausgezeichnet und seine Werke sind u.a. im "Musée National d’Art Moderne", "Centre Georges Pompidou", in Paris, und beim "Statenkonstråd" (National Public Art Council of Sweden) in Stockholm ausgestellt.



Andreas Dauth, "Deutsche Kunst ihre Wandlungen und ihre Besonderheiten. Eine Vorlesungsreihe von Mariano Akerman," Botschaft der Bundesrepublik Deutschland, Islamabad, Mai 2010. Kulturelle Beziehungen, Lesungen zur Deutschen Kunst (27.5.2010). Brochure (pdf 4,781.47k).



English version


German Art: Its Peculiarities and Transformations
A Series of Lectures by Mariano Akerman



Mariano Akerman - Painter and Art Historian


Source: "German Art Lectures," The German Embassy, Islamabad, 28 May 2010, Education.

German Embassy Site, 28.5.2010

. Deutschen Botschaft, Islamabad

.German Embassy, Islamabad

Lectures and venues
1. "German Art: Its Peculiarities and Transformations"
Embassy of the Federal Republic of Germany, Islamabad
2. "The Artist, Modernity and German Society: Between Criticism and Approval"
National College of Arts, Rawalpindi
3. "The German Contribution to the Modern Visual Arts, 1500 to 1933"
Quaid-i-Azam University, Islamabad
4. "Reality and Imagination in the Visual Arts of Germany"
Fatima Jinnah Women University, Rawalpindi
5. "Art History: The German Case"
Islamabad College for Girls, Islamabad

27.5.10

A Bicentennial Celebration: Art from Argentina

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Ernesto de la Cárcova, Out of Bread and With No Work, oil, 1892-3. Museo Nacional de Bellas Artes, Buenos Aires

May 25th, 1810, is the date that marks the first step toward an independent Argentina. Aiming to celebrate the bicentennial of that crucial moment, Mariano Akerman presented today [25.5.2010] a lecture titled "ART FROM ARGENTINA" at the International School of Islamabad (ISOI). Temperatures rising above 47 degrees Celsius in the Pakistani capital did not stop the planned activity nor the presence and participation of some 65 students of diverse origin, who were "very much interested" in "learning something" about the land of gauchos and tango.
The meeting included a brief reference on Argentina as a country: geography, history, facts and figures. Akerman presented some examples of Argentinean Art belonging to the Pre-Columbian, Colonial, Independent and Modern Periods. Among them, a piece of pottery from the Aguada Culture, Archangel Salamiel (Follower of the Calamarca Master, 17th century), Out of Berad and Without Work (Ernesto de la Cárcova, 1892-3) y Geometry (Juan Battle Planas, c. 1960) captivated the audience.
Akerman spoke about his early experiencies with the art of painting, which he discovered in the studio of his aunt Elisa Akerman in Buenos Aires c. 1965. This was corroborated thanks to a photograph of the atelier "Piruetas" (Stunts), where they both can be seen surrounded by surreal compositions technically known as automatisms. Along the sixties Elisa practiced and taught such a technique, which she in turn had learnt from her teacher, Battle Planas.
A need to transform reality led Mariano Akerman "to correct" a reproduction The English Girl (Henri Matisse, 1947), simplified image with no facial treats, although these were finally delineated by Mariano as he was a child: eyes, nose and mouth, without forgetting a pair of profuse eyebrows.
During a segment devoted to his works developed in Argentina between c. 1967 y 1991, Akerman spoke about the persistent presence of the Imaginary in his early imagery: "The artists of the Imaginary dream about a world that isn't this physical one surrounding us," he said. Akerman talked about seven of his works and established a parallel between the art of writing a poem and the art of painting a picture. "As words are to a poem, so are forms to the picture," he explained.


Beauty and the Beast (Akerman, 1986). An image explored by the students, who discovered analogies and differences at the time of recalling its literary source.


Beauty and the Beast, illustration by Walter Crane (1874).

As students attempted to describe or to name the various figures that characterize Mariano Akerman's early imagery, they soon found some considerable difficulty, inasmuch as Akerman's imagery has almost nothing to do with that of an illustrator. Indeed, the early imagery of Mariano Akerman involves certain designed ambiguity (both-an phenomenon in the visual arts) which can stimulate the imagination of the viewer and may even offer him new associative possibilities.


