The Whole Life Academy – Archive und Wirklichkeit (Dresden, 19-25 May 19) Dresden, 19. – 25.05.2019 Deadline: Dec 15, 2018 Open Call: The Whole Life Academy

(english version below)

Archive konstituieren den Erinnerungsraum einer Gesellschaft. Als Institution formen sie die Lebensrealitäten einer in stetem Umbruch begriffenen Gegenwart. Im sogenannten postfaktischen Zeitalter spiegeln und generieren Archive Weltbilder und Konstellationen des Wissens, sind sie doch in der Lage, Netzwerke, Machtbeziehungen und Akteur_innen zu dokumentieren – in einer Zeit und über sie hinaus. Archivobjekte sind somit weit mehr als Momentaufnahmen oder Repräsentationen vergangener Zustände: Sie provozieren ein spezifisches Verhältnis zwischen Vergangenheit, Gegenwart und Zukunft und mobilisieren chronologische und topografische Kategorien. Vor diesem Hintergrund scheint es zentral, neue Ansätze des Sammelns, Forschens und Archivierens anzuregen, die Strategien entfalten, um marginalisierte Realitäten der Vergangenheit einzubeziehen und damit zu einem besseren Verständnis der komplexen Zusammenhänge in der Gegenwart zu gelangen.

Das Archiv der Avantgarden (AdA), das der Berliner Sammler Egidio Marzona den Staatlichen Kunstsammlungen Dresden (SKD) in einer Schenkung übergeben hat, befindet sich in Transformation – von einer privaten Sammlung in ein öffentliches Archiv. Diese Sammlung umfasst rund 1,5 Millionen Objekte, die Kunstwerke, Prototypen, Zeitschriften, Designobjekte und Dokumentationen künstlerischer Produktion miteinander vereint. Als Archiv bietet sie nichts Geringeres als einen Index des ästhetischen Denkens sowie ein Verzeichnis der soziopolitischen Ethiken und utopischen Ideale im 20. Jahrhundert. Im AdA werden Anknüpfungspunkte für grundlegende Fragen zur Konstitution eines Archivs und seinen Beziehungen zu zeitgenössischen gesellschaftspolitischen Entwicklungen deutlich.

Dieses Potenzial ist Ausgangspunkt des Projekts ‘Das ganze Leben. Archive und Wirklichkeit’– einer Kooperation von Staatliche Kunstsammlungen Dresden, Haus der Kulturen der Welt, Arsenal – Institut für Film und Videokunst e.V. / Archive außer sich und Pina Bausch Foundation. Es bildet den Rahmen für eine einwöchige internationale Akademie, die vom 19. bis 25. Mai 2019 in Dresden stattfinden wird.

Das Curriculum der Akademie umfasst Exkursionen, Workshops, Objektsichtungen, Archivrecherchen und öffentliche Präsentationen. Im Vordergrund stehen dabei praxisorientierte Untersuchungen von Dokumenten, Filmen, Kunstwerken und Artefakten, die auch Verbindungen zu teilnehmenden Partnerarchiven, Archiven der SKD und ausgewählten Örtlichkeiten in Dresden knüpfen.

Die Teilnehmer_innen können ihre eigenen Methoden und Praktiken anwenden, um ästhetische Diskurse, kulturelle Topografien des Archivs und dessen politische Wirkmächtigkeit zu erkunden. Wie können die materialisierten Beschreibungen komplexer kultureller Milieus in einem Archiv genutzt werden, um Formen kollektiver Wissensproduktion zu dekodieren? Wie werden die Beziehungen, Genealogien und Widerstände der Objekte eines Archivs sichtbar?

Die Akademie mündet in einen Kongress (23.–25.05.), der Expert_innen und Objekte jenseits disziplinärer Grenzen zusammenführt. Ziel ist es, in einem Zusammenspiel von Archivsichtung und Konferenz Materialitäten zu erforschen, Spuren zu lokalisieren und Biografien zu erzählen.

Wer kann teilnehmen?

Das Programm richtet sich an Master-Studierende und Doktorand_innen aus einem breiten disziplinären Spektrum wie Kunst, Geisteswissenschaften, Sozial- und Naturwissenschaften, Design und Architektur. Bewerbungen von Künstler_innen, Autor_innen, Forscher_innen, Kurator_innen, Designer_innen, Redakteur_innen, Journalist_innen, Aktivist_innen, die außerhalb der Wissenschaft arbeiten, sind ebenso willkommen wie von Expert_innen, die in Institutionen mit Archiven und Sammlungen arbeiten.

Die Teilnahme ist kostenlos. Unterkunft und Verpflegung werden für alle Teilnehmer_innen während des Programms bereitgestellt. Reisekosten können nicht übernommen werden. Eine begrenzte Anzahl von bedarfsabhängigen Reisestipendien kann auf Anfrage zur Verfügung gestellt werden. Bitte kontaktieren Sie uns diesbezüglich so schnell wie möglich für weitere Informationen.

Kinderbetreuung kann bei Bedarf angeboten werden.

Bewerbung

Bewerbungen sollten aus einem kurzen Lebenslauf und einem Motivationsschreiben bestehen, in dem eine Forschungsfrage formuliert werden muss. Das Motivationsschreiben sollte zwischen 300 und 500 Wörtern umfassen und Informationen über die eigenen Forschungsinteressen und / oder -praktiken enthalten. Es sollte darüber hinaus Vorschläge anführen, welche Kontexte, Formate und Methoden Ihrer Ansicht nach in Verbindung mit dem AdA und Archiven im Allgemeinen diskutiert werden sollten. Bitte geben Sie nach Möglichkeit Kontaktdaten für eine oder zwei Referenzen an. Bitte senden Sie Ihre Bewerbung als PDF-Datei an wholelife@hkw.de

Frist für die Einreichung der Bewerbungen:

15.12.2018

Benachrichtigung über die Annahme:

18.01.2019

Anforderungen

Bewerber_innen sollten eine große Bereitschaft zu interdisziplinärer Zusammenarbeit und engagierter Diskussion mitbringen. Aktive Teilnahme wird sowohl während des Akademieprogramms als auch während des Kongresses vorausgesetzt.

Das Programm findet in englischer Sprache statt.

Wenn Sie Bedenken haben, ob Ihre Englischkenntnisse ausreichen, um an dem Programm teilzunehmen, kontaktieren Sie uns bitte und wir werden versuchen, eine_n Dolmetscher_in für Sie zu organisieren.

