Hanni Geiger
Research
Hanni Geiger is an art historian and passionate about the art and design of the 20th and 21st centuries, especially the interrelations between exile, migration and artistic production; postcolonial, global and transcultural art and design; the representations of the body and technology in art and design; as well as digital art history and posthumanism.
At global dis:connect, Hanni is focusing on ‘dis:connective artifacts’ in the modern eastern and southern Mediterranean, especially their complex relationship to Eurocentric design and social paradigms. Detaching objects from perspectives of the global North and West and connecting them to an understanding of the sea as an ambivalent body of water and its local cultures uncovers formal and social interruptions and absences tied to national constructions of the Mediterranean, Europe and beyond. Her research aims to disconnect local decorative arts and design from their subordinate position in Western paradigms by pointing to the unequal connections and asymmetries of power that have shaped the understanding of modern craft, design, art and culture in and from the Mediterranean.
Hanni obtained her PhD in 2014 with her dissertation on the British-Turkish artist and designer Hussein Chalayan, treating the correlation of migration and artistic production in his work (see selected publications).
Biography
Hanni Geiger is a postdoctoral researcher at the Käte Hamburger Research Centre: global dis:connect. From 2019 until 2021 she was a research associate and a coordinator of the DFG Priority Programme The Digital Image. Prior to that, she was a senior lecturer in the Department of Design at the AMD Akademie Mode & Design/Fresenius University of Applied Sciences, Munich (2016–2018). From 2013 until 2015, Hanni Geiger she was a research associate at the LMU Institute of Art History, where she obtained her doctorate in 2014. She also served as a junior researcher in the Exil, Migration und Transfer project of the Center for Advanced Studies in Munich (PI: Prof. Dr. Burcu Dogramaci) (2011–2012) and as a project employee at the Goethe-Institut Croatia (2008–2009). Having studied fashion design in Zagreb and art history, art education and intercultural communication at the LMU Munich, Hanni lectures at the Design Academy of the Munich Chamber of Commerce and the Academy of Fine Arts in Munich.
Selected Publications
Click here for Hanni’s CV, including a full list of publications.
‘Das fluide Menschenbild: Digitale Ver- und Entkörperungen im Dazwischen’ [The fluid human image: Digital (dis/em)bodiments in the in-between]. In Fluidität / Begriffe des digitalen Bildes [Fluidity / Concepts of digital images], edited by Hubertus Kohle/Hubert Locher (Munich, forthcoming).
‘Past:present represent. Imaging dis:connected Mediterranean bodies,’ static 1, no. 1 (2022): 15–21.
‘Transkulturalität – Aktuelle Perspektiven in zeitgenössischer Gestaltung und Kunstwissenschaft’ [Transculturality – Current perspectives in contemporary art and design]. In Begegnungen. Kunstpädagogische Perspektiven auf Kunst- und Bildgeschichte [= Kunst Geschichte Unterricht; vol. 2], edited by Johannes Kirschenmann/Frank Schulz, 404–435. Bielefeld, 2021.
‘Digitale Bilder zwischen Fake und Protest. Bericht zur Online-Tagung ‘Das digitale Bild. Die soziale Dimension, politische Perspektiven und ökonomische Zwänge’, 28.–30. April 2021’ [Digital images between fake and protest. Conference report ‘The digital image. social dimensions, political perspectives and economic constraints’, 28–30 April 2021], with Leonie Groblewski and Julian Stalter, Rundbrief Fotografie 28, no. 4 (2021): 51–58.
‘Beyond humanism. Beyond cultural distinction?,’ Exploring visual cultures (2021). https://www.explore-vc.org/en/objects/beyond-humanism.html.
‘Revision des Futurismus. (Post-)Moderne Mensch-Maschinen zwischen Design und Kunst’ [Revising futurism. (Post-)modern man-machines between design and art]. In Positionen des Neuen, edited by Gesellschaft für Designgeschichte e. V., 72–84. Stuttgart, 2019).
‘Heimat ‘to go’. Fashion in the work of Hussein Chalayan.’ In Design Dispersed. Forms of Migration and Flight, edited by Burcu Dogramaci/Kerstin Pinther, 172–188. Bielefeld 2019. https://doi.org/10.7788/9783412502331
form follows culture. Entgrenzungen im Konzept-Design Hussein Chalayans [form follows culture: Border crossings in Hussein Chalayan’s conceptual design] (= mode global; vol. 1). Vienna/Cologne/Weimar, 2016 (PhD diss., LMU Munich, 2014). https://doi.org/10.1515/9783839447055-010