Three Figures before a Window (Akerman, 1989) is an image presenting points in common but also differences as one considers The Cheshire Cat, Alice and Humpty Dumpty, Lewis Carroll's famous characters (Alice's Adventures in Wonderland, 1865; Through the Looking-Glass, 1871).


Carroll's characters illustrated by John Tenniel, Arthur Rackham, and William Wallace Denslow.

25.5.10

Celebrando el Bicentenario de Argentina

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Akerman, El cielo enrulado, composición digital, Ultramar 2005 © MAC

El 25 de Mayo de 1810 es la fecha que marca el primer paso hacia la independencia de La Argentina como nación soberana. Con motivo de celebrar el bicentenario de esa crucial jornada, Mariano Akerman presentó hoy en la Escuela Internacional de Islamabad (ISOI) una conferencia titulada "ARTE DE ARGENTINA." Los 47 grados de temperatura propios de esta jornada en plena temporada estival en la capital pakistaní no impidieron la asistencia y participación de unos 65 alumnos de diferentes nacionalidades, quienes se mostraron "muy interesados" en "aprender algo" acerca del país de San Martín y Belgrano.
El encuentro incluyó una breve reseña acerca de la Argentina, su geografia, historia y demografía. Akerman introdujo seguidamente algunos ejemplos del Arte Argentino pertenecientes a los períodos Precolombino, Colonial, Emancipador y Moderno. Entre ellos gran interés despertaron un vaso zoomorfo de la Cultura Aguada (Noroeste argentino), el Arcángel Salamiel (Seguidor del Maestro de Calamarca, siglo XVII), Sin pan y sin trabajo (Ernesto de la Cárcova, 1892-3) y Geometría (Juan Battle Planas, c. 1950).


Ernesto de la Cárcova, Sin pan y sin trabajo, óleo, 1892-3. Museo Nacional de Bellas Artes, Buenos Aires

Akerman se refirió también a su temprano encuentro con el arte de la pintura, al que descubrió en el taller de su tía Elisa Akerman en Buenos Aires alrededor de 1965. Ello fue corroborado gracias a una fotografía del taller "Piruetas" en la que ambos aparecen rodeados por surreales automatismos practicados entonces por Elisa, quien a su vez los conoció a través de su maestro, Battle Planas (1911-1963).
La necesidad de transformar la realidad, llevó a Mariano Akerman a corregir una reproducción de La joven inglesa (Henri Matisse, 1947), imagen sintética y carente de rasgos faciales a la que el entonces infante Mariano no titubeó en dibujarle los ojos, nariz y boca, sin olvidar sus profusas cejas.
En un segmento dedicado a sus trabajos producidos en Argentina entre c. 1967 y 1991, Akerman habló acerca de la constante presencia de lo Imaginario en su obra temprana: "Los artistas de lo Imaginario sueñan con un mundo que no este mundo físico que nos rodea," dijo. Acto seguido Akerman se refirió siete de sus obras estableciendo un paralelismo entre el arte de escribir un poema y el arte de pintar un cuadro. "Las formas son a la pintura lo que las palabras al poema," observó.


La bella y la bestia (Akerman, 1986). Obra explorada por los alumnos, quienes descubrieron analogías y diferencias respecto al célebre cuento de hadas.


La bella y la bestia, ilustración de Walter Crane (1874).

Los alumnos por su parte intentaron describir y nombrar las distintas figuras que caracterizan a la obra temprana de Akerman, pero pronto comprendieron que la tarea no era sencilla, ya que la imaginería del pintor poco y nada tiene que ver con aquella de un ilustrador. En efecto, la imaginería temprana de Akerman presenta cierta diseñada ambigüedad (fenómeno lo uno y lo otro en las artes visuales) capaz de estimular la imaginación de quien la percibe y ofrecerle además nuevas posibilidades asociativas.


Tres a la ventana (Akerman, 1989) es una imagen que presenta puntos en común pero también diferencias respecto al Gato de Cheshire, Alicia y Humpty Dumpty, célebres personajes de Lewis Carroll (Alicia en el país de las maravillas, 1865; A través del espejo, 1871). Referencia acerca del huevo antropomórfico.


Los mencionados personajes de Carroll (ilustrados por John Tenniel, Arthur Rackham, y William Wallace Denslow).

