This concise paper,delivered at a conference,addresses a broad topic with the goal of providing a condensed and inevitably subjective perspective.Initially,it outlines the primary characteristics that distinguish coin...This concise paper,delivered at a conference,addresses a broad topic with the goal of providing a condensed and inevitably subjective perspective.Initially,it outlines the primary characteristics that distinguish coins from other historical sources.Subsequently,it provides a succinct overview of numismatics,categorized into seven phases:1.Pre-1550(coins as reflections of vice and virtue);2.From circa 1550 to circa 1620(coins as testimony of authentic history);3.From circa 1650 to circa 1730(the heyday of the“Republic of Medals”);4.From circa 1730 to circa 1840(the decline of the“Republic of Medals”and the emergence of scientific practices by Viennese Jesuits);5.From circa 1840 to circa 1940(die-studies and art history);6.From circa 1940 to circa 2000(coins as instruments of exchange);7.Since 2000(cultural shift and digital humanities).展开更多
Sigalit Landau is an international sculpture,video,installation,and performance artist,born in Jerusalem,and raised also in the USA and the UK.The infernal main space in her installation“The Dining Hall”(2007,KW Ins...Sigalit Landau is an international sculpture,video,installation,and performance artist,born in Jerusalem,and raised also in the USA and the UK.The infernal main space in her installation“The Dining Hall”(2007,KW Institute for Contemporary Art,Berlin)is filled with images resembling human remains engaged in riotous consumption from huge iron pots,in physical circus-like tricks,and copulation,surrounded by huge fleshy-like constructions.While the immediate association may be that of an apocalyptic catastrophe in relation to the Holocaust,the reference is multifaceted,as this study seeks to show.There is a strong connotation of corporeality,gluttony,digestion,decay,and abjection combined with licentiousness,and a proximity between death and pleasure.This multiplicity of contexts is embedded in the term décadence,in its connection with Antiquity and mostly with ancient Rome,and calls to mind the Roman Menippean 1st century CE text Satyricon by Petronius.A comparative analysis of Landau’s installation in relation to Satyricon opens up the way to a broad interpretation,revealing much topical and conceptual parallelism that reveals Landau’s engagement with a kind of decadence typical to the contemporary condition and that of Israel in particular.A prominent feature of her installation is that of victimhood and its influence on the Israeli occupation policy and conduct.Consequently,Landau’s installation is interpreted here as an allegory of a particular state of mind,reflecting both decadence and victimhood.展开更多
文摘This concise paper,delivered at a conference,addresses a broad topic with the goal of providing a condensed and inevitably subjective perspective.Initially,it outlines the primary characteristics that distinguish coins from other historical sources.Subsequently,it provides a succinct overview of numismatics,categorized into seven phases:1.Pre-1550(coins as reflections of vice and virtue);2.From circa 1550 to circa 1620(coins as testimony of authentic history);3.From circa 1650 to circa 1730(the heyday of the“Republic of Medals”);4.From circa 1730 to circa 1840(the decline of the“Republic of Medals”and the emergence of scientific practices by Viennese Jesuits);5.From circa 1840 to circa 1940(die-studies and art history);6.From circa 1940 to circa 2000(coins as instruments of exchange);7.Since 2000(cultural shift and digital humanities).
文摘Sigalit Landau is an international sculpture,video,installation,and performance artist,born in Jerusalem,and raised also in the USA and the UK.The infernal main space in her installation“The Dining Hall”(2007,KW Institute for Contemporary Art,Berlin)is filled with images resembling human remains engaged in riotous consumption from huge iron pots,in physical circus-like tricks,and copulation,surrounded by huge fleshy-like constructions.While the immediate association may be that of an apocalyptic catastrophe in relation to the Holocaust,the reference is multifaceted,as this study seeks to show.There is a strong connotation of corporeality,gluttony,digestion,decay,and abjection combined with licentiousness,and a proximity between death and pleasure.This multiplicity of contexts is embedded in the term décadence,in its connection with Antiquity and mostly with ancient Rome,and calls to mind the Roman Menippean 1st century CE text Satyricon by Petronius.A comparative analysis of Landau’s installation in relation to Satyricon opens up the way to a broad interpretation,revealing much topical and conceptual parallelism that reveals Landau’s engagement with a kind of decadence typical to the contemporary condition and that of Israel in particular.A prominent feature of her installation is that of victimhood and its influence on the Israeli occupation policy and conduct.Consequently,Landau’s installation is interpreted here as an allegory of a particular state of mind,reflecting both decadence and victimhood.
