Nicoletta Isar

Kort præsentation

Nicoletta Isar is Associate Professor at the Institute of Art History, Department of Arts and Cultural Studies at Copenhagen University. She studied Classical Archaeology, Byzantine Studies and Comparative Religions at the Sorbonne Paris IV (1990-1996), from where she holds a doctorate (docteur ès lettres) (1996). 

She is the author of Chorography (2011), a breakthrough in Byzantine studies, and she has extensively published a broad spectrum of articles ranging from Mediterranean culture to contemporary ritual performances, from para-theatre to video art (especially on video artist Bill Viola), as well as on subjects from other disciplines, such as psychology, music, and the anthropology of image.

She has long been involved with the theory of image as a scholar equipped in Classical studies, which enabled her in seizing the paradigm shifts of image throughout time, and in conducting comparative discussions around new phenomena in contemporary visual culture.

Her research reflects her academic formation, as well as her intellectual horizon of all-embracing propensity for eclecticism within the comparative cultural studies, focusing continuously and consistently on themes reflecting the patterns of imagination and their poetics.

She has published a diverse range of articles on sacred image, as well as on European modern representations and post-modern video art, in which image is approached comparatively. In the last 10 years, her research and teaching were occupied with Visual Anthropology: Studies in Ritual Performance - with a special interest in the recurrence of ritual in contemporary performances (particularly Bill Viola). Her teaching in Visual Culture was intensively focused on cultural phenomena, European and non-European, from an anthropological and comparative point of view, insisting on the paradigmatic dimension of image and imagination, by combining visual arts, anthropology (among other theories, the anthropology of René Girard), and the phenomenology of the saturated phenomenon of Jean-Luc Marion.

 

Aktuel forskning

 

Her main research project is “Chorography (Chôra, Chóros): A performative paradigm of creation and imagination,” a comparative and interdisciplinary project. Chorography takes as a point of departure Plato’s chôra from Timaeus, and expands the field of analysis of sacred space from antiquity and Byzantium to contemporary performances. The method of research combines different skills of comparative studies in the European history of mentalities, visuality and musicology, with philosophical, philological, and theological approaches. The project is part of the international project “Hierotopy: Studies in the Making of Sacred Space,” initiated in 2002 with Dr. A. Lidov. Hierotopy elaborates the main principles and boundaries of a new field, explores the theory of sacred image and the model of Metaphysics of Presence, in which international well-known scholars from different disciplines participate in a cross-interdisciplinary research. Her latest project, Anthropologies of Play, explores chaos and chance and the possibility of play in the abyssal structure of chôra, with focus on frenzy choreographies (the corybantic, the leap in frolic, un coup de dès, the Virtual, plasma, concatenations in hypermedia) as manifestations of the imaginary chôra space of creativity.

She is a co-editor of various international journals and is involved in a series of Danish and International networks, as well as a co-active collaborator in various laboratories of research on visual anthropology and the study of image in Europe. She has participated in numerous international and interdisciplinary conferences, and seminars, congresses, on Byzantine studies, visual anthropology, studies on image and music, as well as performative studies in theatre.

CV

Nicoletta Isar is Associate Professor at the Institute of Art History, Department of Arts and Cultural Studies at Copenhagen University. She has studied in Bucharest, Paris, and Toronto, with a doctorate (docteur ès lettres) in Byzantine studies - Sorbonne, Paris IV (1996). He holds a degree in Musicology and Violin performance.

Sprogkundskaber

Spoken: French, English, Romanian, Russian, Spanish, Italian, Danish.

Read: Old Slavonic, Latin, Old Greek.

Undervisnings- og vejledningsområder

 

Teaching Activity at the University of Copenhagen:

 

Anthropology of Image (IX): Blasphemy and Profanation (Graduate course Fall 2018)

 

Potential images. Between indeterminacy and deception/Potentielle billeder. Fra det ubestemmelige til bedraget (joint course taught with Ragni Linnet), Graduate course Spring 2018.  

 

NATURE (RE)CREATED Imagination – Conflict – Technology/DEN (GEN)SKABTE NATUR. Fantasi – konflikt – teknologi (joint course taught with Ragni Linnet), Graduate course Spring 2017.  