21.5.10

German Art, Lectures by Mariano Akerman

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German Art: Its Peculiarities and Transformations
Embassy of the Federal Republic of Germany, Islamabad
May 12th, 2010
180 minutes
75 guests
Artworks by Albrecht Dürer, Johann Heinrich Keller, Karl Friedrich Schinkel, Caspar David Friedrich, Karl Eduard Biermann, Max Liebermann, Max Laueger, Ephraim Moses Lilien, Ernst Ludwig Kirchner, Karl Schmidt-Rottluff, Franz Marc, Wassily Kandinsky, Otto Dix, George Grosz, Kurt Schwitters, Max Ernst, Meret Oppenheim, Walter Gropius, Marcel Breuer, Ludwig Mies van der Rohe, Otto Freundlich, Georg Kolbe, Max Beckmann, Karl Schwesig, John Heartfield (Helmut Herzfeld), Käthe Kollwitz, Andreas Paul Weber, Hans Hartung, Anselm Kiefer.


The Artist, Modernity and German Society: Between Criticism and Approval
National College of Arts, Rawalpindi
May 21st, 2010
90 minutes
45 students
Artworks by Albrecht Dürer, Christoph Jamnitzer, Friedrich Unteutsch, Johann Heinrich Keller, Karl Friedrich Schinkel, Caspar David Friedrich, Karl Eduard Biermann, Max Liebermann, Max Laueger, Thomas Theodor Heine, Lovis Corith, Ernst Ludwig Kirchner, Karl Schmidt-Rottluff, Franz Marc, Wassily Kandinsky, Kurt Schwitters, Max Ernst, Hans Arp, Meret Oppenheim, Walter Gropius, Marcel Breuer, Ludwig Mies van der Rohe.


The German Contribution to the Modern Visual Arts, 1500-1933
Quaid-e-Azam University, Islambad
May 26th, 2010
90 minutes
45 students
Artworks by Albrecht Dürer, Johann Heinrich Keller, Karl Friedrich Schinkel, Caspar David Friedrich, Karl Eduard Biermann, Max Liebermann, Max Laueger, Ephraim Moses Lilien, Ernst Ludwig Kirchner, Karl Schmidt-Rottluff, Franz Marc, Wassily Kandinsky, Kurt Schwitters, Max Ernst, Meret Oppenheim, Walter Gropius, Marcel Breuer, Ludwig Mies van der Rohe.


Reality and Imagination in the Visual Arts of Germany
Fatima Jinnah Women University, Rawalpindi
May 28th, 2010
90 minutes
70 students
Artworks by Albrecht Dürer, Friedrich Unteutsch, Gottlieb Lebercht Crusius, Caspar David Friedrich, Max Liebermann, Lovis Corinth, Ernst Ludwig Kirchner, Karl Schmidt-Rottluff, Franz Marc, Otto Dix, Meret Oppenheim, Paul Klee, John Heartfield (Helmut Herzfeld), Andreas Paul Weber, Hans Hartung, Anselm Kiefer.


Art History: The German Case
Islamabad College for Girls
June 3rd, 2010
115 minutes
50 students
Artworks by Ottonian School, Albrecht Dürer, Caspar David Friedrich, Karl Eduard Biermann, Max Liebermann, Max Laueger, Ephraim Moses Lilien, Ernst Ludwig Kirchner, Karl Schmidt-Rottluff, Franz Marc, Otto Dix, Kurt Schwitters, Meret Oppenheim, Bauhaus School, Georg Kolbe, Karl Schwesig, Käthe Kollwitz, John Heartfield (Helmut Herzfeld), Max Beckmann, Andreas Paul Weber, Hans Hartung, Anselm Kiefer.

References
1. Islamabad, The German Embassy, German Art. Its Peculiarities and Transformations, first lecture brochure, May 2010.
2. Ishrat Hayatt, "Lectures Series on German Art," International The News, Pakistan, 14 May 2010, City News, p. 20.
3. Islamabad, The German Embassy, German Art. Its Peculiarities and Transformations, four lectures brochure, May 2010.
4. "Pak-German Visual Arts Discussed," Daily Times, Pakistan, 27 May 2010
5. Andreas Dauth, "Deutsche Kunst ihre Wandlungen und ihre Besonderheiten. Eine Vorlesungsreihe von Mariano Akerman," Botschaft der Bundesrepublik Deutschland, Islamabad, Mai 2010; "German Art, Its Peculiarities and Transformations - A Series of Lectures by Mariano Akerman," The German Embassy, Islamabad, 28 May 2010, Education.
6. Islamabad, Islamabad College for Girls, Art History: The German Case, A Lecture by Mariano Akerman, fifth lecture brochure, June 2010.


