CFP: “The long 1960s: Revolutionary times and globalised cultural spaces” - panel at ENIUGH V
Panel conveners: Beata Hock & Michael Esch
We invite individual paper proposals for an already accepted panel at the Fifth European Congress on World and Global History. The conference is to be held 31 August–3 September 2017 in Budapest under the ovearall topic “Ruptures, Empires and Revolutions”: www.eniugh.org/congress
The title of the panel is “The long 1960s: Revolutionary times and globalised cultural spaces”. The panel abstract (pasted below) is formulated in a way to allow for including historians working in history proper but also in art and cultural history, preferably with interest in interdisciplinary and transnational approaches:
Panel abstract: Although it has become common to speak of the “Global Sixties” and discuss it as a period of cultural revolutions, more often than not, »global« only encompasses the North Atlantic societies while excludes regions east of the »Iron Curtain« and reduces the “global South” to a substitute arena for global conflict. Even if similar developments in the East, West and South are recognised (like the emergence of revolutionary or civil rights struggles; the repercussions of decolonisation; generation gaps, or the spread of jazz and pop culture), these are still very much depicted as the outcome of one-dimensional transfers or reenactments of North-Western achievements in the East and the South. Recent studies have put this interpretation to a test, first by reevaluating the agency of the global South, secondly by revisiting the Iron Curtain not as an insurmountable wall but as an “osmotic barrier” (Sandrine Kott) where cultural or intellectual products, political ideas and actors crossed in both directions, albeit sometimes by detour.
Thus, rather than hypostatizing clear demarcations and diffusionist models of social and cultural change, this panel explores some possible approaches to a multilayered histoire croisée of the global (cultural) revolution of the long 1960s. Invited papers zoom on, on the one hand, similarities between actors’ social, political and educational backgrounds as potential hotbeds from which seemingly unrelated but structurally or aesthetically identical developments arise. On the other hand, speakers also consider the relevance of South-South and Second World-Third World alliances as well as the deeper histories of social and aesthetic politics in the period leading up to the quasi-mythical 1960s.
Please submit a 100-word abstract by October 1st to the panel conveners:
ENIUGH-members will profit from reduced congress fees (full rate 100€ instead of 150€ for full attendance as early bird booking). For any further questions on ENIUGH-membership please contact the steering committee.
CALL FOR PAPERS
Contested Spheres: Actually Existing Artworlds under Socialism
27-28 May 2016 Kassák Múzeum – Petőfi Literary Museum and Translocal Institute, Budapest
Deadline for proposals: 29 February 2016
This conference aims to provide a platform for fresh research into the art history of Eastern Europe that brings to light the varied solutions that artists and cultural workers found to living and working inside the socialist system in the period of the 1960s and 1970s.
While some took the path of direct confrontation with the authorities, leading to harassment, imprisonment or exile, and refused in principle all collaboration with state-run art institutions, others complied with the demands of the Party and freely placed their talents at the service of communist ideology, either through conviction or in exchange for public commissions, exhibition opportunities and institutional positions. There was also a wide band of artists, curators and art historians who, like the majority of citizens of ‘actually existing Socialism’, devised their own individual strategies for negotiating a haphazardly repressive system and actively participated in shaping a complex artistic landscape of alternative spaces, transitory gatherings and artist-run galleries, as well as semi-independent institutions, associations and open air symposia, which all functioned according to the unorthodox rules of the socialist art economy. Examining the art worlds of mid- to late Socialism not from the top down perspective symbolised by the notorious ‘three T’s’ of Hungarian cultural policy, which divided artists into the categories of supported, tolerated and forbidden, but rather through a bottom up approach that examines the variety of possible attitudes adopted by cultural producers to the socialist system, ranging from confrontation and withdrawal to conformity and compromise, this conference sets out to foster debate about the conditions of artistic production during the last decades of Socialism and how these affected the individual trajectories, aesthetic choices and post-communist legacies of East European artists.
Proposals for conference papers are sought that examine how artists, curators or art historians, or even entire art scenes, responded to the demands of the socialist system, investigating, for example, prominent cases of refusal and resistance, the self-image and social role of official artists, as well as instances of disingenuousness, ambiguity and doublespeak in the machinations of late Socialist art worlds. Of equal relevance are papers that examine the workings of the artistic economy under socialism, and the different ways in which artists reacted to, suffered under, or turned to their advantage the distinctive material and economic environment established by the socialist state.
Speakers are invited to submit abstracts of 250 words, along with a short biography (approx. 100 words) to email@example.com by 29 February 2016.
Papers will be selected by a conference board made up of: Dr. Klara Kemp Welch, Courtauld Institute London, Dr. Tomáš Pospiszyl, Academy of Fine Arts, Prague, Dr. Maja Fowkes and Dr. Reuben Fowkes, Translocal Institute, Budapest and Dr. Emese Kürti, ACB Research Lab, Budapest. This conference is organised with the framework of the Kassák Museum’s long term research project into the art of the 1960s and 70s.
For more information see: http://www.translocal.org/contestedspheres/index.html