Weitere Informationen:

wholelife@hkw.de

The Whole Life Academy ist eine Kooperation von Arsenal – Institut für Film und Videokunst e.V. / Archive außer sich, Haus der Kulturen der Welt (HKW), Pina Bausch Foundation, und Staatliche Kunstsammlungen Dresden. Die Akademie findet im Rahmen des HKW Projektes Das Neue Alphabet statt, gefördert von der Beauftragten der Bundesregierung für Kultur und Medien aufgrund eines Beschlusses des Deutschen Bundestages.

Open Call: The Whole Life Academy

Archives are the memory space of a society. As an institution they deeply shape the lived realities in a transforming present. In a so called era of post-truth, archives reflect and effect worldviews and knowledge constellations, documenting networks, power relations, and actors, in time and beyond time. Archival objects, thus, are much more than a record or representation of a past condition; they provoke a certain relationship between past, present, and future and mobilize temporal and topographic categories. Therefore it is necessary to encourage new approaches to collecting, researching, and archiving, to develop strategies that integrate marginalized realities of the past for a better understanding of contemporary complexities.

The Archiv der Avantgarden (AdA), a unique repository donated by the Berlin collector Egidio Marzona to the Staatliche Kunstsammlungen Dresden (SKD), is in the process of transformation from a private collection into a public archive. This collection encompasses around 1.5 million items combining artworks, prototypes, magazines, design objects and documentation of artistic production. As an archive it provides an index of twentieth-century aesthetic thinking and a record of the time’s sociopolitical ethics and utopian ideals, opening up questions regarding the constitution of an archive and its relation to contemporary sociopolitical developments.

These potential formulations launch the project The Whole Life: Archives and Reality—a collaboration of Staatliche Kunstsammlungen Dresden (SKD), Haus der Kulturen der Welt (HKW), Arsenal – Institut für Film und Videokunst e.V. / Archive außer sich, and Pina Bausch Foundation—and outline the agenda for a week-long Academy to be held between May 19 and 25, 2019 in Dresden.

The Academy features a curriculum that includes excursions, working sessions, research, and public presentations. It will allow for a hands-on exploration of documents, films, works of art, and artifacts, connecting the AdA to participating partner archives, SKD archives and selected locations across Dresden. Participants will apply their questions, methods and practices to explore nomadically aesthetic discourses, the cultural topography of the archive, and its political agency. How can an archive’s materialized descriptions of complex cultural milieus become a tool to unravel collaborative knowledge production? How can we render visible the relations, genealogies, and resistances of the materials and objects of an archive?

The week culminates in a Congress (May 23 to 25), bringing together interdisciplinary experts and objects in order to explore archival material, locate traces, and narrate biographies, fusing the formats of the conference and public archive exploration.

Who can participate?

The call for participation is addressed to master’s and doctoral students from a wide range of disciplinary backgrounds including the arts, humanities, social and natural sciences, design, and architecture. We also welcome applications from independent artists, self-organized writers, intellectuals, researchers, curators, coordinators, editors, journalists, activists from outside academia, or from professionals working within institutions with collections, archives, or other representational systems of knowledge.

Participation in the Academy is free of charge. Accommodation and catering will be provided for all participants throughout the curriculum. Participants are expected to finance their own travel costs. A limited number of needs-based travel grants can be provided upon request. Please contact us as soon as possible for further information.

Childcare can be offered upon request.

Submission

We are seeking proposals consisting of a short CV and a motivation letter in which a research question must be formulated. The motivation letter should be between 300 and 500 words in length and include information about your own research interests and/or practices as well as a statement about which kinds of settings, formats, and methods in connection to the AdA and archives in general you believe need negotiation—both inside and outside academia. Please include contact details for one or two references if possible and send proposals as pdf files to wholelife@hkw.de

Deadline for submission of applications:

Dec 15, 2018

Notification of acceptance:

Jan 18, 2019

Requirements

Applicants should be committed to interdisciplinary collaboration and engaged discussion. Active participation is expected during both the Academy program and the Congress.

The program will be conducted in English.

If you are concerned that your level of proficiency in English is sufficient to attend the program, please contact us and we will try to organize a translator for you.

Further Information:

wholelife@hkw.de

The Whole Life Academy is a collaboration of Arsenal – Institut für Film und Videokunst e.V. / Archive außer sich, Haus der Kulturen der Welt (HKW), Pina Bausch Foundation, and Staatliche Kunstsammlungen Dresden. It is part of HKW´s project The New Alphabet, supported by the Federal Government Commissioner for Culture and the Media due to a ruling of the German Bundestag.

Esse, Issue No. 97, 2019: Appropriation

Esse, Issue No. 97, 2019: Appropriation

Deadline: Apr 1, 2019

<http://esse.ca/en>

Le français suivra:

APPROPRIATION

Contemporary art practices are constantly going outside the field of art to appropriate the codes, gestures, and mechanisms of other social and cultural spheres. In this issue, we wish to examine this expansion and the resulting borrowing, to consider different forms of appropriation in art: gestural, technical, political, economic, affective, ritual, etc. In an era where social media circulates signs at an accelerated rate, we tend to believe that the images disseminated in the public space belong to us all. Having entered a phase of “postproduction” (Nicolas Bourriaud), artistic creation cannot avoid this system of widespread recycling and exchange. The artist today is similar to a DJ composing with samples, more so than to a demiurge constantly creating new forms. The practice of appropriation, which is at the centre of many contemporary and current art movements (readymade, appropriationism, re-enactment, etc.), asks important questions about how we define work and artistic originality, as well as about authorship and copyright. Some of these questions are resolved in court (Richard Prince vs. Patrick Cariou, Jeff Koons vs. Jean-François Bauret), while others examine the boundaries of the art field itself (the exhibition Bootleg by Québécois artist Boyle-Singfield or Kendell Geers’s reaction to Kader Attia’s plagiarism lawsuit filed against rappers Dosseh and Nekfeu).

Appropriation also involves the question of social responsibility with regards to artists and curators, particularly in recent debates around cultural appropriation. At a time of “the ethical turn of aesthetics” (Jacques Rancière), it is striking that the artists who have been criticized, rightly or wrongly, for carrying out a form of cultural appropriation, do not present themselves as adversaries but as allies of the cultures that they put on centre stage. Thanks to the “imagination” and “universal power” of art, such artists wish to make the greatest number of people aware of the injustices and suffering experienced by these marginalized groups. In turn, when these artists are questioned on the “ethics” of their engagement by representatives of these cultural groups or others, they feel it as a form of silencing.

We can see that challenges regarding appropriation—whether the appropriation is cultural or otherwise—are very often considered forms of censorship by the artists who experience them. Is this an acceptable argument with respect to the history of censorship and the sentences that some artists have received recently in authoritarian regimes (Pussy Riot, Oleg Sentsov, etc.)? Does the artists’ ethical commitment indemnify them against all forms of criticism? Is the autonomy of art and fiction the last bastion of artistic freedom against societal injunctions? Evoking Adorno’s defense of art’s autonomy, these questions are rarely addressed in considerations of art and politics and deserve to be newly examined. In any case, the aim of this issue is to take some distance from the polarization of the controversies so as to try to better understand what those show us about current artistic creation at the aesthetic, ethical, and political levels.

