02 Oct 2026 - 03 Oct 2026

Location: eikones Forum, Rheinsprung 11, 4051 Basel

Organizer: eikones, Zentrum für die Theorie und Geschichte des Bildes, David Bucheli and Olexii Kuchanskyi, supported by the FAG (Freiwillige Akademische Gesellschaft Basel)

Public event, Congress / Conference / Symposium

Ecologies of Mind in the Cold War

In the work of Gregory Bateson, psychological and ecological thinking meet in ways that were, in many respects, paradigmatic for the mind sciences and psychopolitics of the Cold War era. Organized by David Bucheli and Olexii Kuchanskyi,…
08 Oct 2026
Time: 18:15

Location: Kunsthistorisches Seminar, St. Alban-Graben 8, 4051 Basel, Vortragsraum Nr. 131

Organizer: Kunsthistorisches Seminar, Bereich Mittelalter

Public event

Forumsvortrag «Sound Art History und die klanglichen Dimensionen des Ambos in Aachen» mit Joanna Olchawa

14 Oct 2026
Time: 18:15  - 20:00

Location: eikones Forum, Rheinsprung 11, 4051 Basel

Organizer: Seminar für Medienwissenschaft

Events, Public event, Colloquium

Media Studies and AI Literacies: Colloquium #6

Für alle MA-Studierenden der Medienwissenschaft und weitere Interessierte.
16 Oct 2026

Location: Forum eikones, Rheinsprung 11, 4051 Basel

Organizer: eikones, Zentrum für die Theorie und Geschichte des Bildes, NOMIS-Fellow Paul Morrow

Events, Public event, Workshop

Digital Simulations & Sites of Destruction

Modern media offer new ways to explore scenes of atrocity. Museums use these tools to allow visitors to see, hear, and feel acts of oppression. This workshop examines the peril and potential of digital simulations of sites of destruction.
20 Oct 2026
Time: 18:15  - 19:45

Location: Forum eikones, Rheinsprung 11, 4051 Basel

Organizer: Kunsthistorisches Seminar, SNF-Projekt Modern Painting and the Lesbian Gaze: Queer Women Artists in Europe, 1900–1950

Events, Public event, Guest lecture / Talk

Both/And: Madeleine Lemaire Through a Queer Lens

In this lecture, Kirstin Ringelberg will introduce Belle Époque French painter Madeleine Lemaire (1845–1928), using a queer lens to reconsider the artist’s images of nude, partially clothed, and coupled women.


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