by Jennifer Bürk, Heidelberg Centre of Transcultural Studies, Heidelberg University
Exploring New Worlds
When I first met Monica Juneja, on an October afternoon in 2009, to start working as her new student assistant, little did I know how crucial this work relationship would become for my further education and how formative this work would be for developing my own research interests and nurturing my critical thinking. At the time, I was about to complete my bachelor’s degree in art history, and in retrospect, my naïve knowledge of art (history) was mostly limited to the clear-cut bounds of European western art with only some basic awareness of East Asian art, let alone the art of the Islamicate or any other regions of the world.
My tasks were mainly administrative in nature but being part of Monica’s seminars and lectures and initially, only loosely following the contents of the sessions opened up many facets of the world (or worlds) for me. These facets included the vibrant Mughal miniatures and other visual objects and collection practices across the globe, alongside challenging questions as to what the term ‘Islamic’ means in conjunction with the notion of art. Gradually, this led to realizing a keen interest in all those art objects, places, and histories that fell strangely ‘out of place’ within the master narrative of European art history. In these objects, places, and histories the complexities and negotiation processes of cultural encounters felt more tangible (and often more visible), while at the same time providing a deeper understanding of art history as a discipline constituted to not only include, but also deliberately to exclude large parts of artistic production. Consequently, I decided to write my master’s thesis about the garden manors of the Norman king, William II of Sicily. Mary Louise Pratt’s term “contact zones”[i] seemd especially fitting for Norman Sicily as it was often dealt as both exotically fascinating because of the sheer richness of multicultural artistic creations and also impossible to grasp given its history as a site of conquest and power struggle.[ii] I believed that there was more to this story that required unraveling. Thus, I raised and addressed the question of how the Normans dealt with the artistic abundance. My answer, at the time, was that the Norman kings, specifically William II, were engaged in a deliberate and selective process of reconfiguration, irrespective of issues such as ‘origin’. Of utmost importance was that the artistic outcome would be able to address a multiplicity of societal and cultural strata while at the same time artistically linking kings and princes across the Mediterranean. While not being a supervisor to this thesis, I am grateful for Monica’s enthusiasm about this topic which also allowed me to give a guest lecture on Norman Sicily in her course “Europe and the Arts of Islam” (summer term 2013) and to participate in the workshop “Art Histories and Terminologies I” held in Berlin in 2013. Continue reading “Hundreds of Facets: Reconfiguring Sight and Vision in Norman Sicily”