Esse arts + opinions invites writers and artists to propose essays that focus on questions of appropriation. How does the widespread practice of appropriation transform the artistic gesture? Are notions of authorship, work, artistic originality still relevant given the different forms of appropriation? Should copyright be amended to take into account appropriation as a creative gesture? How do artists who feel they are free to appropriate all forms and cultures justify themselves? What are the responsibilities of artists who work with appropriation? Is it possible to claim that cultural appropriation does not exist because cultures belong to everyone? Does all criticism of artistic appropriation come down to censorship? How does appropriation transform the relationship between art and politics? How can appropriation, as an artistic strategy, help to dismantle oppressive systems?

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Esse arts + opinions is a bilingual magazine focused mainly on contemporary art and multidisciplinary practices. Specializing in essays on issues in art today, the magazine publishes critical analyses that address art in relation to its context. Each issue contains a thematic section, portfolios of artworks, articles critiquing the international culture scene, and reviews of exhibitions, events, and publications. The esse.ca platform also offers articles on contemporary art and an archive of previous issues of esse.

Send your text (1,000 – 2,000 words, footnotes included) in US letter format (doc, docx, or rtf) to redaction@esse.ca before April 1, 2019. Please include a short biography (35-45 words), an abstract of the text (80-100 words), as well as postal and e-mail addresses. We also welcome submissions (reviews, essays, analyses of contemporary art issues) not related to a particular theme (annual deadlines: September 1, January 10, and April 1). An acknowledgement of receipt will be sent within 7 days of the deadline. If you have not been notified, please contact us to ensure your text has been received.

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APPROPRIATIONS

Les pratiques artistiques actuelles ne cessent de déborder le champ des arts pour s’approprier des codes, des gestes, des dispositifs issus des autres sphères sociales et culturelles. C’est cet élargissement, et les emprunts qui en découlent, que nous souhaiterions questionner dans ce dossier qui propose de réfléchir sur les différentes formes d’appropriation en art : appropriations gestuelles, techniques, politiques, économiques, affectives, rituelles, etc. Par ailleurs, à une époque où les médias sociaux font circuler les signes de façon accélérée, il est tentant de croire que les images diffusées dans l’espace public appartiennent à toutes et à tous. La création artistique, qui est entrée dans une phase de « postproduction » (Nicolas Bourriaud), n’échappe pas à ce système de recyclage et d’échange généralisé. L’artiste s’apparente beaucoup plus aujourd’hui à un DJ composant à partir d’échantillonnages qu’à un démiurge lancé dans la création incessante de nouvelles formes. La pratique de l’appropriation, qui est au cœur de nombreux mouvements de l’art contemporain et de l’art actuel (ready-made, appropriationnisme, reenactment…), pose ainsi d’importantes questions sur la définition de l’œuvre et l’originalité artistique, sur le statut et le droit d’auteur. Certaines d’entre elles sont tranchées par les tribunaux (Richard Prince vs Patrick Cariou, Jeff Koons vs Jean-François Bauret) et d’autres questionnent durablement le champ de l’art (l’exposition Bootleg de l’artiste québécois John Boyle-Singfield ou encore la réaction de Kendell Geers à la poursuite pour plagiat de Kader Attia contre les rappeurs Dosseh et Nekfeu).

L’appropriation pose également la question de la responsabilité sociale des artistes et des commissaires, comme l’ont bien mis en évidence les récents débats autour de l’appropriation culturelle. À l’ère « du tournant éthique de l’esthétique » (Jacques Rancière), il est remarquable que tous les artistes auxquels on a reproché, à tort ou à raison, d’effectuer une forme d’appropriation culturelle, ne se présentent pas comme des adversaires, mais comme des alliés des cultures qu’ils mettent en scène. Grâce à l’ « imagination » et au « pouvoir universel » de l’art, ces artistes souhaitent sensibiliser le plus grand nombre aux injustices et aux souffrances subies par ces groupes marginalisés. En retour, toute forme de questionnement face à la dimension « éthique » de leur engagement, y compris par les représentants des cultures qu’ils mettent en scène, est vécue par eux comme une forme de musellement.

On note en effet que les remises en cause des appropriations, qu’elles soient culturelles ou non, sont très souvent assimilées à des formes de censure par les artistes qui les subissent.  Est-ce que cet argument est recevable en regard de l’histoire de la censure et des condamnations qui frappent actuellement certain.e.s artistes dans les régimes autoritaires (Pussy Riot, Oleg Sentsov…) ? Est-ce que l’engagement éthique des artistes les prémunit contre toute forme de critique ? Est-ce que l’autonomie de l’art et de la fiction est le dernier rempart de la liberté artistique face aux injonctions sociétales ? Ces questions, qui ne sont pas sans évoquer la défense de l’autonomie de l’art par Adorno, sont peu abordées aujourd’hui dans les réflexions sur l’art et la politique et mériteraient d’être examinées à nouveaux frais. Dans tous les cas, l’objectif de ce numéro sera de prendre une certaine distance par rapport à la polarisation des controverses afin d’essayer de mieux comprendre ce qu’elles nous révèlent de la création actuelle à la fois au niveau esthétique, éthique et politique.

Esse arts + opinions invite auteur.e.s et artistes à proposer des textes autour de ces questions liées aux appropriations. En quoi la pratique généralisée de l’appropriation transforme le geste artistique ? Est-ce que les notions d’auteur, d’œuvre, d’originalité artistique sont encore pertinentes face aux différentes formes d’appropriation ? Est-ce que le droit d’auteur doit s’adapter pour tenir compte de l’appropriation comme geste créateur ? Comment se justifient les artistes qui se disent libres de s’approprier toutes les formes et toutes les cultures ? Quelles sont les responsabilités des artistes travaillant avec l’appropriation ? Est-ce qu’il est possible d’affirmer que l’appropriation culturelle n’existe parce que les cultures appartiennent à toutes et à tous ? Est-ce que toute critique de l’appropriation artistique s’apparente à de la censure ? En quoi les appropriations transforment les rapports entre l’art et la politique ? Comment l’appropriation, en tant que stratégie artistique, peut démanteler les systèmes oppressifs ?

