CIHA 2016 in Beijing

34th World Congress of Art History

About History Press Release Sessions Schedule Activities Participants Venue Discussion Registration Closed


Chinese Chair

MA Xuedong
Junior Chair

LEE, Seunghyun
"Consumer Society, Neoliberalism, and Contemporary Art Andy Warhol, Damien Hirst, and Felix Gonzalez-Torres "

YU, Mia
Visible Cash, Invisible Capital, and Artistic Autonomy in the Market: The Practice of Self-circulation by Chinese Contemporary Artists

XU Penny
"收藏不可收藏之物 Collect the Uncollectible: Dematerialisation Art in Chinese Contemporary Art"

From Nobody to Somebody: Agents, Commodity and the Making of Qi Baishi ’s (1864-1957) Art

HOWALD, Christine
"Approaching the “Other”. The French Market for Chinese Art (19th-20th century) "

Wholesale collectibles:An example from “Kuhn & Komor, curio dealers in the East”

SHI Qian
"从日本伊万里到中国伊万里——十八世纪欧洲市场上的东方外销瓷 From Japanese Imari to Chinese Imari: 18th Century Eastern Export Porcelain in the European Market "

OGBECHIE, Sylvester Okwunodu
Black is the New Black: Contemporary African Art in the Global Marketplace

The Commodification of Art Moving Indian Painting in the Global Market

Exiled Work of Art/Kidnapped Work of Art. Works of Art Market, collecting and Circulation during the Second World War in Buenos Aires

"Looted Antiquity The Trade of Ancient Near Eastern Artefacts and its Impact on Research "

BALDASARRE, María Isabel
Market, state and cultural hegemony: The action of the Comité Permanent des Exposition françaises des beaux art à l'étranger at the beginning of the XXth Century

WAGELIE, Jennifer
The W.O. Oldman Effect: One Man’s Influence on Early American Ethnographic Museums

Schedule of Session 16.pdf

Schedule of Session 16.jpg

The global art market is one of the determining factors in the international exchange of art works and artistic ideas, it therefore essentially defines the mobility of art works, understood as »image vehicles« (Aby Warburg), as objects of an exchange of cultural traditions, pictorial information, iconographic models and creative artistic inventions, but also as objects of interest of public and private collections and finally of the political and social representation of power. The 16th section of the 34th International Congress in the History of Art in Beijing 2016 would like to focus on the implementation of an updated art historical method, in order to find appropriate ways of analyzing the effects of the art market on specific art works and their transfer history in past and present times. We are expecting proposals by specialists in this fields for papers dealing with case studies from issues like, for example, colonial exploitation through the trade of indigenous art, market-oriented creation of non-western art objects for the European market, the forced transfer of art works in political conflicts of the 20th century up to the lasting impact of market forces on the world-wide artistic production in contemporary art.