8 Sessions at CAA (New York, 13-16 Feb 19)

College Art Association Annual Meeting, New York City, February 13 – 16, 2019

Deadline: Aug 6, 2018

[1] Communist Kitsch

[2] Haunted: Cross-Historical and Cross-Cultural Specters in Print Practice

[3] Bon anniversaire, Monsieur Courbet

[4] Art and Artificial Intelligence

[5] North American Landscapes and Counter-Histories

[6] Minimal Art: An Urban History

[7] Art and Politics: Just a gesture and no future?

[8] Creativity: (Re)Defining The Possible

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[1] Communist Kitsch

From: Milena Tomic <mtomic@faculty.ocadu.ca>

Date: July 11, 2018

Session organizers: Adair Rounthwaite (University of Washington) and Milena Tomic (OCAD University)

The communist world acts as a key prop in Clement Greenberg’s classic 1939 definition of kitsch, in the form of the kitsch-loving “Russian peasant” and the totalitarian government that debases culture to the level of the masses. Since that dismissal, more nuanced perspectives on the status of kitsch under communism emerged in the former East. Czech-born Milan Kundera’s 1982 novel “The Unbearable Lightness of Being” involves a central character at war against the kitsch of Czechoslovak communist culture, a kitsch which Kundera links to a denial of doubt, irony, and death. Serbian art historian Miško Šuvaković identifies kitsch as a critical tactic in alternatives to Western postmodern art from Central Europe and the Balkans, one that alternately expressed hope for a transcendent leap between the everyday and the singularity of art and diagnosed the limit of politics as such. Chinese art historian and critic Gao Minglu allies the term “double kitsch” to Chinese contemporary art that stages Pop-like collisions of global consumerist icons and central figures from communist propaganda. This session invites papers on histories and theories of kitsch in all communist and formerly communist contexts. We are particularly interested in papers that probe kitsch’s problematization of the boundaries between criticality and complacency; that explore the reception and use of kitsch found in contexts where mass production was decoupled from capitalist accumulation; and that make fresh connections between kitsch and extant narratives of modern and postmodern art.

Please send your proposal (title and 250-word abstract) with a CV and proposal form to vadair@uw.edu and mtomic@faculty.ocadu.ca by August 6, 2018.

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[2] Haunted: Cross-Historical and Cross-Cultural Specters in Print Practice

From: Alexis Salas  <alexisnsalas@gmail.com>

Date: July 11, 2018

Katie Anania, Georgia College

Alexis Salas, Hampshire College

The portability of artists’ prints and printmaking projects (from comics to librettos, artists’ books to ‘zines) allows them to traverse borders and boundaries. But what remains attached to, and within, a print as it circulates, and how does it resurface, sometimes much later? An apprentice printmaker’s works, for instance, (covertly or overtly) bears the stamp of the master under whom she studies. A zine or broadsheet reveals layers of appropriation. This panel, then, attends to an important but neglected aspect of prints’ mobility: it puts the ways that prints were fabricated and the stories of their local origins in dialogue with their histories of circulation. From practitioners and historians, e seek discussions of images, designs, and materials of various “others” that lie within a print’s construction.

Inspired by voices speaking to the ghostly residues upon objects from Gloria Anzaldúa Jacques Derrida Luce Irigaray, to Harold Bloom, we solicit proposals that approach the “haunting” of printed material in various ways. In addition to semantic or metaphorical hauntings, we welcome papers that consider pedagogical haunting—that is, the things that viewers of printed material are supposed to learn and how—or the ways that prints have contributed to the unsettling of certain cultural forms. The aim is to exhume and revive the mis-identifications that printed materials have instigated over time.

Please email Katie Anania (katie.anania@gcsu.edu) and Alexis Salas (alexisnsalas@gmail.com) by August 6, 2018 with a paper title, abstract (max. 300 words), and CV.

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[3] Bon anniversaire, Monsieur Courbet

From: Petra Chu  <petra.chu@shu.edu>

Date: July 11, 2018

Chairs: Petra Chu (Seton Hall University, South Orange, NJ) and Mary Morton (National Gallery of Art, Washington, DC)

On June 19, 2019, we will celebrate the 200th birthday of Gustave Courbet (1819-1877).  We’ll remember how, during his his 58-year lifespan, the artist rose from total obscurity to international fame and notoriety, both for his artistic achievements, his sansculottist political stance, and his brazen public persona that made him one of the most talked-about and caricatured men in France.

Since his death in 1877, hundreds of books and thousands of articles have been written about Courbet and each generation has put its own spin on his persona and his work. Notwithstanding, he remains something of an enigma. Many questions are still open about the artist’s paintings, the extent and shape of his oeuvre, his technique, his artistic personality, his political agenda, and his place in the history of art.

Since the flurry of scholarly activity that surrounded the monographic Courbet exhibition of 2008 in the Grand Palais and the Metropolitan Museum of Art, there has been something of a lull in Courbet research. Taking advantage of the bicentennial of the artist’s birth, the organizers of this session invite papers that offer fresh perspectives on Courbet and his work. New methodologies are encouraged; papers on all aspects of Courbet’s work and his artistic persona will be considered.

For submission instructions, see http://www.collegeart.org/pdf/programs/conference/CAA-CFP-2019.pdf

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[4] Art and Artificial Intelligence

From: Johnny Alam  <johnny@johnnyalam.com>

Date: July 12, 2018

In 1931, Paul Valery wrote an essay in which he anticipated a major change in the very notion of art affected by modern changes in the fields of knowledge and power. Valery’s words inspired Walter Benjamin to write his canonical essay “The Work of Art in the Age of Mechanical Reproduction” (1936) that considered how technology changed the nature of art production, its uses, and its reception. Extending Benjamin’s work to the 21st century, WJT Mitchell critically reflected upon artificial intelligence (AI) in “The Work of Art in the Age of Biocybernetic Reproduction” (2001). However, Mitchell only included examples of artworks that were created by humans. This panel seeks submissions which discuss how AI is changing our art world by elaborating on artworks or art-related processes (curating, auctioning, marketing, etc.) created by AI systems (Machine Learning, Natural Language Processing, Computer Vision, etc.). We strongly encourage proposals that reflect upon the latest AI technologies that are challenging the ways in which art is created, curated, circulated, experienced or perceived. All proposals will be considered for a future peer-reviewed publication.

The CAA Annual Conference is “the largest professional convening of art historians, artists, designers, curators, and others in the visual arts.”

To apply, Email the following directly to the session chair (Dr. Johnny Alam: johnny@johnnyalam.com):

1.Completed session participation proposal form (http://www.collegeart.org/pdf/programs/conference/CFP-form.pdf). Make sure your name appears EXACTLY as you would like it listed in the conference program and conference website.

2.Paper/project abstract: maximum 250 words, as a single paragraph MS Word Document. Make sure your title and abstract appear EXACTLY as you would like them published in the conference program, Abstracts 2019, and the CAA website.

3.Email explaining your interest in the session, expertise in the topic, and availability during the conference.

4.A shortened CV (close to 2 pages)

5.A working bibliography for the proposed paper.

