News

  • CFP: Sculpting abroad - 19th century (Ghent, 26-27 February 2016)

    Ghent, February 26 - 27, 2016
    Deadline: Oct 1, 2015

    Sculpting abroad. International mobility of nineteenth-century sculptors and their work

    Organized by the Department of Art History, Ghent University, and the Department of History, KULeuven Campus Kortrijk. In collaboration with ESNA (European Society of Nineteenth-Century Art) and the Museum of Fine Arts, Ghent

    Confirmed keynote presentation by Antoinette Le Normand-Romain

    In 1870, the Franco-Prussian War drove the young Auguste Rodin and his master Albert-Ernest Carrier-Belleuse to Belgium, where they both acquired some public commissions despite objections against their French nationality. Even though war was perhaps one of the most radical reasons driving sculptors beyond the borders of their own nation, the mentioned transnational trajectories of both Rodin and Carrier-Belleuse were by no means isolated or coincidental incidents. The study of old and new collections of art, as well as the studios of renowned mastersin Paris or Rome attracted many aspiring sculptors to the old and new artistic capitals of Europe. Alternative art markets, commissions or exhibition opportunities activated many sculptors to pursue a career abroad, despite of the difficulties their foreignness, and their bulky discipline in a foreign country might have implied. Additionally, sculptors were, probably even more so than painters, dependent on commissions, and therefore often obliged to travel to provide for their revenues. The presence of foreign sculptors on large construction sites, or their involvement in prestigious public commissions, however, often led to hostilities by native colleagues, who feared for their positions and possibilities, when confronted with skilled foreign competition.

    During this two-day symposium, speakers are invited to reflect upon the subject matter of the transnational mobility of sculptors and the implications for these artists and their art during the long nineteenth century. In the course of this century, the creation of nation-states coincided with an increasing international focus by artists, their commissioners, sellers, buyers and critics. The impact of a sculptor’s nationality on his reception and ‘imaging’, as well as their mobility across borders remain ambiguous. Sculptors were regularly encouraged to study abroad, and recognized for their experience and success beyond the borders of the own nation. Simultaneously, however, they were often expected to represent the nation, and showcase the own ‘national school’ with its peculiar properties, and extending from the own national tradition.

    This conference aims to address the role of art criticism, the art market, exhibitions, education, commissions etc. for sculptors in an international context, and the implications for their (inter)national or local identity. Participants are invited to reflect on the theoretical and/or practical implications of (trans)nationality, travel and cultural mobility on nineteenth-century sculptors and their work.

    Papers may include but are not limited to the following topics:

    • Transnational exchange (both between centres and peripheries), internationalism of sculptors and their work.
    • Travel and mobility of sculptors and sculptures
    • Nationality, nationalism, and the development of nationhood in relation to the development of sculpture
    • Prejudice, or even rejection, due to a sculptor’s foreign nationality
    • Transnational friendships between sculptors, or hostilities because of their nationality
    • National or international appeal of public commissions and competitions announced abroad
    • The impact of foreign experience and recognition on the national reputation and ‘imaging’ of a sculptor
    • Discussion and reviewing of foreign sculptors and ‘sculpture schools’ in foreign, national and local press
    • The ambiguous, sometimes opportunistic attitudes of sculptors in league of commissions and recognition towards their own nationality
    • The construction of ‘national schools’ in sculpture in relation to a local/national/international tradition
    • Comparisons of different ‘national sculpture schools’, and the question whether it is possible to distinguish a national style for sculpture in the first place
    • Mechanisms of international influencing in nineteenth-century sculpture
    • Identity and ‘national schools’ and the arts, notably sculpture
    • Commercial or artistic drivers of mobility for sculptors
    • Movement at meta/macro/micro levels of both sculptors and sculptures
    • Artistic practice vs. theory in sculpture
    • Gender and mobility in the practice of sculpture

    We invite proposals for papers of 20 minute duration. Please send a 300 word abstract and a brief biographical statement (max 150 words) attached in PDF to sculpture.conference@ugent.be by no later than October, 1, 2015.

    This symposium originates from the research project “In search of a national (s)cul(p)ture. Belgian sculptors abroad and foreign sculptors in Belgium”, funded by BOF, Ghent University.