Brochure - German Embassy, Islamabad, May 12, 2010 - PDF


p. 1r - Islamabad, Embassy of the Federal Republic of Germany, German Art: Its Peculiarities and Transformations, A Lecture by Mariano Akerman, May 12, 2010


p. 1v - Mariano Akerman, Painter and Art Historian • Maler und Kunsthistoriker


p. 2r - German Art, Its Peculiarities and Transformations, abstract


p. 2v - Citations and German Technical Terms, with English translation.

German Art - Its Peculiarities and Transformations. A series of lectures by Mariano Akerman
The contribution of German artists and their colleagues working in Germany encompasses the development of the print as an artistic means in its own right (Albrecht Dürer), outstanding formulations concerning the Grotesque (aesthetical category), the subjective approach of Romanticism, fusing the visible with the spiritual (Caspar David Friedrich), incursions in Impressionism (Max Liebermann) and Jugendstil (Max Laeuger and Ephraim Moses Lilien), the conjunction of Primitivism and the Soul (Ernst Ludwig Kirchner and Karl Schmidt-Rotluff), the simplification of the image leading to abstraction in 20th century art (Franz Marc and Wassily Kandinsky), sharp criticism of the bourgeoisie and the aftermath of WWI (Otto Dix and Georg Grosz), the exploration of the absurd and the apparently irrational nature of dreams (Kurt Schwitters, Max Ernst, Meret Oppenheim), and a logical amalgamation of the arts and crafts to supply normative archetypes to the industry as developed in the Bauhaus (Walter Gropius and Mies van der Rohe).
Problematic is the effect of totalitarianism on German Art, while luminous are the contributions of a number of German independent artists during WWII (Kollwitz, Heartfield, Weber) and other post-war painters such as and Anselm Kiefer.



Along the conferences, Mariano Akerman explores these and several other aspects of modern art while considering the historical context of a select group of German masterpieces. As a whole, Akerman’s collection of images underlines how diverse and meaningful German Art is.



Mariano Akerman - Artist and Historian
Born in Buenos Aires, Akerman studied at the School of Architecture of Universidad de Belgrano (Argentina), completing his education with a prized graduation project on the limits and space in modern architecture (1987).
Abroad from 1991, he received a full British Council Grant and researched the visual imagery of Francis Bacon (1995) and the architectural projects of Louis I. Kahn (1997). A professional art historian (Suma cum Laude, 1999), he contributes regularly to Knol and the Encyclopédie Larousse since 2009.
In Asia, Akerman developed the educational series of lectures From Van Eyck to Magritte (2005), Arte Argentino (2006), In the Spirit of Linnaeus (2007), Raisons d’être—Art, Freedom and Modernity (2008-10), and German Art (2010; review by Ishrat Hyatt).
Specializing in visual communication, architect and art historian Mariano Akerman is an experienced educator. He gives lectures at renowned institutions such as Museo Nacional de Bellas Artes in Argentina, the National Museum of the Philippines and the National College of Arts in Lahore. Only in Pakistan, he has given more than twenty lectures ad honorem (Islamabad, Rawalpindi, Lahore and Karachi, 2008-10).
An artist himself, Akerman exhibits his paintings and collages since 1979 onwards. He has received more than twelve major international prizes.




Andreas Dauth, German Art: Its Peculiarties and Transformations - A Series of Lectures by Mariano Akerman, Embassy of the Federal Republic of Germany, Islamabad, 2010. - PDF



Lectures and venues
1. "German Art: Its Peculiarities and Transformations"
Embassy of the Federal Republic of Germany, Islamabad
2. "The Artist, Modernity and German Society: Between Criticism and Approval"
National College of Arts, Rawalpindi
3. "The German Contribution to the Modern Visual Arts, 1500 to 1933"
Quaid-i-Azam University, Islamabad
4. "Reality and Imagination in the Visual Arts of Germany"
Fatima Jinnah Women University, Rawalpindi
5. "Art History: The German Case"
Islamabad College for Girls, Islamabad

20.5.10

Cultural Argentina 200

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ARTE ARGENTINO EN CONTEXTO

Para conmemorar el Bicentenario de la Gesta de Mayo o primer movimiento hacia una Argentina como país independiente, Mariano Akerman dió una conferencia en Islamabad ayer por la noche. A Arte de Argentina: Sus Formas y Significados Puestos en Contexto asistieron entusiastas y amantes del arte provenientes de de Pakistán, Espana, México, Canadá, Estados Unidos, Francia, Bélgica, Inglaterra, Suiza, Rusia y Nueva Zelanda.