Les textes proposés (de 1 000 à 2 000 mots maximum, notes incluses) peuvent être envoyés en format lettre US (.doc, .docx ou .rtf) à redaction@esse.ca avant le 1er avril 2019. Veuillez inclure, à même le texte, une courte notice biographique (30-50 mots), un résumé du texte (80-100 mots), ainsi que votre adresse courriel et postale. Les propositions non afférentes aux dossiers (critiques, essais et analyses sur différents sujets en art actuel) sont aussi les bienvenues (dates de tombée : 1er septembre, 10 janvier et 1er avril de chaque année). Un accusé de réception sera envoyé dans les 7 jours suivant la date de tombée. Si vous ne l’avez pas reçu, nous vous invitons à communiquer avec nous pour vérifier la réception de votre texte.

CFP: Open Source Technologies, Arts & Commoning Practices (Nicosia, 31 May-2 Jun 19) Nicosia, Cyprus, May 31 – June 2, 2019 Deadline: Feb 28, 2019

Free and Open Source Technologies, Arts and Commoning Practices:

An Unconference about Art, Design, Technology, Making, Cities and their Communities

Organized by the University of Nicosia Research Foundation as part of PHYGITAL project.

Co-organized in collaboration with the Fine Arts Programme, Department of Design and Multimedia, and Lakatamia Municipality/hack66.

For up to date information please refer to http://www.unrf.ac.cy/ or https://fineartuniccy.wordpress.com/

What kind of creativity comes after today’s digital cultures? After the smart city, post-surveillance, post-innovation, when social entrepreneurship discourse has ran its course?

In the last few years there has been a sharp momentum in the growth of  groups and spaces that operate under collective and community- driven structures of collaboration and shared learning processes (onsite and online). This is happening in parallel to   greater debates around the fate of the commons, openness, freedom of access and how new digital scapes are influencing how we shape socially and community orientated art, design and technological practices.

In our times of digital communalities bringing together issues related to art, design, technology, governance, and the commons, makes apparent the need to critically reflect on contemporary discourses of openness and freedom, and redefine the ways we produce and share knowledge, not least about new possibilities of production and sharing in themselves.

Considering our digital realisms and increasingly disparate lived realities we wish to explore approaches and examples to activism in relation to social movements around making and sharing, critical artistic practices, and their related technological shifts. Especially as pockets of our cities are being transformed into creative and entrepreneurial hubs, reflection becomes necessary in how the setup of these collective hubs of knowledge production effects and affects urbanisation, regeneration and issues related to the smart city and its mechanisms of surveillance.

Unconference Format

The unconference brings together scholars and practitioners across fields, to convene, share, and collaborate on issues around the physical and digital commons, the free and open source art and technology movements, as well as collective and community- driven structures of collaboration and shared pedagogic processes (onsite and online).

This unconference follows the momentum of a broader movement rethinking the academic conference format towards a more connected model of knowledge sharing, peer learning and collaboration. This allows presentations of research while it also allows participants to work together and set their own agenda in workshops that respond to previous proposals as well as spontaneously emerging priorities. We will be hosting participants from a broad network of researchers and activists across fields, and connecting remotelywith others.

The unconference participants are invited to contribute to an Open Access Online Masterclass with the same theme. The event will connect with a local makeathon and later lead to an Exhibition that aims to communicate visually and interactively the outcomes of these debates. Developing a publication is one of the conference’s main aims.

We invite 15-20min presentations, panels, abstracts, posters, and workshop/unpanel proposals by 28/02/2019. Updates can be found on http://www.unrf.ac.cy/

To propose something please send:

Panels: 250 word abstracts of all presenters, short bios, contact details and panel title

Paper: 250 word abstract, short bio, contact details and paper title

Workshop: 250 word abstract, short bio, contact details and paper title

Other ideas: 250 word abstract/ concept note, short bio and contact details

Submit the above information to: cycommons@protonmail.com

For any queries do email tselika.e@unic.ac.cy or chrystalleni.loizidou@gmail.com

Provisional Themes:

– Openness, Freedom in social, art, design and tech initiatives

– Hack-art-visms, hack the art and art the hack

– Contemporary questions around community and civically driven art, design and technology

– Hacking as culture- hacking-repurposing / Hackerspaces and Maker culture- Makerspaces, hackerspaces, and their politics

– Shared learning- peer to peer, common

– Design global manufacture local

– Local vs global dimensions in community practice

– Tech and Art Resistance discourse and their directions and overlaps

– Activism, freedom tech, tech freedom

– Making and the commons: Redefining public art, Maker-culture, Openness

– Digital Commons

– Digital governance and social movements

– Self-organisation discourse

– Open data discourse

– Networked cultures

– Tech and Policy / Policy tech

Scientific Committee

Evanthia Tselika, University of Nicosia. (Chair)

Chrystalleni Loizidou, hack66/ Lakatamia Municipality. (Chair)

Maria Hadjimichael, University of Cyprus.

Niki Sioki, University of Nicosia.  

Eva Korai, Cyprus University of Technology.

Marios Isaakidis, University College London.

Thrasos Nerantzis, Future World Centre.  

Leandros Savvides, Leicester University.

Gabriele de Seta,  Institute of Ethnology, Academia Sinica in Taipei, Taiwan.

Helene Black and Yiannis Colakides, NeMe.org.

Special Issue of Arts: Reconsidering the State(s) of Criticism Arts (ISSN 2076-0752) Deadline: Mar 15, 2019

<https://www.mdpi.com/journal/arts/special_issues/reconsider_criticism>

Dear Colleagues,

Ten years ago, James Elkins and Michael Newman’s The State of Criticism was published. Despite the richness of the discussion provided by its contributors over two roundtables—and in the collection’s numerous postscripts—the most striking aspect of the anthology was the complete lack of consensus upon fundamental notions around criticism. Those included: its function; its proper object of attention; its relationship to art history; its own history (or lack of it); and the perennial problem of ‘neutrality’ and the critic’s complicities.

One might conclude from this rancour and dissension that criticism is a lost cause: although like painting, its death has been announced on a number of occasions. Some commentators claim that criticism has been superseded by ‘theory’, by ‘art-writing’, or by ‘critical art’; others claim that criticism is compromised by its parochialism, or by its relationship to the market. Others have noted that critical prestige has been usurped by curators and collectors.

This Special Issue proposes that confusion over the role of criticism is a problem worthy of much more careful consideration, and that claims made for its demise can no longer be taken for granted. The appearance of Elkins’ and Newman’s anthology coincided with the 2007–08 Financial Crisis. Since then, the global cultural and political climate has changed significantly, requiring that we reconsider the place of criticism anew. Notions of judgment, voice, and critical discrimination may be more, not less pertinent in an age of ‘big data’, artificial intelligence, the widespread proliferation of culture, and the contentious notion of ‘post-truth’. In what ways might criticism be re-considered in the current context? What kind of knowledge does it provide?