 

Kunsthistorie 2: Kunsthistorie før 1400, Undergraduate course Fall 2017.  

 

Bild-Anthropologie (VIII): The Artificial Woman. From Pandora to the Silicone lovedolls in the Uncanny Valley, Graduate course Spring 2016.  

 

The Transparency of Evil: Extreme Phenomena in Contemporary Imaginary, Graduate course Fall 2016.  

 

Kunsthistorie 2: Kunsthistorie før 1400, Undergraduate course Fall 2016.  

 

RADICAL IMAGINATION The Invisibility of Image, Graduate course Fall 2015.  

 

Kunsthistorie 2: Kunsthistorie før 1400, Undergraduate course Fall 2015.

 

Just about “What Images Do” Graduate Course, Spring 2014,Institute of Art History and Visual Studies, Department of Arts and Cultural Studies.

 

Antik, senantik, tidlig middelalder (Antiquity, Late Antiquity, Early Middle Ages) Undergraduate course, Spring 2014, ÅU University

 

The Technologies of Body: Of Fashion, Dermagraphics, Jeanetic Engineering and Wearable Technologies Graduate course, Fall 2013, Institute of Art History and Visual Studies, Department of Arts and Cultural Studies.

 

Senmiddelalder, Renæssance Undergraduate course, Fall 2013, Institute of Art History. Department of Arts and Cultural Studies.

 

An Anthropological Inquiry into Play, Chance and Fate in Visual Culture From the Beginning to Contemporary Visual Game Studies

Graduate course, Spring 2013, Institute of Art History and Visual Studies, Department of Arts and Cultural Studies.

 

Studies in Ritual Performance. Patterns in Comparative Culture: From Holy Sites to Viola’s Bodies of Light Graduate course, Spring 2013, Institute of Art History and Visual Studies, Department of Arts and Cultural Studies.

 

Material Imagination: The Sacrality of Medium (Mediology I) Graduate course, Fall 2012, Institute of Art History and Visual Culture, Department of Arts and Cultural Studies.

 

Senmiddelalder, Renæssance Undergraduate course, Fall 2012, Institute of Art History. Department of Arts and Cultural Studies.

The Anthropology of Posthumanism: Visions from the near future: transgenic, eugenics, cloning Graduate course, Spring 2012, Institute of Art History, Dance, and Theatre Research, Visual Studies, Department of Arts and Cultural Studies.

 Thaumaturgus opticus: Masters of Deception, Seductive Visions in Visual Culture

Graduate course, Spring 2012, Institute of Art History, Dance, and Theatre Research, Visual Studies, Department of Arts and Cultural Studies.

 

The Ister – Foundational River. European Anthropology and History in The Making

EUROPE Graduate course, Fall 2011, Institute of Art History, Dance, and Theatre Research, Visual Studies, Department of Arts and Cultural Studies.

 

Hysterical Histories of Art: The Arts of Fear and Disappearance

Graduate course, Fall 2011, Institute of Art History, Dance, and Theatre Research, Visual Studies, Department of Arts and Cultural Studies.

 

Senmiddelalder, Renæssance

Undergraduate course, Fall 2011, Institute of Art History, Dance, and Theatre Research, Visual Studies,

 

Technology and Revelation in Bill Viola’s Video Installations. Media, Metaphor and the Unknown

Graduate course, Spring2011, Institute of Art History, Dance, and Theatre Research, Visual Studies, Department of Arts and Cultural Studies.

 

Bild-Anthropologie (V): The Anthropology of Image: Towards a Cultural History of Images

Graduate course, Spring 2011, Institute of Art History, Dance, and Theatre Research, Visual Studies, Department of Arts and Cultural Studies.

 

Senmiddelalder, Renæssance

Undergraduate course, Fall 2010, Institute of Art History, Dance, and Theatre Research, Visual Studies, Department of Arts and Cultural Studies.

 

The Time of the Image: Art History as the Anachronism of Images

Graduate course, Spring 2010, Institute of Art History, Dance, and Theatre Research, Visual Studies, Department of Arts and Cultural Studies.

                               

The Rise and the Fall of the gods – The Dawn and the Twilight of their Dance

Graduate course, Spring 2010, Institute of Art History, Dance, and Theatre Research, Visual Studies, Department of Arts and Cultural Studies.

