Post-Doc Fellowship, Clark Art Institute, Williamstown

Williamstown, MA USA, September 02, 2019
Application deadline: Feb 1, 2019

The Research and Academic Program at the Clark Art Institute announces a postdoctoral fellowship in the history and theory of art. The successful candidate will join a small, committed staff in initiating and implementing a series of programs—colloquia, conferences, workshops, and other collaborations—designed to expand links among institutions engaged in art history, visual studies, art, and curatorial practice. The fellow also provides general support for Research and Academic Program operations.

Applicants must hold the PhD in art history or a related field, as well as possess a knowledge of critical and methodological issues in art history and a demonstrable commitment to issues concerning the discipline’s expanding geography. The position entails no restrictions concerning geographic or historical specialization.

In addition to outstanding academic credentials, we seek a candidate with the following qualities: proven organizational competence; an eye for detail; an ability to manage and coordinate multiple projects simultaneously; exceptional interpersonal skills; an ability to collaborate with large and varied sets of colleagues; and a clear investment in issues of methodology and critical art history. This is a two-year full-time position that will begin at the start of the academic year 2019-2020. There is the possibility of renewal for a third year. The fellow will also have access both to a leading art research library and the Research and Academic Program, which is among the country’s most active and stimulating research institutions. The fellow also will have the opportunity to co-host a colloquium related to their research in their second year; for examples of recent events, please consult:

To apply, please send: cover letter, a current curriculum vitae, a 1-page description of a possible colloquium, and one publication (it may be under review), and (under separate cover) two academic references to the

Application Deadline: February 1, 2019


Identitaeten (Hamburg, 3 May 19)

Hamburg, Warburg-Haus, May 3, 2019
Deadline: Jan 31, 2019

[Version française plus bas]


Die Frage nach nationaler, religiöser und kultureller Identität stellt sich für das 21. Jahrhundert vor dem Hintergrund von Migration und Vertreibung, politischen Deutungshoheiten und Verteilungskämpfen besonders dringend. Was uns heute als besonders aktuell erscheint, bewegte bereits die Menschen der Frühen Neuzeit: Angesichts größerer gesellschaftlicher Umwälzungen und spektakulärer Erfindungen lassen sich vom 15. bis 18. Jahrhundert zahlreiche Auseinandersetzungen mit Fragen der Identität finden, die in bildender Kunst, Dichtung, Sprachreflexion und Architektur ihren Ausdruck finden. Dabei spielen sowohl identitätsstiftende als etwa auch identitätsstigmatisierende Faktoren eine Rolle, die in einem interdisziplinären Zugriff neu beleuchtet werden sollen. Auch Phänomene der Tradierung, Transformation und Normierung von Identität(en) sollen berücksichtigt werden, wie etwa auch die Diskursbildung über Identität und Phänomene der Resilienz.
Der Workshop ist eine Kooperation zwischen der École Pratique des Hautes Études (PSL, Paris Research University) und der Universität Hamburg, Kunstgeschichtliches Seminar und findet in deutscher und französischer Sprache statt. Der erste Teil wird am 3. Mai 2019 in Hamburg, der zweite Teil 2020 in Paris stattfinden.

Themenvorschläge (max. 500 Wörter) für 20-minütige Vorträge werden bis zum 31. Januar 2019 erbeten an und



La question d’une identité nationale, religieuse et culturelle se pose pour le XXIe siècle de manière urgente, étant donné l’importance du fait migratoire (qu’il s’agisse de l’accueil ou de l’expulsion des « migrants »), des groupes d’opinion qui s’en sont emparée et des conflits qui se cristallisent autour des inégalités. Ce qui nous semble particulièrement actuel aujourd’hui concernait déjà l’homme du début de l’époque moderne : du fait de basculements sociaux assez importants et d’inventions spectaculaires, on peut mettre en évidence entre le XVe et le XVIe siècle de nombreux débats autour de la question de l’identité, qui trouvent une expression dans l’art, la poésie, la réflexion linguistique et l’architecture. Jouent un rôle dans ce contexte soit des facteurs favorisant ou stigmatisant l’identité, que l’on se propose d’étudier de nouveau par une approche interdisciplinaire. On tiendra compte des phénomènes de transmission, de transformation et de normativité des identités, comme aussi la création d’un discours autour des identités et des phénomènes de résistance.
Le workshop se tiendra en collaboration entre l’École Pratique des Hautes Études (PSL, Paris Research University) et l’université de Hambourg, Kunstgeschichtliches Seminar. Il se déroulera en langues allemande et française. La première manifestation aura lieu à Hambourg le 3 mai 2019 et la seconde à Paris au printemps 2020.