  • CFP: Session at East Central Europe-1st half of 20th century (Leipzig, 14-16 January 2016)

    University of Leipzig, January 14 - 16, 2016
    Deadline: Jul 30, 2015

    Call for Papers for the panel on Art and Cultural History of the interdisciplinary conference “East Central Europe in the First Half of the 20th century: Transnational Perspectives”

    Send applications to: Frank Hadler; Katja Naumann; and Beata Hock

    Panel on Art and Cultural History:

    The section on culture inquires into the continuities and ruptures in cultural history. As some would argue, the Great War and the concluding peace treaties marked such an emphatic geopolitical caesura that no true cultural continuity could possibly survive it. The (re-)emergence of individual nation states on the map of Europe nevertheless did continue to bestow a politicized role on the arts and artists in shaping national identities and elaborating the cultural bases of how nations see themselves. At the same time, this approach to cultural expression had to face its emergent rival in the form of avant-garde movements with their pronounced cosmopolitanism and apolitical self-referentiality. Beyond the sphere of arts, an intense circulation of intellectual goods also persisted in the broader sociocultural field on the level of social practices and the institutionalization of these practices.

    Presentations are invited to address the various branches of the arts, visual and popular culture and the printed press, as well as the relationship between social change and cultural practices as mirrored in lifestyle issues, material culture, or knowledge production.

    Possible themes include:

    • cultural expression as a contested field between national identity and cosmopolitan abstraction, and as a projection screen for other identities (e.g., gender, minority, Jewish);
    • processes of cultural transfer and observable exchange in the domain of fine arts (also including exhibition practice); literature; theatre and modern dance; music (classical, experimental, and popular); and the internationalism of modern architecture and design;
    • the emergence of, and early co-productions between, national film industries;
    • the ideological trajectories of artists: artists’ political affiliations, including their relations to, and involvement in, wars and revolutions, militarism, and peace movements;
    • club and association culture as sites of an emerging civil society transcending the nation;
    • the effect of social modernization on various social groups (e.g., women suffrage, and the working class and the socialist international).

    General description of the conference:

    The conference of the project group “Transnational Contemporary History” at the GWZO Leipzig aims at approaching the history of the first half of the 20th century in East Central Europe from a transnational perspective. Taking traditional national historical narratives, these decades appear to be a period of nationalization and deglobalization, which holds true for the region. (Nation)states such as Poland, Hungary, and Czechoslovakia were (re)established after the monarchies of the Habsburgs, Hohenzollerns, and Romanovs fell apart. Wilsonian idealism, promoting national self-determination, gained a fertile ground in East Central Europe. As a by-product of the “principle of nationality”, national minorities started to play an increasing role in the region’s inner and outer relations. Not least, the 1930s were dominated by the Great Depression as well as autarkic economic policies and nationalist ideologies of many regimes. In an ex-post perspective, these “national” lines of development are made more prominent with the knowledge following World War II, resulting in all processes during this period to be reduced to a history of “inter-war”. In this reduction, however, other aspects of social development are marginalized by this dominant perspective: the continuities across the apparent historical breaks of 1914/18 or 1939/45, the openness of the moment felt by contemporaries after World War I, and the sense of the beginning of a “New Europe” in a “New World” after the break-up of the empires. A transnational perspective may help to see the region and the period in another light.

    Our conference focuses on the multiple changes of conditions under which people migrated; enterprises gained new markets; cultural exchange was revived; and territorialization processes were globalized. In the League of Nations, many specialists, organizations, and state institutions from the region took part in the formation of new supra-, inter- and transnational organizations; and the global interconnectedness of social and economic arrangements became apparent with the worldwide economic crisis. Processes of nationalization and globalization were not exclusive to each other but highly intertwined, as can be seen, for example, with the global regulation of the national minority issue – a problem that had been produced by the nationalization of states.

    In an attempt to grasp these transnational and global dimensions of East Central European history, we have developed five dimensions that we have already applied to the region’s late imperial history up to the First World War: economy, culture, international organizations, territorialization, and migration.

    Proposals should fit into one of these sections. Papers combining comparisons with the study of mutual entanglements and operating with a narrative framework larger than a single country are especially welcome. We are also interested in contributions addressing methodological issues of writing a transnational history of East Central Europe.