6.Documentation of work when appropriate, (as PDF) especially for artists who wish to discuss their own practice.

Please note that a paper that has been published previously or presented at another scholarly conference may not be delivered at the CAA Annual Conference. All session participants must register for the conference and be current individual members of CAA through February 16, 2019 to participate in the Annual Conference.

For further information, please see http://www.collegeart.org/programs/conference/cfp

For panel-specific questions, please contact the session chair (Dr. Johnny Alam: johnny@johnnyalam.com)

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[5] North American Landscapes and Counter-Histories

From: Jocelyn Anderson <jocelynkristen@hotmail.com>

Date: July 12, 2018

Chairs: Jocelyn Anderson, jocelynkristen@hotmail.com and Julia Lum, julia.lum@yale.edu

Histories of landscape art in North America in the late eighteenth and early nineteenth centuries have often been dominated by European aesthetic and stylistic narratives. In this period, the ‘picturesque’, the ‘romantic’, and the ‘sublime’ were codified in Europe; yet they also proved to be extraordinarily flexible in their applicability to diverse regions and topographies. At the same time, these categories are sometimes incongruent with the historical conditions to which they’ve been applied, or were fundamentally altered by artists’ negotiations with locality and place. This panel invites papers which seek to offer radical alternative readings of landscapes in the eighteenth and nineteenth centuries by prioritizing the relationship between artistic production and specific local and regional political, social, and environmental conditions. It invites papers with the potential to reorganize histories of landscape around hemispheric and transcultural approaches that illuminate the complex territorial, cultural and political developments of a period in which empires collided, nations took shape, and treaties were signed and broken. Papers addressing a range of media are welcome, and possible topics might include (but are not limited to) landscapes and counter- mapping, artistic negotiations with Indigenous sovereignties and stewardship, landscapes and the legal status of sites, the relationship between topographical landscapes and surveyors’ work, landscape views and military geographies, heritage and cultural memory, urban and rural economies of labor in art, and the circulation of landscape representations in personal and family circles.

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[6] Minimal Art: An Urban History

From: Christopher Ketcham and Kirsten Swenson <cketcham@mit.edu>

Date: July 13, 2018

Minimal art’s urban history, particularly its relationship to New York City, is a critical socio-political context. Yet artists’ complex relationships to the socioeconomic and spatial politics of the city have largely been foreclosed by phenomenological readings that delimit a universal, heteronormative (male) body. Carl Andre and Alice Adams made sculptures from materials scavenged from streets, razed buildings, and leftover spaces of urban renewal. Tony Smith’s first solo exhibition in New York City was organized by the mayoral administration of John Lindsay, held in Bryant Park partly as a foil to the park’s status as a gathering place for gay men. Sol LeWitt employed New York’s zoning codes as a conceptual basis of his sculpture, an implicit critique of the corporate aesthetic of midtown architecture. By 1970, figures including Dennis Oppenheim, Richard Serra, Vito Acconci, and Trisha Brown, had broadened minimalism’s claim to the street, even as institutional consolidation of the canon reinforced its autonomy from everyday life. This panel seeks new approaches to assess the concrete intersections between minimal art and the social, spatial, material and economic life of the city. Did minimal art’s phenomenology engage new paths of urban perception or the problematic visibility of politicized bodies charged with class, race, and gender? Did opportunities to work in the city open new territory for artists that lacked institutional support? How did emergent curatorial framings of public art extend the reach of minimal and conceptual art to communities that conventional galleries and museums were blind to?

Please submit proposals including title, abstract (250 words maximum), proposal form, and a brief CV (2 pages maximum) to cketcham@mit.edu and kirsten.swenson@gmail.com

For more details, see:

http://www.collegeart.org/programs/conference/cfp

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[7] Art and Politics: Just a gesture and no future? Debating the political force of public art in the US and Germany from the 1960s until today

From: Sarah Hegenbart <sarah.hegenbart@tum.de>

Date: July 13, 2018

Chairs: Sarah Hegenbart and Michael Diers

Email: sarah.hegenbart@tum.de, michael.diers@culture.hu-berlin.de

The utopian force of the 1960s still resonates in the art of our time. Political ideas featuring prominently in the art of the 1960s, such as a critique of capitalism, feminism, Black Power, student and anti-war movements, are reemerging in contemporary arts in a time of re-emerging populism. This raises the question of whether the protest art of the 1960s succeeded in implementing the standards it demanded. Considering recent protest movements that utilise artistic strategies, such as #BlackLivesMatter and #MeToo, as well as the phenomena of recurring racism and neo-fascist tendencies, there is reason to suspect that not much has changed since the 1960s. If this is indeed the case, does public protest art really possess the impact to change our political reality? Or does the recurrence of these phenomena, fought by protest art of the 1960s, indicate a crisis of the interrelation between art and politics? This panel is particularly keen on exploring these questions against the backdrop of the transatlantic exchange between the US and Germany.

Looking at artists such as Christoph Büchel, Sam Durant, Theaster Gates, David Hammons, Jutta Koether and Martha Rosler, we aim to discuss to what extent the utopian ideas of the 1960s have become part of the political reality of our time. Or do we have to return to visions formulated back in the 1960s and continue to implement them? If so, what is art’s role in this process? Can art be genuinely political, or is political art nothing more than a gesture?

Please apply by email (to sarah.hegenbart@tum.de and michael.diers@culture.hu-berlin.de) and include an abstract of 250 words maximum, a brief CV and the completed CAA form (downloadable on the above mentioned website).

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[8] Creativity: (Re)Defining The Possible

From: Aya Louisa McDonald <louisa.mcdonald@unlv.edu>

Date: July 15, 2018

Chair: Louisa McDonald – University of Nevada, Las Vegas

Chair: Takeshi Okada – Tokyo University <okadatak@p.u-tokyo.ac.jp>

Creativity, defined by the Finnish management scholar, Alf Rehn (2009), as “the name we give to that moment of change which redefines what is possible,” emerged as a focus of international academic attention and a key issue of economic policy in the late 1990s along with the recognition of the value of the “creative industries” and Richard Florida’s “creative class” (2002) Once exclusively the concern of the Fine Arts, Creativity has become central to the understanding of contemporary global economies. Along with Genius and Inspiration – each a highly valued, if imperfectly understood concept – Creativity has since the ‘90s generated two decades of theoretical academic research and amassed vast quantities of data aimed at identifying its sources, in order to harness, foster and possibly teach it – with little consensus or confirmed success. This panel (re)starts the conversation and focuses on how the understanding of Creativity has evolved in a climate of increasing globalization and access to the internet and social media. Practicing artists, studio artist/educators, art historians, art educators, and psychologists of art discuss the state of Creativity since the revolution in e-interconnectivity and the emergence of the “creative commons”? Has anything changed? Should practice still inform theory, or have the roles reversed? What happens (or doesn’t) today in the studio, the classroom, the laboratory, the kitchen? Is there a difference between virtual and “real” experience? What effect does instant access to the artistic creativity of others have on one’s own artistic Inspiration? Is any of this important?