Mariano Akerman presentó obras del arte argentino a partir del período precolombino y más allá del arte moderno: el "Pensador" de la cultura condorhuasi, un manuscrito del tiempo en que los españoles se establecieron en América (siglo XVI), pinturas coloniales tales como un Arcángel arcabucero de la Escuela del Maestro de Calamarca (Salamiel Pax Dei, siglo XVII) y un grupo mixto, y compuesta por español, nativa e hijo mestizo (siglo XVIII). El desarrollo de las artes visuales de Argentina como país independiente estuvo representado por obras de C.E. Pellegrini (Fiestas Mayas, 1835), Ignacio Manzoni (El Asado, c. 1880), Cándido López (Vista del Interior, 1891), Ernesto de la Cárcova (Sin pan y sin trabajo, 1892-3; Naturaleza muerta en silencio, 1926), Lucio Correa Morales (La Primavera, 1880), Valentín Thibón de Libián (Plaza Colegiales, c. 1912-14), Lino Eneas Spilimbergo (Paisaje of San Juan, 1929), Emilio Petorutti (Sol argentino o Intimidad, 1941), Alejandro Xul Solar (Una pareja, 1923), Juan Battle Planas (Geometría), Gambartes (Conjuro), Lucio Fontana (Concepto espacial, 1966), Ricardo Carpani (Espartaco), Carlos Alonso (Juguete rabioso, 1967), and Alfredo Genovese (Filete porteño, 1997).



Luego Akerman habló acerca de su producción plástica interpretando nueve de sus trabajos elaborados en Argentina: Nada de bésame mucho (1979), Interacción Arte-Arquitectura (1984), Templo de Inclusión (1988), La incompleta (1986), De la importancia de lo auténtico (1988), Homenaje a la Revolución Francesa (1989), Un giro moderno en mi sobriedad o El pasado descompuesto (c. 1989-90), Cómo te quiero (1989), y Automatismo ("Para la libertad," 1990).

El encuentro fue seguido por cena a la criolla para todos.



ARGENTINEAN ART IN CONTEXT

To mark the Bicenntenial Anniversary of Argentina, Mariano Akerman gave an art-appreciation lecture, with slides, refreshments and a buffet yesterday evening in Islamabad. The title of the conference was Art from Argentina: Its Shapes and Meaning in Context. A group of art-lovers from Pakistan, Spain, Mexico, Canada, USA, France, Belgium, UK, Switzerland, Russia, and New Zealand attended the event.

Mariano Akerman described and put in context Argentinean artworks from the Pre-columbian times onwards. Explored were the famous Condorhuasi "Thinker," a rare manuscript from the time the Spaniards established themselves in America (16th century), Colonial paintings such as an Archangel from the School of the renowned Calamarca Master (Salamiel Pax Dei, 17th century) and a mixed family encompassing a Spaniard, an indigenous woman, and their offspring, a mestizo child (18th century). The development in the visual arts of Argentina as an independent country was represented by the work of C.E. Pellegrini (May Celebrations, 1835), Ignacio Manzoni (Barbacue, c. 1880), Cándido López (Interior View, 1891), Ernesto de la Cárcova (Out of Bread and Without Work, 1892-3; Still Life in Silence, 1926), Lucio Correa Morales (The Spring, 1880), Valentín Thibón de Libián (Colegiales Square, c. 1912-14), Lino Eneas Spilimbergo (Landscape of San Juan, 1929), Emilio Petorutti (Argentinean Sun or Intimacy, 1941), Alejandro Xul Solar (A Couple, 1923), Juan Battle Planas (Geometry), Gambartes (Invocation), Lucio Fontana (Spatial Concept, 1966), Ricardo Carpani (Spartacus), Carlos Alonso (Mad Toy, 1967), and Alfredo Genovese (Filete Composition, 1997).



Immediately afterwards Akerman talked about his own artistic output. He referred to nine of his works, all developed in Argentina: Nothing of Kissing Me a Lot (1979), Interplay Art-Architecture (1984), Inclusion Temple (1988), The Incomplete (1986), Of the Importance of the Authentic (1988), Homage to the French Revolution (1989), A Modern Twist in My Sobriety or The Past Decomposed (c. 1989-90), The Way I love You (1989), and Automatism (To Liberty, 1990).

The presentation was followed by non-alcoholic drinks and a home-made meal.