    Comprehensive CfP: http://www.uni-leipzig.de/~cas/events-news/news/detail/east-central-europe-in-the-first-half-of-the-20th-century-transnational-perspectives/

  • CFP: Culture of (Non-)Conformity: From the Late Soviet Time to the Present (Deadline: September 30, 2016)

    Special Issue of the Journal Russian Literature, 2017
    Guest Editors: Klavdia Smola, Mark Lipovetsky

    Over its history Russia’s political system has created and fostered a culture of (non)conformity. Since the 1960s, one can observe a rapidly growing sphere of cultural underground. Its institutions and practices are studied as well as those within official culture of the period. Less explored is the sphere situated in-between the official and non-official cultures as well as transitions between them. This stratification became established in the late Soviet period and continues to “do its job” today. During its development it has passed through several periods of transformation, undergone important modifications, and experienced a lengthy interruption in the 1990s.

    This special issue of Russian Literature will look at shifts in Russian culture along the continuum from conformity to non-conformity between the 1960s and the present day. Our focus is to analyse the structures and mechanisms of culture divided between the spheres of official/non-official/ and semi-official. The relevance of this approach is especially obvious in current political situation in Russia, when the growing ideological homogenisation of the public sphere and the resulting practices of (semi)tabooisation are today once again breaking the Russian intellectual domain up into the these three realms. Comparison between these spheres in late Soviet period and today are especially significant for our project. Papers may tackle either the trajectory of cultural assimilation or of dissent, as well as oscillations between these spheres. Attempts to place the phenomenon of (non)conformity in the context of cultural development and change since the late Soviet era to today’s split between conformist and countercultural practices are particularly welcome.

    The editors of this issue would like to encourage submissions in the fields of Russian cultural studies, literary studies, history of art, theatre and film studies, and book and publishing research. Interdisciplinary work straddling the boundary between cultural studies and social and political science is likewise warmly encouraged. Papers addressing the topic from within a single discipline are however equally welcome.

    Topics of interest include (but are not limited to):

    The cultural public sphere and its transformation from Khrushchev to Putin
    Borders between the official and non-conformists: literature, art, theatre
    Protest art and action art in the face of prohibition
    Cultural practices and mechanisms of conformity/non-conformity in arts
    Between conformity and non-conformity: spaces of cultural autonomy
    Epideictics and panegyrics vs. subversion and satire
    Conformity and non-conformity in the (human) sciences
    Books and publishing (conformist and non-conformist)
    Museums and exhibitions (conformist and non-conformist)
    The cultural public sphere and cultural policy (awards and funding)
    Censorship: strategies, impacts and transformations/development during the period under consideration
    The Aesopian language of culture: smuggling the forbidden into the public domain

    Submissions must be in English. Interested parties are asked to submit details of their proposed topic in an abstract (max. 2,000 characters), by email to ksmola@uni-greifswald.de and mark.leiderman@colorado.edu by 30 September at the latest. After approval of abstracts, the deadline for articles will be 10 January, 2016.

  • CFP: Central Europe and Colonialism: Migrations, Knowledges, Perspectives, Commodities (Wrocław; September 2016)

    Central Europe and Colonialism: Migrations, Knowledges, Perspectives, Commodities
    21-23 September 2016, Wrocław, Poland

    Central Europe has not yet been an object of keener interest in (post)colonial studies. However, not only did large numbers of Central Europeans migrate to the (former) colonial world, but Central Europeans also provided personnel to occupy, administer and police colonial empires, and reflected on colonial experiences at the levels of high and popular culture. Even if largely excluded from colonial politics at an international level, Central Europeans played an important role in generating new discourses based on data gathered in the colonial contact zone. Publications on exotic worlds circulated widely in Central Europe and inspired new conceptions of world history, world literature, and cosmopolitanism, in conjunction with new concepts of human nature (esp. a division of humanity in races) and ecology, with wide ranging consequences for world history.

    A closer look at the role of Central European actors in imperial domains can contradict the supposed consistency of colonial discourses. Although Central Europeans in colonial territories blended into the colonial ruling class and acted in a transnational capacity as ‘Europeans’, they nevertheless preserved shades of difference. Focussing on these differences might put the supposed sameness of colonisers into perspective.