 

Bild-Anthropologie (IV): Sublime Simulacra – the Pygmalion Effect

Graduate course, Fall 2009, Institute of Art History, Dance, and Theatre Research, Visual Studies, Department of Arts and Cultural Studies.

 

Violence and Mimetic Desire in Contemporary Imaginary

Things Hidden from the Foundation of the World according to Girard

Graduate course, Fall 2009, Institute of Art History, Dance, and Theatre Research, Visual Studies, Department of Arts and Cultural Studies.

 

The Power of Images. The Syndrome of Idolatry and Iconoclasm

Undergraduate course Sidefag, Fall 2009

 

Immanence and Transcendence in Byzantine Image. Towards a Model of Metaphysics of Presence

Graduate course, Spring 2009, Institute of Art History, Dance, and Theatre Research, Visual Studies, Department of Arts and Cultural Studies.

 

Modernitet & samtidskunst

Undergraduate course, Spring 2009, ÅU

 

Æstetik og Kunstteori II

Undergraduate course, Fall 2008, ÅU

 

Bild-Anthropologie (III): Iconic Turn: The New Image of the World

Graduate course, Fall 2008, Institute of Art History, Dance, and Theatre Research, Visual Studies, Department of Arts and Cultural Studies.

 

Image and Space (Billed- og Rumanalyse):

Undergraduate course, Fall 2007+ Spring 2008, Institute of Art History (Tilvalg & Open University), Department of Arts and Cultural Studies.

 

Paratextures: On Signs and Screens

Graduate joint course with Charles Lock, Fall 2007, Institute of Art History, Dance, and Theatre Research, Comparative Literature, Visual Studies, Department of Arts and Cultural Studies.

 

The Spatialization of Sound From World Picture to Sound World

Participation into the graduate courseAuditiv kultur, Fall 2007, Institute of Art History, Dance, and Theatre Research, Visual Studies, Department of Arts and Cultural Studies.

 

Ad-Marginem: Towards a theory of metapictoriality

Sidefag undergraduate course Fall 2007,Institute of Art History, Dance, and Theatre Research, Visual Studies, Department of Arts and Cultural Studies.

 

Eros and Pathos: Images of Bliss, Immortal Bodies. A Hierotopic Approach to Contemporary Performance

Sidefag undergraduate course Spring 2007,Institute of Art History, Dance, and Theatre Research, Visual Studies, Department of Arts and Cultural Studies.

 

Image and Space (Billed- og Rumanalyse)

Undergraduate course, Fall 2006 – Spring 2007, Institute of Art History (and Open University), Department of Arts and Cultural Studies.

 

Bild-Anthropologie (II): Visual Arts and Anthropologies: History of Art as a Cultural History of Images

Graduate course, Spring 2006, Institute of Art History, Dance, and Theatre Research, Visual Studies, Department of Arts and Cultural Studies.

 

The Earthly and Heavenly Jerusalem

Undergraduate course, Spring 2006, Institute of Art History, Dance, and Theatre Research, Visual Studies, Department of Arts and Cultural Studies.

 

Bild-Anthropologie (I): Visual Anthropology: Image, Body, Medium

Graduate course, Fall 2005, Institute of Art History, Dance, and Theatre Research, Visual Studies, Department of Arts and Cultural Studies.

 

Performing the Sacred in Byzantium

Undergraduate course, Fall 2005, Institute of Art History, Dance, and Theatre Research, Visual Studies, Department of Arts and Cultural Studies.

 

Chorography (II): The Hospitality of the Chôra and the Ethics of the Gift

Graduate course, Spring 2005, Institute of Art History, Dance, and Theatre Research, Visual Studies, Department of Arts and Cultural Studies.

 

Viola’s Ontology of the Image

Graduate course, Spring 2005, Institute of Art History, Dance, and Theatre Research, Visual Studies, Department of Arts and Cultural Studies.

 

Chorography: Around a performative paradigm of imagination and creation

Graduate course, Fall 2004, Institute of Art History, Dance, and Theatre Research, Visual Studies, Department of Arts and Cultural Studies.

 

Technology and Revelation: Viola’s Ontology of the Image

Graduate course, Fall 2004, Institute of Art History, Dance, and Theatre Research, Visual Studies,Department of Arts and Cultural Studies.

