{"id":82,"date":"2021-10-01T15:31:37","date_gmt":"2021-10-01T15:31:37","guid":{"rendered":"https:\/\/monika.web-work.at\/?page_id=82"},"modified":"2025-10-31T17:33:43","modified_gmt":"2025-10-31T17:33:43","slug":"media","status":"publish","type":"page","link":"https:\/\/leisch-kiesl.com\/en\/presse\/","title":{"rendered":"Media"},"content":{"rendered":"

[et_pb_section fb_built=“1″ _builder_version=“4.16″ _module_preset=“default“ background_color=“RGBA(0,0,0,0)“ global_colors_info=“{}“][et_pb_row _builder_version=“4.16″ _module_preset=“default“ global_colors_info=“{}“][et_pb_column type=“4_4″ _builder_version=“4.16″ _module_preset=“default“ global_colors_info=“{}“][et_pb_text _builder_version=“4.27.4″ _module_preset=“default“ hover_enabled=“0″ global_colors_info=“{}“ sticky_enabled=“0″]<\/p>\n

zu TWO CITIES. An Aesthetic Approach to Ethical Responsibility (2024)<\/h2>\n

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Print \/ Audio<\/h3>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=“1_2,1_2″ _builder_version=“4.16″ _module_preset=“default“ global_colors_info=“{}“][et_pb_column type=“1_2″ _builder_version=“4.16″ _module_preset=“default“ background_color=“RGBA(255,255,255,0)“ custom_css_main_element=“margin: auto;“ global_colors_info=“{}“][et_pb_text _builder_version=“4.27.4″ _module_preset=“default“ background_color=“#f6f6f6″ custom_padding=“15px|15px|15px|15px|true|true“ hover_enabled=“0″ global_colors_info=“{}“ sticky_enabled=“0″]<\/p>\n

\n
\n

-> Mehrangiz Basiri, in: goodreads.com<\/a>, September 14, 2025<\/p>\n

-> Reader Review, in: amazon.de<\/a><\/p>\n

-> Franziska Hei\u00df, in: goodreads.com<\/a>, February 18, 2025<\/p>\n

-> Raphaela Hemetsberger, in: <\/span>arthistoricum.net<\/a> DOI: https:\/\/doi.org\/10.11588\/artdok.00009630<\/span><\/p>\n

-> Raphaela Hemetsberger, in: arthistoricum.net<\/a> DOI: https:\/\/doi.org\/10.11588\/artdok.00009631<\/p>\n

-> e-flux<\/strong> Architecture<\/a>, November 21, 2024<\/p>\n<\/div>\n<\/div>\n

[\/et_pb_text][\/et_pb_column][et_pb_column type=“1_2″ _builder_version=“4.16″ _module_preset=“default“ background_color=“RGBA(255,255,255,0)“ custom_css_main_element=“margin: auto;“ global_colors_info=“{}“][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=“4.16″ _module_preset=“default“ global_colors_info=“{}“][et_pb_column type=“4_4″ _builder_version=“4.16″ _module_preset=“default“ global_colors_info=“{}“][et_pb_text _builder_version=“4.16″ _module_preset=“default“ global_colors_info=“{}“]<\/p>\n

zu Die Dame Vernunft und das Schreiben von Geschichte \/ Lady Reason and the Writing of History (2021)<\/h2>\n

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Print \/ Audio<\/h3>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=“1_2,1_2″ _builder_version=“4.16″ _module_preset=“default“ global_colors_info=“{}“][et_pb_column type=“1_2″ _builder_version=“4.16″ _module_preset=“default“ background_color=“RGBA(255,255,255,0)“ custom_css_main_element=“margin: auto;“ global_colors_info=“{}“][et_pb_text _builder_version=“4.18.1″ _module_preset=“default“ background_color=“#f6f6f6″ custom_padding=“15px|15px|15px|15px|true|true“ global_colors_info=“{}“]<\/p>\n

\u2013> The International Christine de Pizan Society Website: christinedepizan.org<\/a><\/p>\n

\u2013> Raphaela Hemetsberger, in: ThPQ 170 (H. 3\/2022)\u00a0<\/a><\/p>\n

\u2013> Regina Hammer, Christine de Pizan Literatin, Verlegerin, Buchh\u00e4ndlerin und Feministin im Paris um 1400, in: amazon.de<\/a>, 15. Feb. 2022<\/p>\n

\u2013> Regina Friederike, in: goodreads.com<\/a>, 14. Feb. 2022<\/p>\n

\u2013> Maria Reitter, in: goodreads.com<\/a>, 27. Dez. 2021<\/p>\n

\u2013> Maria Reitter-Kollmann, Die Dame Vernunft und das Schreiben von Geschichte, in: amazon.de<\/a>, 27. Dez. 2021
<\/a><\/p>\n

\u2013> Buchkunst und Genderforschung: Buchpr\u00e4sentation online, in: LKZ, 22.Dez.2021, S. 31<\/a><\/p>\n

\u2013> Einer schreibenden Feministin um 1400 auf der Spur, in: O\u00d6N, 07.12.2021, S. 18<\/a><\/p>\n

