PhotoMatrixProject

Fedora Parkmann

Dr. Fedora Parkmann is the principal investigator of the five-year grant project The Matrix of Photomechanical Reproductions: Histories of Remote Access to Art (PhotoMatrix project) and a researcher at the Institute of Art History of the Czech Academy of Sciences. Within the project, she is specifically interested in the role of photomechanical reproductions of art as vehicles of artistic exchange between Czechoslovakia, France, Germany, and Russia and is responsible for the research area Circulation of Artistic Models. She studied art history at Sorbonne University (MA in 2011 and PhD in 2017) and École du Louvre in Paris. She was a postdoctoral researcher at the Institute of Art History of the Czech Academy of Sciences (2019–2021) and the French Research Center in Humanities and Social Sciences in Prague (CEFRES) in 2022. Her research interests include the history and theory of photography, art in the 20th century, and transnational approaches in art history. In her doctoral and postdoctoral research, she examined interwar Czech photography from a transnational perspective, focusing on Czech-French transfers in avant-garde photography and the transnational networks of Czech social photography.

Edited Journal Issue

  • Fedora Parkmann and Barbora Kundračíková, “Photo: Science: Art History. Mutual Interactions in the Era of a New Universalism”, Umění / Art, vol. 90, 2022, no. 3, pp. 259–264

Articles in Peer-Reviewed Journals

  • Fedora Parkmann, “La photogénie entre France et Tchécoslovaquie : un point de convergence lexical et esthétique de la modernité photographique”, Revue des études slaves, vol. 93, 2022, no. 1, pp. 147–163

  • Fedora Parkmann, “Asserting Photography’s Social Function: Exhibitions of Soviet Photography in Interwar Czechoslovakia”, History of Photography, vol. 45, 2022, no. 1, pp. 139–161

  • Fedora Parkmann, “Un patrimoine visuel sous le communisme. La photographie amateur et sociale du président tchécoslovaque Antonín Zápotocký”, Photographica, September 2020, no. 1, pp. 93–109

  • Fedora Parkmann, “Une histoire en deux actes : la photographie sociale tchèque de l’entre-deux-guerres au prisme de l’historiographie de l’ère communiste”, Transbordeur, no. 4, 2020, pp. 50–59

  • Fedora Parkmann, “Photographies parisiennes des surréalistes tchèques : des preuves à l’appui d’une mémoire partagée du surréalisme”, Marges, revue d’art contemporain, no. 29, 2019, pp. 84–102

  • Fedora Parkmann, “Du photomontage comme trace de la circulation des savoirs artistiques. Le cas de Karel Teige”, Histoire de l’art,  no. 78, 2016, pp. 117–130

  • Fedora Parkmann, “Logique circulatoire de la photographie imprimée. Le cas des revues d’avant-garde tchèques”, Artl@s Bulletin, 2015, no. 2, pp. 14–25

  • Fedora Parkmann, “Vilem Kriz (1921-1994) : la photographie surréaliste dans l’engrenage du temps”, Revue de la Bibliothèque nationale de France, no. 47, October 2014, pp. 68–77

  • Fedora Parkmann, “Un avatar tchécoslovaque de la Fifo : ‘l'Exposition internationale de photographie, Prague, 1936’ / A Czechoslovak Variation on Fifo: The International Photography Exhibition, Prague, 1936”, Études photographiques, no. 29,  May 2012, pp. 43–81

Book Chapters

  • Fedora Parkmann, “‘La Tour Eiffel, ou l’histoire d’un cliché’ : une image-fétiche de l’avant-garde entre France et Tchécoslovaquie”, in: Léa Saint-Raymond (ed.), La circulation des images, Paris: Mare & Martin, 2023, pp. 189–202

  • Fedora Parkmann, “Paris dans l’objectif des photographes tchécoslovaques de l’entre-deux-guerres”, in: Fanny Drugeon (ed.), Passages à Paris, Paris: Mare & Martin (to be published)

  • Fedora Parkmann, “Výstavy sociální fotografie v Praze a Brně: fotografické umění ve službách revoluce – Mezinárodní výstava fotografie v Praze roku 1936: fotografie, umění a život v dialogu”, in: Kateřina Piorecká (ed.), Umění – Gesto - Argument, Prague: Academia (to be published)

Conferences Organized

  • Photo: Science. Photography and Scientific Discourses, Prague, IAH CAS, 30 November – 2 December 2020, co-organizer

  • Worker Photography in Museums: History and Politics of a Cultural Heritage in East-Central Europe, Prague, IAH CAS & CEFRES, 26–27 February 2020

Selected Paper Presentations

  • “International Exhibitions of Art Photography and the Politics of Peace. A Case Study from Czechoslovakia”, Art Exhibitions in Post-War Europe, Stockholm, Royal Academy of Fine Arts / Moderna Museet, 11–12 May 2022

  • “The Geopolitics of Photography Exhibitions. Showcasing Soviet Photographers in Interwar Czechoslovakia”, VIIth Congress of Czech Art Historians, Ústí nad Labem, J. E. Purkyně University, 23–25 September 2021

  • “The Entangled Reception of Ukrainian and Soviet Photography in Interwar Czechoslovakia”, Kharkiv Photo Forum, Kharkiv, Academy of Fine Arts and Design, 18–21 August 2020

  • “Les albums de famille du président Antonín Zápotocký : mémoire privée, enjeux publics”, Patrimoines photographiques : histoire, ethnologie, émotions, Paris, Musée des Arts décoratifs, 7–8 November 2019

  • “Triangular Circulation. Interwar Photograms between France, Germany and Czechoslovakia”, Practices, Circulation and Legacies. Photographic Histories in Central and Eastern Europe, Ljubljana, City Museum of Ljubljana, 8–10 May 2018

  • “Psychogéographies parisiennes dans la photographie des surréalistes tchèques”, Paris – haut-lieu urbain, institutionnel et artistique de la photographie, Paris, Centre allemand d’histoire de l’art, 3–7 July 2017

  • “Aspects internationaux de la photographie sociale en Tchécoslovaquie”, L’internationale de la photographie sociale, Paris, Institut national d’histoire de l’art, 3 March 2017

  • “An Example of Interwar Czech-Russian Cultural Transfer. The Czech Worker Photography Movement”, East Central Europe in the First Half of the 20th Century – Transnational Perspectives, Leipzig, Geisteswissenschaftliches Zentrum Geschichte und Kultur Ostmitteleuropas, 14–16 January 2016

Fellowships and Research Stays

  • Junior Fellow, Traveling Research Seminars Linking Art Worlds: American Art and Eastern Europe from the Cold War to the Present, led by Beáta Hock, funded by Getty Institute/Terra Foundation, Prague, Budapest, Berlin, New York, Paris, 2022–2024

  • Research stay, Centre for French-Russian Studies, Moscow, 2019

  • Research Fellowship in Art History, Centre Pompidou, Paris, 2014

  • Louis Rœderer Research Fellowship in History of Photography, National Library of France, Paris, 2012

Courses Taught

  • Charles University in Prague, Lecture: History of Social Documentary Photography, 2022

  • Université de Lorraine, Nancy, Lecture: Avant-Garde Art: A Transnational Perspective (1905–1945), 2021

  • Université catholique de l’Ouest, Angers, Lecture & Workshop:  History of Modern Art (1905–1945), 2018

  • Department of Art History, Sorbonne Université, Paris, Lectures & Workshops: History of Modern and Contemporary Art; History of Museums, 2017–2018 (fulltime lecturer)

  • Université catholique de l’Ouest, Angers, Lecture & Workshop: The Nineteenth Century Image, 2016

Camilla Balbi

Dr. Camilla Balbi is a postdoctoral researcher at the Institute of Art History of the Czech Academy of Sciences within the PhotoMatrix project, where she focuses on the analysis of German art journals. She is interested in the identity practices and media entanglements involved in the production and circulation of photomechanical reproductions. She received her doctorate in Visual and Media Studies at IULM University in Milan in 2023 with the dissertation “Erwin Panofsky on Modernity: Painting, Photography, Film”. She was a Visiting Scholar at the Department of German Studies at New York University in 2020/2021. Her academic focus comprises the intersections between media practices and different artistic languages. Her main research interests include early 20th-century German-Jewish art theory, and the history and theory of photography. Alongside these interests, she writes and works on political art and eccentric visual cultures, focusing on the particularities of the Jewish gaze, as well as the female and queer gaze. In the past, she worked as a researcher in Italy for the Israel Museum of Jerusalem, co-edited the book Umberto Eco and the Arts (2022), and wrote as an art critic for the international magazine Flash Art.

Articles in Peer-Reviewed Journals

  • Camilla Balbi and Marcello Sessa, “A Missed Abstraction? Carl Einstein And Clement Greenberg Reread Kandinsky”, COSMO, Comparative Studies on Modernism, 2023 (accepted for publication)

  • Camilla Balbi and Anna Calise, “The (Theoretical) Elephant in the Room. Overlooked Iconological Assumptions in Computer Vision Analysis of Art Images”, Signata-Annales des sémiotiques, n. 14 / For a New Hermeneutics of Symbolic Forms: Semiotics, Art History and Digital Humanities, 2023 (accepted for publication) 

  • Camilla Balbi and Yasmin Riyahi, “Queering the Townhouse: l’Archivio Fotografico di Casa Susanna” [Queering the Townhouse: The Photographic Archive of Casa Susanna], Arabeschi, no. 21, 2023.  