Nous sollicitations des propositions pour des communications de 20 minutes (max. 500 mots) à transmettre aux adresses ci-dessous avant le 31 janvier 2019. et

Metaphysical Masterpieces (Berkeley, 26-27 Apr 19)

CIMA – Center for Italian Modern Art, April 26 – 27, 2019
Deadline: Jan 27, 2019

Metaphysical Masterpieces
Study Days at the Center for Italian Modern Art (CIMA)

Keynote speaker: Mia Fuller, University of California – Berkeley

The Center for Italian Modern Art (CIMA) presents for its 2018-2019 season a major exhibition devoted to masterpieces of metaphysical painting (pittura metafisica). Drawn primarily from the collection of the Pinacoteca di Brera, as well as from other public and private collections, the exhibition features a key work by Giorgio de Chirico, rarely seen early works by Giorgio Morandi, and important paintings by the lesser-known artists Carlo Carrà and Mario Sironi—together offering a richer and more nuanced view of this seminal chapter in the development of modern Italian art.

The term pittura metafisica refers to an artistic tendency closely associated with the art produced by Giorgio de Chirico between 1909 and 1920. It often featured disquieting images of eerie spaces and enigmatic objects, eliciting a sense of the mysterious. Although art historians have rejected the notion of metaphysical painting as a school or movement, when de Chirico moved back to Italy from Paris (1916), his peculiar art immediately began to influence the Italian cultural context of the time. The Carrà, Morandi, and Sironi works in CIMA’s exhibition clearly show how the encounter with de Chirico’s art was crucial to finding ways of expanding upon the visual languages they developed while involved in Futurism. However, many other artists, authors, and intellectuals engaged with the uncanny interpretation of reality offered by metaphysical painting. Thus, Zeno Birolli’s interpretation of the tendency as “a sort of research stronghold, a force vector able to give momentum to a number of different cultural enterprises” (1980) is still valid today, and may be considered a starting point for further original investigations.

Aiming to analyze the major themes suggested by the exhibition, as well as to offer new insights into the general debate about the creative practices inspired by metaphysical panting, the 2018-2019 CIMA Fellows invite proposals for papers for the Metaphysical Masterpieces Study Days, to be held on site in New York on April 26 and 27, 2019. The Study Days will be an occasion to gather scholars from different disciplines, illuminating metaphysical painting’s influence on Italian and foreign culture from the 1920s to the present.

Topics of consideration may include:
1. The relationship between metaphysical painting and Futurism.
2. Considerations of metaphysical painting as part of the avant-garde or as opposed to it.
3. The influence of metaphysical painting in different fields, such as: decorative arts, literature, music, architecture, cinema, photography, and theater.
4. The connections between metaphysical painting and other movements: i.e., Neue Sachlichkeit, Magic Realism, Surrealism, Regionalism, Precisionism.
5. New perspectives on metaphysical painting’s recurrent themes: mannequins, drafting implements, interior and public spaces, the ambiguity of time and space.
6. The dissemination and acquisition of metaphysical art: market and collecting practices, of both private individuals and public institutions.
7. Hubs of actors involved in pittura metafisica: Paris, Ferrara, Milan, Turin, Florence.
8. The critical assessment of metaphysical painting in the United States and abroad from the 1920s to the present.
9. Metaphysical painting and contemporary artistic movements.
10. Metaphysical painting’s response to ancient, medieval, and Renaissance traditions.

Please send an abstract (250-300 words), title, and a short biography (100-150 words) in English to with the subject line “Metaphysical Masterpieces CFP” by Sunday, January 27, 2019. Please send these materials in a single PDF document. Please do not send multiple attachments.

Presentations are not to exceed 20 minutes. No reading of papers in absentia is allowed. All speakers receive a $300 honorarium and participants may request additional financial assistance for travel and accommodation, which CIMA may award as appropriate.