    In addition, their in-between position brought Central Europeans into contact with both the West European imperial powers and Russia, which made the Central European experiences and perspectives in many ways richer than those of the colonial powers themselves, where close contacts with specific territories tended to marginalise perceptions of other parts of the world. Therefore, an important point to discuss would be the role Central Europe played in developing notions of globalism.

    On the other hand, large parts of Central Europe experienced a similar fate at the hand of the great powers (recently from the Soviet Union) as countries in Africa, Asia and the Americas. Just as (post)colonial studies examines the colonial past of these areas, scholars have recently started to explore the same processes in Central Europe.

    Finally, increasingly global trade networks, brought about by the expansion of European colonialism, impacted on material culture, whether via the importation of new commodities to Central Europe, or the export of manufactured goods. The conference also aims at furthering investigations in this field.

    The themes of the conference will be covered in four panels:

    Migrations deals with both permanent migration from Central Europe to (erstwhile) colonies of the West European powers and Russia, and with temporary labour migration of colonial soldiers, missionaries, technicians, colonial civil servants and, in the case of Russia, of convicts and political prisoners.

    Knowledges explores the genesis of various discourses that developed in relationship with the colonial world, to which actors from Central Europe made important contributions, such as geography, social and cultural anthropology, physical anthropology, Oriental studies, (world) history, and thinking on cosmopolitanism and globalism. Furthermore, knowledge production relating to coloniality in Central European travel writing and literature will be considered.

    Within Perspectives, insights from (post)colonial studies are applied to the history and culture of Central Europe, with a special focus on ambiguities ensuing from complex situations of dependence and domination. We invite reflection on methodologies of conceptualizing Central Europe (its history, self-identity) vis-à-vis Western Europe (a contentious term as it is) and Russia (and the Soviet Union); the role of nationalism in developing anti-imperial counter-discourses in the region and transitional states (postcommunist, post-World War I and II) as opening up revisionary insights into the past and new visions of the future.

    Commodities examines the exports of manufactures from Central Europe to the New World and the imports of products from the Americas and Asia to Central Europe. In this respect, especially, the reception and the impact of cultural “colonial” commodities on the material culture in everyday life of the region will be considered.

    We understand Central Europe as an area stretching from the territories of the former Polish-Lithuanian Commonwealth in the East and to the German speaking regions in the West. The time range covered by the conference stretches from Early Modernity to the post-World War Two period and involves the colonial history of both the West European powers and Russia.

    The conference will be held in Wrocław, Poland, 21-23 September 2016. It is a joint venture between the European Academy of Science / Academia Europaea (Knowledge Hub, Wrocław) and the Faculty of Philology of the University of Wrocław. A selection of papers will be published. The conference is the last in a series of four symposia, which bring together established scholars with early career researchers, particularly from East Central Europe.

    Invited speakers:
    Theo D’Haen (Leuven)
    Katrin Flikschuh (London School of Economics)
    Thomas DaCosta Kaufmann (Princeton)
    Dariusz Kolodziejczyk (Warsaw)
    Mark Haeberlein (Bamberg)
    Madina Tlostanova (Moscow ) Przemysław Czaplinski (Poznan)
    Dirk Uffelmann (Passau)

    APPLICATION: Registration is available at: http://www.acadeuro.wroclaw.pl. Submit a 300-word proposal, a curriculum vitae with a list of publications by 30 September 2015. All applicants will be notified about the selection of participants before 31 October 2015.

    REQUIREMENTS: Presenters are required to submit a 3,000-5,000 word description or excerpt (i.e., chapter, article, etc.) to be circulated among participants by March 1, 2016. All workshop participants are asked to read these submissions prior to the workshop. The paper should be an unpublished one. Presenters who do not meet the submission deadline will not be able to present their work.

    THE SEMINAR LANGUAGE will be English.

    FINANCIAL ARRANGEMENTS: The organizers will cover the conference fee and the costs of accommodation (up to 4 nights), travel (up to a certain maximum: Western Europe – up to 100 EUR; Central and Eastern Europe – up to 150 EUR) and insurance.