  • Camilla Balbi, “Shifting Paradigms — Mexico in Color: Ellen Auerbach’s Exile Photography”, Itinera, 2022, no. 23, pp. 115–130

  • Camilla Balbi and Federico Cantoni, “L’inferno del confine: fantasmi e visioni in Carne y Arena ” [The Hell Of The Border: Ghosts and Visions in Carne y Arena], Orillas, 2022, no. 11, pp. 337–350

  • Camilla Balbi, “Il museo come teoria: appunti per una lettura critica del Landesmuseum di Hannover” [The Museum as Theory. Notes for a critical reading of the Hannover’s Landesmuseum], Cultura tedesca / Deutsche Kultur, 2022, no. 63, pp.181–201 

  • Camilla Balbi, “Fake or Fortune? Alexander Dorner and the Weimar Reproduction Debate”, Venezia Arti, vol. 30, 2021, pp. 87–95 

  • Camilla Balbi, “Jenny Holzer’s 2020: New York, Activism, and Collective Mourning. Again”, VCS, Visual Culture Studies, 2020, no. 2, pp. 245–266

  • Camilla Balbi, “Iconoclasm Uninterred. The Jewish Roots of American Abstract Expressionism”, SIEDAS, 2020, no. 1, pp. 39–56

Book Chapters

  • Camilla Balbi, “‘Das ist der Teufel sicherlich!’, Erwin Panofsky e la fotografia” [‘Das ist der Teufel sicherlich!’, Erwin Panofsky on Photography], in: Andrea Chiurato (ed.), Transmedialità e Crossmedialità, Nuove Prospettive, Milano: Mimesis, 2023, pp. 99–121

  • Camilla Balbi and Anna Luigia De Simone, “Umberto Eco Biografia Critica” [Umberto Eco Critical Biography], in: Vincenzo Trione (ed.), Umberto Eco sull’arte, Milano: La Nave di Teseo, 2022, pp. 51–75

  • Camilla Balbi, “‘Wahr Spricht, Wer Schatten Spricht’. Ricordare l’olocausto dei bambini, due analisi semiotiche” [‘Wahr Spricht, Wer Schatten Spricht’. The Memory Of Children In The Holocaust, Two Semiotic Analysies], in: Gianluca Attademo, Carmela Bianco, Pasquale Giustiniani and Francesco Lucrezi(eds.), Sotto il segno della razza, Milano: Mimesis, 2021, pp. 47–57

Conferences Organized

  • Improper Weapons. The State of Art Criticism in Italy, Milano, IULM University, 27–28 April 2023, co-organizer

  • Visual, Media and New Technological Forms, Graduate Students Colloquium, Milano, IULM University, 13 December 2022, co-organizer

  • Transmediality and Crossmediality New Perspectives, Graduate Students Colloquium, Milano, IULM University, 1–2 December 2021, co-organizer

Selected Paper Presentations

  • “Mexico in Color: Ellen Auerbach’s Exile Photography”, Research Forum for German Visual Culture (RFGVC) Seminar Series, Edinburgh, University of Edinburgh, 14 February 2023

  • “Zukunftsräume Today. Approaching Experimental Avant-Garde Design Through Virtual Reality”, Visual, Media and New Forms of Technology, Milano, IULM University, 13 December 2022 

  • “Computer Vision and Art Theory: The (Forgotten) Premises of Iconology in Today’s Visual Field”, ICPT2022 International Conference of Photography and Theory, Nicosia, IAPT, 17–19 November 2022

  • “An Archive of One’s Own – Performing Identity in Photography”, FAScinA 2022 (Yearly Conference of Female Scholars in Film and Audiovisual Studies), Sassari, University of Sassari, 13–15 October 2022 

  • “The End of the Renaissance. Old Chronologies and New Identities in the Thought of Erwin Panofsky”, German Studies Association (GSA) International Conference on Emigration and Immigration, Houston (TX), 14–18 September 2022 

  • “A Missed Abstraction? Carl Einstein and Clement Greenberg Reread Kandinsky”, 1922/2022 – Total Modernism: Continuity, Discontinuity, and the Experimental Turn, Torino, Centre for Comparative Modernisms, 18–20 May 2022

  • “The Pink Triangle, Iconology of a Century-Long Holocaust”, Identity and Diversity. Between Discrimination of Rights and Persecution of Lives, Holocaust Memorial Day, Napoli, University of Naples Federico II, 27 January 2022

  • “Papageno And Monostatos. Erwin Panofsky On New Media”, Graduate Students Colloquium, Deutsche Haus, New York (NY), New York University, 6 December 2021

  • “‘Das ist der Teufel sicherlich!’ Erwin Panofsky e la fotografia”, Transmediality and Crossmediality New Perspectives, Milano, IULM University, 1–2 December 2021

  • “The Hell of the Border: Ghosts and Visions in Flesh Y Arena”, Transitions of Memory. Narratives of Violence in the 20th and 21th Centuries, Carpi, Centro Studi Fossoli, 16 October 2021

  • “When Photography Met Museum, Erwin Panofsky and the Faksimile Streit”, Photo: Science, Photography and Scientific Discourses, Prague, Institute of Art History, Czech Academy of Sciences, 2 December 2020

  • “‘Wahr Spricht, Wer Schatten Spricht’. The Memory of Childern in the Holocaust, Two Semiotic Analysis”, Holocaust Memorial Day, Napoli, University of Naples Federico II, 27 January 2020

  • “Iconoclasm Uninterred. The Jewish Roots of American Abstract Expressionism”, Study Center for Italian Judaism, Jerusalem, Ytzak Navon Museum, 23 February 2017

Research Stays and Fellowships

  • The Robert Gore Rifkind Center for German Expressionist Studies, LACMA, Los Angeles County Museum of Art, 2022

  • The Getty Research Institute, Special Collections, Los Angeles CA, 2022

  • Department of German Studies, College of Arts and Science, New York University (hosted by Christopher Wood), 2022

  • Harvard Art Museum Archives, Cambridge MA, 2018

Courses Taught

  • IULM University in Milan, Lectures: History of Contemporary Art; Arts and Media; Visual Cultures, 2019–2022

Hana Buddeus

Dr. Hana Buddeus is a researcher at the Institute of Art History of the Czech Academy of Sciences and a co-investigator of the PhotoMatrix project, where she focuses on the economies of exchange and the networking strategies (research area Networks and Power Structures). She was awarded a PhD in art history and curating from the Academy of Arts, Architecture and Design in Prague (2015). She received the Josef Krása Award for her published dissertation Zobrazení bez reprodukce? Fotografie a performance v českém umění 70. let 20. století [Representation without Reproduction? Photography and Performance in 1970s Czech Art] in 2018. She was a research team member (2016–2020) of the Josef Sudek and the Photographic Reproductions of Works of Art: From a Private Art Archive to Representing a Cultural Heritage project (2016–2020, www.sudekproject.cz/en). She participated in Confrontations: Sessions in East European History, an international research project run by Maja and Reuben Fowkes (2019–2020), and in Resonances: Regional and Transregional Cultural Transfer in the Art of the 1970s, a collaborative research project supported by the Visegrad Fund (2021–2023). Her research interests include 20th-century art history and photography histories, focusing on their intersections. She also works in contemporary art and occasionally curates exhibitions.

Books

  • Hana Buddeus, Zobrazení bez reprodukce? Fotografie a performance v českém umění sedmdesátých let 20. století [Representation without Reproduction? Photography and Performance in Czech Art of the 1970], Prague: UMPRUM, 2017

​​Edited Volumes

  • Hana Buddeus – Anežka Bartlová (eds.), Infrastruktury (dějin) umění, Prague: Artefactum, 2022

  • Hana Buddeus (ed.), Sudek and Sculpture, Prague: Artefactum & Karolinum, 2020

  • Hana Buddeus – Katarína Mašterová – Vojtěch Lahoda (eds.), Instant Presence. Representing Art in Photography, Prague: Artefactum, 2017

  • Hana Buddeus – Mariana Dufková – Johanka Lomová – Václav Janoščík (eds.), KDUE/VŠUP 2008–2011, Prague: UMPRUM, 2011

  • Hana Buddeus – Mariana Dufková – Johanka Lomová – Václav Janoščík (eds.), Dějiny umění v rozšířeném poli, Prague: UMPRUM, 2011

Articles in Peer-Reviewed Journals

  • Hana Buddeus, “Enlarged Details and Close-up Views. Art Reproduction in 1930s Czechoslovakia”, Artium Quaestiones, vol. 33, 2022, pp. 61–86

  • Hana Buddeus, “Storing and/or Sharing: the Negative in the Commercial Work of Josef Sudek”, Umění / Art, vol. 66, 2018, no. 5, pp. 388–399

  • Hana Buddeus, “Infiltrating the Art World through Photography. Petr Štembera’s 1970s Networks”, Third Text, Special Issue “Actually Existing Artworlds of Socialism”. Guest Editor: Reuben Fowkes, vol. 32, 2018, no. 153, pp. 468–484

  • Hana Buddeus, “Fotografické podmínky happeningu”, Sešit pro umění, teorii a příbuzné zóny, 2014, no. 16, pp. 18–37