The issue invites essays that include, but are not limited to, the issues sketched above. The issue welcomes contributions which proceed from particular moments, or acts of criticism which open out onto to the broader issues at stake.

https://www.mdpi.com/journal/arts/special_issues/reconsider_criticism

“But I saw something that others did not see” Philosophical research program around the work of Werner Herzog.

The visual and written oeuvre of Werner Herzog carries with it a series of contradictions and paradoxes that have been nourished by the author since the beginning of the 1960s. For example, Herzog repeatedly contested any connection to the German tradition (e.g. romantic painting, Weimar cinema) though his films obviously attest of such a connection. Similarly, he always refused an interpretive and scholarly approach to his work and defended its autonomy and irreducibility vis-à-vis discourses other than those found in the films themselves. Contrary to some of his contemporaries in the New German Cinema (e.g. A. Kluge or R.W. Fassbinder) who explicitly refer to existing systems of thought, Herzog never burdened his films with any intellectual reference. Instead, he developed himself a rich thought, showing through his texts and films that the blurring of limits between fiction and documentary is itself paradoxical: the truth of fiction films depends on the actors’ exposure to the material character of the filming process, while, in documentaries, truth can only emerge through a process of rewriting and radical poetization of the real. One of the recurrent topics in Conquest of the Useless sums up all the contradictions and paradoxes at work in Herzog’s oeuvre: what seems peaceful is illusory. The real is turbulent and unstable – it disturbs the senses and leads to a crisis of the intelligibility at the very core of perception itself. However, the author’s response to this crisis is yet another paradoxical gesture for he chooses – similar in this to the protagonists of his films – to exacerbate the problem: rather than turning to a raw and distantly sober cinema as Straub and Huillet, for example, Herzog engages in a cinema of excess – of the excessive character of perception –, the only way for him to escape the logic of representation.

Owing to its inherent paradoxes and contradictions, Herzog’s cinema is a thinking cinema. It pushes us to scrutinize its unsolved aporia, not in order to solve them by identifying the inner logic at work in his films, but to open them up to systems of thought which are not a priori contained in them. This is why we need to approach Herzog’s work from different disciplinary fields (philosophy, anthropology, sociology, literature, psychology, cinema studies, etc.). For the only way to think with the work is to abstain from remaining strictly inside of it, and open it up to different disciplines. The series of working sessions proposed in this colloquium constitute a first step on this path.

Modalities

The colloquium “But I saw something that others did not see” is organized by the University Paris 8 in collaboration with the University of Liège, the New University of Lisbon (IFILNOVA-CinéLab), and the Goethe Institute Paris. It will take place in Paris on the 6, 7 and 8 of november, 2019.

Each participant will have an hour in order to present a problem arising from Herzog’s work. Each will be requested to integrate to their problem at least one fictional and one documentary film. The candidates need to submit to the organizing committee an abstract (3000 signs max.), including a title and a small biography, in English or French, before December 1st 2018. The colloquium will be made entirely available on a dedicated website.

Submit proposals to : etudesphilosophiques.herzog@gmail.com

Cultural Brokerage and Materiality (Cambridge, 14-15 Dec 18) Cambridge, Jesus College, December 14 – 15, 2018

The workshop “Cultural Brokerage and Materiality” is the third in a series of international meetings on the theme of “cultural brokers and their networks: 1700s to the present”. Whereas the first workshops focused on the cultural broker and agency (Cambridge, 2016), and the cultural broker’s role in society (Konstanz, 2017), this event will turn to the material dimensions of cultural brokerage. Specifically, it will analyze cultural brokers’ interactions with the “goods” of transfer and will portray the cultural broker in a variety of material settings. In so doing, we will scrutinize the metaphor of “translation” that is often used to describe the process of brokerage and will focus attention on some of the non-verbal transactions that also define the activity of the broker.

Our principal question will therefore be to ask how the abstract category of “culture” is inscripted and encoded in the material and how the material is transformed, set into play or used in the process of brokerage. Analyses should ideally also shed light on conflicting or converging interests of cultural brokers – be they economic, political or individual. Conflicts may centre around notions of authenticity and truthfulness of the material, but also on the possibility falsification and the idea of the fake, as they feature during transcultural exchange.

Programme

Friday 14 December 2018

13.30 Welcome and introduction

Benjamin Walton (Cambridge) and Cornelia Escher (Düsseldorf)

14.00 Art & debated identities

Bianca Gaudenzi (Konstanz / Cambridge)

‘Brokering identity through restitution: The return of Nazi-looted art in Austria, the German Federal Republic and Italy, 1945-1989’

Felicity Bodenstein (Berlin)

Creating a Collection of Benin Royal Court Art for Benin City and Lagos (1940-1970)

Response: Mary-Ann Middelkoop (Cambridge)

16.00 Science & the curated object

Moritz von Brescius (Bern)

Translating Asia through artefacts: the Schlagintweit collection as imperial resource and spectacle

Rebekka Wolf (Munich)

Victor-Charles Mahillon as a mediator between times and cultures

Response: Harry Liebersohn (Urbana-Champaign)

17.30 Keynote Address

Ulinka Rublack (Cambridge)

Can the object be a broker?

Saturday 15 December 2018

9.30 Opera and material culture

Charlotte Bentley (Cambridge)

Translating opera: parlour music and cultural negotiation in nineteenth-century New Orleans

Ditlev Rindom (Cambridge)

Italian Voices: New York, Puccini and the Gramophone

Response: Antje Dietze (Leipzig)

11.30 Material settings: architecture and archaeology

Mari Lending (Oslo)

Images of Egypt

Astrid Swenson (Bath)

The brokered cathedral: sensing global materialities in Cologne

Response: Edward Gillin (Cambridge)

14.30 Final round table discussion

Bianca Gaudenzi, moderator

Harry Liebersohn (Urbana-Champaign)

Martin Rempe (Konstanz)

Nikolai Wehrs (Konstanz)

Funded Research Fellowships 2019-20, Warburg Institute Warburg Institute, November 22, 2018 Application deadline: Dec 10, 2018

Highly recomeneded!

The Warburg Institute is offering four long-term Fellowships for the 2019/20 academic year for either nine or twelve month periods and ten short-term Fellowships available for two, three or four month periods. These awards enable scholars to undertake a period of research in intellectual, cultural or art history at the Warburg Institute. Applicants must already have a PhD in hand at the time of applying in order to be eligible.

The Warburg Institute is one of the world’s leading centers for studying the interaction of ideas, images and society. It is dedicated to the survival and transmission of culture across time and space, with special emphasis on the afterlife of antiquity.