The proceedings will be filmed for archiving on CIMA’s website, and the papers will be published in CIMA’s online journal Italian Modern Art.

Deadline: Sunday, January 27, 2019

Liana Paredes Fellowships 2019

Hillwood Estate Museum & Gardens Washington DC, March 11 – December 31, 2019
Application deadline: Feb 18, 2019

Hillwood Estate, Museum & Gardens announces its 2019 Fellowship Program. Ph.D. candidates and other highly qualified scholars conducting research that may benefit from Hillwood’s holdings are encouraged to apply. Applicants should submit a curriculum vitae and a proposal, not to exceed 500 words, stating the requested length of residence, materials to be used and/or studied, and the project’s relevance to Hillwood’s collections and/or exhibition program. Subject areas may include, but are not limited to, art and architecture, landscape design, conservation and restoration, archives, library and/or special collections, as well as broader study areas, such as the history of collecting or material culture. The project description should be accompanied by two letters of recommendation. Materials will be reviewed by the selection committee.

There are two types of awards:

Type #1: 1 – 2 weeks (housing is included)
Hillwood will arrange and pay for round-trip travel costs to and from the museum; housing near campus; shop and café discounts; free access to all public programs; a stipend of up to $600 depending on length of stay.

Type #2: 3 weeks – 1 month (housing is not included)
Hillwood will arrange and pay for round-trip travel costs to and from the museum; shop and café discounts; free access to all public programs; a stipend of up to $1,200 depending on length of stay.

Please note, Hillwood does not sponsor visas.

Application deadline: February 18, 2019
Applicants will be notified by March 11, 2019

Please submit applications or inquiries to the following email address:

Founded by Marjorie Merriweather Post (1887-1973), heir to the Post Cereal Company, which later became General Foods, Hillwood Estate, Museum & Gardens houses over 17,000 works of art. Hillwood is in a special class of cultural heritage institution, as an historic site, testament to the life of an important twentieth-century figure, twenty-five-acre estate, magnificent garden, and museum with world-renowned special collections. It includes one of the largest and most important collections of Russian art outside of Russia, comprising pieces from the pre-Petrine to early Soviet periods, an outstanding collection of French and European art, and jewelry, textile, fashion, and accessories collections. The library has over 38,000 volumes, including monographs, serials, annotated and early auction catalogues, and electronic resources. The archives contain the papers of Marjorie Merriweather Post, her staff, and family members. Scholars will have access to Hillwood’s art and research collections based on accessibility and staff availability.

Reference / Quellennachweis:

Artifacts, Images and Forms in Global Circulation (Paris, 13-14 Jun 19)

Paris, Ecole normale supérieure, June 13 – 14, 2019
Deadline: Feb 15, 2019

Artifacts, Images and Forms in Global Circulation
A Digital Approach of Visual Semantics

Co-organizers :
Ecole Normale supérieure, Université de Grenoble-Alpes/Laboratoire de Recherche Historique Rhône-Alpes, Purdue College of Liberal Arts.

Chairs :
Béatrice Joyeux-Prunel, Paula Barreiro-Lopez, Catherine Dossin.

As part of the 10th anniversary of the Artl@s project, we are organizing an international conference on the digital approach to the circulation of images and forms.

In his groundbreaking project, the Atlas Mnemosyne, Aby Warburg suggested that some shapes travel, passing times and cultures. On their way, accompanied by processes of mixture, borrowings, transfers and resemanticizations that contribute to their impact, they become acting symbols. Building on this idea, Herbert Read proposed in The origin of forms in art (1965) that artistic forms can be formalized and reduced to certain shapes that carry “lines of beauty” and thus symbolic meaning. Such ideas, we believe, could serve as a starting point for cross-disciplinary research that would bring together art historians, historians, linguists, and computer and cognitive scientists with the aim to discover the basic units of a generalizable “visual semantics” of artistic creation.

More and more art historical sources are available online worldwide. This should not only excite us to reconstruct the global circulation of images and artifacts, but also use these tools to (re-) consider the mobility of images, patterns, and styles. Indeed, one of the greatest limitations of the digital approach so far is that it has not been confronted with the circulation of images (shapes, colours, layouts) in a massive way.