[\/et_pb_text][\/et_pb_column][et_pb_column type=“1_2″ _builder_version=“4.16″ _module_preset=“default“ background_color=“RGBA(255,255,255,0)“ custom_css_main_element=“margin: auto;“ global_colors_info=“{}“][et_pb_text _builder_version=“4.16″ _module_preset=“default“ background_color=“#f6f6f6″ custom_padding=“15px|15px|15px|15px|true|true“ global_colors_info=“{}“]<\/p>\n

\u2013>\u00a0 Pamela Neuwirth, in: Radio FRO<\/a>, 10. Feb.2022<\/a><\/p>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=“4.16″ _module_preset=“default“ global_colors_info=“{}“][et_pb_column type=“4_4″ _builder_version=“4.16″ _module_preset=“default“ global_colors_info=“{}“][et_pb_text _builder_version=“4.16″ _module_preset=“default“ global_colors_info=“{}“]<\/p>\n

zu ZEICH(N)EN. SETZEN. (2020)<\/h2>\n

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Print \/ Audio<\/h3>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=“1_2,1_2″ _builder_version=“4.16″ _module_preset=“default“ global_colors_info=“{}“][et_pb_column type=“1_2″ _builder_version=“4.16″ _module_preset=“default“ background_color=“RGBA(255,255,255,0)“ custom_css_main_element=“margin: auto;“ global_colors_info=“{}“][et_pb_text _builder_version=“4.27.4″ _module_preset=“default“ background_color=“#f6f6f6″ custom_padding=“15px|15px|15px|15px|true|true“ hover_enabled=“0″ global_colors_info=“{}“ sticky_enabled=“0″]<\/p>\n

-> Maria Reitter-Kollmann, April 2022, in: <\/span>ThPQ 171 (02.2023)<\/a><\/p>\n

-> Stefan Gassenbauer, Book Review, in: Journal Ph\u00e4nomenologie 54 (2020), 101-104 (online abrufbar<\/a>)<\/p>\n

-> Valeska Stach, Book Review, in:\u00a0kunstbulletin 1_2\/2021<\/a><\/p>\n

-> Maria Reitter, Book Review, in:\u00a0goodreads.com<\/a><\/p>\n

[\/et_pb_text][\/et_pb_column][et_pb_column type=“1_2″ _builder_version=“4.16″ _module_preset=“default“ background_color=“RGBA(255,255,255,0)“ custom_css_main_element=“margin: auto;“ global_colors_info=“{}“][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=“4.16″ _module_preset=“default“ global_colors_info=“{}“][et_pb_column type=“4_4″ _builder_version=“4.16″ _module_preset=“default“ global_colors_info=“{}“][et_pb_text _builder_version=“4.16″ _module_preset=“default“ global_colors_info=“{}“]<\/p>\n

zu ZeichenSetzung | BildWahrnehmung (2016) \/
Evoking a Sign | Perceiving an Image (2021)<\/h2>\n

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Print \/ Audio<\/h3>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=“1_2,1_2″ _builder_version=“4.16″ _module_preset=“default“ global_colors_info=“{}“][et_pb_column type=“1_2″ _builder_version=“4.16″ _module_preset=“default“ background_color=“RGBA(255,255,255,0)“ custom_css_main_element=“margin: auto;“ global_colors_info=“{}“][et_pb_text _builder_version=“4.27.4″ _module_preset=“default“ background_color=“#f6f6f6″ custom_padding=“15px|15px|15px|15px|true|true“ hover_enabled=“0″ global_colors_info=“{}“ sticky_enabled=“0″]<\/p>\n

\u2013> Julia Regina Meer, in: <\/span>Journal f\u00fcr Kunstgeschichte 04\/2021<\/a>, 367\u2013373<\/span><\/p>\n

\u2013> Aloisia Moser, Book Review, in: Drawing: Research, Theory, Practice_Vol 6.1 (05\/2021)<\/a><\/p>\n

-> Peter Schink, Book Review, in: kunst und kirche 82 (2\/2019), 62<\/a><\/p>\n

-> Monika Keller, Book Review, in:\u00a0goodreads.com<\/a><\/p>\n

-><\/strong>\u00a0<\/span>Hannah Winkelbauer, Book Review, in:\u00a0<\/span>O\u00d6N, 2018-01-12<\/a>, 16<\/p>\n

-><\/strong>\u00a0<\/span>Isabella Guanzini, Book Review, in:\u00a0<\/span>JRFM. Journal for Religion, Film an Media 03\/2 (2017)<\/a>, 79-84<\/p>\n

-><\/strong>\u00a0<\/span>Johanna Di Blasi, Book Review, in:\u00a0<\/span>sehepunkte, Ausgabe 17 (2017) Nr. 6<\/a><\/p>\n

-><\/strong>\u00a0<\/span>Jan de Haan, Book Review, in:\u00a0<\/span>google-books.com (2017-04)<\/a><\/p>\n

-><\/strong>\u00a0<\/span>Susi Winder, Interview, in: kunstgeschichte aktuell XXIII (2016-12), 3<\/p>\n