Open to all artists, art-historians, art educators and members of arts related institutions.

Please send a 250-word abstract, brief CV, and proposal form by August 6, 2018

http://www.collegeart.org/programs/conference/cfp

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Art Market and Art Collecting (Berlin/Paris, Nov 18/Mar 19)

November 8, 2018 – March 20, 2019

Deadline: Sep 14, 2018

[French and German version below]

ART MARKET AND ART COLLECTING FROM 1900 TO THE PRESENT IN GERMANY AND FRANCE

German-French Research Programme

Berlin, Germany, 8–10 November 2018

Paris, France, 18–20 March 2019

Refugee crises, trade wars, migration debates: within the context of global geopolitical, economic and cultural-political upheavals, Europe is presently undergoing a process of transformation. At the same time, European territorial occupations and colonial rule of the past are coming increasingly into the focus of national and transnational scholarship and the politics underlying it.

The 2018–2019 German-French Research Programme organised by the Forum Kunst und Markt/Centre for Art Market Studies of the Technische Universität Berlin and the Centre Georg Simmel of the Paris-based École des Hautes Études en Sciences Sociales in cooperation with the Deutsches Forum für Kunstgeschichte Paris responds to these dynamics. The programme’s thematic emphasis is research into the art market and art collecting in national and transnational networks in Germany and France as well as how they relate to art and cultural policy from 1900 to the present. This historical timespan encompasses two world wars, occupations, world economic crises, stock market crashes, economic miracle years, the Cold War, the founding of the European Union, the fall of the Berlin Wall and, not least importantly, the above-mentioned crises of the present.

The chief aim of the programme – which is being carried out with financial support from the Université franco-allemande/ Deutsch-Französische Hochschule (UFA/DFH) – is to network doctoral and post-doctoral scholars currently carrying out research on the art market, museums and collecting in the contexts described above across national and discipline boundaries. To this end, it provides them with opportunities to present their research at conferences in Berlin and Paris and enter into exchange with experts and specialists in the respective countries, as well as access to museum and research “labs”, auction houses, galleries and archives.

The prerequisite for the selected doctoral and post-doctoral scholars’ participation in the German-French research network is the attendance of both research conferences – the one taking place in Berlin (8–10 November 2018) and the one in Paris (18–20 March 2019), which build on one another – and the presentation of a twenty-minute lecture on their own research projects in the context of the programme themes at one of the two conferences.

Assistance towards travel and lodging expenses will be granted. Participants will be informed about the administrative modalities of the respective German-French project partners following the selection procedure.

The conference languages will be English in Berlin (conference subject: “Art market and art collecting in Germany and France from 1900 to 1945”), and French and English in Paris (“Art market and art collecting in Germany and France from 1945 to the present”). Please send your application, complete with a lecture synopsis of 2,000 characters maximum, including spaces, and a CV to germanfrenchprogramme@gmail.com by 14 September 2018.

The German-French organizers will carry out the selection procedure and announce the participants by the end of September 2018.

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MARCHÈ DE L’ART ET COLLECTIONS D’ŒUVRES D’ART EN ALLEMAGNE ET EN FRANCE DE 1900 À NOS JOURS

Programme de recherche franco-allemand

Berlin, Allemagne, du 8 au 10 novembre 2018

Paris, France, du 18 au 20 mars 2019

Date limite d´envoi: 14 septembre 2018

Crises des réfugiés, guerres commerciales, débats sur les migrations: L´Europe se trouve aujourd´hui dans une phase de transformation, elle-même inscrite dans un contexte de bouleversements géopolitiques, économiques et culturels. Parallèlement, l´histoire de l´occupation et de la domination coloniale issue des pays européens acquière une place de plus en plus importante dans les sciences et les politiques scientifiques (trans)nationales.

Telles sont les dynamiques actuelles qui influent sur le programme de recherche franco-allemand 2018-2019, mis en place par le Forum Kunst und Markt/Centre for Art Market Studies de la Technische Universität Berlin et par le Centre Georg Simmel de l´École des Hautes Études en Sciences Sociales, en coopération avec le Centre Allemand d’Histoire de l’Art Paris. Son sujet principal est l´étude du commerce et des collections d´œuvres d´art de 1900 à nos jours en Allemagne et en France, en prenant compte d´un ancrage dans les réseaux nationaux et transnationaux ainsi que des interférences avec la politique de l´art et de la culture. Cette période historique recouvre deux guerres mondiales, des occupations, des crises mondiales économiques, des krachs boursiers, les années du miracle économique, la Guerre froide, ainsi que la fondation de l´Union Européenne, la chute du Mur de Berlin, sans oublier les crises contemporaines citées précédemment.

Le but de ce programme, financé par l´Université franco-allemande/Deutsch-Französische Hochschule (UFA/DFH), est de mettre en réseau, de manière transnationale et transdisciplinaire, et sur des recherches concernant le marché de l´art, les musées et les collections d´œuvres d´art, les doctorant(e)s et post-doctorant(e)s travaillant actuellement dans le domaine évoqué précédemment. Lors de journées d´études/conférences à Berlin et à Paris, ils présenteront leurs propres recherches, s´entretiendront avec des expert(e)s et spécialistes du pays voisin et, dans le cadre d´un programme d´accompagnement, auront accès aux « laboratoires » de musées et de recherche, au maisons d´enchères, aux galeries et aux archives.

Pour accéder à ce réseau de recherche franco-allemande, il est indispensable de participer à deux programmes de recherche, l´un n´allant pas sans l´autre: le premier à Berlin du 8 au 10 novembre 2018 et le second à Paris du 18 au 20 mars 2019. Il est également requis de prendre en charge une intervention de 20 minutes, lors de l´une des deux journées d´études/conférences, pour présenter son projet de recherche dans le contexte thématique du programme.

Une partie des frais de voyage et d´hébergement est prise en charge. Le détail des différentes modalités administratives des partenaires franco-allemands du projet sera communiqué au terme du processus de sélection.

La langue des conférences est l´anglais à Berlin (sujet : « Commerce et collections d´œuvres d´art en Allemagne et en France de 1900 à 1945 »), le français et l´anglais à Paris (sujet : « Commerce et collections d´œuvres d´art en Allemagne et en France de 1945 à nos jours »). Les dossiers de candidature doivent être envoyés au plus tard le 14 septembre 2018, avec présentation de l´intervention (longueur maximale 2000 signes, espaces compris) et CV à l´adresse : germanfrenchprogramme@gmail.com.

Les participant(e)s sont sélectionné(e)s de manière commune par les organisations franco-allemandes. Les résultats seront communiqués au cours du mois de septembre 2018.

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KUNSTMARKT UND KUNST SAMMELN VON 1900 BIS HEUTE IN DEUTSCHLAND UND FRANKREICH

Deutsch-Französisches Forschungsprogramm

Berlin, Deutschland, 8.-10. November

Paris, Frankreich, 18.-20. März 2019

Einsendeschluss: 14. September 2018

Flüchtlingskrisen, Handelskriege, Migrationsdebatten: Europa befindet sich gegenwärtig in einem Transformationsprozess, der im Kontext globaler geo-, wirtschafts- und kulturpolitischer Umwälzungen steht. Zugleich rücken in der (trans)nationalen Wissenschaft und Wissenschaftspolitik vergangene Okkupationen und Kolonialherrschaften europäischer Länder verstärkt in den Fokus.