This international conference aims to assess the potential of digital technology in renewing our study and understanding of artistic circulations and in the collective and progressive deployment of alternative narratives which are more de-centered and more inclusive.

Presentations on all historical periods addressing the following themes are welcome.

1. Networks, (subaltern) Agents and the Politics of Visual Circulation
How does a pattern circulate and inform the creation of new visual and political meanings? Some visual productions (arts, graphics, poster, cinema, TV, photography, video) have contributed to the transmission and international diffusion of specific political, artistic and collective memories. With the development of computer vision and deep learning on images, today we have the means to study this circulation and better understand how specific patterns and the political semiotics they convey circulate and multiply. However, digital approaches have most often focused on linking actors involved in the international circulation of images, styles, ideas or works of art. We are interested in approaches that will not only present the tools used for reconstructing and analyzing these networks, but above all that will show the specific and innovative contribution of the digital compared to analog or traditional approaches.

2. Canals, bottlenecks, intersections: digital geography of artistic circulations
What do  digital tools contribute to our understanding of the geography of artistic circulations? What are the bottlenecks? The intersections? The factors of circulation and non-circulation? Their evolutions through time?  Moreover, can a digital geography of art convincingly lead us out of the historiographical myth of centres and peripheries and of translatio imperii? Recent studies have demonstrated that we cannot think of the world geography of the arts as a homogeneous field dominated by a centre. In the field of Global and Connected History, specialists have given contextualized complex answers to the question of globalization and global cultural geography. Can computational, quantitative approaches support and expand their conclusions?

3. Iconology in the digital age
Digital approaches work above all with textual data. For instance, the tools in the Artl@s database of catalogues can already help track the circulation of an artwork or of a motif through the analysis of artists’ names and the titles of artworks. But the starting point is still textual. What information must be crossed to be sure that we talk about images, and not only about their producers or their titles or their display? The availability of huge visual databases, and the possibilities allowed by digital analysis technologies, make it possible to ask again the questions of the old iconology and to ask them on a massive scale. The challenge of globalization renews the intuitions of art historians such as Heinrich Wölfflin or Aby Warburg who, more than a century ago, wanted to understand the logic of stylistic dissemination. Would it be an autonomy of forms once the historical and social logics had been relativized? Can digital methods help answer this question? Could a pathos formula (Pathosformel) be tracked by a recursive neural network?

Proposals should be sent before February 15, 2019 to Béatrice Joyeux-Prunel ( a summary of 300 words max, accompanied by a CV in English. The conference will be held in English on 13 and 14 June 2019 at the Ecole normale supérieure, 45 rue d’Ulm, Paris.

This conference is organized in the framework of the research projects Artl@s, Ecole normale supérieure – PSL /Institut d’Histoire modern et contemporaine, in collaboration with MoDe(s)2 – Modernidad(es) Descentralizada(s): arte, política y contracultura en el eje transatlántico durante la Guerra Fría HAR2017-82755-P and the Laboratoire de Recherche Historique Rhône-Alpes (LARHRA).

Against the Canon (Porto Alegre, 17-19 Oct 19)

Universidade Federal do Rio Grande do Sul (UFRGS), Porto Alegre, Brazil, October 17 – 19, 2019
Deadline: Mar 1, 2019

Against the Canon: Art, Feminism(s) and Activisms
Mercosur International Seminar

Fundação Bienal do Mercosul – Bienal 12 Porto Alegre
Instituto de Artes, Universidade Federal do Rio Grande do Sul, UFRGS
Curso de Artes Visuais, Universidade Estadual do Rio Grande do Sul, UERGS
Center for Latin American Visual Studies, The University of Texas at Austin, CLAVIS / UT

Fundação Bienal do Mercosul

The history of art has been written from perspectives and tastes that constituted a predominantly patriarchal canon of art. As the Guerilla Girls asked and pointed out: “Do women have to be naked to get into the Museum of Art of São Paulo? Only 6% of the artists in the collection are women, but 60% of the nudes are female.” This artist collective, formed in the United States in 1985, offers us posters with percentages that characterize the collections and exhibitions of all the museums of the world. Women are marginalized in the art world despite forming the demographic majority. In their different ways, feminist artists have intervened in the logic that articulates the canon of art. At first, they did so subtly; at the moment, their accusations and actions have taken force, accompanying, amplifying and activating the growing wave of international feminism.

