While nationalism was expected to vanish in the post-Cold War era, it has instead not only survived, but returned with a vengeance. Empowered by a renewed vitality, it has gained a dominant presence all around the world. With respect to Europe, it became characteristic not only of the former-Eastern bloc, but also of the post-crisis life of more affluent countries. The present conference intends to focus on the Central-, Eastern European region, but comparisons with more established democracies outside of the region are also welcome.
Nationalism in any form is considered one of the most visual of all political currents. It presents itself via a plethora of vivid images, symbols, myths, and performative rituals. Contributing to these are dreams, fantasy and imagination, projected equally to the past and to the future. Quite surprisingly, however, despite the undeniably visual nature of this social phenomenon, conferences on nationalism, though abundant, hardly ever address the visual dimensions of their topic. This one broadens the scope of interpretation, moving beyond an exploration of the political, sociological and philosophical aspects of the “imagined communities” of the present, and focuses instead on the often overlooked but fundamental course of visualization of the Nation.
Nationalism inherently speaks the language of images. It offers sensual experiences, and a basic feeling of belonging, as conveyed by a multitude of cherished symbols, signs and elevated performative rituals. Its building blocks are moments of a shared history commemorated by monuments (and by counter-monuments of those excluded from the officially sanctioned memory of the nation), propagated by within and institutional framework. Thus, art and culture have always played a prominent role in the nation-building process. By subverting the assumed naturalness of national identity, detecting hidden elements, decoding messages and uncovering the mechanism by which nationalism impacts our daily lives, art has also been capable of disrupting the hypnosis and mass delusion produced by extreme nationalism. Socially-engaged, critical artists shed light on the operation of both officially promoted state-nationalism and on the privatized forms of national identity.
Visualising the Nation: Post-Socialist ImagiNations is staged as a concomitant event of the closing exhibition of the Private Nationalism Project (at the Budapest History Museum / Kiscell Museum and Budapest Gallery, Oct. 27‒Dec. 15, 2015). At the same time, the conference intends to move beyond the exhibition concept of scrutinizing the process of internalization of national sentiments and attitudes to explore the issue of post-socialist nationalism and its visual aspects within a wider scope.
The four sections of the two-day conference address the issues:
I. Post-socialist nationalisms / re-imagined, re-visualized new communities / competing and conflicting visions / visualizing the conflict / subversive art practices / role of the artist, role of the critic
II. Invading the public space in the name of the nation / forms of symbolic politics / rewriting history and memory / competition, conflict over the past / monuments – counter monuments / visual activism
III. Re-nationalized cultural institutions and cultural canons / use and abuse of national symbols, signs of the nation / nationalized popular culture / institutional critique, critic of national institutions / art interventions
IV. Exclusive versusinclusive visions of the nation / visualizing trans-, post-, and supra-nationalism / the enemy within and beyond the borders / minorities, large-scale dislocation, migration / dreams and nightmares / competing traumas
Please submit a 500 word proposal of the paper to be presented in the framework of one of these sections, along with Curriculum vitae by September 6th 2015.
Proposals should be sent it to email@example.com
Organizers: Institute of Art History, Research Centre for the Humanities, Hungarian Academy of Sciences, Budapest; Budapest History Museum, Kiscell Museum; Private Nationalism Project, Approach Art Association, Pécs
Advisory board: Members of the Research Group of Critical Theories, Institute of Art History
Organized by: Edit András, Institute of Art History, Research Centre for the Humanities, Hungarian Academy of Sciences, Budapest; Enikő Róka and Zsóka Leposa, Budapest History Museum, Kiscell Museum, Budapest; Maria Dentl, Erste Foundation, Programme Culture, Vienna
The conference is supported by the Erste Foundation
Organizers: Center for Polish and European Studies of National University of Kyiv-Mohyla Academy, History Department of National University of Kyiv-Mohyla Academy, Institute ‘New Europe’
Time and place: December 10-12, 2015, Kyiv, Ukraine
We accept papers on the following topics: daily life, city planning and urban growth, gender relations and social practices, ethnic conflict and co-existence, mass politics, transcendence of power and social institutions between late imperial and early Soviet period, representation of Kyiv in popular and tourist literature, memory politics.
Prospective participants should send a short CV (up to 2 pages) and annotation (up to 300 words) to the address firstname.lastname@example.org by September 1, 2015.
Limited funding for accommodation is available.
Deadline August 31, 2015
The Society of Architectural Historians is accepting applications for the 2016 SAH International Travel Grant Program. In 2015, SAH will award between 14 and 16 grants to practicing professionals of the built environment to attend the SAH 2016 Annual International Conference in Pasadena/Los Angeles, CA, April 6-10. The grants are reserved for professionals from countries that have traditionally been underrepresented at the SAH conference. Generously funded by the Getty Foundation, these grants will allow recipients to participate in the conference and build upon their professional network. SAH invites applications from heritage conservation specialists, academics, and museum professionals who work with the history of the built environment.