Das deutsch-französische Forschungsprogramm 2018-2019, veranstaltet vom Forum Kunst und Markt/Centre for Art Market Studies der Technischen Universität Berlin und dem Centre Georg Simmel der École des Hautes Études en Sciences Sociales in Kooperation mit dem Deutschen Forum für Kunstgeschichte Paris, ist von diesen aktuellen Dynamiken geprägt. Sein thematischer Schwerpunkt liegt auf der Erforschung des Kunstmarktes und Kunstsammelns in seinen nationalen wie transnationalen Netzwerken in Deutschland und Frankreich sowie auch in seinen Bezügen zur Kunst- und Kulturpolitik von 1900 bis zur Gegenwart. Diese historische Zeitspanne umfasst zwei Weltkriege, Okkupationen, Weltwirtschaftskrisen, Börsencrashs, Wirtschaftswunderjahre, den Kalten Krieg sowie die Gründung der Europäischen Union, den Fall der Berliner Mauer und nicht zuletzt die oben beschriebenen Krisen der Gegenwart.

Dem Programm, das von der Université franco-allemande/ Deutsch-Französische Hochschule (UFA/DFH) finanziell gefördert wird, liegt das Ziel zugrunde, Doktorand/innen und Postdoktorand/innen, deren eigenen aktuellen Forschungen in dem oben genannten Themenfeld liegen, transnational und transdisziplinär auf dem Gebiet der Kunstmarkt-, Museums- und Sammlungsforschung miteinander zu vernetzen: Auf Journées d’études/Konferenzen in Berlin und in Paris stellen sie ihre eigenen Forschungen vor, treten in einen Austausch mit den Expert/innen und Spezialist/innen der jeweiligen Länder und erhalten in einem Begleitprogramm Zugang zu Museums- und Forschungs“laboren“, Auktionshäusern, Galerien und Archiven.

Voraussetzung für die Mitwirkung an dieser deutsch-französischen Forschungsvernetzung ist die Teilnahme der ausgewählten Doktorand/innen und Postdoktorand/innen an beiden Forschungsprogrammen, sowohl demjenigen in Berlin (8.-10. November 2018) als auch demjenigen in Paris (18.-20. März 2019), die aufeinander aufbauen, sowie die Übernahme eines 20minütigen Vortrages zum eigenen Forschungsprojekt im Kontext dieser Programmthematik auf einer der beiden journées d’études/Konferenzen.

Für die Reise- und Übernachtungskosten wird ein Zuschuss gewährt. Details der jeweiligen verwaltungstechnischen Modalitäten der deutsch-französischen Projektpartner werden nach dem Auswahlverfahren mitgeteilt.

Konferenzsprachen sind in Berlin (zur Thematik: „Kunstmarkt und Kunst sammeln in Deutschland und Frankreich von 1900 bis 1945“) Englisch und in Paris (zur Thematik: „Kunstmarkt und Kunst sammeln in Deutschland und Frankreich nach 1945 bis zur Gegenwart“) Französisch und Englisch. Bewerbungen mit einem dementsprechenden Vortragsexposé von max. 2000 Zeichen inkl. Leerzeichen sowie einem CV werden bis zum 14. September 2018 erbeten an: germanfrenchprogramme@gmail.com.

Die Auswahl der Teilnehmer/innen wird von den deutsch-französischen Organisator/innen gemeinsam vorgenommen und im Laufe des Septembers 2018 bekanntgegeben.

This networked performance builds on Reading the Nauru Files, which was an 18-hour networked performance live on Facebook by James Cunningham and Suzon Fuks on the 19th of July 2017 in which they commemorate 4 years of “indefinite detention”.

From 9am Nauru Time on the 19th of July until 9am on the 20th of July 2018,

people from around the world will read The Nauru Files

as part of a networked performance live streamed

on this Facebook event page https://www.facebook.com/events/281177502625005/

The Nauru Files are leaked reports from medic and paramedic staff relating to abuses, self-harms and neglects of refugees, including children, who have been detained for 5 years and indefinitely by the Australian Government. Refugees and people seeking asylum who tried to reach Australia by boat on or after the 19th of July 2013 were deported by the Australian government to camps on Nauru and Manus Islands (3-4.500km away from Australia). Currently 12 people have died, and mental health is beyond alarming on both prison-islands.

This networked performance commemorates 5 years of the “indefinite detention” of people who attempted to arrive by boat to Australia since the 19th of July 2013 and have been sent into “offshore processing centres” on Nauru and Manus islands.

By reading this document we hope to urge the Australian politicians to:

• evacuate the camps

• bring people to Australia to be processed fairly and swiftly.

• consider and talk about refugees and people seeking asylum with respect and humanity, respecting the Rule of Law, the International Human Rights Chart, the 1951 International Refugee Convention & 1967 Protocol.

This networked performance builds on Reading the Nauru Files, which was an 18-hour networked performance live on Facebook by James Cunningham and Suzon Fuks on the 19th of July 2017 in which they commemorate 4 years of “indefinite detention”.

The Nauru Files were first published publicly by the Guardian and are available online https://www.theguardian.com/news/series/nauru-files

The event is currently listed on Facebook as ‘happening now’ as we are testing the stream.

It will begin at 9am Nauru time, on the 19th of July until 9am on the 20th of July 2018 and continue for 24 hours.

As this is a networked online reading, please find the start times and dates in some selected time zones below.

Your attendance and support would be greatly appreciated, and we would appreciate if you could share this among your networks.

During the event we will be using the hashtag #NauruFilesLive

Warm regards,

Suzon

=============START DATES IN TIMEZONES ON THE 19th OF JULY======================

Nauru Time, NRT (UTC + 12)

Thu, 19 Jul 2018

09:00

Brisbane, Australia AEST (UTC + 10)

Thu, 19 Jul 2018

07:00

Tokyo, Japan JST (UTC + 9)

Thu, 19 Jul 2018

06:00

Beijing, China CST (UTC + 8 )

Thu, 19 Jul 2018

05:00

Moscow, Russia MSK (UTC +3)

Thu, 19 Jul 2018

00:00

=============START DATES IN TIMEZONES ON THE 18th OF JULY======================

Los Angeles, USA PDT (UTC – 7)

Wed, 18 Jul 2018

14:00

UTC

Wed, 18 Jul 2018

21:00

New York, USA EDT (UTC – 4)

Wed, 18 Jul 2018

17:00

London, UK BST (UTC + 1)

Wed, 18 Jul 2018

22:00

Paris, France CEST (UTC +2)

Wed, 18 Jul 2018

23:00

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International Conference at the Research Institute Archive of Architecture, Universität Innsbruck, 31 January – 2 February 2019

The Multiple Modernity (Innsbruck, 31 Jan-2 Feb 19)

