Notes on Contributors
Roger Nicholas Balsiger
chairs the Heinrich and Henri Moser Foundation as great-grandson of Heinrich Moser, the watchmaking pioneer, and as great-nephew of Henri Moser, the donator of the Oriental Collection to the Historic Museum in Berne. He wrote various biographies about his ancestors, among which, together with Ernst J. Kläy, on Henri Moser: Bei Schah, Emir und Khan.
Moya Carey
is the Curator of Islamic Collections, at the Chester Beatty Library in Dublin, Ireland. Her research addresses the nineteenth-century history of collecting in the Middle East, with specific reference to the formation of the South Kensington Museum (today the V&A). She has recently published Persian Art. Collecting the Arts of Iran for the V&A (London: V&A, 2018). She is currently working on a long-term research project with Mercedes Volait, on architectural salvage in nineteenth-century Cairo.
Valentina Colonna
is a scholar of Islamic art history. She obtained her PhD in culture and territory with a thesis on the collection of Islamic art in Rome during the nineteenth century. She has published articles on the Islamic collection in Italy, Turkey and Syria. She participated in international conferences and in the organization of the exhibition âIl fascino dellâOriente nelle collezioni e nei musei dâItaliaâ (Frascati, February, 2012) and received a masterâs degree in museology in 2016.
Francine Giese
is director of the Vitrocentre and Vitromusée Romont. From 2014â19 she held a SNSF professorship at the Institute of Art History of the University of Zurich, where she led the research project Mudejarismo and Moorish Revival in Europe. Her PhD thesis, dealing with the Islamic ribbed vault, was published in 2007 (Gebr. Mann), and her habilitation (second book) on building and restoration practices in the Mosque-Cathedral of Cordoba issued in 2016 (Peter Lang). Her research focuses on the artistic and cultural heritage of al-Andalus, cross-cultural exchanges during the Middle Ages, architectural Orientalism and the arts of glass.
Hélène Guérin
docteur en histoire de lâart contemporain, chercheur au LIFAM. Maître de conférences associée à lâÃcole nationale supérieure dâarchitecture de Montpellier. Travaille sur les rapports entre lâart et les (id)entités territoriales : plus précisément le rôle de lâhistoire de lâart dans lâinvention des territoires aux XIXe et XXe siècles. Ses travaux sont géographiquement situés en Europe et en Asie. Dernières parutions : « Les kote-e de la province dâOita, objets de patrimonialisation », Revue de lâuniversité de Beppu (en japonais), 2018; « Une métaphysique de lâart au service de la science sociale : François Sabatier lire et écrire avec Fourier », Cahiers Charles Fourier, n°28, 2017, 51â65.
Barbara Karl
studied art history and languages at the University of Vienna. Before becoming director of the Textile Museum St. Gallen, she was curator of Textiles and Carpets at the MAKâMuseum für angewandte Kunst in Vienna. Since her PhD she has published books and articles on Indian textiles for the European market, merchants as agents of intercultural transfer, the influence of India on European material culture, collecting of Islamicate Art in Medici Florence and Habsburg Vienna and Ottoman textiles.
Katrin Kaufmann
a étudié lâhistoire de lâart et les langues et littératures slaves, à Berne et à Berlin. Elle travaille au Service des monuments historiques du canton de Berne et est doctorante à lâUniversité de Zurich. Sa thèse sur lâarchitecture orientalisante à Saint-Pétersbourg fait partie du projet de recherche Mudejarismo and Moorish Revival in Europe, sous la direction de Francine Giese.
est collaboratrice scientifique pour le Corpus Vitrearum au Vitrocentre Romont depuis 2013 et inventorie les vitraux suisses de la Renaissance et du baroque. Comme spécialiste du vitrail elle collabore au projet Mudejarismo and Moorish Revival in Europe de lâUniversité de Zurich. Son doctorat à lâUniversité de Berne était dédié à la réception des motifs islamiques en Espagne romane.
