Baro

Wissenschaftlicher Werdegang

04/2015 - 03/2018
Kollegiatin im Graduiertenkolleg "Materialität und Produktion"
05/2014 -06/2014
Forschungsaufenthalt am Internationalen Forschungszentrum Kulturwissenschaften (IFK), Wien
2015-2016
Promotionsstipendium des Max-Planck-Instituts (Kunsthistorisches Institut) in Florenz
2012 - 2015
Promotionsstipendiatin der interdisziplinären "MaxNetAging Research School" (MNARS) am Kunsthistorischen Institut in Florenz - Max-Planck-Institut und dem Max-Planck-Institut für demographische Forschung, Rostock
2011
Magistra Artium an der Universität Heidelberg mit einer Arbeit zur Ästhetisierung der Leinwand ausgehend von der venezianischen Malerei um 1500 bei Prof. Dr. Raphael Rosenberg
2008-2010
wissenschaftliche Hilfskraft am Lehrstuhl für Neuere und Neueste Kunstgeschichte, Institut für Europäische Kunstgeschichte, Universität Heidelberg

Studium der Kunstgeschichte und englischen Literatur- und Sprachwissenschaften an der Ruprecht-Karls-Universität Heidelberg und der University of Melbourne.

Abstract des Dissertationsprojekts

Concepts of Transience and Temporality in 20th and 21st Century Art
The process of aging not only affects living organisms, but also material objects: some artworks are created to last for centuries, while others reflect time and temporality in their material manifestations. In turn, some works have a very short 'life-span' and are meant to 'die', such as Jean Tinguely's Homage to New York (1960); a work that famously self-destructed during a performance in MoMA's sculpture garden in New York. Half a century after Tinguely's Homage to New York, in a time when popular media is torn between representations of enduring war and terrorism and a cult of longevity and eternal youth, contemporary artists are engaging intensely with notions of aging, transience, and mortality. Taking Tinguely's work as a point-of-departure, this dissertation will analyse contemporary artists' use of similar modi operandi to illustrate the broader implications of ephemeral or 'aging' artworks One example of this is Urs Fischer's replica of Giambologna's Rape of the Sabine Women that was on display during the 54th Venice Biennale in 2011. Comprised of a 1:1 scale wax model, which doubled as a candle, the work slowly melted down during the course of the event; thus reflecting the inevitability of the passage of time and the temporary nature of 'life'. This research offers insight into how contemporary artists strategically employ concepts of fragility within their made objects, thus invoking not only the transience of materiality, but more importantly, the metaphysical discourse deterioration and decay provokes in contemporary art and society.

Kontakt:
hanna.baro(at)hhu.de