Book Chapters

  • Hana Buddeus, “Sudeks Gärten im Sozialismus”, in:  Frédéric Bussmann – Philipp Freytag (eds.), Zwischen Avantgarde und Repression. Tschechische Fotografie 1948–1968, Dresden: Sandstein Verlag, 2022, pp. 96–105

  • Hana Buddeus, “Infiltrating the Art World Through Photography. Petr Štembera’s 1970s Networks”, in: Daniel Grúň (ed.), Subjective Histories. Self-historicisation as Artistic Practice in Central-East Europe, Bratislava: VEDA, 2020, pp. 81–98

  • Hana Buddeus, “Černobílí muži s paletou?”, in: Petr Jindra – Radim Vondráček (eds.), Tvůrce jako předmět dějin umění. Pozice autora po jeho „smrti“, Prague: Artefactum, 2020, pp. 215–221

  • Hana Buddeus, “The Life of Sculptures: Ways of Photographic Recontextualization”, in: Hana Buddeus (ed.), Sudek and Sculpture, Prague: Artefactum & Karolinum, 2020, pp. 69–151

  • Hana Buddeus, “Vanished Statues: Finding Images, Creating Pictures”, in: Hana Buddeus (ed.), Sudek and Sculpture, Prague: Artefactum & Karolinum, 2020, pp. 153–233

  • Hana Buddeus, “The Photographic Conditions of the Happening”, in: Milena Bartlová et al., The Sešit Reader. The First Ten Years of Notebook for Art, Theory and Related Zones 2007–2017, Prague: AVU, 2020, pp. 228–245

  • Hana Buddeus, “Mlsný a zvědavý V. V. Štech: dějiny umění jako živá současnost”, in: Tomáš Dvořák a kol., Fotografie, socha, objekt, Prague: NAMU, 2018, pp. 7–29

  • Hana Buddeus, “Braun, Brokof, Sudek et al.: Czech Baroque Sculpture in the Light of Modernist Photography”, in: Hana Buddeus – Katarína Mašterová – Vojtěch Lahoda (eds.), Instant Presence. Representing Art in Photography, Prague: Artefactum, 2017, pp. 177–195

  • Hana Buddeus, “3 Poznámky k funkci dokumentace v době normalizace”, in: Jan Krtička – Jan Prošek (eds.): Dokumentace umění, Ústí nad Labem: Fakulta umění a designu Univerzity Jana Evangelisty Purkyně v Ústí nad Labem, 2013, pp. 67–79

Book Reviews

  • Hana Buddeus – Johana Lomová (review), “Slovenské cesty k sorele” (Alexandra Kusá, Prerušená pieseň. Výtvarné umenie v časoch stalinskej kultúrnej praxe. 1948–1956, Bratislava 2019 – Bohunka Koklesová, Súmrak doby. Prelamovaná história, pamäť, fotografia, Bratislava 2018), Sešit pro umění, teorii a příbuzné zóny, 2020, no. 29, pp. 148–157

  • Hana Buddeus (review), Klara Kemp-Welch, Networking the Bloc. Experimental Art in Eastern Europe, 1965–1981, Cambridge, MA: The MIT Press 2018, Umění / Art, vol. 68, 2020, no. 1, pp. 106–109

  • Hana Buddeus (review), Tomáš Pospiszyl (ed.), Vladimír Ambroz. Akce / Actions, Prague: 2017, Umění / Art, vol. LXVI, 2018, no. 5, pp. 440–442

Conferences and Workshops Organized

  • 7th Congress of Art Historians, Faculty of Art and Design of Jan Evangelista Purkyně University in Ústí nad Labem, 23–24 September 2021, co-organizer with Johana Lomová and others 

  • Photo: Science. Photography and Scientific Discourses, Institute of Art History, Czech Academy of Sciences, Prague, 30 November – 2 December 2020, co-organizer with Barbora Kundračíková, Petra Trnková, Fedora Parkmann and Katarína Mašterová

  • Fotografujeme sochy, Workshop within Sudek Project, Prague City Gallery, Prague, 3 September 2020, co-organizer with Katarína Mašterová

  • Negativ – pozitiv – newprint!, Workshop within Sudek Project, Prague City Gallery,  Prague, 12 June 2018, co-organizer with Katarína Mašterová

  • Instant Presence: Representing Art in Photography. An International Symposium in Honor of Josef Sudek, Institute of Art History, Czech Academy of Sciences, Prague, 1–2 December 2016, co-organizer with Katarína Mašterová and Vojtěch Lahoda

  • Documenting the Present, Fotograf Festival Discussion forum, National Gallery in Prague, 2 October 2015

  • The Mirror Stage, Fotograf Festival Discussion forum, National Gallery in Prague, 3 October 2014

  • Descriptive Systems, Fotograf Festival Discussion forum, Prague, 19 October 2013

  • Mezi východem a západem. Jak se v poválečném Československu psalo o výtvarném umění, UMPRUM, Prague, 27–28 November 2012, co-organizer with Johana Lomová and others

Selected Paper Presentations 

  • “A Direct Communicator of Information In and Out. Petr Štembera in the 1970s” (with Pavlína Morganová), Resonances (2.). Beyond Friendships. Regional Cultural Transfer in the Art of the 1970s, Central European Research Institute for Art History (KEMKI) - Artpool Art Research Center, Budapest, 11–12 May 2022

  • “Photography. The Lingua Franca of Performance Art?”, Resonances (1.). Non-Conformist Art under Socialism in Central Eastern Europe and its Transnational Network. Parallel Structures, Communicating Channels and Nodes, Comenius University in Bratislava / Online, 2 March 2022

  • “Josef Sudek. Collecting Art through Photographing for Friends”, Photography and Art Market 1880–1939, University of Florence / Online, 14–16 October 2021

  • “Židle, stoly, stojany, květiny. Výstavy na fotografiích Josefa Sudka”, Prostor výstav (1820–1950). Výstava jako prostor, médium a fenomén, Institute of Art History, Czech Academy of Sciences, Prague, 20– 21 October 2021

  • “Kopie, rozmnoženiny, odlitky, tisky”, Infrastruktury (dějin) umění, VII. sjezd historiků a historiček umění v Ústí nad Labem, 23–25 September 2021

  • “Fotografická re/produkce a kánon českých dějin umění”, Kánon. Konference k teorii dějin umění, Prague, 20–21 January 2020

  • “Černobílí muži s paletou?”, 6th Congress of Art Historians, Prague, 20–21 September 2018

  • “Between Fragile Materiality and Mass Reproducibility: The Negative in the Professional Work of Josef Sudek”, Practices, Circulation and Legacies. Photographic Histories in Central and Eastern Europe, The City Museum of Ljubljana, Ljubljana, 8–10 May 2018

  • “What Did Sudek See in Rodin? Inner Voice Captured on the Surface”, Rodin: l’onde de choc II, Museé Rodin, Paris,  9–10 November 2017

  • “Braun, Brokoff, Sudek and Co.: Czech Baroque Sculpture in the Light of Modern Photography”, Instant Presence: Representing Art in Photography: An International Symposium in Honor of Josef Sudek, Institute of Art History, Czech Academy of Sciences, Prague, 1–2 December 2016

  • “Mlsný a zvědavý V. V. Štech: Dějiny umění jako živá současnost”, Fotografie & Socha: 1. výroční konference katedry fotografie FAMU, FAMU, Prague, 11 November 2016

  • “From an Open Hand to a Closed Fist: Petr Štembera’s Artist Networks”, Contested Spheres: Actually Existing Artworlds under Socialism, Kassak Museum, Budapest,  27–28 May 2016

  • “Fotografické podmínky happeningu”, Mezi tvorbou a výrobou. Proměny umělecké práce, Academy of Fine Arts in Prague, 21–22 May 2013

  • “Několik poznámek k funkci dokumentace v době normalizace”, Dokumentace umění, Faculty of Art and Design of Jan Evangelista Purkyně University in Ústí nad Labem, Ústí nad Labem, 5 December 2012

  • “Photography and Fiction in Czech Action Art”, Photography and the Unrepresentable: A History of Photographic (Mis)Representation, University of Essex, Colchester, 15 May 2012

Selected Exhibitions Curated

  • Lucia Sceranková. Heart Seas, Fotograf Gallery, Prague, 16 December 2022 – 11 February 2023

  • The Never Ending Egg (with Johana Pošová and Erica Petrillo), Fotograf Gallery, Prague, 1 July – 27 August 2022

  • Czechoslovak Astrophotography, Fotograf Gallery, Prague, 11 November 2021 – 29 January 2022

  • Lovelies from the Files. Sudek and Slovakia (with Katarína Mašterová), Bratislava City Gallery, 29 October 2021 – 30 January 2022

  • Lovelies from the Files. Sudek, Sculpture and Southern Bohemia (with Katarína Mašterová), Museum of Photography and Modern Visual Media in Jindřichův Hradec, 25 June – 19 September 2021

  • Lovelies from the Files. Sudek and Sculpture (with Katarína Mašterová), House of Photography, Prague City Gallery, 23 June – 27 September 2020

  • Teseract (with Filip Dvořák), Galerie AMU, Prague, 2 December 2015 – 17 January 2016

  • Pavel Štecha: Chataři, Galerie UM, UMPRUM, Prague, 18 September – 31 October 2015

