News tagged:

Paris

  • Conference: Ecrits et paroles d'artistes dans la Guerre froide (Paris; 4-5 November 2015)

    Institut d’études de l’Islam et des sociétés du monde musulman (EHESS), Paris, France, November 4 - 05, 2015
    http://iismm.ehess.fr/index.php?1611

    ECRITS ET PAROLES D’ARTISTES D’AFRIQUE DU NORD DU MOYEN-ORIENT ET DE L’EUROPE DE L’EST DANS LA GUERRE FROIDE (1947-1989)

    Journées d’études organisées par Catherine Fraixe (ENSA, Bourges) et Monia Abdallah (UQÀM, Montréal) avec le soutien du ministère de la Culture et de la Communication

    Institut d’études de l’Islam et des sociétés du monde musulman
    École des Hautes Études en Sciences Sociales
    Salle Lombard (rez-de-chaussée)
    96, avenue Raspail 75006 Paris

    PROGRAMME

    Mercredi, 4 Novembre

    9h30 Accueil

    10h Introduction
    Catherine Fraixe (ENSA, Bourges) et Monia Abdallah (UQÀM, Montréal)

    Session 1 Ecrits et paroles d’artistes. Contextes

    10h30 Magda Predescu (Musée national d’Art contemporain, Bucarest)
    Le dialogue interculturel par l’intermédiaire des structures transnationales pendant la Guerre froide

    11h Yang Wang (Luther College, Iowa)
    Solidarity of Ancients : Shi Lu’s Art Theory and China’ s Alignment With the Third World

    11h30 Fanny Gillet (EHESS, Paris)
    Constructions sociales et solidarités tiers- mondistes dans l’ Algérie post-indépendante (1960-1980): pour un art «nécessairement» politique

    12h Débat

    Session 2 Ecrits et paroles d’artistes. Positionnements

    14h Clare Davies (Metropolitan Museum of Art, New York)
    Decolonizing Culture: Third World, Moroccan, and Arab Art in Souffles/Anfas, 1966-1972

    14h30 Nadia Yaqub (University of North Carolina, Chapel Hill)
    Palestine and Third Cinema in the Arab World of the 1970s

    15h Alia Nakhli (Université de La Manouba, Tunis)
    Le colloque sur les styles contemporains des arts plastiques arabes (septembre 1972): thèmes et enjeux

    15h30 Morad Montazami (Tate Modern, Londres)
    Hamed Abdalla: entre les lignes du modernisme, se réinventer

    16h Entretien: Latifa Toujani (artiste plasticienne, Maroc) – Monia Abdallah (UQÀM, Montréal)

    17h Débat

    Jeudi, 5 novembre

    Session 3 Ecrits et paroles d’artistes. Circulations

    10h Perin Emel Yavuz (ARVIMM, Paris)
    Le(s) tournant(s) de l’ art stambouliote, importation ou appropriation du modèle européo-américain? Lecture des écrits du Sanat Tanimi Toplulugu (The Art Definition Group)

    10h30 Mohieddine Hadhri (Université de La Manouba, Tunis)
    Les Journées Cinématographiques de Carthage: une plateforme de promotion culturelle du Sud à l’ époque de la Guerre froide (1966-1989)

    11h Christa-Maria Lerm Hayes (University of Amsterdam)
    Avoiding Texts and Statements: Art in Eastern European Peripheries During the Cold War and Its Mediation

    11h30 Débat

    Session 4 Ecrits et paroles d’artistes. Archives

    14h Kristine Khouri et Rasha Salti (History of Arab Modernities in the Visual Arts Study Group, Beyrouth)
    In the Labyrinths of Exhibition Histories : The International Art Exhibition for Palestine, Beirut 1978

    15h Vali Mahlouji (Archaeology of the Final Decade, Londres)
    An Archaeological Guide for the Deployment of an Archive

    15h30 Maud Houssais (L’ appartement 22, Rabat)
    L’ espace de documentation de L’ appartement 22

    16h Magda Predescu (Musée national d’Art contemporain, Bucarest)
    La revue électronique docu.magazin

    16h30 Débat

    17h Conclusion
    Monia Abdallah et Catherine Fraixe

  • Conference: Globalismes (Paris; 24 October 2015)

    INHA, 2 rue Vivienne, 75002 Paris, October 24, 2015
    Globalismes
    Journée d’étude de la revue Marges
    Samedi 24 octobre 2015

    Le constat d’un « art global » offre, depuis la fin des années 1980, une riche matière de réflexion aux théoriciens et aux historiens de l’art ainsi qu’aux commissaires d’exposition et aux professionnels des musées. Pour cette journée de la revue Marges, il s’agit d’interroger des récents regards qui entendent l’art contemporain comme synonyme de global art, «globalisme» en tant qu’antithese de l’universalisme dans la mesure où il décentre une vision du monde unifiée, en s’orientant vers des modernités multiples. La littérature produite par les Global Studies met en avant deux approches : la première relie l’art contemporain à l’évolution du musée, des biennales, des foires, etc., à la lumière de la globalisation économique, la deuxième dénonce les inégalités dans les modalités d’accès au monde de l’art contemporain et considère que les processus d’institutionnalisation ne fonctionnent pas de la même manière pour tous. Cette dernière dénonce aussi l’assimilation des nouveaux arrivés soumis et réduits par les codes et les formats imposés par le marché international.

    L’art global, serait-il en train de se transformer en nouveau canon contemporain qui, à l’instar des anciens —ismes du XXe siècle, annulerait les complexités et, en codifiant des réalités diverses sous forme d’un récit homogène et stable, légitimerait certaines productions au détriment d’autres? Comment la théorie/la recherche/les pratiques curatoriales peuvent-elles, le cas échéant, intervenir, pour inverser ou conforter cette tendance? Quelles possibilités concrètes y a-t-il de refuser un canon et de créer de nouveaux outils pour penser de nouvelles perspectives pour l’art de notre temps?

    INHA, Salle Giorgio Vasari

    2 rue Vivienne, 75002 Paris (Métro Bourse). Entrée libre.

    9h15 Presentation de Ia joumée

    9h30 : « Too early too late. Modernité et contemporanéité. Moyen Orient », par Michela Gulia (University of Palermo)

    10h : « L’art contemporain comme lieu de production d’un discours post-identitaire » par Metyem Moulay (EHESS)

    10h30 : Discussion

    10h45 : Pause

    11h : « La Stararchitecture » par Camille Rouchi (Université Paris 1)

    11h30 : « De I’Occident en Chine, l’étude de l’expression art abstrait » par Shiyan Li (Aix-Marseille Université, LESA)

    12h : Discussion

    12h30 —14h : Déjeuner

    14h : « Une critique d’art d’un autre genre, la critique d’art chinoise » par Anny Lazarus (Aix-Marseille Université, AMIJ)

    14h30 : « Comment articuler le local dans le global : la traduction Afrique du sud » par Katja Gentric (Université de Bourgogne)

    15h : Discussion

    15h15 : Pause

    15h30 : « Modernidade art brésilien du 20e siècle dislocation et assimilation à l’aube de la globalisation » par Camila Bachelany (EHESS)

    16h : « Permanences et mutations dans les perceptions de l’art est-européen » par Jovan Mrvaljeic (Université Paris 8)

    16h30 : Conclusion de la journée

  • 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.