 

Hagia Sophia and Its Ontological Proportions: Cosmology and Man’s Creation in Byzantine Culture: Graduate course, Spring 2004, Institute of Art History, Dance, and Theatre Research, Visual Studies, Department of Arts and Cultural Studies.

 

Studies in Ritual Performance. Patterns in Comparative Culture: From Holy Sites to Viola’s Bodies of Light: Graduate course, Spring 2004, Institute of Art History, Dance, and Theatre Research, Visual Studies, Department of Arts and Cultural Studies.

 

The Sacred Image of Byzantium (II): The Model of Vision and its Beholder

Undergraduate course, Spring 2003, Institute of Art History, Dance, and Theatre Research.

 

The Sacred Image of Byzantium: The “I” of the Image

Undergraduate course, Fall 2001, Institute of Art History, Dance, and Theatre Research.

 

The Playing Subject: The Postmodernism Thirst for Performance

Graduate course, Fall 2001, Institute of Art History, Dance, and Theatre Research-

 

The Trial of the Subject (II): Clothing the Subject

Graduate course, Spring 2001, Institute of Art History, Dance, and Theatre Research.

 

Carnival: Mundus Perversus and its Reverse Image

Undergraduate course, Spring 2001, Institute of Art History, Dance, and Theatre Research.

 

The Trial of the Subject (I): The Body in perspective. The Torment of the Image

Graduate course, Fall 2000, Institute of Art History, Dance and Theatre Research.

 

Baroque IV: A Totalizing Vision and its Discourse. A Short (Hi)story of the Museum and of its Beginnings: Undergraduate course, Fall 2000, Institute of Art History, Dance and Theatre Research.

 

Venetian Visual Culture of the Thirteenth and Fourteenth: Byzantine and Western Traditions

Undergraduate course, Spring 2000, joint course with Marina Vidas, Institute of Art History and Theatre Research. 

 

Velázquez’ Las Meninas: The Theology of Painting or the Limits of Classical Representation

Undergraduate course,Spring 2000, Institute of Art History and Theatre Research.

 

The Time of the Image: the Era of Art and Before It

Graduate course, Spring 2000, Institute of Art History and Theatre Research.

 

Baroque III: Of Light, Shadow, and Narrative

Undergraduate course, Fall 1999, Institute of Art History and Theatre Research.

 

The Completion of the Tableau. The Signature and the Death of the Author

Undergraduate course, Fall 1999, Institute of Art History and Theatre Research. 

 

Baroque II: Blindness and Seeing: The Story and the Theory of Sight in Rembrandt’s Painting

Undergraduate course, Spring 1999, Institute of Art History and Theatre Research.

 

Toward an Archaeology of Face and Power: The Eclipse of Vision in the Classical Age: Paradigms  and Alterations: Undergraduate course, Spring 1999, Institute of Art History and Theatre Research.

 

Siena: Civic and Ritual in Dugento and Trecennto Visual Culture

Spring 1999, joint course with Marina Vidas, undergraduate course, Institute of Art History and Theatre Research

 

The Empty Mask. The Stuffed Body. The Space of Laughter in Modernity

Undergraduate course, Spring 1998, Institute of Art History and Theatre Research; Modern Culture Studies, Institute of Comparative Literature.

 

Goya: The Disaster of Anthropomorphism

Undergraduate course, Spring 1998, Institute of Art History and Theatre Research.

 

Studies in Baroque I: The Baroque Model of Vision - The Invention of the Tableau 

Undergraduate course, Fall 1998, Institute of Art History and Theatre Research..

 

The Insufficient Body: Watteau’s Melancholy:

Undergraduate course, Fall 1998, Institute of Art History and Theatre Research.

 

Deconstructing Text and Image in Modern Art:

Graduate course, Spring 1997, Modern Culture Studies, Institute of Comparative Literature.

 

Commodity and Representation: European Still Life of the 17^th century

Undergraduate course, Fall 1997, Institute of Art History and Theatre Research.

 

Figure and Space; Colour into Light in the Venetian Landscape

Undergraduate course, Fall 1997, Institute of Art History and Theatre Research.