  • Henryk Gajewski, Galerie AMU, Prague, 9 December 2014 – 25 January 2015

  • HIN MAH TOO YAH LAT KEKT (with Aleksandra Vajd, Hynek Alt, Johana Pošová, Tomáš Svoboda and Antonín Jirát), Galerie AMU, Prague, 9 October – 9 November 2014

  • Audun Mortensen: Unread Items, Center for Contemporary Art FUTURA, Prague, 9 October – 10 November 2013

Katarína Mašterová

Dr. Katarína Mašterová is a researcher at the Institute of Art History of the Czech Academy of Sciences and a co-investigator of the PhotoMatrix project, where she focuses on the reception of images in illustrated journals (research area Social Life of Photomechanical Reproductions). She studied art history and archeology at the Charles University in Prague (PhD 2015) and completed a study stay at the Université Paris-Sorbonne (Paris IV). She was a researcher within the grant project Josef Sudek and the Photographic Reproductions of Works of Art: From a Private Art Archive to the Representing a Cultural Heritage (2016–2020, www.sudekproject.cz/en), where she participated in outcomes such as publications, exhibitions, conference, interactive map, certificated methodology and an online database. She is the author of the exhibition and the monograph Svoboda+Palcr: Seeing Sculptures (2019). In her research, she focuses on the history of photography of the 20th century, reproductions of works of art, photographic archives, photomechanical reproductions, and photographers Josef Sudek and Jan Svoboda. Beginning in 2023, she teaches the history of applied photography at the Academy of Art, Architecture and Design in Prague.

Edited Volumes

  • Katarína Mašterová (ed.), Svoboda + Palcr: Vidět sochy, Prague: Artefactum, 2019

  • Katarína Mašterová (ed.), Josef Sudek: Topografie sutin / The Topography of Ruins, Prague: Artefactum, 2018

  • Hana Buddeus – Katarína Mašterová – Vojtěch Lahoda (eds.), Instant Presence. Representing Art in Photography, Prague: Artefactum, 2017

Articles in Peer-Reviewed Journals

  • Katarína Mašterová, “Svatý Vít, chrám národa. Nevydaná publikace Josefa Sudka”, Umění / Art, vol. 70, 2022, no. 2, pp. 208–222

Book Chapters

  • Katarína Mašterová, “The Archive in Transition: Reframing Josef Sudek’s Photographic Reproductions of Art”, in: Geraldine A. Johnson – Deborah Schultz (eds.), Photo Archives and the Place of Photography, London: Routledge 2023 (accepted for publication)

  • Katarína Mašterová, “Jan Svoboda – ein Fotograf unter Künstler:innen”, in: Frédéric Bussmann – Philipp Freytag (eds.), Zwischen Avantgarde und Repression. Tschechische Fotografie 1948–1968, Dresden: Sandstein Verlag, 2022, pp. 128–135

  • Katarína Mašterová, “Light on Sculpture, Sculpture in Light”, in: Hana Buddeus (ed.), Sudek and Sculpture, Prague: Artefactum & Karolinum, 2020, pp. 235–329

  • Katarína Mašterová, “Sudek’s Archival Garden”, in: Hana Buddeus (ed.), Sudek and Sculpture, Prague: Artefactum and Karolinum, 2020, pp. 331–413

  • Katarína Mašterová, “Zobrazení. Svobodovy fotografie soch Zdeňka Palcra”, in: Katarína Mašterová (ed.), Svoboda + Palcr: Vidět sochy, Praha: Artefactum, 2019, s. 54–79

  • Katarína Mašterová, “Katedrála ve fotografii”, in: Jana Maříková-Kubková et al., Katedrála viditelná a neviditelná. Průvodce tisíciletou historií katedrály sv. Víta, Václava, Vojtěcha a Panny Marie na Pražském hradě, Praha: Hilbertinum – Společnost Kamila Hilberta & Archeologický ústav Akademie věd České republiky, Praha, 2019, pp. 852–862

  • Katarína Mašterová, “Paradoxně krásná. Praha v archivech fotografií války / Paradoxically Beautiful. Prague in the Archives of War Photography”, in: Katarína Mašterová (ed.), Josef Sudek: Topografie sutin / The Topography of Ruins, Prague: Artefactum, 2018, pp. 162–176; 204–212

  • Katarína Mašterová, “Objev druhé románské stavby na Hradčanech”, in: Katarína Kapustka (ed.), Profil archeologie středověku. Studie věnované Janu Frolíkovi, Praha: Archeologický ústav AV ČR, Praha, v. v. i., 2018, pp. 87–104

  • Katarína Mašterová, “Volume, Material and „Something Else“: Sudek as Engaged Observer of a Turning Point in Modern Czech Sculpture”, in: Hana Buddeus – Vojtěch Lahoda – Katarína Mašterová (edd.), Instant Presence. Representing Art in Photography, Prague: Artefactum, 2017, pp. 235–261

  • Katarína Mašterová, “Jan Svoboda and Photographs of Works of Art”, in: Rostislav Koryčánek – Jiří Pátek (eds.), Jan Svoboda: I’m not a Photographer, Brno: Moravian Gallery in Brno, 2015, pp. 42–59

  • Jana Maříková-Kubková – Katarína Mašterová – Katarína Válová, “Prague Castle”, in: Marina Vicelja-Matijašić (ed.), Swords, Crowns, Censers and Books. Francia Media – Cradles of European Culture, Rijeka: Faculty of Humanities and Social Sciences, University of Rijeka, 2015, pp. 187–212 

  • Milena Bravermanová – Katarína Chlustiková – Petr Chotěbor, “Architectural Features of St. George’s Basilica and Convent”, in: Dušan Foltýn – Jan Klípa – Pavlína Mašková – Petr Sommer – Vít Vlnas (eds.), Open the Gates of Paradise: The Benedictines in the Heart of Europe 800–1300, Prague: National Gallery in Prague, 2015, pp. 122–128

  • Petr Čech – Katarína Chlustiková, “Frühmittelalterliche Sakralarchitektur in der Siedlungsagglomeration von Saaz/Žatec”, in: Lumír Poláček – Jana Maříková-Kubková (eds.), Frühmittelalterliche Kirchen als archäologische und historische Quelle. Internationale Tagungen in Mikulčice VIII, Spisy Archeologického ústavu AV ČR Brno, Brno: Archeologický ústav AV ČR, Brno, v. v. i., 2010, pp. 275–288

Research Projects Member

  • Matrix of Photomechanical Reproductions: Histories of Remote Access to Art (PhotoMatrix Project), supported by the Lumina Quaeruntur Award, Czech Academy of Sciences, 2023–2027, co-investigator

  • Umění – Gesto – Argument, Institute of Czech Literature, Czech Academy of Sciences, 2020–2025, collaborator

  • Josef Sudek and Photographic Documentation of Works of Art: From a Private Art Archive to Representing a Cultural Heritage (Sudek Project), NAKI II, Ministry of Culture of the Czech Republic, no. DG16P02M002, 2016–2020, co-investigator (2016–2019) and principal investigator (2019–2020)

  • Jan Svoboda / Zdeně Palcr: fotografický dialog o soše, Strategie AV21, Forms and Functions of Communication program, Czech Academy of Sciences, 2019, author and coordinator of the project

  • Cradles of European Culture, EU Culture 2007–2013, recipient Institute of Archaeology, Czech Academy of Sciences, Prague; main coordinator Public Institute of the Republic of Slovenia for the Protection of Cultural Heritage, 2011–2015, collaborator

Conferences and Workshops Organized

  • Photomechanical Prints and the Material Agency of Images, panel within 36th CIHA – Congress of the Comité International d’Histoire de l’Art, Lyon, 23–27 June 2024 (with Fedora Parkmann and Hana Buddeus)

  • Art within Reach: Photomechanical Reproductions of Works of Art from Print to Digital, Institute of Art History, Czech Academy of Sciences, Prague, 5–6 December 2023 (co-organizer within the PhotoMatrix Project)

  • Photo: Science. Photography and Scientific Discourses, Online & Institute of Art History, Czech Academy of Sciences, 30 November – 2 December 2020, co-organizer with Petra Trnková, Barbora Kundračíková, Hana Buddeus and Fedora Parkmann

  • Photographing Sculptures, workshop within Sudek Project, Prague City Gallery, 3 September 2020, co-organizer with Hana Buddeus

  • Negativ – Positive – New Print!, workshop within Sudek Project, Prague City Gallery, 22 November 2019, co-organizer with Hana Buddeus

  • Reprodukce uměleckých děl a autorská práva, workshop within Sudek Project, Institute of Art History, Czech Academy of Sciences, Prague, 12 June 2017, co-organizer

  • Instant Presence: Representing Art in Photography: An International Symposium in Honor of Josef Sudek, Institute of Art History, Czech Academy of Sciences, Prague, 1–2 December 2016,co-organizer with Hana Buddeus and Vojtěch Lahoda

Selected Paper Presentations

  • “Svatý Vít / Saint Guy. Fotografické album Josefa Sudka (1928)” [Saint Guy. Photographic Album by Josef Sudek, 1928], workshop Umění – gesto – argument, Institute of Czech Literature, Czech Academy of Sciences, Prague, 4 November 2022 

  • “Kánon fotografie, kánon technologie, kánon umění”, Kánon. Konference k teorii dějin umění, Academy of Art, Architecture and Design, Prague, 20–21 January 2020