Agnieszka Kluczewska Wójcik
est vice-présidente du Polish Institute of World Art Studies (Polski Instytut Studiów nad SztukÄ Åwiata, Varsovie), éditeur scientifique du Corpus de la collection Feliks JasieÅski au Musée National de Cracovie. Elle est notamment lâauteur de Feliks « Manggha » JasieÅski and his Colletion at the National Museum in Krakow (2014). Elle a édité plusieurs volumes, dont: Modernity of Collection (2010), Art of Japan, Japanisms and Polish-Japanese Art Relations (2012), Korea. Art and Artistic Relations with Europe (2014), Kolekcjonerstwo polskie XX i XXI wieku (Collectionnisme polonais du XIXe et XXe siècles, 2015), Siemiradzki that we do not know (2018).
Inessa Kouteinikova
is a senior researcher and art historian, living in the Netherlands. Her interests include Russian and International Orientalism, and the development of the photographic industry in Central Asia, Caucasus and the Crimea from 1860 to 1917. She is currently writing a monograph on the emergence of albumania, reception, representation and display of Russiaâs nineteenth-century colonies in the International exhibitions. Working closely with the Russian museums, she has curated and co-authored various exhibitions in Europe, America and Australia.
Axel Langer
studied art history at the University of Zurich. He has been working for the Museum Rietberg Zürich since 1999, where he is curator for Islamic Middle-Eastern Art. Beside his various contributions to transcultural exhibitions, he also organized exhibitions himself, such as on blue-and-white ceramics, Qajar textiles and the cultural exchange between Europe and Persia in the seventeenth century. He is currently working on a project on aniconism in Islamic and Christian art.
Maria Medvedeva
is an archaeologist. She graduated from Saint-Petersburg State University, and completed her PhD at the Institute for the History of Material Culture, Russian Academy of Sciences, at whose archives she has been working as of 1999 and has become its head in the meantime. Her research interests are focusing on the history of archaeology and preservation of antiquities in Russia at the end of the nineteenth and in the beginning of the twentieth centuries.
Ãgnes Sebestyén
obtained her MA degree in Art History in Budapest in 2006. She worked in the field of contemporary art in Budapest and Wiesbaden between 2002 and 2010, and at the Hungarian National Gallery (2010â11). She completed her PhD between 2012 and 2016 at the Institute of Art History/Graduate School of the Humanities at the Walter Benjamin Kolleg at the University of Bern. She has been working as the Project Director of the European Foundation for Education in Stuttgart since 2017.
Alban von Stockhausen
is an anthropologist and curator based in Bern, Switzerland. His recent work focused on the Greater Himalayan region and historic photo collections. He is curator for the ethnographic collection at Bernisches Historisches Museum that also keeps objects, photographs and documentation materials donated by Henri Moser in 1914.
Ariane Varela Braga
is an art historian and lecturer at the University of Geneva. She studied at the universities of Geneva and Neuchâtel. Her PhD dissertation (2013), about Owen Jonesâs Grammar of Ornament, was published in 2017 (Campisano Ed.). From 2014 to 2019, she was research assistant in the SNSF project Mudejarismo and Moorish Revival, directed by Francine Giese at the University of Zurich. Her interests focus on the theory of ornamentation and decorative arts, the reception of non-Western art, colored marbles and artistic migrations.
Mercedes Volait
est directeur de recherche au CNRS (laboratoire InVisu, Paris) et chercheur associé au Victoria and Albert Museum depuis 2015. Elle est spécialiste de lâorientalisme architectural et antiquaire né au contact des monuments du Caire au XIXe siècle. Elle a notamment publié Fous du Caire : excentriques, architectes et amateurs dâart en Egypte (1867â1914) (2009) et Maisons de France au Caire : le remploi de grands décors mamelouks et ottomans dans une architecture moderne (2012). Elle étudie actuellement avec Moya Carey le remploi architectural dans Le Caire khédivial.