Colloque : « Gestes, motifs et appareils de vision dans l’image » (Paris, 17-18 mars 2016)

Capture d’écran 2016-03-09 à 13.49.27

Université Paris 7 – Diderot

Colloque international organisé par Emmanuelle André (CERILLAC)  et Nathalie Delbard (Université Lille 3, département Arts, CEAC), le 17 mars de 9h30 à 18h amphitéâtre Turing, bâtiment Sophie-Germain, entrée au croisement de l’avenue de France et de la rue Alice-Domon et Léonie-Duquet, Paris 13e, Université Paris 7 – Diderot, le 18 mars de 9h30 à 17h, salle Pierre Albouy, bâtiment C des Grands Moulins, 5 bis rue Thomas Mann, 6e étage, Parsi 13e, Université Paris 7 – Diderot.

Appel à communication : « International Conference of Photography and Theory » (jusqu’au 1er juin 2016)

Capture d’écran 2016-03-02 à 13.40.36

Nicosia, Cyprus, December 2 – 04, 2016
Deadline: Jun 1, 2016

4th International Conference of Photography & Theory (ICPT2016)
PHOTOGRAPHY AND THE EVERYDAY

December 2-4, 2016
at the Nicosia Municipal Arts Centre,
Associated with the Pierides Foundation [NiMAC]
Nicosia, Cyprus

International Association of Photography & Theory (IAPT)
www.photographyandtheory.com

Keynote Speakers:
Martha Langford
John Stezaker

Continuer la lecture de Appel à communication : « International Conference of Photography and Theory » (jusqu’au 1er juin 2016)

Appel à communication : « Seeing Through? The Materiality of Dioramas » (jusqu’au 31 mai 2016)

Original caption: Photo shows people watching Daguerre's diorama. Undated illustration. --- Image by © Bettmann/CORBIS

Seeing Through? The Materiality of Dioramas (Bern, 1-2 Dec 16) University of Bern, December 1 – 02, 2016 Deadline: May 31, 2016 Seeing Through? The Materiality of Dioramas (1560-2010) Dioramas are at the crossroads of artistic and scientific practices. They bring together artists, scientists, and collectors, thus providing an opportunity to reflect on the polyvalence of these actors and the definition of their expertise. In 1822, Louis Daguerre coined the term “diorama” when describing his theater. The word diorama means literally “seeing through.” In accordance with this etymology, dioramas embody a sense of transparency and life-likeness. In addition to providing theatrical and visual experiences, dioramas are multidimensional installations that incorporate paintings, objects, stuffed animals or mannequins. Habitat groups mixing taxidermy and painted backgrounds were designed for natural history museums, while anthropological dioramas were disseminated all over Europe during the second half of the nineteenth century. They were usually life-sized and site specific but they could also be reduced to maquettes. To date, these installations have been studied by scholars from various disciplines, mainly as side topics. Media historians have considered them primarily as proto-cinematic, whereas within the fields of anthropology, museum studies and postcolonial studies, they are generally analyzed as displays that reflect political taxonomies and stereotyped representations. However, dioramas are not merely images or displays: they are also physical objects made of multiple materials, such as plaster, wood, paper, paint, glass, fur, wax, and metal. The discipline of art history thus provides us with the opportunity to approach the materiality of these installations. Indeed, dioramas are composite and hybrid things, created through cultural interaction and physical encounter. Multiple hands as well as various visions are involved in the process of their creation – and later on, during their conservation. Dioramas therefore allow for the study of contact zones and material exchanges between private and public spheres, as well as between Western and non-Western contexts. Finally, dioramas as objects of study within the field of art history enable us to address values such as authenticity and realism in various contexts.

Continuer la lecture de Appel à communication : « Seeing Through? The Materiality of Dioramas » (jusqu’au 31 mai 2016)

Appel à communication : « Migrations in Visual Culture » (jusqu’au 25 avril 2016)

 

logo

Belgrade, Serbia, September 8 – 10, 2016
Deadline: Apr 25, 2016

Migrations in Visual Culture

Conference for PhD Students and recent PhD Graduates

Continuer la lecture de Appel à communication : « Migrations in Visual Culture » (jusqu’au 25 avril 2016)

Appel à communication : « Photographs from the Camps of the Nazi Regime » (jusqu’au 15 avril 2016)

Lt Samuelson, Libération du camp d'Ebensee, 1945, Washington, coll. National Archives and Records Administration,

In August 2015 the European Summer School at Ravensbrück Memorial Museum addressed the topic of Photography in Concentration Camps. Practice, Function and Reception. Over a period of five days the participants of the summer university discussed this complex issue. Images of perpetrators, SS-Albums, private snapshots of SS-Members as well as photographs taken by the Allies while liberating the camps were considered alike.