Fellows are given a space to work and access to the Institutes open-stack Library, Photographic Collection and Archive as well as being paid a stipend to assist with the cost of living in London whilst they undertake their research.

Further information and the links to apply can be found on our website: https://warburg.sas.ac.uk/research/fellowships/funded-research-fellowships

The deadline to apply for both the long and the short-term Fellowships is Midnight, Monday 10 December 2018.

Anne L. Poulet Curatorial Fellowship 2019-21, The Frick Collection New York The Frick Collection Application deadline: Jan 7, 2019

Background

The Frick Collection is an art museum consisting of more than 1,400 works of art from the thirteenth to the nineteenth century, displayed in the intimate surroundings of the former home of Henry Clay Frick. The residence, with its furnishings and works of art, has been open to the public since 1935. The Frick Art Reference Library is an internationally-recognized research library that serves as one of the most complete resources for the study of Western art. Founded in 1920, the Library today holds more than one million study photographs, 285,000 books, 80,000 auction catalogs, and 2,250 periodical titles. It is open to interested individuals from all over the world.

Position Summary

The Frick Collection is pleased to announce the availability of a two-year predoctoral fellowship for an outstanding doctoral candidate who wishes to pursue a curatorial career in an art museum. The fellowship offers invaluable curatorial training and provides the scholarly and financial resources required for completing the doctoral dissertation. Internationally renowned for its exceptional collection of Western European art from the early Renaissance through the end of the nineteenth century, The Frick Collection – complemented by the equally significant resources of the Frick Art Reference Library – offers a unique opportunity for object-based research. The fellowship is best suited to a student working on a dissertation that pertains to one of the major strengths of the collection and library.

The Anne L. Poulet Curatorial Fellow will have an opportunity to work with curatorial and educational staff on research for special exhibitions and on the permanent collection. Other curatorial training responsibilities include participation in the organization of the annual Symposium on the History of Art, a two-day event co-sponsored with the Institute of Fine Arts, New York University; possibly the preparation, in coordination with a curator, of a focus exhibition or display around a work of art in the Collection; and participation in the daily administrative routines of a small museum. The Fellow will have a place of study, access to the collections and library, as well as introductions to New York City museums and libraries. Frick curators and conservation staff will be available for consultation on the dissertation. The Fellow will be expected to give a public lecture on his or her topic. The Fellow will divide his or her time between the completion of the dissertation and activities in the Curatorial Department.

Benefits in Employment with The Frick Collection

Full-time employees are eligible to participate in group life, health, and dental insurance plans. Employees contribute to the cost of their health insurance based on income level and the type of coverage they select. Other benefits include Short and Long Term Disability insurance, employee contributed tax deferred annuity, flexible spending plans for health, dependent care and commuting costs, defined benefit pension, 13 holidays, accrual of 12 vacation days the first year of employment (25 days subsequent years). All employees of the Frick Collection may access free or discounted admission to most of New York’s finest museums. Additionally, we provide employees and volunteers with an extremely affordable lunch in our employee dining room and a discount on Museum Shop purchases. The Frick Collection offers a beautiful and pleasant work setting and an excellent opportunity to appreciate some of the world’s finest works of art.

Qualifications and Application Process

Applicants must be within two years of completing their dissertations. The Fellow will receive a salaried stipend of $38,250 per year and a travel allowance. The Fellow is also considered a full-time employee for the duration of their fellowhship and will be eligible for the benefits associated with full-time employment. The term will begin in September 2019 and conclude in August 2021.

Applications must include the following materials:

– A cover letter explaining the applicant’s interest in the fellowship and his or her status in the Ph.D. program. The letter should include a home address, phone number, and email address.

– An abstract, not to exceed three typed pages double-spaced, describing the applicant’s area of research.

– A complete curriculum vitae of education, employment, honors, awards, and publications.

– A copy of a published paper or a writing sample in English.

– Three letters of recommendation (academic and professional).

Please submit application materials to pouletfellowship@frick.org. Letters of recommendation should be sent to this address directly from recommenders. PDFs of signed letters on university or business stationary are preferred.

The application deadline for the fellowship is January 7, 2019.

Finalists will be interviewed. The Frick Collection plans to make the appointment by March.

Equal Employment Opportunity has been, and will continue to be, a fundamental principal at The Collection, where employment is based upon personal capabilities and qualifications without discrimination because of race, color, religion, sex, national origin, age, marital status, alienage or citizenship status, sexual orientation, disability, pregnancy, military status, creed, genetic predisposition or carrier status or any other protected characteristic as established by law. This policy applies to all terms and conditions of employment, including, but not limited to, hiring, placement, promotion, termination, layoff, recall, transfer, leaves of absence, compensation and training.

This description shall not be construed as a contract of any sort for a specific period of employment.

Liminalitaet in Theorie und kunsthistorischer Praxis (Wien, 3-5 Oct 19) Atelierhaus der Akademie der bildenden Künste Wien, 03. – 05.10.2019

Deadline: Jan 15, 2019

20. VöKK Tagung (Verband österreichischer Kunsthistorikerinnen und Kunsthistoriker)

An der Schwelle.

Liminalität in Theorie und kunsthistorischer Praxis

[English version see below]

Welche Rolle spielt Liminalität in der kunsthistorischen Forschung? Welche künstlerischen Formen repräsentieren paradigmatisch liminale Situationen? Welche rites de passage überwinden Kunstwerke auf dem Weg ins Museum oder in eine Sammlung? Inwiefern ist der Erhalt des Schwellenzustandes eines Objekts geradezu sinnbildlich für die Denkmalpflege? Oder: Eröffnen bestimmte kuratorische Praxen Schwellenräume zwischen künstlerischer Produktion und Rezeption?

Die 20. VöKK Tagung fragt unter dem Titel „An der Schwelle. Liminalität in Theorie und kunsthistorischer Praxis“ nach Zwischenräumen und Übergängen sowohl als Thema in der Forschung als auch als Herausforderung in diversen kunsthistorischen Berufsfeldern. Somit wendet sich dieser Call explizit an Mitglieder aller Kurien des VöKK sowie internationale Kolleg_innen aus Forschung, Denkmalpflege, Museen, freien Berufen und an fortgeschrittene Studierende. Der Begriff der Liminalität ist hier bewusst breit gefasst, um neben theoretischen Diskursen auch Raum für Beispiele aus der kunsthistorischen Praxis zu öffnen und so den Austausch zwischen den unterschiedlichen Berufsbildern zu intensivieren.