  • “An Instrument of Examination: Photographic Record as an Archaeological Sample”, Science & Photography Symposium, University of St Andrews Library, Special Collections, St Andrews, Scotland, UK, 23 October 2019

  • “The Volume of the Photographer’s Archive: From Quality to Quantity (The Case of Sudek)”, Photography Off the Scale, Department of Photography, Film and TV School of Academy of Performing Arts in Prague, 9–10 November 2019

  • “The Archive in Transition: Reframing Josef Sudek’s Photographic Reproductions of Art”, Photo Archives VI: The Place of Photography, University of Oxford, Oxford, 20–21 April 2017

  • “Volume, Material and Something “Extra”: Sudek’s Passionate Observation of a Turning Point in Modern Czech Sculpture”, Instant Presence: Representing Art in Photography. An International Symposium in Honor of Josef Sudek, Institute of Art History, CZech Academy of Sciences, 1–2 December 2016 

  • “Jan Svoboda: přivlastnění motivu sochařství a modernistická tradice”, Fotografie & socha: 1. výroční konference katedry fotografie FAMU, Department of Photography, Film and TV School of Academy of Performing Arts in Prague, 11 November 2016

Courses Taught

  • Academy of Art, Architecture and Design in Prague, course: The History of Applied Photography of the Last 50 Years, from 2023

Selected Exhibitions Curated

  • Lovelies from the Files. Sudek and Slovakia (with Hana Buddeus), Bratislava City Gallery, Slovakia, 29 October 2021 – 30 January 2022

  • Lovelies from the Files. Sudek, Sculpture, South Bohemia (with Hana Buddeus), Museum of Photography and Modern Visual Media, Jindřichův Hradec, 25 June – 19 September 2021

  • Lovelies from the Files. Sudek and Sculpture (with Hana Buddeus), House of Photography, Prague City Gallery, 23 June – 28 September 2020

  • Stanislav Kolíbal. London 1969 (with Pavel Vančát), Embassy of the Czech Republic in London, UK, 21 February – 7 June 2020

  • Svoboda + Palcr: Seeing Sculptures, Galerie výtvarného umění v Chebu (11 April – 16 June 2019)

  • (Non)collections of Photographs (with Petra Trnková, Hana Buddeus and Barbora Kundračíková), Window Gallery, Institute of Art History of the CAS, Prague, 8 November 2018 – 3 March 2019

  • Josef Sudek: The Topography of Ruins (with Vojtěch Lahoda and Mariana Kubištová), House of Photography, Prague City Gallery, 22 May – 19 August 2018

  • Josef Sudek: The Topography of Ruins. Prague 1945 (with Vojtěch Lahoda and Mariana Kubištová), Stiftung Gerhart-Hauptmann-Haus, Düsseldorf, 25 January – 29 March 2018
    Palazzo Reale Milano, Milano, 5 June– 1 July 2018
    Museo di Roma in Trastevere, Rome, 19 July – 7 October 2018
    Czech Centre Paris, 7 November – 4 December 2018
    Museum of Architecture in Wrocław, Wrocław, 14 March – 5 May 2019

  • Josef Sudek: In the Studio (with Vojtěch Lahoda), Galerie Věda a umění, Czech Academy of Sciences, 2 December 2016 – 27 January 2017

  • Josef Sudek: In the Dimness of the Cathedral (with Vojtěch Lahoda), Ateliér Josefa Sudka, Prague, 29 June – 30 August 2016

  • Mark Dorf: Transposition (with Adéla Kremplová), Festival Fotograf #12: Culture/Nature, Botanical Garden of the Science Faculty of the Charles University in Prague, glasshouse, 2–30 October 2016

  • Archaeological Exposition of the Salm Palace, Salm Palace, National Gallery Prague, permanent exhibition, from fall 2014

  • contemporary art exhibitions at the non-profit K4 Gallery in Prague (co-founder with Václav Janoščík and Jakub Hauser), 2010–2014

Viktorie Vítů

Viktorie Vítů is a doctoral researcher at the Institute of Art History of the Czech Academy of Sciences within the PhotoMatrix project, where she is responsible for the development of digital tools and the research database, as well as statistical analysis of the data. She is a PhD candidate in theory and history of contemporary art at the Academy of Fine Arts under the supervision of Prof. Tomáš Pospiszyl. She has completed her studies of Philosophy at Charles University in Prague (BA 2017) as well as Art History at the same university (BA 2018) and Theory and History of Modern and Contemporary Art at the Academy of Arts, Architecture and Design in Prague (MA 2020). In her bachelor thesis, she dealt with the technical reproduction of artworks, specifically in the texts of Karel Teige, Walter Benjamin, and Theodor Adorno. Her master's thesis on the Czech physicist Vilém Santholzer, his interest in machine aesthetics, and his photographs of radiation was awarded the Rector’s Prize at the Academy of Arts, Architecture and Design in Prague. She subsequently published an article on this topic in the magazine Umění/Art. She also works in the field of gallery education and has been a member of the curatorial team of Fotograf Gallery since 2023, which she has led since 2022.

Articles in Peer-Reviewed Journals

  • Viktorie Vítů, “Santholzer: vědec a avantgardista mezi krásou stroje a záření”, Umění / Art LXIX, 2021, no. 4, pp. 438–457

Book Reviews

  • Viktorie Vítů (review), Tim Satterthwaite (ed.), Modernist Magazines and the Social Ideal. London: Bloomsbury Publishing, 2020, Fotograf, 2020, no. 20

Selected Paper Presentations

  • “Vilém Santholzer, Fotogenie a autenticita vědecké fotografie”, Jiné světy, interdisciplinární konference studentů doktorského studia, Ústav pro dějiny umění FF UK, Ústav dějin umění AV ČR, Prague, 10 June 2022

  • “Reception and Production of Art as Costly Signalling”, ISHE (International Society for Human Ethology), Zadar, Croatia, 21–24 August 2019

  • “Krása matematiky a stroje – diskurzivní transfer mezi vědou a uměním”, Paragone. Soutěž o cenu Milana Tognera, Ústí nad Labem, Czech Republic, 16–17 May 2019

  • “Boudníkovy ilustrace k Fixní ideji”, Paragone. Soutěž o cenu Milana Tognera, Ostrava, Czech Republic, 11–12 May 2017

Public Lectures

  • “Vilém Santholzer mezi vědou a avantgardou”, Collegiae Historiae Artium, Institute of Art History of the Czech Academy of Sciences, Prague, 22 February 2023

  • “Vilém Santholzer: vědec a avantgardista mezi krásou stroje a záření”, Pondělky ve věži – Klub za starou Prahu, Prague, 21 March 2022

Exhibitions Curated

  • Jiří Toman: “…and the Water Rises”, Fotograf Gallery, Prague, 28 June – 8 September 2023

  • A rather morbid air, and it was hard to see how it could convey wishes for a happy future (curatorial coordination), Fotograf Gallery, Prague, 1–16 June 2023

  • Anaïs Tondeur, Martin Netočný, Vojtěch Radakulan: Released Atoms, Fotograf Gallery, Prague, 22 February – 11 April 2023

  • Mission, Vision, Revision (curatorial cooperation), Galerie UM, Academy of Arts, Architecture and Design in Prague, 17 January – 29 February 2020

Collaborators

Ada Ackerman

Dr. Ada Ackerman is a permanent researcher at the French National Centre for Scientific Research (CNRS) in Paris (THALIM laboratory). A specialist in Sergei Eisenstein’s work, she is known for her work on Russian cinema and photography, which she examines from the perspective of cultural transfers between Russia and other European countries considered in the PhotoMatrix project, as well as from the lens of intermediality. She will investigate the Russian aspects of the project. Ackerman studied at École Normale Supérieure (Paris) and holds a PhD in Art history (Université Paris-Ouest-Nanterre-La Défense / Université de Montréal). She has taught art history at the Université Paris-Ouest-Nanterre-La Défense, the Ecole Normale Supérieure (Lyon), and the Université de Montréal. She has also worked as a curator for the Centre Pompidou-Metz and the Musée d’art et d’histoire du Judaïsme in Paris.

https://www.thalim.cnrs.fr/auteur/ada-ackerman?lang=fr

Books

  • Ada Ackerman, The Endless Library of Sergei Eisenstein, São Paulo: Kinoruss, 2019

  • Ada Ackerman, Eisenstein et Daumier. Des affinités électives, Paris: Armand Colin, 2013

Selected Edited Volumes

  • Ada Ackerman – Barbara Grespi – Andrea Pinotti (eds.), Mediatic Handology, Shaping Images, Interacting, Magicking, Mimesis, 2021 

  • Ada Ackerman (ed.), Sergueï Eisenstein. L’Œil extatique, Centre Pompidou-Metz, 2019

  • Ada Ackerman (ed.), Golem. Avatars d’une légende d’argile, Paris: Hazan, 2017

Articles in Peer-Reviewed Journals

  • Ada Ackerman, “Pour un regard différé. L’art de Mykola Ridnyi”, Histoire de l’art, Ukraine, 2023, pp. 175–186

  • Ada Ackerman, “Du carré au pixel. Entretien avec Antoine Schmitt”, K. Revue trans-européenne de philosophie et arts, numéro spécial Malevich : Unconditional Revolution / Malevič : la rivoluzione senza condizione", 2022, pp. 114–121