To transform the world through art: such is the desire that fueled artistic activism during the long twentieth century. Feminist activism is, mainly, the voice of a general contempt for the male power that regulates the state of the world and art. It is an activism that operates from the realization of images, actions and critical discourses that intervene on the forms of power to erode it. We hijack this system when we participate in social struggles or when we render the invisibility of women in the art world visible. Since at least the eighteenth century we can find dissenting voices. They are voices that take a position on the status of women in general, on gender and sexuality regulations and on women artists in particular. Performing an archeology of Western culture, comments on art can be found in the writings of Germaine de Staël, Élisabeth Vigée-Lebrun, Marie d’Agoult or B., attentive to the instruction of women based on their emancipation and even, as can be seen in the writings of Johanna von Haza, a questioning of gender and race identities.

Since the late 1960s, feminist artists have inscribed a specific and radical chapter in postwar art. Their aesthetic proposals strategically stirred the patriarchal bases of taste and connoisseurship to work with techniques and materials sidelined by the hierarchical repertoire of Great Art (textiles, lace, embroidery, ceramics, porcelain, glitter, enamel—all marginalized by the dominant vocabulary of painting and sculpture), or with feminine themes (domestic space, maternity, abject body fluids). Feminist artists have staged rebellions of language and of iconography as spaces of activism: from the affirmation that the personal is political, to the denouncement of abuses, rapes and physical and psychological violence against women. These revolts form the core of the contemporary agenda, in which the fight against femicides is central, as are rights over one’s body.

The experience of the Womanhouse space in Los Angeles and the work of Judy Chicago or Miriam Schapiro are just some of the scenes and the voices from which artistic feminism was activated in the early Seventies. Films, magazines and pedagogies were fields of artistic activism. So was the icnonography deployed in the pictorial and sculptural arts, as was the intense politicization of bodies that took place in performance, photography and video by artists like Esther Ferrer, Mónica Mayer, Maris Bustamante, Lea Lublin and Josely Carvalho. Freudian and Lacanian psychoanalysis and sociology, co-articulated with the successive agendas of feminism, shaped fields of knowledge from artists working to dismantle stereotypes about women and gender binarism. They gave and continue to give visibility to their actions in the public sphere with an urban graphic language of posters, stencils and statistics. In contemporary feminist activism we can mention the exhibitions of Ciu Xiuwen and Cui Guang Xia in China, the strategies of the Pussy Riots in Russia, the Mujeres Públicas o Nosotras Proponemos in Argentina, the Trabajadoras del Arte y la Cultura in Chile, the open letter to the art world “We are not surprised” from the United States, the open letter about machismo at the Arles photography festival in Europe, the work of Lady Skollie against the rapes in South Africa, or the graffiti of Panmela Castro about the high rates of violence against women in the streets of Rio de Janeiro, or the black and feminist activism carried out by Suely Carneiro in São Paulo since the 1970s.

Since the late 1970s, artistic activism linked to lesbian, gay, trans/intersex, queer/cuir aesthetics, focused on fluid sexualities, on feminized bodies and on the problematization of essentialisms, has been growing. They are visible in groups such as Chaclacayo or in the Museo Travesti of Giuseppe Campuzano, both in Peru, or in the proposals of Jota Mombaça in Brazil. These aesthetics are part of the proposed denomination of feminism: the feminine, the feminized, or any other marked body in the hetero-patriarchal regime of capitalism.

There is presently an intense and growing curatorial activism that focuses on exhibitions that contribute to the creation of a corpus of works of artists made invisible by art histories, and by mapmaking at global or regional scales. This corpus can counter dominant narratives in which male artists constitute 80-90% of the story—a percentage that only recently began to change, precisely, from feminist artistic activism.

The general aims of the seminar are:

1. Analyze case studies (for example, the analysis of a single work based on research in primary sources and archives) to reveal points of contact and divergence between the strategies followed by comparable artistic feminism(s).

2. Propose critical genealogies and maps of local, regional and global feminism(s).

3. Share theoretical and methodological approaches that allow us to visualize the specificity of these interventions and their negotiations with the dominant culture(s).

4. Discuss the transformations that have occurred in recent years from exhibitions of women artists or focused on queer/cuir and trans subjectivities, as well as the reactions they produced in the form of debate, demonstrations or different forms of censorship.

