Maria Bremer

Maria Bremer

Maria is a PhD candidate in Art History at Freie Universität, Berlin. Under the supervision of professors Peter Geimer and Beatrice von Bismarck she is currently completing her dissertation on artistic technologies of the self in the 1970s. From 2011 until 2015 she worked as a researcher in the ERC-project “To each his own reality. The notion of the real in the fine arts of France, West Germany, East Germany and Poland 1960–1989,” headed by Mathilde Arnoux at Centre allemand d’histoire de l’art in Paris. In 2013, she conceived and organized the conference “Contemporary Art and Margins” with L. Barbisan, C. Boichot and S. Marguin at Centre Marc Bloch in Berlin, after spending the summer as a Library Grantee at the Getty Research Institute. Previously she studied art history in Milan, Tours and Berlin (2005–2011). Her fields of interest are the history of the artist-figure and exhibition history, with a special focus on the history of documenta, as well as practices of canonization and historicization. Her recent publications include the article “Modes of making art history. Looking back at documenta 5 and documenta 6”, in Stedelijk Studies #2, 2015 and the theme issue Kapitalisierungen des Marginalen, kritische berichte 3.2015 (edited with L. Barbisan and S. Marguin).

Her research for CIMA places Paolini’s artistic relationship with de Chirico within the broader perspective of artistic epigonism as a technology of the self, asking which functions do Paolini’s references to de Chirico perform, and in how far may these functions have evolved from the 1960s and 1970s until today. Paolini’s early de Chirico references will be investigated in the light of Italian neo-avant-gardist staging of the self, while his latest ones are to be read against the backdrop of current attempts to restate the sovereignty of the artist-figure at a time of increasing curatorial mediation.