    Organising Committee:
    Pieter Emmer (History, Leiden)
    Siegfried Huigen (Dutch and South African Studies, Wrocław)
    Dorota Kołodziejczyk (Postcolonial Studies Centre, Wrocław)
    Michael North (History, Greifswald)
    Ola Nowak (Knowledge Hub, Academia Europaea, Wrocław)
    Renate Pieper (History, Graz)
    Dorota Praszałowicz (American & Migration Studies, Krakow)

    All correspondence, including submission of proposals and final papers, must be addressed to: Katarzyna Majkowska or via http://www.acadeuro.wroclaw.pl

  • CFP: Colloque Biedermeier (Bratislava; 1-2 October 2015)

    Bratislava, October 1 - 02, 2015
    Deadline: Jul 31, 2015

    Biedermeier. Domestic (Slovak) and European connections of Biedermeier Style
    Slovak national gallery / Institute of Art History, UK, Bratislava

    An international colloque is oriented to the reflection and connections of Biedermeier Style in Central Europe, organized by Slovak national gallery and Institute of Art History at the Comenius University in Bratislava. It is prepared at the occasion of the exhibition Biedermeier, which was opened at June 18, 2015 at the Slovak national gallery and will be held until November 1, 2015. During the two days of the colloque will concentrate on the presentation of papers and discussion as well as special guided tour at the exhibition. The main topics will be oriented to the position of Biedermeier in Central Europe, contact within the center and Upper Hungary (now Slovakia), artistic exchange and influence of other art styles during the first half of the 19th century in former Austrian monarchy.

    Biedermeier, a relatively neglected artistic style in Slovak art history was an important interstage for the transformation of society and cultural life in the first half of the 19th century in the Austrian Monarchy. This period art oscillated between Romanticism and Realism; it was the era of technical developments, big artistic exchange, traveling throughout the country and the wide world, and the development of rail and steamship transportation. We were captivated by the view and interpretation of the phenomenon at the beginning of a new awareness of society, an environment in which people were building their own private space, and the tremendous and rapid development of modern achievements. The exhibition Biedermeier represents one of the first attempts to look at this period through the prism of field research in museums and galleries especially in Slovakia and Hungary, which as the art material itself has proved, is incomplete. Since there are many unanswered questions related to applied arts, painting and sculpture, the processing of all of the variations of art of the pre-March period of the 19th century was created the platform of the colloque. It will focus on the fundamental themes which best characterize the Biedermeier period– everydayness, interest in the world of emotions and nature, development of the portrait genre in various media, alternation between high quality manual production and the simultaneous growth of mass production. The individual themes are based on fine art and distinctively complemented by selected applied art and furniture design.

    Suggested topics:

    • Contemporary reflection of Biedermeier
    • Pluralism of ideas and styles of Biedermeier
    • From Vienna / Buda / Pest to the “periphery”, migration of artists and craftsmen in Central Europe
    • Between “merchant rococo” and ways to modernization
    • Biedermeier art and design in Slovak and international collections
    • Technical aspect of the Biedermeier era
    • Biedermeier and Neo-biedermeier

    Conference language: Slovak, Czech, English (simultaneous translation will be provided)

    The conference papers edited as standard scientific articles will be publish in book of texts until January 2016.

    We kindly ask you to submit the abstract of your suggested paper by July 31, 2015 to katarina.benova@sng.sk

    Contact:
    Mgr. Katarína Beńová, PhD.
    00421 905 223 601
    Slovak national gallery / Institute of Art History, UK, Bratislava
    http://www.sng.sk / http://www.fhil.uniba.sk

  • Film and Lecture: Robert J. Andrews, Mosaic Iconographer (Museum of Russian Icons, Clinton, MA; July 18, 2015)

    Film and Lecture: Robert J. Andrews, Mosaic Iconographer (Museum of Russian Icons, Clinton, MA; July 18, 2015)

    http://museumofrussianicons.org/en/visit/what-s-happening/events-calendar/lecture-andrews-mosaics/?eID=22955

    July 18th, 3:00 pm - 4:30 pm
    $8 Museum members
    $12 nonmembers
    $1 off with WOO card; includes Museum admission. Pre-registration suggested at (978) 598-5000 x21. Tickes sold at door if space available. Program fees are non-refundable.