Universität Innsbruck, Forschungsinstitut Archiv für Baukunst, 31.01. – 02.02.2019

Deadline: Sep 15, 2018

[English version below]

DIE MULTIPLE MODERNE

Internationale Tagung

Die moderne Architektur der Zwischenkriegszeit wird noch immer häufig allein mit Begriffen wie Klassische Moderne, Avantgarde, Neues Bauen, Funktionalismus, Rationalismus oder Internationaler Stil beschrieben. Seit den 1980er Jahren gibt es freilich beträchtliche Anstrengungen, den Blick zu weiten und auch andere Ausprägungen der Moderne zu betrachten; genannt seien hier nur die Ausstellungen »Die andere Tradition« 1982 in München, »Die Klassische Moderne der Post« zu Rudolf Vorhoelzer 1990, ebenfalls in München, »Reform und Tradition« 1992 in Frankfurt am Main, die 1994 erschienene, materialreiche Anthologie »trotzdem modern« von Kristiana Hartmann, in der die kulturellen Verflechtungen der Moderne in ihrer ganzen Vielschichtigkeit zum Ausdruck kommen, und die Tagungsreihe »Neue Tradition« in Dresden, die 2007 mit dem Begriff der »Antimoderne« provozierte.

Das 100jährige Jubiläum des Bauhauses 2019 soll zum Anlass genommen werden, einen kritischen Blick auf die Forschungen zur Moderne, oder besser: zur Multiplen Moderne zu werfen. Mögliche Themen sind das Bauhaus zwischen Selbstdarstellung und Wahrnehmung von außen, die Auseinandersetzungen zwischen den Vertretern einer radikalen und denen einer gemäßigten Moderne, die Architekturgeschichtsschreibung der zweiten Hälfte des 20. Jahrhunderts, die viel zur Fokussierung auf die avantgardistischen Strömungen beigetragen hat, die insbesondere bei Sanierungen zu Tage tretende Diskrepanz zwischen Entwurf und Realisierung gerade an ikonischen Bauten der Moderne, die Veränderungsprozesse beim »Export« der Moderne außerhalb Europas, und die Rolle nationaler und regionaler Ausprägungen der Moderne bei der Herausbildung nationaler Identitäten nach dem Ersten Weltkrieg.

Ziel der Internationalen Tagung ist es, dem Phänomen einer Multiplen Moderne näher zu kommen und den Stand der Forschung zu diskutieren. Parallel dazu wird im Archiv für Baukunst eine Ausstellung zur Tiroler Moderne als einer der regionalen Ausprägungen der Moderne gezeigt.

Konferenzsprachen sind Deutsch und Englisch.

Die Unterbringung der Referenten wird seitens des Archivs für Baukunst organisiert; die Reisekosten (Bahnfahrt 2. Klasse, keine Taxikosten) werden erstattet. Die Vorträge sollen in einem Tagungsband publiziert werden.

Bitte senden Sie ein Abstract für einen 20-minütigen Vortrag (max. 2.000 Zeichen mit Leerzeichen), einen aktuellen Lebenslauf mit (Dienst)Adresse bis zum 15. September 2018 an:

klaus.tragbar@uibk.ac.at

Die Autoren angenommener Beiträge werden bis zum 22. Oktober 2018 benachrichtigt.

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THE MULTIPLE MODERNITY

International Conference at the Research Institute Archive of Architecture, Universität Innsbruck, 31 January – 2 February 2019

The modern architecture of the interwar period is often still described only with terms like modern or modernist architecture, avant-garde, functionalism, rationalism or International Style. However, since the 1980s considerable efforts were made to widen the view and to include the study of other developments of the modern movement. The exhibitions »Die andere Tradition« 1982 in Munich, »Die Klassische Moderne der Post« on Rudolf Vorhoelzer 1990, also in Munich, »Reform und Tradition« 1992 in Frankfurt on the Main should be mentioned as examples, as well as the rich anthology »trotzdem modern« by Kristiana Hartmann, published in 1994. Her work shows the cultural interweaving of the modern movement in its entire complexity. Lately, the four annual conferences »Neue Tradition« in Dresden, what provoked with the term »antimodernity« in 2007, are also relevant.

Taking the occasion of the centennial of the Bauhaus in 2019, a critical look should be taken at the research on the modern movement as a whole, or better: at the multiple modernity. Possible topics may touch upon, but are not limited to the self representation of the Bauhaus and its perception from the outside, the conflicts between the radical and the moderate representatives of the modern movement, the architectural historiography of the second half of the 20th century, which contributed considerably to the focus on the avant-garde movements, the discrepancy of design and realisation, that are particularly visible when iconic buildings of the modern movement are being restored, the transformation of modernity through its »export« out of Europe, and the role of national and regional variations of the modern movement during the development of national identities after World War I.

The aim of the International Conference is to study the phenomenon of the multiple modernity and to discuss the current state of research. At the same time an exhibition on the so called Tyrolean Modernity as one of the regional developments will be presented at the Archive of Architecture.

The conference will be held in German and English.

Accommodations for the speakers will be organised by the Archive of Architecture; funds will be available for travel (2nd class train ticket, no taxi). The accepted papers may be considered for publication in a forthcoming edited volume.

Please send an abstract of not more than 2,000 characters (including spaces) for a 20-minute presentation and a current CV with affiliation by 15 September 2018 to:

klaus.tragbar@uibk.ac.at

Applicants will be notified of the organisers’ decision by 22 October 2018.

Recovering the History of Women in Japanese Photography – Asian Studies (AAS) Annual Conference, from March 21-24, 2019 in Denver, Colorado., March 21 – 24, 2019

Session at AAS (Denver, 21-24 Mar 19)

Asian Studies (AAS) Annual Conference, from March 21-24, 2019 in Denver, Colorado., March 21 – 24, 2019

Deadline: Jul 18, 2018

Recovering the History of Women in Japanese Photography

Panel for the AAS

Recent scholarship has uncovered new histories of women’s participation in professional photography beginning with its introduction to Japan circa 1848. Yet there remains a tendency in scholarship on the history of Japanese photography to think of women’s camera work as separate: its production either driven by gendered motivations or its participation limited by supposed social, physical, and technical limitations that women face. This panel seeks to question this narrative, bringing to light women who were involved in the professional practice of photography while addressing the practices of writing history and art history that have contributed to the continued denial of women’s lived experiences with photography.

Papers will suggest that this interest in women in the photographic profession is a means to re-think and re-write the history of photography to ask how it changes when photographic narratives are approached from the perspective of the women in the field. As we recover the participation of these women, the papers here will begin to understand the gendering of the practice of photography and why we (as a field) continue to see women professional photographers as producing work for reasons that are necessarily “other” from male counterparts. This includes acknowledging the contribution of women photographers who operated early commercial photographic studios, produced aides-de-memoire, propaganda and advertising, or edited photography magazines and newspapers. Papers might examine a particular gendered photographic practice, the miss-memory of the history of photography, the othering of women within photography circles, or the self and body in relation to the gendering of photography. We are interested in perspectives across all time periods, with the two-part goal of bringing to light the stories of female photographers and understanding how we can move forward and examine long-held assumptions on the limitations of women in the field.