  • Ada Ackerman, “L’ivresse du peuple croquée par Honoré Daumier”, Décor, numéro spécial Vulgaire, 2022, pp. 283–298

  • Ada Ackerman and Massimo Olivero, “Quelle (s) histoire (s) du cinéma pour le XXIe siècle ? : Un débat entre François Albera, Mark Cousins, Gian Luca Farinelli, Sylvie Lindeperg et Elodie Tamayo”, in: Anne-Orange Poilpré (ed.), “Raconter”, Perspective. Actualité en histoire de l’art, 2022–2, pp. 39–68

  • Ada Ackerman, “Un Soviétique à Hollywood : le cas de Sergueï Eisenstein”, Revue d’histoire culturelle. XVIIIe-XXIe siècles, 2021, 3

  • Ada Ackerman, “Entre mouvement expressif et attraction. Le geste de l'acteur de théâtre selon Sergueï Eisenstein. Sources, méthodes, développements”, Revue d’Histoire du Théâtre n° 287, 2020, pp. 99–120

  • Ada Ackerman, “Le mythe du Golem revisité par le cinéma”, Sculptures  n° 4, numéro La Sculpture et le vivant, 2017, pp. 24–32

  • Ada Ackerman, “Sergei Eisenstein’s Graphic Translations of William Shakespeare’s Macbeth: Excess, Montage, Extasis”, Hradec Kralove, Journal of Anglophone Studies, vol. 3, 2016, no. 2, pp. 34–54

  • Ada Ackerman, “Attention, religion! Retour sur une exposition controversée. Anticléricalisme, vandalisme et répression”, Proteus. Cahier des théories sur l’art, Automne 2016, no. 11, pp. 18–36

  • Ada Ackerman, “Redonner visage aux gueules cassées : sculpture et chirurgie plastique pendant et après la Première Guerre mondiale”, RACAR Revue d’Art Canadienne, vol. 1, Printemps 2016, no. 41, pp. 5–21

  • Ada Ackerman, “Бритье на предельной высоте : Сергей Эйзенштейн и Маргарет Бурк-Уайт”, Киноведческие Записки, 2015, no. 108–109, pp. 195–201

  • Ada Ackerman, “La réception de Daumier en Russie. 1830-1917”, Nouvelles de l’Estampe, Printemps 2013,  no. 242, pp. 28–41

Selected Book Chapters

  • Ada Ackerman, “L’écriture à l’épreuve du drone”, in: Alexandre Gefen (ed.), Créativités artificielles. La littérature et l’art à l’heure de l’intelligence artificielle, Paris: Les Presses du Réel, 2023, pp. 133–153

  • Ada Ackerman, “Tchernobyl. Un défi à l’art pictural”, in: Galia Ackerman and Iryna Dmytrychyn (eds.), Tchernobyl. Vivre, penser, figurer, Paris: L’Harmattan, 2021, pp. 121–164

  • Ada Ackerman, “Eisenstein’s Screams”, in: Ian Christie and Julia Vassilieva (ed.), The Eisenstein Universe, London/ Oxford/ New York/ New Delhi/ Sydney: Bloomsbury, 2021, pp. 91–114

  • Ada Ackerman, “Eduardo Kac, the olfactive poet”, in: Jean-Alexandre Perras and Erika Wicky (eds.), Mediality of Smells, 2021, pp. 113–130

  • Ada Ackerman, “Незабываемые крики Сергея Эйзенштейна: круговорот образов между живописью и кино”, in: Наум Клейман (ed.), Эйзенштейн для ХХИ века, Москва: Гараж, 2020, pp. 26–43

  • Ada Ackerman, “‘Covid-Dronism’: Pandemic Views from Above”, in: Vinzenz Hediger – Philip Dominik Keidl – Laliv Melamed – Antonio Somaini (eds.), Pandemic Media, Lüneburg: Meson Press, 2020, pp. 167–171

  • Ada Ackerman, “Eisenstein, collectionneur, curateur, homme de musée”, in: Ada Ackerman (ed.), Sergueï Eisenstein. L’Œil extatique, Centre Pompidou-Metz, 2019, pp. 33–46 

  • Ada Ackerman, “Le Capital de Sergueï Eisenstein. Un scénario impossible?”, in: Mireille Brangé – Jean-Louis Jeannelle (ed.), Films à lire. Des scénarios et des livres, Bruxelles: Les Impressions Nouvelles, 2019, pp. 103–118

  • Ada Ackerman, “Le Golem, une forme qui se dérobe”, in: Alain Fleischer and Alain Prochiantz (ed.), Le Rêve des formes. Arts, sciences et compagnie, Paris: Seuil, 2019, pp. 13–20

  • Ada Ackerman, “La Kabbale, Johannes Reuchlin. Le Golem qui décida de s’autodétruire”, in: Jean-Philippe Uzan (ed.), Variations sur l’histoire de l’humanité, Montreuil: La Ville brûle, 2018, pp. 51–61

  • Ada Ackerman, “Les revues photographiques soviétiques des années vingt”, in: Evanghelia Stead and Hélène Védrine (eds.) L’Europe des revues II (1860-1930). Réseaux et circulation des modèles, Paris: Presses Universitaires de Paris-Sorbonne, 2018, pp. 735–756

  • Ada Ackerman, “Museum Hours, Museum Ours. Le musée revisité par Jem Cohen”, in: Joséphine Jibojki – Barbara Le Maître – Natacha Pernac – Jennifer Verraes, Muséoscopies. Fictions du musée au cinéma, Presses universitaires de Paris Nanterre, 2018, pp. 61–76

  • Ada Ackerman, “Va, vis et deviens de Radu Mihaileanu : un exil qui colle à la peau. Le déracinement à l’œuvre”, in: Patricia-Laure Thivat (ed.), Voyages et exils au cinéma. Rencontres de l’altérité, Villeneuve d’Ascq: Presses Universitaires du Septentrion, 2017, pp. 225–240

  • Ada Ackerman, “Les dessins mexicains de Sergueï Eisenstein : traces et symptômes d’une aventure intérieure”, in: Laurence Schifano and Antonio Somaini (eds.), Eisenstein leçons mexicaines. Cinéma, anthropologie, archéologie dans le mouvement des arts, Paris : Presses Universitaires de Paris-Ouest, 2016, pp. 125–152

  • Ada Ackerman, “Why Daumier’s art is so cinematic for Eisenstein ?”, in: Naum Kleiman and Antonio Somaini (eds.), Notes for a General History of cinema, Amsterdam: Amsterdam University Press, 2016, pp. 255–266

  • Ada Ackerman, “Маргарет Бурк-Вайт в советской культуре”, in: Е.Д Гальцова (ed), Постижение Запада. Иностранная культура в советской литературе, искусстве и теории. 1917-1941 гг. Исследования и архивные материалы, ИМЛИ РАН, 2016, pp. 829–854

  • Ada Ackerman, “Домье - наш ! Оноре Домье в СССР в 1920-1940”, in: Е.Д Гальцова (ed), Постижение Запада. Иностранная культура в советской литературе, искусстве и теории. 1917-1941 гг. Исследования и архивные материалы, ИМЛИ РАН, 2016, pp. 815–828

  • Ada Ackerman, “Margaret Bourke-White and Soviet Russia”, in: Norman E. Saul and William Ben Whisenhunt (eds.), New Perspectives on Russian-American Relations, New York : Routledge, 2015, pp. 193–212

  • Ada Ackerman, “Le travail photographique de Margaret Bourke-White dans la culture soviétique”, in: Marie-Christine Autant-Mathieu (ed.), L’Étranger dans la littérature et les arts soviétiques, Villeneuve d’Ascq : Presses du Septentrion, 2014, pp. 283–296

  • Ada Ackerman, “Os desenhos preparatórios de Invan o Terrivel, que tipo de ferramenta genética? A análise aplicada aos filmes”, in: Marie-Hélène Paret Passos – Noêmia Guimarães Soares – Sergio Romanelli – Sílvia Maria Guerra Anastácio (eds.), Processo de criação interartes : cinema, teatro e edições eletrônicas, São Paulo : Editora Horizonte, 2014, pp. 61–72

  • Ada Ackerman, “Passages et transpositions de la théorie politique à l’écran”, in: Dork Zabunyan (ed.), Que peut une image? Carnets du BAL n° 4, Paris: Textuel/Centre National des Arts plastiques, 2013, pp. 116–137

Exhibitions Curated

  • L’Œil extatique. Eisenstein. Cinéaste à la croisée des arts, Centre Pompidou-Metz, 28 September 2019 – 24 February 2020

  • Golem ! Avatars d’une légende d’argile, Musée d’art et d’histoire du Judaïsme, Paris, 8 March – 16 July 2017

  • La Pesanteur et la grâce. Autour de Résistance d’Alain Kirili, Mairie de Grenoble, 14– 2 May 2011

Exhibition Research Assistant

  • 1917, Centre Pompidou-Metz, 26 May – 24 September 2012

  • Futur antérieur. L’Avant-garde et le livre yiddish. 1914-1939, Musée d’art et d’histoire du Judaïsme, Paris, 11 February – 17 May 2009

František Adámek

František Adámek is a research assistant within the PhotoMatrix project, where he collects information on various international journals and prepares data for further analysis. He graduated in archaeology at the University of Hradec Králové. He also studied the same subject at Charles University in Prague, along with regional science and building archaeology at Jan Evangelista Purkyně University in Ústí nad Labem. František works at the Institute of Archaeology of the Czech Academy of Sciences as an archaeologist and research assistant for fieldwork, archives, and excavation processings.