The award covers the following:
- Travel expenses to/from SAH 2016 Annual International Conference
- Hotel accommodations
- Per Diem
- Conference registration
- Two years of membership in SAH
The application deadline is August 31, 2015. For more information and to apply, please visit http://www.sah.org/jobs-and-careers/sah-fellowships-and-grants/sah-international-travel-grants.
Zentralinstitut für Kunstgeschichte, München, 23.09.2015
Workshop “Geregelte Verhältnisse? Architektur und Planung zwischen Sputnik und Ölkrise”
Zentralinstitut für Kunstgeschichte, München in Kooperation mit dem Institut für Kunstgeschichte der LMU München
Nachdem die 1960er Jahre zwischen Planungseuphorie und Technikbegeisterung auf der einen und Zukunftsnöten und Restauration auf der anderen Seite in den Geschichtswissenschaften in den letzten Jahren vermehrt in den Fokus der Betrachtung geraten sind, möchte der Workshop versuchen, auch für die Architekturgeschichte und benachbarte Disziplinen kritisch Bilanz zu ziehen und nach neuen Forschungsfeldern zu fragen. Der Workshop nimmt dabei aus einer fächerübergreifenden, zeithistorisch-fundierten Perspektive den Zeitraum 1945-75 – zwischen Sputnik und Ölkrise – in beiden konkurrierenden Systemblöcken des Kalten Krieges in den Blick und wird die Wechselwirkungen von Wissenschaft und Kunst diskutieren.
Das Versprechen auf Plan- und Berechenbarkeit von Zukunft avancierte in der Phase der Spätmoderne zu einer identitäts- und legitimationsstiftenden Kraft in nahezu allen gesellschaftlichen und kulturellen Bereichen. Insbesondere die Kybernetik als Wissenschaft von der Steuerung und Regulierung von komplexen Systemen repräsentierte und vermittelte zugleich diese optimistischen Verheißungen. Die Kybernetik verband neue wissenschaftlich-technische Methoden mit gesamtgesellschaftlichen Fragestellungen und beeinflusste direkt Theorie und Praxis von Architektur und Planung. Anknüpfend an Georg Vrachliotis‘ These der „geregelten Verhältnisse“ in der Architektur der Spätmoderne will der Workshop unter anderem diskutieren, welche Wechselwirkungen zwischen Natur-, Technik- und Geisteswissenschaften im Zeitalter von Technikbegeisterung und Planungseuphorie herrschten und wie sich diese konkret auf das Bauen, Planen und Gestalten in dieser Epoche ausgewirkt haben. Auf welche ideologischen Grundprämissen konnte sich das uneingeschränkte Fortschrittsdenken des Zeitalters zwischen Sputnik und Ölkrise stützen? Welche Akteure waren für die Propagierung und Verankerung von Wissenschaftlichkeit und Fortschritt in Politik, Gesellschaft und den Künsten zentral? Hatten die Versprechungen eines neuen Wissensregimes Folgen auf die Vorstellungen vom Beruf des Architekten und Gestalters? Welches Verhältnis herrschte zwischen staatlichen Ordnungsvorstellungen und architektonisch-städtischen Strukturbildungen? An welchen Zukunftsorten der utopischen Moderne kann man die ‚geregelten Verhältnisse‘ oder die ordnende Kraft der Verwissenschaftlichungstendenzen erkennen? Und schließlich: Was bleibt heute noch übrig von der Architektur und Planung der 1950er bis 1970er Jahre?
Diesen und anderen Fragen will der vom ZI München in Kooperation mit dem Institut für Kunstgeschichte der LMU München organisierte Workshop „Geregelte Verhältnisse? Architektur und Planung zwischen Sputnik und Ölkrise“ nachgehen. Expertinnen und Experten aus den Bereichen Kunst- und Architekturgeschichte, Amerikanistik, Zeitgeschichte und Designwissenschaft werden in Kurzvorträgen Stellung beziehen und ihre Thesen zur Diskussion stellen.