Please send a 250 word abstract, paper title, and CV to: womeninjapanesephotography@gmail.com by July 18th. Interested participants are encouraged to send inquiries to the panel organizers, Carrie Cushman (Ph.D., Curatorial Fellow in Photography, The Davis Museum, Wellesley College), Kelly McCormick (Ph.D. Candidate, UCLA) and Maggie Mustard (Senior Research Fellow, New Museum of Contemporary Art) at the above email address.

Reclamation, Revision, Resistance: Feminism and the Maternal in Post-1968 Latinx and Latin American Art – Session at LASA (Boston, 24-27 May 19)

Session at LASA (Boston, 24-27 May 19)

Latin American Studies Association, 53rd International Congress, Boston, USA, May 24 – 27, 2019

Deadline: Aug 24, 2018

[Spanish version below]

Reclamation, Revision, Resistance: Feminism and the Maternal in Post-1968 Latinx and Latin American Art

Limited by patriarchal definitions, the maternal has historically functioned as a mechanism to maintain and justify women’s exclusion from serious discussions about art making. Despite this, the maternal has also maintained an alternative history, existing as a long-standing tool in women’s creative and political practices across the globe. This was very much the case in the decades following 1968, a period that welcomed a surge in Latinx and Latin American artists utilizing the maternal as a symbol of feminist resistance and a methodological tool to resist totalizing narratives, often in the face of authoritarian regimes and/or violent economic crises. Evidenced most recently by the prominent place of motherhood as a key thematic in 2017–18’s landmark exhibition, Radical Women: Latin American Art, 1965-85, the maternal has been practically, iconographically, and conceptually accessed by a variety of artists to claim agency, visibility, and political rights. The development of scholarship that seeks to address the relationship between feminism, art, and the maternal has been invaluable to the study of this period, however, on a global scale, the focus of maternal aesthetic studies has focused almost exclusively on white, middle class, heterosexual artist-women. This session seeks to open a collaborative dialogue surrounding the convergences of feminist politics and theory, activism, and issues related to the maternal found within Latinx and Latin American artistic practices post-1968. Papers might address (but are not limited to) artists and works that disrupt patriarchal expectations and representations of motherhood; imagine alternative maternal performances, symbolisms, and identities; utilize the maternal to subvert binaries, such as private/public; and/or otherwise reclaim, revise, and deploy the maternal as a mechanism of resistance within visual culture. We are also interested in papers that offer maternal perspectives on and/or revisions of contemporary narratives of post-1968 Latinx and Latin American art history. Papers need not be limited to women-identified artists, but can focus on any Latinx and Latin American artists who engage with the maternal under a feminist lens. We also welcome papers from Latinx and Latin American artists currently involved in this type of creative work.

Abstracts of 250 words along with a short bio can be sent to Sophie Halart (sophie.halart@gmail.com) and Erin L. McCutcheon (emccutch@tulane.edu) by Aug. 15, 2018 (emccutch@tulane.edu).

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“Recuperación, revisión, resistencia: el feminismo y lo materno en el arte Latinx y Latinoamericanx después del 1968”

Limitada por las definiciones patriarcales, lo maternal ha funcionado históricamente como un mecanismo para mantener y justificar la exclusión de las mujeres de discusiones serias sobre la creación de arte. A pesar de esto, lo materno también ha mantenido una historia alternativa, que existe como una herramienta en las prácticas creativas y políticas de las mujeres en todo el mundo. Este fue el caso en las décadas siguientes a 1968, un período que dio la bienvenida a una oleada de artistas Latinx y Latinoamericanxs que utilizaban lo materno como un símbolo de la resistencia feminista y una herramienta metodológica para resistir las narrativas totalizadoras, a menudo en el rostro de los regímenes autoritarios y/o crisis económicas violentas. Evidenciado más recientemente por el lugar prominente de la maternidad como una temática importante en la exposición histórica de 2017-18, Mujeres radicales: Arte Latinoamericano, 1965-85, lo materno ha sido accedido prácticamente, iconográficamente, y conceptualmente de una variedad de artistas para reclamar la agencia, la visibilidad y los derechos políticos. El desarrollo de erudición centrado en la relación entre el feminismo, el arte y lo maternal ha sido de gran valor para el estudio de este período, sin embargo, el enfoque de los estudios estéticos maternales se ha centrado casi exclusivamente en las artistas-mujeres blancas, de clase media, y heterosexual.

Esta sesión busca abrir un diálogo colaborativo en torno a las convergencias de la política feminista y la teoría, el activismo y los temas relacionados con lo maternal encontrada dentro de las prácticas artísticas Latinx y Latinoamericanxs después del 1968. Ponencias pueden abordar (pero no se limitan a) artistas y obras que: interrumpen las expectativas patriarcales y las representaciones de la maternidad; imaginan actuaciones maternas alternativas, simbolismos e identidades; y/o de otra manera reclaman, revisan y despliegan la maternal como un mecanismo de resistencia dentro de la cultura visual. También nos interesan las ponencias que ofrecen perspectivas maternas sobre y/o revisiones de las narrativas contemporáneas de la historia del arte Latinx y Latinoamericanx después del 1968. Las ponencias no se limitan a las mujeres artistas, pero pueden centrarse en cualquier artista(s) Latinx y Latinoamericanxs que usan lo maternal con una perspectiva feminista. También nos dará gusto recibir ponencias de artistas Latinx y Latinoamericanxs involucrados actualmente en este tipo de trabajo creativo.

Enviar el abstract de la ponencia de 250 palabras junto con una biografía corta, a Sophie Halart (sophie.halart@gmail.com) y Erin L. McCutcheon (emccutch@tulane.edu) antes del 24 de Agosto 2018.

Open call for 18th Media Art Biennale WRO 2019: Human Aspect.

WRO Art Center, Wrocaw Open call for 18th Media Art Biennale WRO 2019: Human Aspect http://opencall.wrocenter.pl The program is open to various forms of expression and communication applying the artistic potential of new media and completed after January 1, 2017. Submissions deadline: November 15, 2018 Opening events of WRO 2019: May 15-19, 2019 WRO 2019: Human Aspect Structures of continually increasing capacities, artificial intelligence environments, power and knowledge which trigger self-propelling relationships within vast networks, natural and artificial lives, and non-human cognitive perspectives locate the human aspect in novel contexts. In how far is the human aspect subject to technologyTo what degree and from what viewpoint is the human aspect autonomous, unpredictable, faulty, creative WRO Biennale: about The WRO Media Art Biennale is the major forum for media art in Poland and one of the leading international contemporary art events in Europe. Since its inception in 1989, WRO has been presenting art forms created using new media for artistic expression and communication, exploring current creative territories, and forming a critical perspective of emerging issues in culture, art, society, technology, and humanities. Featuring works of over 120 artists, the previous edition of the Biennale WRO 2017: Draft Systems was held at 17 different venues across the city of Wroclaw: museums, galleries, department stores, historical spacesboth abandoned and restoredand various public spaces. The main program of the 2017 WRO Biennale was followed by two large exhibitions in Warsaw, and an intensive WRO on Tour program of traveling screenings. The exhibitions, concerts, performances, video screenings, and conferences were attended by over 100,000 visitors. The WRO 2017 catalogue is available online. Program director: Viola Krajewska Artistic director: Piotr Krajewski Contact WRO Art Center Widok 7 50-052 Wrocaw Poland T +48 71 343 32 40 info@wrocenter.pl