These problems can be considered from the following topics related to feminism(s) in the field of art:
– Views of the past and on the present. Genealogies and specific cases of artistic activism between the XVIII and XXI centuries
– Intersectional Feminisms / Black Feminisms in the Art World
– Feminisms of equality and difference. Affirmative policies. Ghetto or inclusion in art stories?
– Question the canon. The concept of quality as ideologeme, or unit of ideology
– Activism of the image. Actions inside and outside the museum. Urban interventions: posters, stencils, graffiti, polls, handkerchiefs and flags.
– Curatorial activism. Exhibitions as historicization and visibility strategies.
– Academic activism. Strategies of feminist art histories: from case studies to maps and genealogies.
– Activisms and pedagogies. Academia, curricula, courses and seminars: the power of bibliographies.
– Chromatic activisms. Iconography and colors of the action.
– Editorial activities: magazines, books, essays. Write to transform.
– Activism of the text: manifestos, commitments, letters, statements.
– Activism and international networks. Alliances beyond borders. Signatures and accessions.
– Activisms and policies of cultural fronts. Partners and allies.
– Activisms of the concepts. Gender / feminism: symbolic capital, politics and contexts.
– Polemics, censorship and self-censorship. Art, state, religions. Expressions in “the states of exception”.
– Scandals in art. Negotiation with institutions and with public speeches.

The seminar will be organized over 3 days, in 4 daily sessions of 4 speakers each, who will have 15 minutes to make their presentations, followed by 30 minutes of debate. Depending on the number of papers selected, simultaneous panels may be organized.

Proposals are welcomed from doctorate and master students, graduates, professors, curators and cultural and artistic activists.

The conference languages ​​will be Portuguese, Spanish and English.

Deadline for submitting proposals: March 1, 2019

Instructions for submitting proposals:
The paper can be written and presented in Portuguese, Spanish or English. Please indicate in the beginning of the proposal the language in which the presentation will be made.
Abstract of 800 words in Portuguese, Spanish and English, and a brief bio, also in Portuguese, Spanish, and English of no more than 60 words.
The proposal will be considered submitted when the author receives a confirmation of receipt by email.

Presentation of proposals:

Final papers and presentations:
– The length of the papers may not exceed 2,000 words.
– The deadline for the submission of papers is August 15, 2019.
– The program will be distributed at the end of September 2019.
– It is expected that all the speakers will have read the papers of their panel members and are ready to make comments and participate in the discussion. The papers will be circulated in advance only among the members of each panel.
– Each speaker will have a maximum of 15 minutes to present their work and the visual materials that accompany it. We hope that this process will facilitate an active discussion between the panelists, the moderators and the audience.

The final papers will be published in digital format, on the website of the Fundação Bienal do Mercosul.

Ruth & Arthur Scherbarth Stipendium, Rom

Rom (Italien), 01.04.2019 – 31.03.2020
Application deadline: Jan 31, 2019

Ruth & Arthur Scherbarth Stipendium an der Bibliotheca Hertziana (Rom) – Max-Planck-Institut für Kunstgeschichte

Das Institut für Kunstgeschichte der Universität Bern vergibt ab dem 1. April 2019 ein einjähriges Doktoranden-Stipendium mit einer monatlichen Vergütung von CHF 3000. Das Stipendium kann um ein weiteres Jahr verlängert werden.

Voraussetzung sind ein mit dem Master abgeschlossenes Studium der Kunstgeschichte, sehr gute deutsche, italienische und englische Sprachkenntnisse sowie ein Dissertationsprojekt aus dem Bereich der italienischen Kunstgeschichte. Von den Bewerbern/innen wird erwartet, dass ihre Promotion an der Universität Bern eingereicht wird, dass sie sich für die Dauer der Förderung in Rom niederlassen und an den Aktivitäten des Instituts teilnehmen.

