Dr. Benjamin Fellmann
Warburg-Haus Hamburg, Scientific Coordinator (april - june 2022)
Postdoc-Projekt: Pier Paolo Pasolini in der Gegenwartskunst. Politiken der künstlerischen Praxis
Benjamin Fellmann is the scientific coordinator of the Warburg-Haus Hamburg since 2017, an art historian and curator. In 2016, he earned his doctorate at the universities of Hamburg and Paris 8 Vincennes-Saint-Denis as a scholar of the Studienstiftung des deutschen Volkes (German in a joint PhD that was supported by the Deutsch-Französische Hochschule/Université Franco-Allemande with a thesis on the history of the Palais de Tokyo in Paris. His subsequent book is the winner of the Zentralinstitut für Kunstgeschichte’s 2020 Willibald Sauerländer Award for distinguished research in the history and practice of art history. In 2009/10 he worked at the United Nations Development Programme, Copenhagen as a fellow of the Carlo-Schmid-Programme. He studied at Bucerius Law School, Hamburg, and the universities of Hamburg and Roma Tre, Rome, and holds a BA in Media and Communication Studies and Art History and an MA in Media Studies from Hamburg University, the latter with a thesis on Walter Benjamin. He also worked as a senior editor and co-publisher of the German art magazine DARE. Most recently he curated the exhibitions AFTER PASOLINI – Visions of Today (together with Bettina Steinbrügge, Center for Contemporary Art, Plovdiv/Bulgaria, September–October 2020) and Class Relations. Phantoms of Perception (with Bettina Steinbrügge and Tobias Peper, Kunstverein in Hamburg, October 2018–January 2019). In 2022 he was awarded the Paris x Rome Fellowship by the German Center for Art History Paris and the Bibliotheca Hertziana - Max Planck Institute for Art History.
- International contemporary art and politics
- History of museums and institutions and curatorial studies
- Political Iconography
- Art philosophy and aesthetics
- Art politics in National Socialism
Pier Paolo Pasolini in contemporary art. Politics of artistic practice
The project is intended as a first systematic investigation into the fundamental impact of the life and work of Pier Paolo Pasolini (1922–1975) on contemporary art, and his reception in works of numerous international artists from his lifetime to the present day. Works by approximately 50 international artists are taken into consideration, including artists from a wide range of disciplines such as Francesco Arena, Elisabetta Benassi, Nina Fischer & Maroan el Sani, Alfredo Jaar, Bouchra Khalili, Fabio Mauri, Lili Reynaud-Dewar, Ming Wong, Cerith Wyn Evans, Hervé Guibert, and David Wojnarowicz, among others, who have used Pasolini's life and work as a source of inspiration to explore meanings of artistic creation in highly politicized contemporary societies. The filmmaker, poet, novelist, theorist, journalist, and critic who commented on the challenges of global economic and political developments in postwar society becomes himself a lens for a reflection on the function of art and negotiations of cultural, social, and political structures, social and ecological consequences of capitalism, and also the position of artistic work in society. Identifiable core subjects of his preoccupations undergo an updating and appear highly topical: processes of modernization and commercialization, forced mobility, forms of communal life, the search for a language for reality, interest in myth, developments of the so-called »Third World«, the relationship between the South and the North both in Italy and Europe as on a global scale. A rootedness in the city of Rome and its historical sedimentations as well as the urban and social aesthetics developed by Pasolini on the one hand, and his international work and reception on the other, to which not least Paris and the theoretical reception of his works that is especially pronounced in France testify, are defining vanishing points of the artistic perspectives, as well as their investigation.
- Palais de Tokyo. Kunstpolitik und Ästhetik im 20. und 21. Jahrhundert, Berlin et al.: De Gruyter 2019 (Studien aus dem Warburg-Haus 22).
- Durchdringung und Porosität: Walter Benjamins Neapel. Von der Architekturwahrnehmung zur kunstkritischen Medientheorie, Berlin: Lit 2014 (Beiträge zur Medienästhetik und Mediengeschichte 33).
- (ed. with Bettina Steinbrügge), After Pasolini – Visions of Today (exhibition catalogue, Plovdiv 2020), Plovdiv 2021.
- (ed. with Bettina Steinbrügge), Klassenverhältnisse. Phantoms of Perception, Cologne: Walther König 2020, ibid.: Klassenverhältnisse. Phantoms of Perception: Thoughts on a new theory of art and classes, pp. 50–71 (German: pp. 26–48).
- "Politique de l'image élémentaire: David Wojnarowicz entre Aby Warburg et Pier Paolo Pasolini", in [Plastik] : Vers une esthétique des éléments, 10 (2022, comité scientifique Maud Maffei, Benjamin Fellmann, Riccardo Venturi), URL: https://plastik.univ-paris1.fr/politique-de-limage-elementaire-david-wojnarowicz-entre-aby-warburg-et-pier-paolo-pasolini/ (accessed 30.03.2022).
- "Projet Picasso – Zum Werk von Raphaël Denis und Raubkunst in der zeitgenössischen Kunst", in Biografien der Bilder. Werke und Provenienzen im Museum Berggruen, eds. Sven Haase and Petra Winter, Staatliche Museen zu Berlin I Museum Berggruen, Berlin: Deutscher Kunstverlag 2018, pp. 62–77.