    For nearly 50 years, artist Robert J. Andrews has devoted his life to creating magnificent mosaic icons for dozens of churches across the United States in Massachusetts, California, Arizona, New York, Washington, Utah, and Indiana, and the St. Sofia (Holy Wisdom) Cathedral in London. One of his master works is the Transfiguration of the Saviour Greek Orthodox Church in Lowell, MA, where his glittering mosaics adorn the church from floor to ceiling. He was the resident iconographer for 43 years at Holy Trinity Greek Orthodox Church in San Francisco, where his crowning achievement is the 3,400-square-foot “Christ Pantocrator” icon in the dome. In this program, Mr. Andrews will discuss his creative process, show samples of his work, and screen the short film Holy Trinity’s Pantocrator: The Ultimate Mosaic. The film provides an inside look into the complex installation of the largest mosaic face of Jesus in the Western Hemisphere.

    Don’t miss this opportunity to meet one of the greatest artists of the Orthodox Church!

  • CFP: Texts and statements by artists during the Cold War (Paris, 4-5 November 2015)

    Paris, Institut d’études de l’Islam et des sociétés du monde musulman (IISMM/EHESS)
    November 4-5, 2015
    Deadline: July 31, 2015

    Texts and statements by artists from North Africa, Middle East and Eastern Europe during the Cold War (1947-1989)

    This symposium on artists’ texts and statements which have circulated within the context of the Cold War (1947-1989) will pay special attention to statements undervalued or ignored by most of the art histories produced at the present time, which are still focused on the action of a few “centers.”

    Art and art history construct narratives which define a “common world”, which means they neglect or marginalize, in particular, texts and statements by artists regarded as being outside this world, or relate them to specific “cultural areas”. The deconstruction of those narratives is a complex undertaking, as evidenced by the scarcity of studies that consider the participation of artists from North Africa or from the Middle East to events which have contributed to forging alliances in the Atlantic camp, or to cultural exchanges with Eastern Europe. Very little attention has likewise been paid to cultural manifestations organized by the Non-Aligned Movement, founded in 1961 (Belgrade Conference), to the Pan-Arabic Festivals and to the developments of those debates until the end of the 1980s.

    Those artistic events have given rise to many commentaries written by artists involved in each camp. The papers will focus on statements (texts, manifestos, interviews, public debates, etc.) produced by artists working in North Africa, in the Middle East and in Eastern Europe. They will take into account their context of enunciation and the complexity of cultural relations that must also been understood in terms of intertextual relations, the different paradigms that nourished those ideological confrontations and the modalities of cultural exchanges (festivals, magazines, translations, etc.).

    Proposals of no more than 300 words (in French or in English) and a brief CV should be sent no later than 31 July 2015 to this address : catherine.fraixe@ensa-bourges.fr

    Organization : Catherine Fraixe (Professor of Art History, Ecole nationale supérieure d’art de Bourges, France) and Monia Abdallah (Professor of Art History, Université du Québec à Montréal, Canada).

  • CFP: National Personifications in Early Modern Europe (Paris; 29-31 March 2016)

    Paris, March 29 - 31, 2016
    Deadline: Jul 26, 2015
    Planned venue: German Historical Institute Paris, 8, rue du Parc-Royal, 75003 Paris

    Virgins, Wives, Mothers. National Personifications in Early Modern Europe
    Colloquium at the German Historical Institute Paris, spring 2016
    Organisation: Rainer Babel, Christine Gouzi, Thomas Kirchner, Thomas Maissen, Jean-François Dubost

    Following on the work carried out by Maurice Agulhon comprehensive research has been conducted into the French national allegory “Marianne” and her sisters in other nation-states in modern times. With respect to the period before the French Revolution, however, there are still very few studies of such personifications of the state or political entities, to say nothing of comparative approaches examining these various allegories together. This is despite the fact that they have common roots, which frequently go back to antiquity. Roman coins, for example, featured towns or regions in the form of female figures. The goddess Minerva, in particular, served as an iconographic model for such depictions, which were then taken up again in the Renaissance and ultimately handed down through Cesare Ripa’s famous Iconologia. Christian theology contributed to the development of this symbolic representation by introducing another chaste female figure: the image of the Virgin Mary, queen of heaven, mother and saint, could thus become a symbol of monarchy or of the early modern state, especially in connection with the motif of the hortus conclusus, the enclosed garden, which likewise symbolises sovereign territory. Within these pictorial traditions, the correlation between which has yet to be investigated, such personifications can be interpreted not only as virgins but also as wives (of the ruler) or mothers (of the nation). This secularisation of the iconography, which often supplements rather than replaces its religious content, has precursors in the late Middle Ages. These personifications thus served the purpose of glorification and then of political propaganda, especially when the concept of sovereignty was developed.