Interessierte sind gebeten, folgende Bewerbungsunterlagen einzureichen:
– Lebenslauf mit Studiengang
– Nachweis des M. A.
– Beschreibung des Dissertationsvorhabens (max. 2 Seiten)
– Referenzen

Bitte richten Sie Ihre Bewerbung bis zum 31. Januar 2019 per E-Mail parallel an den Geschäftsführenden Direktoren des Instituts für Kunstgeschichte (Bern) und der Bibliotheca Hertziana (Rom):

Prof. Dr. Bernd Nicolai
Institut für Kunstgeschichte
Universität Bern
Mittelstrasse 43
Bitte mit cc an:

Prof. Dr. Tristan Weddigen
Bibliotheca Hertziana
Max-Planck-Institut für Kunstgeschichte
Via Gregoriana 28
I-00187 Rom

Open Call for Extravagant Bodies: Extravagant Love

Open Call for Extravagant Bodies: Extravagant Love


Open call for participation in the triennial Extravagant Bodies: Extravagant Love taking place in Zagreb, Croatia in September of 2019.

The Extravagant Bodies triennials deal with boundaries between the normal and the pathological within domains of our lives such as corporeality, appearance, behaviour, sexuality or life style. The festival examines social, political, cultural and economical positions, norms and identities by dealing with liminal, excessive, extravagant bodies and minds which disrupt society’s structures.

In 2019 the focus is on Extravagant Love. The artistic show and tell will portray love from the emotional to the sexual; from the platonic to corporeal lust. Love, in all its varieties and manifestations, has been the subject of countless histories, philosophical ponderings and scientific mysteries. Constantly changing and being challenged over time, love is shaped by culture and society – which in turn shift our understanding and practices of love.

We are looking for artistic provocations, creative stimulations, investigations and research into all that love can be, in all its complexities, extremes and varieties – from the wildest romances to troubled and dark deviancies, from orgasmotrons to biopolitical control mechanisms.

The festival will engage the audience into visceral experiences, hosting extravagant displays of affections, interpersonal (dis)connections and new, hybrid – earthly to interstellar – forms of loving and love-making, leaving no one untouched.

The call is open to all individual artists, collectives & lovers.

DEADLINE: February 14th 2019

Open call requirements:

Contact information;


Short bio (max. 200 words);

Short description and concept of the project (max. 300 words);

Brief technical description of the project (max. 200 words);

Has the work already been produced or presented? If, then where?;

Sketches and/or photo/video documentation (max. 10 MB or preferably by linked files);

Link to the project (optional).

The applications can be submitted by using the online application form or sent via e-mail to

Link to the online application:

Call for Contributions VideoVortex XII, September 2019, Malta

Call for Contributions
VideoVortex XII, Malta
Conference: September 27-28, 2019
Exhibition:  6 September until 10 November (in Gallery, space C)

Deadline: 31st January 2019
Please submit to:

VideoVortex, an artistic network that deals with the aesthetics and
politics of online video, will gather again, this time in Malta, for a
two day conference/event. There will be a seperate exhibtion (from early
September to early November 2019), curated in partnership between Spazju
Kreattiv and Video Vortex, to be held in the gallery spaces of Spazju
Kreattiv (, particularly to enable
Malta-based participants to engage significantly with the conference
delegates? work before and after the conference.

We are interested in the sharing of propositions, research,
speculations, video and film work that responds to current debates in
film, video, media, networks, and game theory, while being particularly
attentive to the implications that technologies of live video, virtual
reality, augmented reality, and artificial intelligence have for the
future of video & media cultures.

If you want to get involved, contribute to the conference, exhibition or
screening program, please send us a proposal on

1) Video cultures on social media/mobile platforms (Facebook Live,
Instagram, Snapchat, Smart phone aesthetics)
– Streaming realtime video & streaming platforms
– Surveillance Cinema
2) Online video, activism and migration
– Automated and algorithmic filmmaking (AI), bots, online video archives
– Drone aesthetics (e.g. Wiki loves monuments)
3) Digital preservation of online video (archives / curating)
– Use of online video in the established film industry

Films, videos & curated screening programs:
Filmmakers and video artists are invited to submit work that addresses
the themes and concepts outlined here. curators are invited to propose
short screening programs of up to 3 hours that showcase video/film in
response to the themes outlined.

Workshop proposals:
We invite video practitioners, artists, researchers, scientists, content
producers and theorists to submit proposals for workshops that explore
critical making as a mode of critique and inquiry. We are particularly
interested in hearing from those working with virtual or augmented
reality. If you are proposing a workshop, please indicate costs for
materials, as these will have to be built in separately as registration
fees. All workshop organizers will have to make their own arrangements
for materials required.