-><\/strong>\u00a0<\/span>Reader Review, in:\u00a0<\/span>amazon.de (2016-12)<\/a><\/p>\n

[\/et_pb_text][\/et_pb_column][et_pb_column type=“1_2″ _builder_version=“4.16″ _module_preset=“default“ background_color=“RGBA(255,255,255,0)“ custom_css_main_element=“margin: auto;“ global_colors_info=“{}“][et_pb_text _builder_version=“4.16″ _module_preset=“default“ background_color=“#f6f6f6″ custom_padding=“15px|15px|15px|15px|true|true“ global_colors_info=“{}“]<\/p>\n

-><\/strong>\u00a0<\/span>Albertina Wien: 1. 4. 2017<\/p>\n

Elsy Lahner (Kuratorin f\u00fcr Gegenwartskunst) im Gespr\u00e4ch mit Monika Leisch-Kiesl (Autorin)<\/p>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=“4.16″ _module_preset=“default“ global_colors_info=“{}“][et_pb_column type=“4_4″ _builder_version=“4.16″ _module_preset=“default“ global_colors_info=“{}“][et_pb_text _builder_version=“4.16″ _module_preset=“default“ global_colors_info=“{}“]<\/p>\n

Diverses<\/h2>\n

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Print \/ Audio<\/h3>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=“1_2,1_2″ _builder_version=“4.16″ _module_preset=“default“ global_colors_info=“{}“][et_pb_column type=“1_2″ _builder_version=“4.16″ _module_preset=“default“ background_color=“RGBA(255,255,255,0)“ custom_css_main_element=“margin: auto;“ global_colors_info=“{}“][et_pb_text _builder_version=“4.27.4″ _module_preset=“default“ background_color=“#f6f6f6″ custom_padding=“15px|15px|15px|15px|true|true“ hover_enabled=“0″ global_colors_info=“{}“ sticky_enabled=“0″]<\/p>\n

-> Zur Emeritirung von Univ-Prof.in DDr.in Monika Leisch-Kiesl, in: OPUK, 2025-07-02<\/a><\/p>\n

-> <\/strong>Linz: Kunstwissenschaftlerin und Theologin Leisch-Kiesl emeritiert, in: katholisch.at, 2025-06-28<\/a><\/p>\n

-> <\/strong>Uni-Professorin Monika Leisch-Kiesl: Mit der Welt in Beziehung treten, in: LKZ, 2025-06-24<\/a><\/p>\n

-><\/strong>\u00a0Wie kann man \u00fcber Kunst sprechen?, in:\u00a0<\/span>O\u00d6N, 2017-04-01<\/a>, 40<\/span><\/p>\n

[\/et_pb_text][\/et_pb_column][et_pb_column type=“1_2″ _builder_version=“4.16″ _module_preset=“default“ background_color=“RGBA(255,255,255,0)“ custom_css_main_element=“margin: auto;“ global_colors_info=“{}“][et_pb_text _builder_version=“4.17.0″ _module_preset=“default“ background_color=“#f6f6f6″ custom_padding=“15px|15px|15px|15px|true|true“ global_colors_info=“{}“]<\/p>\n

-> Jakob Gasteiger \u2013 Andreas Werner \u2013 Johannes Deusch in der Galerie Schloss Parz, in: ORF. Ober\u00f6sterreich heute, 2022-03-14<\/a><\/p>\n

-> 20 Jahre Im Vorbeigehen. Kunst an der KU Linz<\/em>, in: ORF. Servus O\u00d6, 2021-04-21<\/p>\n

-><\/strong>\u00a0<\/span>Interview \u00fcber: kunst und kirche. Magazin f\u00fcr Kritik, \u00c4sthetik und Religion, in:\u00a0Deutschlandradio. Redaktion Aktuelle Kultur, 2018-06-18<\/a><\/p>\n

-><\/strong>\u00a0<\/span>Im Gespr\u00e4ch. Radio O\u00d6, 2017-06-09<\/a><\/p>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section]<\/p>\n","protected":false},"excerpt":{"rendered":"

zu TWO CITIES. An Aesthetic Approach to Ethical Responsibility (2024)Print \/ Audio -> Mehrangiz Basiri, in: goodreads.com, September 14, 2025 -> Reader Review, in: amazon.de -> Franziska Hei\u00df, in: goodreads.com, February 18, 2025 -> Raphaela Hemetsberger, in: arthistoricum.net DOI: https:\/\/doi.org\/10.11588\/artdok.00009630 -> Raphaela Hemetsberger, in: arthistoricum.net DOI: https:\/\/doi.org\/10.11588\/artdok.00009631 -> e-flux Architecture, November 21, 2024 zu Die […]<\/p>\n","protected":false},"author":1,"featured_media":18,"parent":0,"menu_order":13,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"","_et_gb_content_width":"","footnotes":""},"dipi_cpt_category":[],"class_list":["post-82","page","type-page","status-publish","has-post-thumbnail","hentry"],"yoast_head":"\nPresse - Monika Leisch-Kiesl<\/title>\n<meta name=\"description\" content=\"Presse zu zu ZEICH(N)EN. 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