 

Melancholy and the Modern Body

Undergraduate course, Fall 1997, Modern Culture Studies, Institute of Comparative Literature.

 

The Making of English Landscape Painting

Undergraduate course, 1996, fall + spring 1997. Institute of Art History, Dance and Theatre Research.

 

 

 

Interesseområder

Lectures and Papers: 

2018

Dancing/Dwelling into the Sacred Space Χώρα. Byzantine Chorographies  

Über Tanz sprechen. Semantiken und Funktionen von Tanz im Mittelalter und in der Frühen Neuzeit 26.‒27. Januar 2018 - Göttingen Universität

 

THE SOUNDING WATERS PERFORMING WORLD HARMONY AT AQUASGRANI

Workshop „Tanz imMittelalter“ (Themenheft „Das Mittelalter“) Berlin, 22/23.März 2018

2017

DAZZLING Χορός: Being Moved by Light. Tropes of Sensoriality in Byzantium

Séminaire du LABEX RESMED Religions et sensorialité organisé par Béatrice Caseau et Elisabetta Neri University Paris Sorbonne bibliothèque Boutruche Sorbonne escalier F, 2e étage 11 My 16h-18h 15h-17h

 

Chôra, Theurgy, and the Deification of Man. Hierotopy and hier-Anthropos (theios Anthropos)

EASR European Association for the Study of Religions Special Conference of the International Association for the History of Religion 18-21 Sept 2017 Leuven Belgium

 

The Sense of the Elementals (Lightning, Thunder) in the Transfiguration of Christ on the High Mountain – a Hierotopy of Theomorphism

The Holy Mountains in Hierotopy and Iconography of the Christian World, MoscowRussian Academy of Arts on September 13-15, 2017

 

2016

 

HIEROGRAPHY/CHOROGRAPHY:

Patterns of Imagination and Visual Inscription of the Sacred in Byzantium

Congress of Byzantine Studies Belgrade August 2016

2015

Revealing/Concealing: Dazzling  Adumbration in the Byzantine Chôra

NCCR eikones annual conference “Revealing/Concealing: (in)visibility in pre-modern societies” Basel 18-20 Nov. 2015

 

The Dance of Adam: The Gesture ἐπὶκαρπῷχεῖρας in Reconstructing the Byzantine χορὸς

International Symposion: Gestures and performances, Helsinki 30 Oct 2015

 

Images Borne on Air – A Wonder to Behold

Symposium “Life and Death: The Animation of Image” Copenhagen 27 May 2015

2014

Borne on dew lightning. Byzantine Parthenogenesis as Hierotopic Brilliance

International Symposium The Life-Giving Source. Water in the Hierotopy and Iconography of the Christian World The Institute for World Culture at Moscow State University,  the Department of Medieval Studies of the Research University’ High School of Economics,  the Russian Academy of Arts, and the Research Centre for Eastern Christian Culture Moscow on 24-26 June 2014

 

The Playing Image – Staging Bildakt

WHAT IMAGES DO, SYMPOSIUM, The Royal Danish Academy of Fine Arts, Copenhagen, March 19-21, 2014

2012

ΧΟΡÓΣ Χορός: A Paradigm of Creation and Imagination. From Greek archaic poetry to sacred liturgical drama of the mystery in the Christian church

DANCING IMAGES AND TALES Iconography of dance from Classical to Middle Age

Aula Magna, Campus Catalunya Universitat Rovira i Virigili, Tarragna Spain December 3rd, 2012

 

Shining Time: Material Radiance The Anachronism of Image

SRLC-conference 2012: “Cultures of Transition: Presence, Absence, Memory”  University of Copenhagen, 19-21 Oct 2012 Section: Transcendence and Memory

2011

 

BEDAZZLED. BEING MOVED BY CHORÓS

Byzantine Aesthetics in the Mediterranean: Poikilia, Marmarygma kai Empsychosis – Round Table  at the International Byzantine Studies Congress, Sofia, Bulgaria August 22-27, 2011  Organizer: Bissera V. Pentcheva

 

Dancing Light into the Byzantine Sacred Space. The Athonite Chorography of Fire

International Conference ‘Light and Fire in the Sacred Space’ The Institute for World Culture, Moscow State University, The State Library of Foreign Literature, The Research Centre for Eastern Christian Culture, Moscow September 27-29, 2011