Seit der Prägung des Begriffs der Liminalität durch den Kulturanthropologen Victor Turner in den späten 1960er Jahren wurde dieser in verschiedenen Forschungsfeldern immer wieder diskutiert und adjustiert und scheint gegenwärtig wieder aktueller denn je zu sein. Signifikante Analysen von sich derzeit verändernden politischen und soziokulturellen Konstellationen lesen sich, wenig überraschend, mitunter wie direkte Beschreibungen des Phänomens von Liminalität: Gesellschaftliche Umwälzungen und individuelle Statusänderungen verbinden sich mit Irritationen und Herausforderungen, Gefährdungen oder gar Bedrohungen von individuellen Situationen und sozialer Ordnung. Damit eröffnen sich labile Zwischenräume außerhalb der gewohnten Strukturen, wovon ganze Gesellschaftsgruppen in diversen Kulturen betroffen sind. Inzwischen etablierte sich der Begriff der Liminalität in verschiedenen Ansätzen der Kulturwissenschaften, etwa neben der Anthropologie besonders in den Literatur- und Medienwissenschaften und wurde zum Angelpunkt in diversen propagierten turns, wie z.B. im performative turn, im postcolonial turn und im spatial turn. Für die Kunstwissenschaften sollen an der Tagung sowohl grundlegende Aspekte des Konzeptes von Liminalität, als auch spezifische Bereiche auf ihr Potential hinsichtlich von Schwellenerfahrungen thematisiert werden.

Folgende Fragestellungen und Themenbereiche können diskutiert werden: Inwiefern ist das von der Ritualforschung entwickelte Konzept der Liminalität auf die Analyse künstlerischer Objekte oder Strategien übertragbar? Wäre nicht die Kunstproduktion selbst bzw. die aktuelle Disziplin des künstlerisch-wissenschaftlichen Forschens, die an unterschiedlichen Wissensformen partizipiert und gewissermaßen im „Dazwischen“ agieren muss, zwischen etablierten und zukünftigen Ausdrucksformen zu verorten? Welche Arten von Grenzüberschreitungen werden durch Kunstwerke exemplarisch thematisiert? Und: Lassen sich Avantgarden, historische und zeitgenössische, als ein Weiterdenken in liminalen Kategorien beschreiben? Welche künstlerischen Positionen stehen hierfür exemplarisch? Inwiefern können subversive künstlerische Akte Grenzen in der Gesellschaft verschieben? Wenn Liminalität einen Schwellenzustand zwischen der gewohnten soziokulturellen Struktur und einer neuen, zunächst noch unbekannten Umgebung bedeutet, kann Kunst diese zukünftige Umgebung visionär antizipieren?

# Theorien der Liminalität/Liminal Theories

# Ikonographien der Liminalität/ Iconography of Liminality

# Ästhetiken der Liminalität/Aesthetics of Liminality

# Kunst als Erfahrung des Liminalen/Art as experience of liminality

# Künstlerisches Forschen als liminales Forschen/Artistic Research as liminal experience

# Liminale Körper/Liminal bodies

# Liminale Räume/Liminal spaces

# Liminale Objekte/Liminal objects

Wir freuen uns auf Bewerbungen für 20 minütige Beiträge (auf Deutsch oder Englisch) aus allen Berufsfeldern bis 15. Jänner 2019. Die Zusage der Teilnahme erfolgt bis spätestens Ende Februar 2019.

Reisekosten und Unterkunft der Referent_innen können – nach Maßgabe der eingeworbenen Förderungen – vom VöKK unterstützt werden. Die Beiträge sollen als online-Publikation herausgegeben werden.

Bitte senden Sie Abstract (max. 400 Wörter) und Kurzbiografie per E-Mail an: liminalitaet@voekk.at

———

The 20th Conference of the Austrian Art Historians Association (VöKK)

On the Threshold:

Liminality in Theory and Art Historical Praxis

What role does liminality play in art historical research? Is the preservation of cultural heritage also inherently a practice of liminality, holding objects in a state of preservation that is neither their original state nor an entirely new one? What rites of passage do objects go through on their path into a museum or a collection? And do certain curatorial practices open spaces for the negotiation of artistic creativity and reception?

The 20th biennial conference of the Austrian Art Historians Association (VöKK) investigates spaces “in between” and transitions, both as art historical themes and challenges to diverse art historical fields such as museum education and conservation. This conference seeks to engage a wide range of professionals working in the field of art and art history and as such, welcomes papers from advanced graduate students, conservators, museum educators, curators, and registrars as well as scholars.  Through an open and broad definition of liminaltiy, this conference aims to create a dialogue among a broad spectrum of topics and approaches, including theoretical discussions and those based on art historical praxis.

Ever since cultural anthropologist Victor Turner coined the term liminality in the late 1960s, it has been continually used, discussed, re-thought, and adjusted in various academic fields. Changing political and social-cultural constellations of the time unsurprisingly reflect the concerns raised by the term liminality. Political revolutions and shifts in the status of the individual were linked to challenges, dangers, and even threats to the social order and the individual’s place therein. The concept of liminality exposes and opens up unstable spaces that operate and function outside of the accepted structures that order society. Such fissures and spaces of transition offer opportunities to rethink not only individual experiences but also entire social orders. Since Turner’s intervention, liminality has established itself as a central theoretical concept for the humanities, notably in anthropology but also in literary and media studies. This academic interest in Turner’s work has manifested itself in the various “turns” prevalent in recent years, including the performative turn, postcolonial turn, and the spatial turn. The conference aims to investigate both fundamental aspects of the liminality for art history as well as more specific applications and uses in various fields related to art history, curatorial practice, education, and gallery work.

The following questions and topics can be discussed: Developed in relation to rituals, how useful and relevant is the concept of liminality to the art historical analysis of objects? Could we understand the production of art itself as a liminal space, located between established and future forms of expression? Likewise, is art history’s push towards interdisciplinary also evidence of the field’s own status of in-betweenness? Can the Avant-garde- located between old and new- also be a liminal belief system? What forms of boundary transgressions can art works thematize and embody? How effectively can subversive artistic acts push boundaries in our society? If liminality represents a moment of transition between an old socio-cultural structure and a new, as yet unrealized one, can art anticipate or predict the future?

# Liminal Theories

# Iconography of liminality

# Aesthetics of liminality

# Art as experience of liminality

# Artistic Research as liminal experience

# Liminal bodies

# Liminal spaces

# Liminal objects

We look forward to receiving applications for 20-minute contributions (in German or English) from all professional fields by 15 January 2019.

Participation will be confirmed by the end of February 2019 at the latest.

Travel expenses and accommodation of the speakers can be supported by the VöKK in accordance with the funds raised. The contributions are to be published online.

Please send abstract (max. 400 words) and short biography by e-mail to: liminalitaet@voekk.at

Diasporic Imaginaries (Paris, 4-5 Apr 19) Deutsches Forum für Kunstgeschichte, Paris, April 4 – 05, 2019

Deadline: Dec 31, 2018

Diasporic Imaginaries.