Marta Binazzi

Dr. Marta Binazzi is a photo historian and photo archivist at the Biblioteca Berenson, I Tatti, the Harvard University Center for Italian Renaissance Studies. She is also a lecturer in photographic history at the University of Florence. She obtained a PhD at the Photographic History Research Center, De Montfort University in Leicester (2020) and graduated in art history at the University of Florence (BA and MA) and photographic history at the Photographic History Research Center (MA). She lectured at De Montfort University and Middlebury College. Her main research interests include the production and circulation of photographs and photomechanical prints in Europe. Within the PhotoMatrix project, her work will focus on the transnational networks that allowed photographs to be produced, distributed, used, re-used, and circulated. She is also interested in photo collections and photo archives and their role in the production of knowledge. She took part in several projects devoted to managing photo archives, from cataloguing to creating digital platforms, with the Regione Toscana, the Fondazione Alinari, and the Uffizi Gallery, where she worked as a photo archivist. Additionally, she is part of the Editorial Board of the Rivista di Studi di Fotografia.

Articles in Peer-Reviewed Journals

 

  • Marta Binazzi, “Fotografie e istituzioni museali. Il sistema del lascito della doppia copia e le pratiche di accumulo e raccolta di fotografie: il caso delle Regie Gallerie di Firenze, 1860-1906”, Rivista di studi di fotografia, 10, 2020, pp. 10–35

  • Marta Binazzi, “‘La lamentatrice’ di Franco Pinna, dallo scatto alle trasformazioni fotomeccaniche: la biografia sociale di un oggetto fotografico, 1952–2013”, Studi di Memofonte, 11, 2013, pp. 178–197


Book Chapters

  • Marta Binazzi, “Biographies of Photographers and Photographic Studios”, in: Maria Antonella Pelizzari and Scott Wilcox (eds.), Photographs of Italy and the British Imagination: 1840–1900, New Haven: Yale Center for British Art, 2022, pp. 241–253

  • Marta Binazzi, “Law and Canon. The Law’s Influence on the Photographic Reproduction of Paintings Kept in the Florentine Royal Galleries, 1893–1904”, in: Philippe Kaenel and Kirsty Bell (eds.), La reproduction des images et des textes / Images and Texts Reproduced, Leiden – Boston: Brill Rodopi, 2021, pp. 211–226

Selected Paper Presentations

  • “The Production of the Far East Photographic Collection in the Berenson Library”, Ars Asiatica I – Construction des savoirs sur l’art asiatique dans la première Bibliothèque d’art et d’archéologie: les fonds photographiques, Institut national d’histoire de l’art, Paris, France, February 2023

  • “Photographic Companies v. the Illustrated Publishing Industry. Rights and Reproductions in the Business of Photographs of Artworks at the turn of the 20th Century”, (Re)producing Photographs, Photographic History Research Centre, De Montfort University, Leicester and Section de cinema, Université de Lausanne, March 2020

  • “How the Italian State Used Photography to Document and Multiply Florence’s artworks. The Case of the Palatina Gallery, 1860–1904”, The City as Archive. Histories of Collecting and Archiving in and the Musealisation of Florence, Kunsthistorisches Institut, Florence, September 2018

  • “The Italian State Photographer. The Complex Relationship between Copyright Law, Photographs of Artworks and Museum Regulations, 1890s–1900s”, Research Seminars in Cultures of Photography, Photographic History Research Centre, De Montfort University, Leicester, December 2017

  • “Canon and Law. The Law’s Influence on the Photographic Reproduction of Artworks in the Uffizi, 1876–1904”, Le reproduction des images et des texts / Images and Texts Reproduced, IAWIS/AIERTI, University of Lausanne, July 2017

  • “Riproduzione Interdetta. The Mutual Influence of Photographic Copyright Laws and the Business of Photographs of Artworks in Italy, 1860s–1900s. Metodologie, fonti e ipotesi di lavoro”, Storia della fotografia: La Ricerca Junior in Italia. Primo seminario Nazionale, University of Florence, June 2017

  • “The Autotype Company and the Carbon Process Market: 1868–1900”, Research Day of the Photographic History Research Centre, De Montfort University, Leicester, April 2015   

Research Fellowships

  • DMU Research Scholarship from the Photographic History Research Centre, De Montfort University, Leicester, 2015–2019

  • Travel Bursary, University of Lausanne, 2017

  • Roger Taylor Bursary from the Photographic History Research Center, De Montfort University, Leicester, 2014–2015

Exhibitions Curated

Editorial Board

  • Rivista di Studi di Fotografia, from 2022

Meghan Forbes

Dr. Meghan Forbes works as a writer, researcher, curator, translator, and gardener. Her forthcoming monograph Technologies for the Revolution: The Czech Avant-Garde in Print (Artefactum and Karolinum University Press) offers a nuanced portrait of leftist art practices in Czechoslovakia in the interwar period and explores the ways in which the Devětsil group utilized the production of printed matter to forge networks of exchange across Europe. Dr. Forbes is the sole editor of the volume International Perspectives on Publishing Platforms: Image, Object, Text (Routledge, 2019) and her writings on art have appeared in monographs and exhibition catalogues on the artists Alice Trumbull Mason (Rizzoli, 2020), Lucia Moholy (Kunsthalle Prague and Hatje Cantz, forthcoming), Toyen (National Gallery Prague, 2020), and Władysław Strzemiński (Centre Pompidou and Skira, 2018). Additional texts have appeared in Umění, Art Margins, post (MoMA), Los Angeles Review of Books and elsewhere. She received her PhD from the University of Michigan, Ann Arbor, taught at the University of Texas at Austin, and held postdoctoral fellowships at The Museum of Modern Art and the Metropolitan Museum of Art in New York. 

Daria Korop

Daria Korop studies Computer Vision at Charles University in Prague. She collaborates on the PhotoMatrix project as a programmer, whose aim is to create an application for extracting reproductions and data about those reproductions from journals. Daria is working under Elena Šikudová’s supervision.

Natalia Korop

Nataliia Korop studies Programming and Software Engineering at Charles University in Prague. She participates in the PhotoMatrix project as a creator and administrator of the database for storing metadata of the reproductions from journals.

Tereza Koucká

Tereza Koucká, an administrator of the PhotoMatrix project, works as a project manager for science and research at the Institute of Art History of the Czech Academy of Sciences. She graduated in art history and archaeology of prehistoric and early medieval times at the Faculty of Arts of Charles University in Prague. She participates in monitoring and analyzing the contemporary art market in the Czech Republic and regularly contributes to the Art+ portal and the ArtAntiques magazine.

Mariana Kubištová

Dr. Mariana Kubištová is a curator of modern furniture and plastic collection at the Museum of Decorative Arts in Prague. She received her doctorate in art history at Charles University in Prague with the dissertation “Czech Architectural Photography in the 1920s to the 1950s“. Her research interests include 20th-century design and applied photography (especially architectural photography and photography of design). She compiled and researched photographs of modern architecture created by the Czech photographer Josef Sudek. Within the PhotoMatrix project, she focuses on selected topics concerning the history of design and architecture in illustrated magazines.

Articles in Peer-Reviewed Journals

  • Mariana Kubištová – Lucie Zadražilová, “Mezi krásnými věcmi: Několik poznámek k činnosti Karla Heraina”, Muzeum: muzejní a vlastivědná práce, vol. 51, 2013, no. 1, pp. 54–61

  • Mariana Kubištová, “Fascinován průmyslem. Fotografické práce Vladimíra Hipmana z třicátých až padesátých let 20. století”, Umění / Art, vol. 60, 2012, no. 5, pp. 384–400

Books

  • Mariana Kubištová – Lucie Vlčková, A Hundred Years of Czech Design, Prague – Tokyo 2019

  • Mariana Kubištová, Poetická geometrie: Moderní architektura ve fotografiích Josefa Sudka, Prague: Museum of Decorative Arts in Prague – KANT, 2018

Selected Book Chapters

  • Mariana Kubištová, “Dvě století městského mobiliáře a venkovního nábytku”, in: Iva Knobloch (ed.), Posaďte se: Od městského mobiliáře k odpočivnému nábytku v expozicích, Prague: Museum of Decorative Arts in Prague, 2022, pp. 8–55

  • Mariana Kubištová, “Na pomezí řemesla a umění: Snímky Josefa Sudka pro firmu Baťa / Between Craft nad Art: Josef Sudek’s Photographs for the Baťa Company”, in: Miroslava Ptáčková (ed.), Josef Sudek – Zlín, Zlín: Zlínský zámek o.p.s., 2022, pp. 3–11

  • Mariana Kubištová, “Reportáž o zničeném městě. Sudkova ‘Zbořená Praha’ 1945 / A Reportage about a City Ravaged by War. Sudek’s ‘Ruined Prague,’ 1945”, in: Katarína Mašterová (ed.), Josef Sudek: Topografie sutin / The Topography of Ruins, Prague: Artefactum 2018, pp. 129–138