Talks & lecture-performances:
We welcome proposals for presentations addressing the topics outlined in
the call, as well as proposals for lecture-performances that play with
the standard academic form of presentation.

Program committee:
Andreas Treske (Department of Communication and Design, Bilkent
University, Ankara)
Toni Sant, Justin Galea, Daniel Azzopardi (Spazju Kreattiv, Malta)
Matthew Galea & Adnan Hadzi (Department of Digital Arts, University of
Barbara Dubbeldam & Geert Lovink (Institute of Network Cultures, Amsterdam)

Background of VideoVortex

VideoVortex is a network of video makers, geeks, activists, artists and
researchers that work on the politics and aesthetics of online video.
The initiative was established in 2007 by the Institute of Network
Cultures in Amsterdam. Video technology has radically altered the way in
which we produce, consume and circulate images, influencing the
aesthetics and possibilities of moving image cultures, as well as
yielding a rich body of scholarship across various disciplines. Given
its ease of access and use, video has historically been aligned with
media activism and collaborative work. Video is driving social media and
the web. It is dominating the internet of things. Cameras causing
breakdowns in networks. Online video became lifelike.

Rapidly changing technological formats implicate the urgent need to
engage with practices of archiving and curation, modes of collaboration
& political mobilization, as well as fresh comprehensions of the
subject-spectator, actors & networks constituted by contemporary video
and digital cultures.

Previous events:

videovortex #1: Brussels, Belgium, October 2007
videovortex #2: Amsterdam, the Netherlands, January 2008
videovortex #3: Ankara, Turkey, October 2008
videovortex #4: Split, Croatia, October 2009
videovortex #5: Brussels, Belgium, November 2009
videovortex #6: Amsterdam, the Netherlands, March 2011
videovortex #7: Yogyakarta, Indonesia, July 2011
videovortex #8: Zagreb, Croatia, May 2012
videovortex #9: L?neburg, Germany, February 2013
videovortex #10: Istanbul, Turkey, September 2014
videovortex #11: Kochi, India, February 2017


Share Festival, the Italian exhibition of contemporary tech art and science, with the Artistic Direction of Bruce Sterling announces the opening of the call.
The theme of the Share Prize XII edition is:
Are we the living ghosts of dead ancestors, of the otherness of the past, its invisible shadows? Or is the past the ghost of ourselves, present, alive and visible?
Do we speak to our ghosts, consciously, every day, through art, mind and the material world, or do the ghosts act, fiercely driving us to the unavoidable but creative path of continuity?
Science has its paranormal aspects when the invisible powers that shape our world become visible to us: bacteria, the DNA within our cells, electricity… Our computation and our neural networks aspire to the telepathic and the telekinetic…
Art and science join hands to expand our senses and illuminate the unseen and the unknown. Electronic art is at the core of that relationship: so technical and yet so ethereal, untouchable, invisible, virtual… Pushing the borders of unearthly, the sensible and the nonsensible, nothingness or epiphany…
Ghosts have been always popular, and the dead for outnumber than the living. Literature and movies teem with ghosts, and in classic cinema, the actors, screenwriters, and directors who parade across our screens are all long-dead. A cultural tradition means that the dead are still living. Those we once loved never leave us; they expand within us as we grow. The gifts we receive from the dead are the world’s only genuine gifts. The dead are, by definition, those who give to us without reward. Their gifts to us are valuable tools for understanding and healing.
In Share Festival’s history, we have had many artists, friends, precursors, spiritual ancestors, who left their ghostly traces and voices, whom we want to evoke and cherish with this call.
Ghosts can be angels or demons, Hamlet’s vengeful ghost or secretive ghostwriters. They can be male or female or transgender. They can be a political heritage we must never forget, or personal demons we must keep at a distance. Ghosts can be famous or anonymous, seers or spies.
Turin is well-known as the esoteric capital of black and white magic, and Share Festival thrives in Turin. This year we will unleash and reveal our ghosts, mysterious, wild, unpredictable. The invisible will become visible, the phantoms will be realized. This year at Share Festival we invite the planet’s ghosts to a seat of honor at our seance table.

Just because you start a fire, does not mean you have to watch it burn.

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