 

2010

 

Sonic Strokes: Boltanski’s Heartbeats and his “Archives du Coeur” (“Heart Archives”)
On the Subject of Sonic Mediation through Sonic Affect

International Network “Sound as Art - Sound in Culture. Sound in Theory - Sound in History,” September 23 - 25, 2010. Aarhus University

 

 Bill Viola: Technology and Revelation

Kunstaakademie IKK kunsthistorie –23rd November 2010

 

2009

 

CHORÓS: BEING MOVED BY LIGHT. Towards a Phenomenology of Vision in Byzantium

Byzantine Colloquium “Light, Surface, Spirit: Phenomenology and Aesthetics in Byzantine Art” Dumbarton Oaks 12-13 nov. 2009

 

(Tracing the) Imperial ¿o¿o¿ Comnenian H i e r o t o p y

International Conference SPATIAL ICONS Textuality and Performativity Russian Academy Moscow June 23-25, 2009

 

Voice Under Erasure: Viola’s “Capital” Visions and His Phonophobia

International Network “Sound as Art - Sound in Culture. Sound in Theory - Sound in History,” Seminar The Voice, 5-6 November 2009 University of Copenhagen

 

2008

 

 Viola’s Passionate Interregnum: Performing the Chôra Space-in-Between

Interregnum: In Between States. Performance Studies international Annual Conference, Copenhagen 2008

 

2007

 

Hierotopy of Music: From ‘Metaphysical Catastrophe' to Public Space of Enchantment

International Conference "Music and Sound in Public Space" - 16-17 November 2007.

 

Chôra: Tracing the Presence, The Idea of Presence University of Bucharest, Faculty of Letters, Interdisciplinary Centre for European and Romanian Cultural Studies "Tudor Vianu," Bucharest, 30^th November-1 December 2007.

 

Screening the Mystery. Making the Sacred Space. Concealment and secrecy, the limits of vision and sound of the mystery in the Christian ChurchIMAGE & ALTAR 800-1300, The National Museum of Denmark, Copenhagen, 24-27 October 2007.

 

Rameau's Les Boréades: Undoing Discipline at the Classical Age La Discipline à l'Âge Classique. Colloque interdisciplinaire et international organisé par le réseau de recherche Classicisme et Lumières. Université de Copenhague - 19-21 Janvier 2007.

 

2006

 

Icons at The Willumsen Museum in Denmark. Ethical Issues on Icon Research and Conservation ICOM CONSERVATION COMMITTEE Icons: Approaches to Research, Conservation and Ethical Issues, Athens, New Benaki Museum, 3-7 December 2006.

 

The Spatialization of Sound - From World Picture to Sound World, MUSIK OG LYD I DET OFFENTLIGE RUM/MUSIC AND SOUND IN PUBLIC SPACE NTSMB, SDU Esbjerg , November 17-18, 2006. 

 

Hierotopy of Light: Inscribing Sacred Space in Byzantium

21^st International Congress of Byzantine Studies, London 21-26 August 2006. 

 

Theatre of Presence - Antero Alli's Paratheatrical ReSearch Lab International Conference Religion, Ritual, Theatre, University of Copenhagen, 27-29 April 2006.

 

2005

 

The Merciful and Fiery Eye of the Holy Icon. Modes of "seeing" and encounter with the Icon, Icondialog in Helligaandshuset, Copenhagen, 27 October 2005.

 

Chorós: Dancing out the Mystery in Byzantium, PERFORMING BYZANTIUM, XXXIX Spring Symposium of Byzantine Studies Queen's University Belfast, 2-4 April 2005.

 

Cosmology and the Creation of Sacred Space in Byzantium: The Dramaturgy of Light in Byzantine Imperial Ceremonial between 6th c. - 12th c., part of the special course Europa's Gyldne Rige: hofliv, kirkekunst og politisk-religiøs kultur i Det Byzantinske Rige, Folkeuniversitet, Forår 2005.

 

Wounded by Love: Bill Viola, the Mystic Poet and His Latest Illuminations, Institute for Greek and Latin, Copenhagen University, March 2005.

 

Chorography (Chôra/Chorós) - a performative paradigm of imagination and creation in Greek thinking, Performativitetsgruppen, Institute of Art History, Copenhagen University, 12 Feb. 2005.

