CIHA 2016 in Beijing
34th World Congress of Art HistoryAbout History Press Release Sessions Schedule Activities Participants Venue Discussion Registration Closed
Sessions Download PDF
Session 2 The Rank of Art
Session 3 Imagination and Projection
Session 4 Appreciation and Utility
Session 5 Self-Awareness or Self-Affirmation
Session 6 Politics of Identity: Tradition and Origin
Session 7 Translation and Change
Session 8 Art and Taboo
Session 9 Autonomy and Elusion
Session 10 Gendered Practices
Session 11 Landscape and Spectacle
Session 12 Garden and Courtyard
Session 13 Transmission and Adoption
Session 14 The Other and the Foreign: Contact, Curiosity, and Creative Exchange
Session 15 Creative Misunderstanding
Session 16 Commodity and Market
Session 17 Display
Session 18 Media and Visuality
Session 19 History of Beauty vs. History of Art
Session 20 Professional Education and Aesthetic Education
Session 21 Connecting Art Histories and World Art
GAIOTTO MIYOSHI, Alexander
Tendencies of the Modern Sculpture: authenticity and elusion in a guillotined book of art history
Authenticity and Elusion
MARTINEZ, Felipe Sevilhano
The Attribution of the Still Life with Vase, Plate and Flowers by Vincent Van Gogh
ALVES Jr., Martinho
Heady spaces: sex, drugs and landscape
Replicas and Re-imaginations: Curating China’s Copyists
CHICANGANA-BAYONA, Yobenj Aucardo
The Table is Set, Dinner is Served. The Cannibals of Hans Holbein's Novus Orbis Regionum, 1532.
Picturing the indiscernible outline of the shifting fluid Zhang Daqian’s never ending quest to self-authenticity
Authenticity in the arts, in its relations with the idea of elusion, can be considered in at least three aspects.
The first is that of authenticity in the artistic creation conceived as the satisfaction of the creator’s intentions. This generic hypothesis can instigate discussion and take specific configurations in different cultures, yet provides a vector for the limits of those satisfactions. The consequence is the necessity of elusions or inventive solutions that are sometimes stimulating. The notion of authenticity imposes theexamination of the relationships between art and censorship (political, religious, moral, social, pedagogical),as well as on broader questions about freedom in art. It includes the material limits that can be financial or technical. Thanks to the second term of the proposal, both situations presuppose the study of channels that can circumvent obstacles. In short, it raises a more philosophical debate about the creator’s intentions and completed works.
The second is authenticity linked to authorship. The attributions, the connaisseurship, the studies of primary sources search with obsession to discover who the author is. Attribution has its basis of rigor but also its rhetoric, instruments of conviction and persuasion that faces difficulties which should be overcome. The question also focuses on the diverse principles of restoration in all fields. It presupposes the determined variables in different eras and cultures, the comprehension of authenticity or truth in works of art. Those problems frequently link the notion of authenticity to the art market and its financial value of authorship, a situation that imposes the question about the means, elusive or not, that the art historian needs to situate herself in the complex interplay between “fake” and “authentic”.
The third reaches the status of the notion of art and its situation in diverse cultures. The position of a work dislocated from its primary function (religious, ritual, functional, decorative and symbolic) and incorporated in diverse expository modes reaches what could be called authenticity. It is a matter of new significations that has its own semantic strategies. They reach the very notion of authenticity in its instrumental status, which for the art historian is determining what its contact with it forcibly requires elusive practices.
1) Creation versus censorship: conflicts and consequences;
2) Artistic production and material limits: its solutions and impasses;
3) Authenticity, attribution and restorations;
4) What does “fake” mean;
5) The work of art resignified in collections, museums, and in the expository modes;
6) The concept of authenticity and the elusive solutions of the art historian.