6 Sessions at CAA (New York, 13-16 Feb 19) [1] What is Photography? [2] Women Artists in Germany, Central Europe, and Scandinavia, 1880-1960 [3] Coexistence in Contemporary Art [4] Public Monuments and Sculpture in Postwar Europe [5] Speculative Feminist Futures [6] The Place of Art. The Re-definition of the Exhibition Format in the ’70s

6 Sessions at CAA (New York, 13-16 Feb 19)

College Art Association Annual Meeting, New York City, February 13 – 16, 2019, February 13 – 16, 2019

Deadline: Aug 6, 2018

[1] What is Photography?

[2] Women Artists in Germany, Central Europe, and Scandinavia, 1880-1960

[3] Coexistence in Contemporary Art

[4] Public Monuments and Sculpture in Postwar Europe

[5] Speculative Feminist Futures

[6] The Place of Art. The Re-definition of the Exhibition Format in the ’70s

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[1] What is Photography?

From: Andrés Mario Zervigón <zervigon@rutgers.edu>

Date: July 10, 2018

What is photography? The question is deceptively simple. At the time of its origins, photography had no word. Instead, its makers and advocates devised awkward metaphors, such as “sun picture” and “pencil of nature,” before finally settling on the now familiar “photography.” But disagreement continued as to whether or not it was a technology, an image type, a practice, an enhancer of perception, time caught still or—in the words of Oliver Wendell Holmes—“form itself.” Today the identity of photography sizzles as a hot topic of debate, particularly as digital technologies render this thing both radically ubiquitous but strangely unfamiliar, and global inquiries reveal distinct conceptualizations.

This session inquires broadly into evolving understandings of photography’s identity. It takes as a touchstone some of the most recent inquiries that have thought beyond “the index” as that catchall understanding of what this thing is. It calls, for instance, on Geoffrey Batchen’s proposal that photography is a conception derived from an economy of desires and ideologies, Ariella Azoulay’s suggestion that photography is the larger set of conditions and actions around the print itself (“the photographic situation”), and Stephen Sprague’s revelation that the photograph may often be a sacral object more than an image type, as in Nigeria’s Yorubaland. A panel of 4 short (10-minute) papers by scholars from varied fields, will tease out the meanings of photography that have gathered the most currency around the world. The long discussion to follow, moderated by the convener, will then set these understandings into dialogue.

To apply, please complete the form (at web address above) and submit via email with proposal including title, abstract (250 words maximum), and a brief CV (2 pages maximum) to zervigon@rutgers.edu

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[2] Women Artists in Germany, Central Europe, and Scandinavia, 1880-1960

From: Kerry L. Greaves <lapaix0509@gmail.com>

Date: July 10, 2018

Historians of German, Scandinavian, and Central European Art and Architecture Panel

Chair: Kerry Greaves, Postdoctoral Fellow, University of Copenhagen

This session seeks to address the aesthetic innovations, cultural-political context, and critical reception of progressive women artists active in Scandinavia, Germany, and Central Europe from the emergence of modernism until the feminist movement took shape in the 1960s—a period that remains ripe for new scholarly contributions. For Scandinavian artists such as Franciska Clausen and Rita Kernn-Larsen, their relationship to art movements was not straightforward and they employed a wide range of styles and practices. They and their work often transgressed neat categorizations, and they undertook complex negotiations with socio-cultural norms. The term “woman artist” itself as a homogenous category is a misnomer that obscures a range of differences; the idea of the feminine, too, is now considered fluid. Papers may address any of the following questions: How did women formulate artistic subjectivity, identity, and autonomy within art movements, especially those most closely associated with masculinity? How did their work advance or disrupt the criteria of the movements with which they were involved? What strategies did women develop in order to navigate environments that restricted their professional access? What was the critical reception of their work, how did this impact their careers, and what were the conditions surrounding their later art historical treatment?

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[3] Coexistence in Contemporary Art

From: Amanda Boetzkes <aboetzke@uoguelph.ca>

Date: July 10, 2018

Panel Chairs: Christine Ross (McGill University) and Amanda Boetzkes (University of Guelph)

This panel will consider how forms of coexistence have become integral to artistic practice in the past decade. Whether the global refugee crisis, the unfolding of decolonization, the environmental coevolution between species, or the intensification of media that “cognize” without humans (Hayles, 2017), coexistence has become a privileged aesthetic terrain by which to address some of the major challenges of the 21st century. We might think of Ai Weiwei’s 2017 documentary Human Flow, which charts the global movement of refugees alongside the proliferation of borders and walls. We might also think of the main exhibition theme The Parliament of Bodies at Documenta 14, which gathered artworks that perform or interpellate agents in states of collective assembly and disassembly.

Art’s concern for coexistence pursues epistemological and ontological differences, material affordance and recalcitrance, political deadlocks and economic collapse as sites of experiential opening. Does this signal the rise of alternative distributions of sense and knowledge, as Bruno Latour would have it? Or is the enactment of coexistence a gesture constituted by the very possibility (or even probability) of failure by virtue of the existing conditions into which it is performed, as per Judith Butler’s formulation? What are the terms by which the imperatives of coexistence anticipate or usher in the emergence of social forms and their perceptual orientations? Of particular interest to this panel is the question of emergent aesthetics: as art becomes the site at which coexistence is thought, sensed and imagined, it generates unprecedented affective, perceptual, cognitive and mediatic possibilities.

Please send a 250-word abstract, brief CV, and proposal form by August 6, 2018 to Christine Ross (christine.ross@mcgill.ca) and Amanda Boetzkes (aboetzke@uoguelph.ca).

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[4] Public Monuments and Sculpture in Postwar Europe

From: Martina Tanga <martina.tanga@gmail.com>

Date: July 10, 2018

European Postwar & Contemporary Art Forum Sponsored Panel

Chair: Martina Tanga – Independent Art Historian and Curator at deCordova Sculpture Park and Museum

The term monument comes from two Latin words: “monumentum,” meaning to remind and “monere,” meaning to admonish. In Italy, Benito Mussolini fully recognized these twin potentials and instrumentalize public sculpture for political ends. Indeed, the author Italo Calvino felt that Fascism had colonized Italy’s public realm with the innumerable monuments and buildings dedicated to spreading the regime’s agenda. How, then, did the monument subsist—with its dual meaning as both a reminder of the past and a warning of the future—in the immediate post-war years in Italy and other European countries occupied by Fascist or Nazi regimes? After the war, could the monument be reconceived as a vehicle for decolonization? This session delves into the politics of monuments and public sculpture in Europe’s urban landscape during the second half of the 20thcentury when the rhetoric of Fascism and Nazism needed to be negotiated by artist and citizens now living in democratic states in the West and Communist countries in the East. Papers will be sought that explore public monuments and sculptures, created after 1945, that contend with historical, social, political, and urban relationships to ideologies of the Fascist and Nazi regimes, while also addressing issues relating to the time of their creation. This session is timely as America has contentiously dismantled monuments to its Confederate past and France has rid itself of all streets named after the Nazi collaborationist Marshall Pétain. Why have other European countries, like Italy, allowed its Fascist monuments to survive unquestioned?