Multiple Senses of Belonging

Workshop conceived and organized by Lena Bader, Birgit Mersmann, Mona Schieren

Migration in art and art history is primarily defined by the movement in both space and time of artists, curators, and critics, and their works, ideas, and memories (Mathur 2011). It has engendered geographically dispersed artistic communities bound by shared diasporic experiences and has generated splintered temporalities of artistic relationalities that negotiate between pastness, nowness, and futurity. The increasing diasporization of art and culture is a farreaching and profound shift resulting from global migration and its rapidly changing nature. As a global transnational process, migration has produced global diasporas (Cohen 1997), including ethnic, cultural, religious, and national diasporas, which fuel the dissemination of “diasporic imaginaries.” Beside the Jewish, Greek, Armenian, and Black diasporas — the most historically significant diasporic traditions — the Chinese, Indian, Iranian, Lebanese, Palestinian diasporas have, among others, become clearly visible on the world map of diaspora cartographies (Brah 1996, Dufoix 2008). To take account of these developments, diaspora research has undergone a process of reorientation over recent decades. Along with transcending the limiting classical notions of diaspora as anchored in the Jewish tradition, it has diversified in scope on every level, extended its definitions, and repositioned itself at the intersection of (trans)migration, transnational, and postcolonial studies. Postcolonial and anthropological theories of transversality, transculturation, and translation, as exemplified by Edouard Glissant’s Traité du Tout-monde (1993), Paul Gilroy’s Black Atlantic (1993) and James Clifford’s Routes: Travel and Translation in the Late Twentieth Century (1997), have contributed to rethinking the diaspora in terms of hybridity and redefining it as a concept, structure, and social practice of translational migratory culture oscillating between integrity and discontinuity (Quaysan/Daswani 2013).

As a consequence of this shift, major diaspora research has moved away from the place-related analytical model that posits a diaspora as a place (of origin) and the hoped-for return to it. Instead of a strictly spatial separation between homeland and host country, it has foregrounded the analytical concept of the “diasporic imaginary” as a space of imagination which “account[s] for the creation of the diaspora […] through formations of temporality, affect, and corporeality” (Axel 2002, 412). Reconsidering diasporic communities as “imagined communities” (Anderson 1991) established the notion of the “diasporic imaginary” (Mishra 1996), making it possible to reinterpret the imaginary as the creation of a shared diasporic space of dreams, fantasies, and visions. Most powerfully — and often even violently — the “diasporic imaginary” emerges at the intersection of global transnationalization and (re-) nationalization. For this reason, it is interconnected with and nourished by both the “global imaginary” (Steger 2008) as a consciousness of belonging to a global community and the “national imaginary” as a construction of shared ideas and ideologies within a nation.

As a migration-based force, the diasporic imaginary is generated and informed by a multiplicity of temporalities, localities, traditions, identities, and subjectivities. It is shaped by multiple senses of identification and belonging that emerge in the interstices between collective memories and future projections, traumas and dreams, nostalgic remembrances, and utopian fantasies. The conference intends to approach the diverse plurality of “diasporic imaginaries” in the arts, art communities, and art histories from the viewpoint of “multiple belonging.” Following the example of migration studies, belonging is conceptualized as a process of becoming rather than a status or given category (Antonsich 2010). As such, it is understood in its entire complexity, ranging from a personal, intimate feeling of individual affiliation and at-homeness to a collective sense of group identification and social participation (community, nationhood, cultural and political citizenship, humanity etc.). Since the tangible, affective, and corporeal is highly involved in the process, the analysis of multiple senses of belonging includes the multisensory aesthetic production of the “diasporic imaginary.”

The conference will raise the following themes and issues for critical discussion: How does redefining the diaspora as an imaginary at the interface of cosmopolitan detachment and deterritorialized nationalism affect the analysis of art history, art theory, and art practice? How are biographies of migration and displacement, trauma and fantasy, re-narrated in artistic and art historical discourses? Are multiple senses of belonging creating productive ambiguities of multilayered meaning? Or are they producing conflicting perceptions and fractured perspectives? How are individual subjectivities of diasporicity reflected in art production? Do diasporic imaginaries generate specific forms of art practices and epistemological images of thought like the rhizome? In what ways does the concept of the diaspora as a network of transnational connections allow us to transcend the frame of the mobile individual subject and address complex formations of community and network-building that even include non-human actors and ecologies? To what extent do digital technologies that facilitate imaginary migrations in both space and time contribute to producing multiple belongings?

We encourage postgraduate students, early career researchers, and established scholars to submit proposals for individual presentations of 25 minutes on the above-mentioned topics or their own choice of theme. In addition to contributions from art history, architecture, and film and fashion studies, we welcome papers from cultural studies, postcolonial studies, anthropology, and media studies.

The conference will be held in English. Please send a title and abstract of your proposal (maximum 400 words) along with a short CV to the organizers of the conference: birgit.mersmann@uni-due.de, lbader@dfk-paris.org, m.schieren@hfk-bremen.de. The deadline for submissions is 31 December 2018. The selected presenters will be notified by 31 January 2019.  Selected speakers can apply for travel funding (max. 250.- Euro).

Literature:

Anderson, Benedict. Imagined Communities. Reflections on the Origin and Spread of Nationalism. London: Verso 1991.

Antonsich, Marco. “Searching for belonging: an analytical framework.” Geography Compass 4,6 (2010), 644-659.

Axel, Brian Keith. “The Diasporic Imaginary.” Public Culture 14,2 (Spring 2002), 411-428.

Brah, Avtar. Cartographies of Diaspora. Contesting Identities. London/New York: Routledge, 1996.

Cohen, Robin. Global Diasporas. An Introduction. London: Routledge, 2008.

Dufoix, Stéphane. Diasporas. Berkeley, Los Angeles, and London: University of California Press, 2008.

Glissant, Edouard. Traité du Tout-monde. Paris: Gallimard, 1993.

Mathur, Saloni, ed. The Migrant’s Time. Rethinking Art History and Diaspora. New Haven: Yale University Press, 2011.

Mishra, Vijay. “The Diasporic Imaginary. Theorizing the Indian Diaspora.” Textual Practice 10.3 (1991): 421-447.

Quayson, Ato, and Girish Daswani. “Introduction – Diaspora and Transnationalism. Scapes, Scales, and Scopes.” A Companion to Diaspora and Transnationalism, edited by A. Quayson and G. Daswani. Oxford: Blackwell, 2013.

Steger, Manfred. The Rise of the Global Imaginary: Political Ideologies from the French Revolution to the Global War on Terror. Oxford: Oxford University Press, 2008.