    This colloquium will examine the creation and use of state or national personifications in the period from the 13th to the 18th century together with relating pictorial symbolism and gender-theory perspectives. Consideration will be given to both republics and monarchies, especially Venice, Genoa and the other Italian city states, the United Netherlands, the Swiss Confederation, Poland and Russia, the Holy Roman Empire and its various territorial states, France, the Iberian monarchy, England and the United Kingdom, Denmark and Sweden as well as the United States at the time of its emergence. This subject, which is multi- and interdisciplinary by definition, is aimed at historians and art historians as well as researchers from the fields of theology, political philosophy, law, classical studies and gender studies.

    This call for papers is an invitation to researchers to propose topics for the colloquium. Please send your proposal (approx. one page) together with a short curriculum vitae and a few literature references to personnification@dhi-paris.fr by 26 July 2015 at the latest. Early-stage researchers, who are examining relevant issues in their master’s thesis, dissertation or as post-docs, are expressly invited to attend. The speakers’ travel and accommodation costs will be reimbursed.

  • WORKSHOPS: Summer School of Architecture (Bač, Serbia; 22-31 August, 2015)

    Bač, Serbia, August 22 - 31, 2015
    Deadline: Aug 5, 2015

    Summer school of Architecture Bač 2015
    Construction of the Elements of Earthen Architecture: Oven Building.
    Maintenance and Restoration. Energy Monitoring Traditional Architecture.

    Official language: English

    • Application for 2 subsidized places (half price - 100 EUR): July 20th, 2015 (results will be published on July 25th)
    • Early bird registration: July 20th 2015
    • Registration deadline: August 5th 2015

    Organizers: Group of Architects (Belgrade, Serbia) and rese arch (Pieštany, Slovakia) | Co-organizer: Earth & Crafts | Support: Ministry of Culture of the Slovak Republic | Partner: Institute of History of Art, Building Archaeology and Restoration, Faculty of Architecture and Planning - Vienna University of Technology

    The program is encouraging multidisciplinary international collaboration, dealing with the issues of implementation and monitoring of projects of heritage protection within the local, regional, and European framework.

    PROGRAMME

    The Summer School will take place from Saturday, August 22nd, and last until August 31st. The workdays are beginning at 10:00 AM lasting until 07:00 PM (including 1 hour lunch break). The program of the School is divided into two modules. Both modules are focusing on earth architecture of Vojvodina - the adobe and rammed earth.

    MODULE 1 - CONSTRUCTION OF THE ELEMENTS OF EARTHEN ARCHITECTURE: OVEN BUILDING. MAINTENANCE AND RESTORATION
    This module will begin on 22th of August and will last for four days. The goal of the module is to build the traditional bread oven in the household in the town. The lectures and the workshops, provided by the team of the Earth and Crafts Centre for Earthen Architecture, will focus on the process of material search, testing and preparation, the preservation actions and crafts expertise. MODULE 1 will include preparation works, mud tests, introduction to basic earth building techniques and building a bread oven, followed with the series of lectures on heritage protection and good practices.

    The necessary expertise for the heritage protection will be provided by the Institute of History of Art, Building Archaeology and Restoration, Faculty of Architecture and Planning - Vienna University of Technology

    MODULE 2 - ENERGY MONITORING IN CULTURAL HERITAGE
    This module will begin on 28nd of August and will last for four days. The goal of the module lectures and workshops is to develop the fitting method for the energy survey, monitoring and management for protected areas. The module will build on the data, harvested from the equipment deployed on site during the previous school, as well as the research done by the team of the Faculty of Architecture University of Belgrade & Nekoliko arhitekata design studio, developed for the project of National typology of residential architecture in Serbia.