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[5] Speculative Feminist Futures

From: Rachel Epp Buller <rachel@ddtr.net>

Date: July 10, 2018

Feminist speculative fiction raises a timely and pertinent question: how can we do things differently? Writers imagine societies that include parthenogenesis, ambisexuality, co-mothering, and other models that overturn heteronormative conventions, imagining that seems especially relevant and even necessary in our current political and social climate. While science fiction is a well-known literary genre, however, artists whose work is informed by similar speculation have received less attention. This panel seeks presentations by artists, historians, and theorists whose art and writing take as foundational the speculative modes employed by feminist science fiction writers. How do artists explore the possible relationship between feminist science fiction, new technologies, and a contemporary feminist consciousness? What strategies have artists and writers used to suggest or create new visions for culture and society? What is the relationship between speculative fiction and the emergence of posthumanism? How do artists re-imagine human and more-than-human relations? We welcome all manner of creative and scholarly proposals. Let us imagine together.

Panel co-chairs: Rachel Epp Buller, rachel@ddtr.net and Margaret Hart, margaret.hart@umb.edu

250-word abstract due to session chairs by August 6, 2018

Submission guidelines available at http://www.collegeart.org/pdf/programs/conference/CAA-CFP-2019.pdf

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[6] The Place of Art. The Re-definition of the Exhibition Format in the ’70s

From: Clarissa Ricci <clarissaricci@yahoo.it>

Date: July 11, 2018

Critically reflecting on the history of exhibition and the canonization of its formats, this panel aims to investigate the development of the exhibitionary complex as it’s known today.  

Political protests in the 70s occupied the whole public sphere, causing an epochal value change across culture, thought and politics. The process of democratization affecting cultural perceptions also impacted the art system. Many demonstrations, often in the form of interventions and performances, occurred as throughout the opening dates of the Venice Biennale.

While changing the functioning of its apparatuses, the exhibitionary complex (Bennet 1982) continued to provide instruments for the moral and cultural regulation. In their ability to mobilize and represent political exigencies of a specific moment in time, exhibitions became more specialised thanks to the adoption of diverse formats like biennials, fairs, temporary museum exhibitions, forums and books.

None of these models were new but, during the 70s, were used to respond to the needs of an expanding cultural sphere. Cologne and Basel’s art fairs, the exhibition choices made by Seth Siegelaub in January 5-31 1969 (New York 1969), and documenta 5, which opened the second wave of biennials (Green and Gardner 2016), are great example of these radical changes in exhibition’s formats.  

We invite scholars to submit papers that examine specific exhibition formats which, during the 1970s, underwent a significant redefinition or explored methodological issues related to such topic

Please send a 250-word abstract (Chicago Manual of Style), using the CAA conference proposal form (see CAA, p. 41 of the following .pdf http://www.collegeart.org/pdf/programs/conference/CAA-CFP-2019.pdf ),  and a brief 2-page CV by August 6,  to cricci@iuav.it  ; clarissarricci@yahoo.it

The Art House: Writing Commission & Professional Development Opportunity – UK ONLY.

The Art House is happy to announce a new opportunity for a writer to develop new work and receive a bespoke package of support and mentoring for their practice.

In partnership with Unlimited, the individual will be commissioned to write a series of texts which could be around some of their commissioned works, Unlimited: the Symposium, Southbank Centre’s and/or Tramways’ Unlimited Festival, as well as having a budget to work on their own writing practice. In addition to this, the selected writer will be able to seek professional mentoring from writers or curators whom they will select, alongside receiving a series of 1-2-1 sessions with programme staff at The Art House and Unlimited.

This opportunity is only open to a disabled person. Please see the Shape Arts website for more detail: https://www.shapearts.org.uk/news/social-model-of-disability

Who can apply:
We are looking for someone who has experience of writing in an arts context, and is looking to build on their existing practice. They should have original ideas, ambition and a passion for writing and its value to arts practice. They should have a great understanding of contemporary visual art and the issues which surround it, and be willing to take on feedback and suggestions for how to develop their work.

Applicants must be over 18 years of age, based in the UK and not in full time undergraduate education.

The deadline for applications is Friday 3 August 2018 at midnight

If you have any questions or queries about this opportunity, or if you would like the application in any other format please email simon@the-arthouse.org.uk.

CONTACT
email simon@the-arthouse.org.uk
website https://bit.ly/2tVy5XH

TechnoHeritage (Seville, 26-30 Mar 19)

Seville, Spain, March 26 – 30, 2019

Deadline: Sep 14, 2018

TechnoHeritage 2019

4th International Congress Science and Technology for the Conservation of Cultural Heritage

Deadline extended – September 14th

Why attend to TechnoHeritage 2019 Congress?

The conference offers:

– An interdisciplinary and international forum for discussions on all aspects of Cultural Heritage.

– A special session focused on topics such as the application of digital technology for the sustainable management, knowledge and social innovation.

– A high-quality scientific programme including new emerging topics in Cultural Heritage such as: Digital Information Model (BIM, GIS, and BIM & GIS integration) for the prevention, conservation and management of heritage; the role of innovative monitoring techniques and social value in the management of information for the conservation of Cultural.

– Publication of papers in indexed proceedings. In addition, a number of selected papers will be published in a high-quality journal with a high impact factor.

– Reduced registration fee for students. In the case of undergraduate students, recognition of an academic ECTS credit.

– An extraordinary venue for the conference. Seville is one of the oldest cities in South Europe which preserves an important historical legacy, meeting place between Europe and America.

– Enjoy a fantastic social program including some tours to Alcazar, Cathedral, Archivo de Indias, declared a World Heritage Site and the Archaeological Site of Itálica.

The reduced registration fee also includes lunches, the gala dinner and two different tours.

Conference Topics:

Topic 1

Development of new digital graphic instruments such as BIM, GIS and others, for knowledge, analysis, protection and conservation of Cultural Heritage.

Topic 2

Management and sustainability of the Cultural Heritage information. Applications and cases about standardization and protocols.

Topic 3

Importance, social value and policies in the management of information for the conservation of Cultural Heritage.

Topic 4

Risk Assessment and monitoring of Cultural Heritage (Pollution, Climate Change, Natural Events, Microclimate).

Topic 5

New technologies, products and materials for conservation and maintenance of Cultural Heritage.

Topic 6

Vulnerability assessment: Agents and Mechanisms of Decay (Physical, Chemical and Biological).

For more information: https://gestioneventos.us.es/event_detail/18082/detail/iv-international-congress-science-and-technology-for-the-conservation-of-cultural-heritage.html

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

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