Andrei Pop (Postdoctoral fellow Art History, University of Basel), Minou Schraven (Assistant professor Art History and Museum Studies, Amsterdam University College), Sonu Shamdasani (Professor at the UCL Centre for the History of Medicine, University College London) and Francesca Tarocco (Co-director at the NYU Institute for Shanghai Studies).

Each of the above guests round out the historian group, while Angie Keefer, Maria Barnas and Quinn Latimer constitute the literary corps.

Between Seeing and Believing is conceived by Adam Kleinman, with organizational support from Renée Staal (Interim Curatorial Assistant).


2.00 PM: Opening and introduction by Defne Ayas & Adam Kleinman.

2.15 PM: Minou Schraven on Pope Benedict XVI standing in front of the remains of Pope
Celestinus V in L’Aquila, April 2009.

2.40 PM: Angie Keefer on Joseph Nicéphore Niépce’s View from the Window at Le Gras (1826).

3.05 PM: Andrei Pop on Henry Fuseli’s The Nightmare (1781).

3.30 PM: Maria Barnas on Joseph Nicéphore Niépce’s View from the Window at Le Gras (1826).

3.55 – 4.20 PM: Break

4.20 PM: Francesca Tarocco on The Nirvana of Master Hongyi (1942) by anonymous.

4.45 PM: Quinn Latimer on Joseph Nicéphore Niépce’s View from the Window at Le Gras (1826).

5.10 PM: Sonu Shamdasani on Jung’s hermeneutics in his Red Book (1914-1930).

5.35 PM: Roundtable discussion moderated by Adam Kleinman.

6.15 – 6.45 PM: Drinks

Practical Information

Date: Saturday March 30 2013, 2-6.45 PM
Location: Witte de With Center for Contemporary Art, Witte de Withstraat 50, Rotterdam
Admission fee: €5 / €3 with discount
Language: English

About Tulkus 1880 to 2018

Aimed at creating a complete collection of portraits and basic information on all the tulkus of the world – who in Tibetan Buddhism are the recognized reincarnations of previous Buddhist masters* – from the beginning of photography until today, from all the schools of Tibetan Buddhism and Bon, and from all the areas of the world where this religion is practiced, this growing survey has until now collected over 1100 photographic portraits.

Manifesting in a stunning array of forms, from high production color prints to inexpensive photocopied reproductions, and in scales ranging from pocket-size to large format, these images are the same ones commonly treasured in monasteries, hung in private households or shops, or collected by the faithful. These photographs are considered holy by the believers.

Tulkus 1880 to 2018 uncharacteristically lays bare these objects of specific veneration within the confines of a religiously plural, and often secular art institution–an institution that conversely is not known for presenting nominally sacred objects to its audience, and is itself enshrined within a long history of aesthetic discourses that attempt to establish a ‘visual neutrality’.