Prof. Dr. Eva Ehninger
Profil
Zusammenfassung
Prof. Dr. Eva Ehninger erforscht zeitgenössische und historische Kunstpraktiken mit Fokus auf Performance, Land Art und Fotografie. Sie analysiert, wie künstlerische Werke kulturelle Bedeutungen vermitteln und gesellschaftliche Prozesse reflektieren — von Happenings der Avantgarde bis zu kolonialen Bildtraditionen. Ihre Arbeit verbindet kunsthistorische Analyse mit kulturwissenschaftlichen Fragen zu Erbe, Transformation und globalen Verflechtungen.
Skills
Stammdaten
Identität, Organisation und Kontakt aus HU-FIS.
- Name
- Prof. Dr. Eva Ehninger
- Titel
- Prof. Dr.
- Fakultät
- Kultur-, Sozial- und Bildungswissenschaftliche Fakultät
- Institut
- Institut für Kunst- und Bildgeschichte
- Arbeitsgruppe
- Kunstgeschichte der Moderne
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- Telefon
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- Zuletzt gescrapt
- 28.6.2026, 01:04:47
Forschungsthemen5
De:link//Re:link: Lokale Perspektiven auf transregionale Ver- und Entkopplungsprozesse
Quelle ↗Förderer: Bundesministerium für Forschung, Technologie und Raumfahrt Zeitraum: 04/2021 - 06/2024 Projektleitung: Prof. Dr. Claudia Derichs
Heritage in Transformation (InHerit)
Quelle ↗Förderer: Bundesministerium für Forschung, Technologie und Raumfahrt Zeitraum: 01/2024 - 12/2027 Projektleitung: Prof. Dr. Eva Ehninger, Sharon Macdonald
Lokale Perspektiven auf transregionale Ver- und Entkopplungsprozesse am Beispiel von Chinas Belt-and-Road-Initiative (De:Link//Re:Link II)
Quelle ↗Förderer: Bundesministerium für Forschung, Technologie und Raumfahrt Zeitraum: 10/2024 - 09/2027 Projektleitung: Prof. Dr. Claudia Derichs, Sebastian Großmann
Mögliche Industrie-Partner188
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Publikationen19
Top 25 nach Zitationen — Quelle: OpenAlex (BAAI/bge-m3 embedded für Matching).
Zeitschrift für Kunstgeschichte · 3 Zitationen · DOI
Getty Research Journal · 3 Zitationen · DOI
In 1961 Allan Kaprow (1927–2006) and Claes Oldenburg (b. 1929) exchanged a number of letters in which they argued about the definition of their avant-garde practices as Happenings. Kaprow, who first introduced this “root‐metaphor,” as he would later call it, describes with it the necessity of the respective activity to be as far removed as possible from all motives, materials, and formats conventionally connected to art. Oldenburg, who at the time of this exchange was just as active in the New York performance scene as Kaprow, disagrees with his colleague's removal of their practice from the artistic sphere. Oldenburg is also dissatisfied with the fact that Kaprow, through his writings, launches a critical discourse that follows his own definition of the Happening. The two artists thus argue just as much about the positioning of their practices with respect to art as over the authority to establish such a position. This essay traces their argument through their written conversation and in doing so exposes the immense influence Kaprow's rhetoric had on the subsequent art-historical canonization of their respective practices: Oldenburg's more ambivalent position is today amalgamated with Kaprow's theoretical stance.
1 Zitationen · DOI
In his essay Kleine Geschichte der Fotografie (1931), Walter Benjamin offers a scathing critique of late nineteenth-century commercial photography.It is specifically the serially produced format of the carte de visite portrait (see Figure 7.1) that meets his contempt.In 1854, Eugène Disdéri had developed a special camera that allowed photographers to produce a plate with eight portraits of their customers in each sitting and to deliver an infinite number of prints in the future.After it was bootlegged by savvy British businessmen to circumvent the Frenchman's national patent, Disdéri's invention caught on quickly around Europe.By the 1860s, the immense popularity of the relatively inexpensive, readily available little cardboard portrait was coined by contemporaneous critics as "cartomania"the collective frenzy of buying, collecting, exchanging, and sitting for one's own serially produced photograph. 1 For Benjamin, these portraits were symptomatic of an overall increase in the mechanization of communication media during the second half of the nineteenth century.He argues that as an industrialized form of portrait photography, the carte de visite was more closely related to technology than to traditional portrait painting.Without discrimination, the camera documents and reveals minute details of the sitter's physiognomy as well as structural qualities of the studio environment that would not be registered in a conventional portrait.Photography's mass production and the regular repetition of its novel visual features trained consumers to perceive and judge the world accordingly.This new kind of perception focused on reproducibility and similarity, in short, on serial phenomena.According to Benjamin, the carte de visite thus played a decisive role in transforming human perception and processes of self-presentation and self-identification.It was a motor for and outcome of the commercialized perception of the world and self as discrete, unrelated, and decontextualized elements.For Benjamin, commercial photography provided visual evidence of modern society's alienation from and
Kooperationen3
Bestätigte Forscher↔Partner-Paare aus HU-FIS — Gold-Standard-Positive für das Matching.
Lokale Perspektiven auf transregionale Ver- und Entkopplungsprozesse am Beispiel von Chinas Belt-and-Road-Initiative (De:Link//Re:Link II)
research_institute
Lokale Perspektiven auf transregionale Ver- und Entkopplungsprozesse am Beispiel von Chinas Belt-and-Road-Initiative (De:Link//Re:Link II)
other
Lokale Perspektiven auf transregionale Ver- und Entkopplungsprozesse am Beispiel von Chinas Belt-and-Road-Initiative (De:Link//Re:Link II)
other