 

2004

 

Undoing Forgetfulness: The Chiasmus of the Poetical Mind, The Cultural Heritage of Medieval Rituals II: Creation and the Arts, Copenhagen, 10-13 December 2004.

 

Chorography (Chôra, Chôros, Chorós) - A performative paradigm of creation of sacred space in Byzantium, Hierotopy: Studies in the Making of Sacred Space, 28 June-4 July, 2004, Moscow.

 

Stefan cel Mare: Atletul lui Hristos, Commemorative lecture for the 500th anniversary, Romanian Embassy in Denmark, 25 June 2004. 

 

2003

 

Viola's Cosmology: From the Recollection of Being to "Creation Angel" and Cosmic Dance for the Third Millennium, The Cultural Heritage of Medieval Rituals II: Creation and the Arts, Copenhagen, 13-15 December 2003. 

 

The Call of the Icon: Communion and Ecstasis of Person in Orthodox Theology and Liturgical Art, Seminar "Den ikoniske tradition I den ortodokse kirke", Institute for the History of Religion, Department for the Sociology of Religion, University of Copenhagen, 17^th November 2003.

 

2002

 

CHORÓS: THE MAKING OF SACRED SPACE An inquiry into the rhetorical sources of the Byzantine image of the Anastasis, The Danish Institute in Athens, 8^th May 2002.

 

Holy Icon and Its Body: the Paradox of the Representation, Centre for Arts and Christianity, Copenhagen University, 4^th Feb. 2002.

 

2001

 

Beyond Ambiguities: Gombrich's Contribution to the Theory of Representation, a seminar "Sir Ernst H. Gombrich In Memoriam," 30^th November, 2001, Copenhagen University.

 

The Living Wall: The Techique of Restoration and the Incarnation in Post-byzantine Moldavian Outside Paintings, ICOM Icon Research Area conference on "Changes in Post-byzantine Icon Painting Techniques," Copenhagen, 14^th -17^th October, 2001.

 

The Dance of Adam: Anastasis - a Nuptial Ceremonial?, XX International Congress for Byzantine Studies, 19-25 August, 2001, Paris.

 

The Challenge of the Body: The Return of the Inanimate, Marionette: Metaphysics, Mechanics, Modernity, International Symposium, Copenhagen University, 28 March -1 April 2001.

 

Symbol/Sign: Reading Through and Along the Line, Annual Congress of The Danish Association of Art Historians, 24^th Feb. 2001, Copenhagen.

 

1999

 

The Broken Image: On Splits and Cuttings. The Modern Representation and its Beginnings, Moments Of Change. Transformations of Christian Traditions in the West 1000-2000, 7- 10 Oct. 1999, Copenhagen.

 

1997

 

Terribilis in Extremis: On the Skin and Under the Skin of the Other, NorFa - Nordic Acad. for Advanced Study, 6-9 November, 1997, Sigtuna (Sweden).

 

Inscription Against Representation: Voicing the Present and Framing the Absent, Seminar of the Centre for Logic and Aesthetics Ålborg University, 4-8 September, 1997, Paris.

 

The Falling Light of Byzantium on Venice, University of Copenhagen: Centre for Christianity and Arts, 16 September, 1997, Copenhagen.

 

The Outline Which Does Not Limit. The Icon as Kenotic Presence and Void, NorFa - Nordic Acad. for Advanced Study, 29-31 August, 1997, Åland (Finland)

 

1996

 

Text (Wall) Image - a semiotic approach of the post-byzantine décoration of the Moldavian churches, XIX International Congress for Byzantine Studies, 18-24 August, 1996, Copenhagen.

 

1995

 

On the Skin of the Other: From Prophetic Nudity to Ritual Clothing, The Cultural Work of Ritual, Symbol and the Other, University of Western Ontario, London, Canada, 10-11 February, 1995.

 

Canadian Art: The Group of Seven, Art Gallery of Ontario, Toronto, February, 1995.

 

Matisse et la Métapeinture, The Barnes Exhibition, Art Gallery of Ontario, Toronto, March, 1995.

 

Giovanni del Biondo, Art Gallery of Ontario, Toronto, February 1995.