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Kunsthistorisches Institut

Nadine Helm

Nadine Helm, M.A.


Nadine Helm (b. 1980) is an art historian specializing in 20th century and contemporary European and American art and architecture. Research grants by the Fulbright Foundation, the Max-Kade- Foundation, and the Erasmus-Program brought her to study at Goldsmiths College in London, Columbia University in the City of New York, and Humboldt-University in Berlin, where she received her M.A. in Art History with a thesis on contemporary installation art and issues of spectatorship in public space. In 2010, Nadine Helm joined the Art History doctoral program at the Graduate Center, City University of New York, where she conducted research on German and American postwar art with a particular focus on the intersections of sculpture, installation art, and interventionist as well as participatory art practices. Research on modern and contemporary museum architecture and exhibition design prepared for her dissertation topic on the image-generating capacity of avant-garde exhibition displays, which Nadine Helm conducts at the NCCR Mediality – Historical Perspectives, University of Zurich (2013-2016). In addition to her research experience, Nadine Helm taught as adjunct Professor at Baruch College, The Weissman School of Arts & Sciences, and at City College New York, The Bernard and Anne Spitzer School of Architecture.

PhD project (NCCR Mediality – Historical Perspectives) Seeing and experiencing – The museum as cultural technique. On the image-generating capacity of exhibition displays and architecture in the early 20th century Setting off from the discursive fields of art and architecture and their cross-fertilizations by means of image theory, the dissertation analyzes the ostentatious function of early 20th century exhibition displays. The critical expansion of the notion of the image towards the interpretation of space allows a revision of the history of the museum and its reform movements around 1900 by integrating it in a multimedia-based narrative that oscillates between showing, seeing, and the participatory experiment with architecture, knowledge and reality.