Continuer la lecture de Appel à communication : « Photographs from the Camps of the Nazi Regime » (jusqu’au 15 avril 2016)

Appel à communication : « Censures au contemporain » (jusqu’au 8 avril 2016)

Censure

Au Québec, l’année 1967 marque une mutation dans la manière de désigner l’exercice de la censure : le « Bureau de censure », qui avait mis les ciseaux dans des milliers de films, devient le « Bureau de surveillance ». Témoignant de certains acquis de la Révolution tranquille, le concept de surveillance décline certes l’abandon des stratégies de censure proscriptive et prescriptive que le Clergé avait déployées ; mais il désigne aussi un renouveau des modes opératoires de la censure.

Continuer la lecture de Appel à communication : « Censures au contemporain » (jusqu’au 8 avril 2016)

Appel à communication : « European Eighties » (jusqu’au 4 avril 2016)

linder STERLING1Commonly held ideas about the Eighties picture a decade of unrepentant art boom, ideological disengagement, and postmodern drift toward an alleged « end of history. » A closer look at Europe, however, suggests otherwise. The fall of the dictatorships in Southern Europe, the ending of the cold war and subsequent changes in Central and Eastern Europe dramatically reconfigured the geography of the continent. New relationships with former colonies and the rise of neo-liberalism enduringly changed its political climate, while intensified migrations complicated the perception of national identities and cultures. Europe therefore became a space of encounters with challenged borders, sharing the hopes of reunification and freedom, and the evils of neo-fascist activism or AIDS epidemic. The arts were by no mean absent from these disruptions. Art scenes which had been long constrained and largely withheld from view from the West evolved from clandestinity to openness, and new networks were built or re-activated. Circulations to or within the continent also fostered new exchanges, and allowed for fruitful and sometimes conflictual collisions between artistic traditions, trainings and canons. With the historical distance, increasingly accessible archives and artworks, as well as a wider range of art historical methods, it is now possible to address this period in new critical terms. It is the contention of this session that recovering the historical depth of the European Eighties is a necessary step to a better understanding of the globalization that shapes today’s art world as well as the challenges that western democracies are currently facing, esp. extreme far-right identity politics, migrant crisis, and doubts on the future of the UE.

Appel à communication : « Dust & Data, Young Bauhaus Research Colloquium » (jusqu’au 1er avril 2016)

200px-Bauhaus_logo

Dust & Data, Young Bauhaus Research Colloquium (Weimar,
25-26 Oct 16)
Bauhaus-Universität Weimar, October 25 – 26, 2016
Deadline: Apr 1, 2016

Continuer la lecture de Appel à communication : « Dust & Data, Young Bauhaus Research Colloquium » (jusqu’au 1er avril 2016)

Appel à communication : « Urban Art – creating the urban with art » (jusqu’au 1er avril 2016)

_82060028_banksymuralbeitsahur

Humboldt University Berlin, July 14 – 16, 2016
Deadline: Apr 1, 2016

URBAN ART: CREATING THE URBAN WITH ART
14-16 July 2016 – Humboldt University Berlin
Keynote: Prof. Dr. Frank Eckardt (Bauhaus-Universität Weimar)

Continuer la lecture de Appel à communication : « Urban Art – creating the urban with art » (jusqu’au 1er avril 2016)

Appel à communication : « Visualizing Venice Workshop » (jusqu’au 31 mars 2016)

 

foto_ghetto

Venice International University, Venice, Italy, June 8 – 20, 2016
Deadline: Mar 31, 2016

Applications are now being accepted for the 2016 Visualizing Venice workshop: The Ghetto of Venice.

The workshop will take place June 8-20, 2016, in Venice, Italy. Application deadline: March 31, 2016.

http://www.univiu.org/shss/seminars-summer-schools/visualizing-venice-summer-workshop

Continuer la lecture de Appel à communication : « Visualizing Venice Workshop » (jusqu’au 31 mars 2016)

Appel à communication : « Rethinking Art History and Visual Culture » (jusqu’au 15 mars 2016)

18th_century_ethnography

University of Johannesburg, July 28 – 31, 2016

Deadline: Mar 15, 2016

Rethinking Art History and Visual Culture in a Contemporary Context

The “Rhodes Must Fall” and “Fees Must Fall” campaigns which arose in South Africa in the course of 2015, while focused on transformative agendas in a broad sense, also emphasised how various inheritances from the West have played a fundamental role in shaping universities – not only in terms of their curricula but also their institutional cultures more generally. Occurring in a context where the humanities are under threat and where neoliberal forces may upset what we understand as fundamental to the academic project, these recent calls for critical engagement with institutional histories and practices suggest that reconsideration of disciplinary knowledges and understandings have become increasingly urgent.

Continuer la lecture de Appel à communication : « Rethinking Art History and Visual Culture » (jusqu’au 15 mars 2016)

Appel à communication : « Histoires de l’abstraction : Hans Hartung » (jusqu’au 15 mars 2016).

 

La Fondation Hartung-Bergman à Antibes (France) lance un appel à candidature qui s’adresse aux jeunes chercheurs et chercheuses : doctorant-e-s et post-doctorant-e-s mais aussi, le cas échéant, étudiant-e-s en dernière année de Master ou post-Master pour un séminaire de printemps.