13.15 Uhr: Begrüßung
13.20 Uhr: Einführung
Oliver Sukrow (Zentralinstitut für Kunstgeschichte München/ Universität Heidelberg): Architektur und Planung zwischen Sputnik und Ölkrise
Sektion 1: Fortschrittserwartung und Steuerungseuphorie
Klaus Benesch (LMU München): „Does Technology Drive History?“ - McLuhan, Leo Marx und die materialistische Medientheorie der Spätmoderne
Elke Seefried (Institut für Zeitgeschichte München/ Universität Augsburg): Im Zeichen der Steuerungseuphorie? Zeithistorische Überlegungen zur Zukunftsforschung der 1950er bis 1970er Jahre
Kommentar: Helmuth Trischler (Deutsches Museum München)
Sektion 2: Staat, Architektur, Kybernetik
Philipp Meuser (Architekt DBA und Publizist, Berlin): Architekturtheorie als Regierungsangelegenheit. Grundlagen des sowjetischen Wohnungsbaus zwischen Sputnik und Ölkrise
Merle Ziegler (Humboldt Universität, Berlin): Kybernetisch regieren. Der Neubau des Bonner Bundeskanzleramtes
Kommentar: Wolf Tegethoff (Zentralinstitut für Kunstgeschichte, München)
16.15 Uhr: Pause
Sektion 3: Die Utopie des Designs
Rudolf Fischer (Zentralinstitut für Kunstgeschichte, München): Behaglichkeit im Kalten Krieg. Wechselwirkungen im Wohndesign der frühen Bundesrepublik
Claudia Mareis (Hochschule für Gestaltung und Kunst FHNW, Basel): Von der Gestalt zur Methode: Zur Krise des Entwerfens in der Nachkriegszeit
Kommentar: Josef Straßer (Die Neue Sammlung München – The International Design Museum Munich)
18.15 Uhr: Abendvortrag
Georg Vrachliotis (Karlsruher Institut für Technologie): Architektur und technologische Unruhe
Die Teilnahme ist kostenfrei. Anmeldung und weitere Informationen unter: email@example.com
Within the framework of the Russian Year in Monaco, in partnership with the Compagnie Monégasque de Banque, Bereg and Cote Magazines, and the D’Amico Group.
The Grimaldi Forum’s big summer 2015 exhibition is part of the Principality of Monaco’s Russia Year and one of that celebration’s stand-out events.
The exhibition will bring together 150 major works by great artists who made up Russia’s avant-garde art scene from 1905 to 1930, when various movements and schools developed, driven by the energy and wealth of creativity in the first part of the 20th century: Impressionism followed by Cubism, Futurism, Cubo-Futurism, Rayonism, Suprematism, and Constructivism.
These Russian artists crafted an unprecedented modernity that set them completely apart from what had been known until then and shook up centuries of convention and academism.
The Grimaldi Forum exhibition is truly exceptional in that it will feature artworks loaned by Russia and which have never previously left the country’s museum collections; these remarkable loans will be displayed alongside others from various leading European museums.
The full application is available at http://www.collegeart.org/CAA-GettyInternationalProgram/
The College Art Association is seeking applicants for its 2016 CAA-Getty International Program, which provides funding to fifteen art historians, museum curators, and artists who teach art history to attend its 104th Annual Conference, taking place February 3-6, 2016, in Washington D.C. The goal of the program is to foster international collaborations in the visual arts. Generously funded by the Getty Foundation, the grant covers travel expenses, hotel accommodations, per diems, conference registrations, and one-year CAA memberships. The program will include a one-day preconference colloquium on international issues in art history on February 2, at which grant recipients will present and discuss their common professional interests and issues.
How to Apply For eligibility requirements, visit the website above. Review the application specifications and complete the application form. If you have questions about the process, please email Janet Landay, project director of the CAA-Getty International Program.
Applications should include:
• A completed application form
• A two-page version of the applicant’s CV
• A letter of recommendation from the chair, dean, or director of the applicant’s school, department, or museum
Please send all application materials as Word or PDF files to Janet Landay. All application materials must be received by Monday, August 17, 2015. CAA will notify applicants on Wednesday, September 30, 2015.
The British Association of Slavonic and East European Studies (BASEES) invites proposals for panels, roundtables and papers for its 2016 Annual Conference. The conference will be held 2-4 April and will be based at Fitzwilliam College, Cambridge, United Kingdom. The 2015 conference attracted more than 450 people.
Proposals are invited for panels, roundtables and papers for the 2016 Annual Conference.
Panels, roundtables and papers are welcome in the following areas: Politics; History; Sociology and Geography; Film and Media, Languages and Linguistics; Literatures and Cultures; Economics. The conference especially welcomes participation by postgraduate research students and young scholars.
To propose a panel or a paper you will need to fill in a proposal form. There are separate forms for panels/roundtables and individual papers. You should download the appropriate form and fill it in electronically, and send it by email to the appropriate subject stream email AND to the conference email address.
The deadline for panel/roundtable proposals is 2 October 2015, and 18 September 2015 for individual paper proposals.
Postgraduate members of BASEES who present papers are eligible to apply for financial support towards their conference costs. They should download the application form and fill it in, and send to the appropriate subject stream email by 2 October 2015.
The congress also welcomes proposals for postgraduate posters. The poster will be displayed throughout the conference. Please fill in the proposal form and email it as an attachment to the conference email address firstname.lastname@example.org AND the conference organiser, Dr Matthias Neumann by 1 December 2015.
General enquiries about the conference are welcome at email@example.com
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 firstname.lastname@example.org 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.
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”
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.
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 email@example.com and firstname.lastname@example.org by 30 September at the latest. After approval of abstracts, the deadline for articles will be 10 January, 2016.