  • Mariana Kubištová, “‘Nebloudím, krása vede na pravou cestu.’ Předchůdci, souputníci a následovníci Krásné jizby”, in: Lucie Vlčková – Alice Hekrdlová (eds.), Krásná jizba DP. Design pro demokracii 1927–1948, Prague: Museum of Decorative Arts in Prague – KANT 2018, pp. 85–95

  • Mariana Kubištová, “The Poetics of Geometry: Josef Sudek as a Photographer of Modern Architecture”, in: Hana Buddeus – Katarína Mašterová – Vojtěch Lahoda (eds.), Instant Presence: Representing Art in Photography, Prague: Artefactum, 2017, pp. 280–295

  • Mariana Kubištová, “Teige, Karel (1900–1951)”, in: The Routledge Encyclopedia of Modernism, Abingdon, 2016, on-line: https://www.rem.routledge.com/articles/teige-karel-1900-1951

  • Mariana Kubištová, “Czech Avant-Garde Photography”, in: The Routledge Encyclopedia of Modernism, Abingdon, 2016, on-line: https://www.rem.routledge.com/articles/overview/photography

  • Mariana Kubištová, “Design padesátých let: Východiska a podoby bruselského stylu”, in: Iva Knobloch – Radim Vondráček (eds.), Design v českých zemích 1900–2000: Instituce moderního designu, Prague: Academia – Museum of Decorative Arts in Prague, 2016, pp. 341–371

  • Mariana Kubištová, “Moderně a nekonvenčně: Fotografie moderní architektury od Josefa Sudka”, in: Jiří Zikmund – Ladislav Zikmund (eds.), Architektura Hradce Králové na fotografiích Josefa Sudka, Prague: Zikmund Hradec Králové, 2014, pp. 8–17

  • Mariana Kubištová, “Karel Herain: Základy zájmu o skandinávský design v Československu”, in: Ladislav Zikmund-Lender (ed.), Design/nábytek/interiéry: Osobnosti a sbírky nábytkového designu 20. a 21. století, Prague: Zikmund Hradec Králové – Museum of Decorative Arts in Prague, 2014, pp. 124–139

  • Mariana Kubištová, “Výstavy fotografie v Krásné jizbě a fotografie na stránkách periodik Družstevní práce”, in: Lucie Vlčková (ed.), Krásná jizba. Výstavní činnost 1929–1936, Prague: Museum of Decorative Arts in Prague, 2009, pp. 138155

Book Reviews

  • Mariana Kubištová (review), “Na pomezí umění a obchodu” [Lada Hubatová-Vacková (ed.), Theatre of the Street: Advertising and Window Display within the Context of Modernism 1918–1938 / Divadlo ulice: Reklama a aranžerství výkladních skříní v kontextu modernismu 1918–1938, Prague 2021], Art & Antiques, 2022, no. 4, pp. 86–87

  • Mariana Kubištová (review), “Mnohoznačný ornament” [Lada Hubatová-Vacková, Tiché revoluce uvnitř ornamentu: Studie z dějin uměleckého průmyslu a dekorativního umění v letech 1880–1930, Prague 2012], ERA 21, 2014, no. 1, p. 13

  • Mariana Kubištová (review), “Hledání významu v periferii” [Denisa Václavová, Tomáš Žižka at al., Site Specific, Prague 2008], Art & Antiques, 2009, no. 4, pp. 5658

Selected Paper Presentations

  • “Moderní materiály ve sbírkách Uměleckoprůmyslového musea v Praze v historickém kontextu”, Péče o moderní materiály v muzeích, galeriích, knihovnách a archivech 2019, University of Chemistry and Technology Prague, 6 September 2019

  • “Fotografické budování moderní Prahy 1920–1945 / Die fotografische Konstruktion des modernen Prag 1920–1945”, Od veduty k fotografii: Inscenování města v jeho historii / Von der Vedute zur Fotografie. Die Inszenierung der Stadt im Laufe der Geschichte, Prague City Archives, Clam-Gallas Palace in Prague, 6–7 October 2015

  • “Od vzorkovny po DE(SIGN)UPM”, The Museum and Change IV : The International Museology Conference, The National Museum in Prague, 12–14 November 2013

  • “Průsečíky automobilismu a moderní architektury ve fotografii”, Architektura ve službách motorismu, Research Centre for Industrial Heritage FA CTU Prague, Hradec Králové – Liberec, 20–22 September 2012

Fellowships and Research Stays

  • Die Neue Sammlung – The Design Museum, Munich, Germany, 2014

Research Projects Member

  • Josef Sudek and Photographic Documentation of Works of Art:
    From a Private Art Archive to Representing a Cultural Heritage
    , NAKI II, Ministry of Culture of the Czech Republic, no. DG16P02M002, 2016–2020, research collaborator

  • Prefabricated Housing Estates in the Czech Republic as Part of the Urban Environment: An Evaluation and Presentation of Their Housing and Living PotentialPrefabricated Housing Estates in the Czech Republic as Part of the Urban Environment: An Evaluation and Presentation of Their Housing and Living Potential, NAKI, Ministry of Culture of the Czech Republic, no. DF13P01OVV018, 2013–2017, co-investigator

  • Josef Sudek as a Photographer of Interwar Architecture, Charles University Grant Agency, 2011–2012, principal investigator

Selected Exhibitions Curated

  • Residence: Prafab Estate. Plans, Realisation, Housing 1945–1989, The Museum of Decorative Arts in Prague, 25 January – 22 July 2018

  • “I will gladly photograph modern architecture in a modern way.”Buildings Designed by Josef Gočár, Jaroslav Fragner, Richard F. Podzemný and Others in Photographs by Josef Sudek, The Museum of Decorative Arts in Prague – The House at the Black Madonna, 18 May – 18 September 2016

Lukáš Pilka

Dr. Lukáš Pilka, a digital art history consultant for the PhotoMatrix project, is a digital designer, innovator, and media theorist focusing on interactive and communication design, contemporary technologies, new media, and the intersection of these fields with the world of fine art. His recently completed PhD at the Academy of Arts, Architecture and Design in Prague focused on the use of computer vision and neural networks for automated classification and quantitative interpretation of artworks. Lukáš Pilka is also a co-founder of the software company BlueGhost, a university lecturer, and a contributor to numerous media outlets. He is the initiator of the Open Collections project, creator of the experimental application DigitalCurator.art, programmer, podcaster, and old and new generative art enthusiast.

https://lukaspilka.cz/

Adéla Svobodová

Adéla Svobodová is a graphic designer and an artist. Within the PhotoMatrix project, she researches photographs in the context of graphic design and historical printing techniques and is responsible for the project's design. She studied graphic design at the Brno University of Technology and art at the Academy of Fine Arts in Prague. During her studies, she completed internships at the Hochschule für Gestaltung in Karlsruhe and the San Francisco Art Institute in California. Since 2019, she has been a PhD student at the Academy of Art, Architecture and Design in Prague, where she is investigating the relationship between the graphic design of academic art publications and the structure of their texts. As a graphic designer, she works mainly in the cultural field, focusing on book and catalogue design. She received numerous awards in the Most Beautiful Czech Books competition. In 2010, the book Atlas of Transformation, which she designed, won the gold medal in the Most Beautiful Books of the World competition and an award in the Most Beautiful Swiss Books competition.

http://adela-pauline.net/

Elena Šikudová

Doc. Dr. Elena Šikudová is an associate professor at the Faculty of Mathematics and Physics, Charles University in Prague. She is a member of the Computer Graphics Group, and her main interest is computer vision and image processing. Encouraged by her interest in fine arts, she supervises students developing digital tools for the PhotoMatrix project. She also advises the core team on the methodology of computational processes used in the project.

https://cgg.mff.cuni.cz/members/sikudova/

Former Collaborators

Martin Netočný

Martin Netočný, a photographer and an author of original illustrations for the PhotoMatrix project from 2023, was an employee of the photographic studio at the Institute of Art History of the Czech Academy of Sciences in 2022 and 2023. He graduated from the Department of Photography at the Film and Television Faculty of the Academy of Performing Arts (FAMU) in Prague in 2020. From 2020 to 2021, he headed the Documentation Department of Post Bellum organization, with which he still cooperates. At the Institute of Art History, he created professional photographic documentation of works of art, architecture, sculpture, painting, drawing, graphics, and applied arts from the Czech and international art for various purposes within the Institute. In his independent creative work, he deals with the deconstruction of common historical narratives, visual analysis of post-industrial landscapes, and relational aesthetics of public space. He approaches all of these areas of interest through both static and moving technical images. He also works in the field of theory.

Martin Pavlis

Martin Pavlis collaborated with the PhotoMatrix project as a social media administrator in 2023. He works in the photographic library of the Institute of Art History of the Czech Academy of Sciences, where he is responsible for the management of documentary photographs of works of art and architecture. He graduated from the Faculty of Arts of Charles University with the degree in art history (MA). He occasionally contributes to ArtAntiques magazine, Art+, and Artalk.cz.

Zuzana Valtonen

Zuzana Valtonen was a digital tools assistant for the PhotoMatrix project in 2023, responsible for collecting and preparing data for further research analysis. She is studying for an MA in information science, new media and library science at Charles University in Prague. She holds a bachelor's degree in media studies and communication. Currently, she also manages the research, revision, and passporting of historical library collections within the Library of the Institute of Art History of the Czech Academy of Sciences.