Cet appel s’adresse en priorité à tout chercheur/chercheuse développant une étude sur Hans Hartung et son œuvre mais aussi à tout chercheur s’intéressant de manière indirecte à Hans Hartung : présence dans un corpus de recherche plus large, comparaisons, parallèles et relations avec d’autres artistes (par ex. Wols, Soulages, de Staël, Ernst, Arp, Calder, Rothko) ou figures du monde de l’art (par ex. critiques, marchands, collectionneurs).

Il s’adresse également à tous ceux et celles travaillant sur les thèmes suivants (liste non exhaustive), en ceci qu’ils constituent des chantiers permettant une contextualisation plus précise de la carrière de Hartung, notamment :

– Migrations et exil d’artistes allemands à Paris dans les années 1930
– Les expositions d’artistes allemands en France à la fin des années 1930
– Les expositions itinérantes, organisées par les Alliés après 1945 en Europe
– L’éducation populaire dans la France de l’après-guerre
– La Biennale de Venise entre 1945 et 1964
– La Galerie de France (voire les galeries parisiennes en général) entre 1945 et 1960
– Les artistes et les médias entre 1945 et 1990
– La politique institutionnelle internationale face à l’art abstrait européen depuis 1950 (achats, collections, expositions)
– La réception américaine des artistes européens dans les années 1970
– L’écriture et discours sur les notions de modernisme et d’art moderne européen depuis 1950

Continuer la lecture de Appel à communication : « Histoires de l’abstraction : Hans Hartung » (jusqu’au 15 mars 2016).

Appel à publication « Gender 2.0 New ideas on « gender » in the Arts and cultural studies » (jusqu’au 18 mars 2016)

31d5b10ceb4abe2e68e4070340c29888

“Has gender become the latest currency on the neo-liberal market of opportunities?” one might ask, echoing the words of Anne Fleig. Has the term “gender” meanwhile forfeited its potential to advance the critical analysis of power relations? Or is it still in all its complexity a useful filter through which to critically review (and tackle) issues of gender attribution and the construction of identity? How are we facing up to the increasingly widespread “anti-genderism” (Sabine Hark)? What role does “gender” play in general today in research in the arts and in cultural studies? And what are the specific implications of gender studies in these two fields? How can reflections on visual regimes better take account of the intersectionality of “gender” and “race”? Issue 4 of kritische berichte intends to explore these pressing questions. By first taking stock of the current situation and its historical background, it lays the groundwork for discussion of the future of the “gender” concept in visual culture. How is the discourse on questions of gender, identity and sexual orientation likely to develop? How does the established discipline of art history approach the theories formulated of late in queer studies, masculinity studies, transgender studies and postcolonial studies? What role do gender-bashing, and anti-feminist or racist “shit-storms” play in all this? Can a backlash against liberation movements and emancipatory concepts be noted also in the arts and cultural studies fields? Are we witnessing a return in academia to “business as usual”? What impact does the increasingly rigorous economisation of the arts and the cultural sector have on gender research in the arts and in cultural studies? How is the history of feminist art now being (re)written? Which new discursive approaches and analytical categories can be noted in queer studies, masculinity studies, and transsexuality studies? How do these relate to the concept of “gender” and how do they confront visual phenomena?

Continuer la lecture de Appel à publication « Gender 2.0 New ideas on « gender » in the Arts and cultural studies » (jusqu’au 18 mars 2016)

Appel à publication : Fragmented Bodies – Visualizing body parts in the material cultures of Asia (jusqu’au 8 mars 2016)

820

Deadline: Mar 8, 2016

Call for Papers: Fragmented Bodies: Visualizing body parts in the material cultures of Asia

We are seeking approximately seven papers for a proposal for the 2018 special edition of Ars Orientalis. Our proposed edition will address, over a vast chronological and geographical spectrum, the representation and visualization of body parts in the material cultures of Asia, and will investigate their role in the formation of symbols, relics, and objects of ritual in architecture, painting, sculpture, film, print media, manuscripts, photography, arms and armor, and fashion.

Continuer la lecture de Appel à publication : Fragmented Bodies – Visualizing body parts in the material cultures of Asia (jusqu’au 8 mars 2016)

Rencontres Scientifiques : « Holland America: A Transatlantic Dialogue, from 1609 to Today » (Paris, février-avril 2016)

 

Harry-Holtzman-et-Piet-Mondrian-Atelier-dHoltzman-New-York-City-1941

FÉVRIER-AVRIL 2016, PARIS, TERRA FOUNDATION PARIS CENTER

To celebrate our recent move next to the Fondation Custodia, an institution dedicated for more than a century to Dutch and Flemish art, the Paris Center & Library is hosting an exceptional series of dialogues focused on cultural exchange between Holland and America.

Running from February to April 2016, the dialogues will bring together international scholars and curators to evoke four particular moments in this shared cultural history.

Continuer la lecture de Rencontres Scientifiques : « Holland America: A Transatlantic Dialogue, from 1609 to Today » (Paris, février-avril 2016)