The recent ‘global turn’ in art history and curatorial practice has prompted the question of how to reflect this through pedagogy. The workshop Worlding Art History through Syllabi takes up the notion of ‘worlding’ to explore how art history is taught in different places and institutions around the world. What would a ‘worlded’ syllabus look like, and how can we collaboratively ‘world’ global art history?

A ‘worlded’ art history rejects the idea of a single global world framed, ordered and represented according to Eurocentric premises or as universally constituted by global capitalism. Instead, it conceives of the global as constituted from multiple and entangled geo-cultural perspectives. It is not centered on assumed commonalities of ‘global’ art. Rather, it seeks to shed light on differences and relations. What are histories, epistemologies, and ontologies that constitute ‘global’ art? What are infrastructural or institutional incommensurabilities which define the many intersecting art histories of the present?

This workshop invites scholars from the fields of art history, cultural studies, cultural anthropology, media studies, museum studies and other related disciplines to participate in an peer-to-peer exchange of experiences and practices. It focuses on how scholars may, or already have, designed teaching syllabi to complicate dominant frameworks of ‘global’ art history. It is particularly interested in how syllabi have the capacity to restructure pedagogical approaches to teaching topics such as global capitalism in the art world, the so-called Global North-South division, transnational and transcultural entanglements, and differences between teaching regional art histories.


In English

Launch of the publication series ‘Worlding Public Cultures: The Arts and Social Innovation’

Carine Zaayman (author of the premiering WPC book, Anarchival Practices: The Clanwilliam Arts Project as Re-imagining Custodianship of the Past, WPC/ICI Berlin Press 2022)  in conversation with Wesley C. Hogan (in person and online)

Lecture by Pheng Cheah (online)
Beyond the World as Picture: Worlding and Becoming the Whole World

Followed by a discussion (in person and online) with Pheng Cheah (UC Berkeley), Carmen Moersch (Kunsthochschule Mainz) and Birgit Hopfener (Carleton University)

Moderated by Monica Juneja (Heidelberg University)

Workshop: Worlding Art History through Syllabi (internal)
10:00-12:00 Part I
12:00-12.30 Lunch Break
12:30-14:00 Part II


Oliver Aas
Eva Bentcheva
Laurens Dhaenens
Pauline Dourtreligne
Eva Ehninger
Claire Farago
Wesley Hogan
Birgit Hopfener
Monica Juneja
Franziska Kaun
Seunghee Kim
Franziska Koch
Anton Lee
Mark Louie Lugue
Priya Maholay
Shatavisha Mustafi
Roger Nelson
Varda Nisar
Miriam Oesterreich
Luísa Santos
Vera Simone-Schulz
Moritz Schwörer
Xiaoxia Song
Ming Tiampo
Carine Zaayman
Ayelet Zohar
Esra Yildiz

Organized by
the Heidelberg University team of Worlding Public Cultures: The Arts and Social Innovation in collaboration with Ming Tiampo (WPC / Carleton University) and Birgit Hopfener (WPC / Carleton University), in cooperation with ICI Berlin.

WPC is funded by a Social Innovation Grant from the Trans-Atlantic Platform for the Social Sciences and Humanities and (within Germany) by the Bundesministerium für Bildung und Forschung (BMBF/DLR, no. 01UG2026).

The audience is presumed to consent to a possible recording on the part of the ICI Berlin.
If you would like to attend the event yet might require assistance, please contact Event Management.

Image Credit © Pansee Atta, Migrations, 2014, Mixed Media on panel, 8″x10″, courtesy of the artist