    WORKSHOP
    Workshop of structure surveying will follow MODULE 2, demonstrating the available tooling for the purpose of heritage preservation.

    STUDY TRIP
    Prior to Module 2, a study trip will be organized, for the purpose of visiting an example of good practice in sustainable built.

    A detailed certificate will be provided by the organizer for the purpose of obtaining ECTS credits.

    ELIGIBILITY
    We are inviting international participants: professionals and students of architecture, technology, civil engineering, sustainable building, building physics, architectural conservation and art history, as well as the enthusiasts.

    COSTS AND FEES
    The early bird registration fee is 200 EUR (100 EUR per module, 25 EUR per day) and includes costs of tuition (workshops + lectures), working material and boarding (three meals per day + accommodation). We provide accommodation in near-by boarding house (mostly dormitory-style). Fees do not include travel costs.

    Given the hands-on character of the Summer School, it is mandatory to bring your own laptop. Internet connection will be provided by the organizer. The installation of required (free) software will be communicated in a timely manner.

    The early bird prices are available until the July 20th 2015.

    The full price is 250 EUR for entire 10 days course (workshop and fieldtrip included) of 120 EUR per 4 days module. It is possible to attend daily program as well, paying the price of 30 EUR per day.

    APPLICATION
    Your application should include:

    ONLY FOR STUDENTS COMPETING FOR TWO SUBSIDIZED PLACES (half price 100 EUR):

    • submitting the application form https://goo.gl/JsLrbD;
    • a short CV (2 pages maximum);
    • a letter of motivation (2 pages maximum)

    Exchanging the subsidy for money is not possible. Please e-mail your application documents to grupaarhitekata@gmail.com or info@grupaarhitekata.org.

  • CFP: Global Art Challenges (University of Barcelona; April 26 - 28, 2016)

    Deadline: Sep 30, 2015

    Global Art Challenges: Towards an “Ecology of Knowledges”

    The International Conference Global Art Challenges: Towards an “Ecology of Knowledges” aims to reformulate established approaches to the study of global art in the face of ongoing challenges in that field. Building on sociologist Boaventura de Sousa Santo’s concept of an “ecology of knowledges” (2007), the conference seeks to go beyond “abyssal thinking in modern Western-based conceptions” of art and to trace lines of inquiry into new epistemological approaches to global art studies. As theorized by de Sousa Santos, ecological thinking, understood as a counter-epistemology, recognizes the plurality of heterogeneous knowledge(s) and highlights the dynamic interconnections that exist between them. Hence, faced with a longstanding monocultural conception of knowledge and art an “ecology of knowledges” conceives of knowledge-as-intervention-in-reality rather than a hierarchical preference of Western knowledge(s) over other forms of knowing.

    This approach proposes an emancipatory attempt to supersede predominant epistemological frameworks that continue to reproduce the power structures that have dominated Western thinking since the Renaissance. Despite the spatial turn of global studies, longstanding monocultural (Western) conceptions of knowledge and art continue to impact and shape the study of global art, as well as its theorization and the validation of artistic practices around the world. An “ecology of knowledges”, as suggested by de Sousa Santos, is a useful concept to counteract this perspective. It recognises the plurality of artistic knowledge(s) and its socio-political agency in modern and contemporary global art. This concept grapples with the current debates surrounding the need to reassess global art study’s methodological tools, calling for the importance of a transcultural and horizontal art history that puts the accent on transnational transfers, cultural encounters, circulatory and transformation processes.

    This conference seeks to discuss, from a methodological, epistemological and practical perspective, the possibilities of developing an “ecology of knowledges” in art history, regarding also artistic and institutional practices. It looks for ways to overcome Western hierarchies and enter into a proactive dialogue between practices, methods and discourses. Such perspectives, we hope, will contribute to questioning taxonomies, values, temporalities, and dichotomies that have not just been a part of the art historic discipline since its foundation, but that have been imposed as universal and taken-for-granted. Finally, the conference seeks to become a platform for debating the possibilities of breaking that (Western-dominated) view within art history, seeking a starting point for a change of paradigm in the understanding of global art.

    FOR COMPLETE CONFERENCE DESCRIPTION AND ABSTRACT SUBMISSION PROCEDURE, SEE FULL POST