Application deadline: January 15, 2016
Call for Applications
The Berlin-based FORUM TRANSREGIONALE STUDIEN invites scholars to apply for up to ten postdoctoral fellowships within the framework of the research program ART HISTORIES AND AESTHETIC PRACTICES. KUNSTGESCHICHTE UND ÄSTHETISCHE PRAKTIKEN for the academic year 2016/2017.
ART HISTORIES AND AESTHETIC PRACTICES is a research and fellowship program which questions and transcends traditional disciplinary boundaries of art history in a transcultural, global horizon. By creating a space of dialogue for scholars from all continents and regions, it aims to discuss the potentials and contours of a plural history of art. It especially invites scholars from Islamic, Asian, African, Australian, European art histories and those of the Americas to join the program, but also addresses neighboring disciplines such as Archaeology and other fields dealing with the history of visual cultures. ART HISTORIES AND AESTHETIC PRACTICES analyses the connectivity of larger historical spaces in a transregional perspective and investigates artistic and aesthetic practices and the history of artifacts in a comparative approach, experimenting with new methodologies and forms of collaborative research. The concept of AESTHETIC PRACTICES introduced by this program, is an invitation to study artifacts with their biographies as well as processes of transfer and transformation in a transcultural, postcolonial and global perspective. The program has no chronological or geographical constraints. It collaborates with the museums of Berlin, the Berlin universities, as well as other international and national academic partners, and aims at an intense interaction of art historical institutions. Its scholarly environment is designed to enable and encourage both fellows and the wider community to experiment and refine transregional approaches to the history of visual cultures and aesthetic practices.
For more detailed information about the program please visit http://www.art-histories.de/
FOR COMPLETE INSTRUCTIONS ON APPLYING, SEE FULL POST
AAH2017: 43rd Annual Conference & Bookfair
Thursday 6 April – Saturday 8 April 2017
Call for Session Proposals
Deadline 18 April 2016
AAH2017 will celebrate the expansive spectrum of histories, theories and practices that characterise art historical research today. Internationally, the field of art history is eclectic and inclusive, reaching across geopolitical, cultural and disciplinary divides to extend our understanding of the visual and material culture of many diverse periods and places. At Loughborough, we are engaged with art history, contemporary practice and visual culture, linking arts-based research with advances in design, technology, media and communication, centred on the development of more sustainable and equitable global communities.
We welcome proposals for sessions from scholars, practitioners and professionals in the field whose work focuses on art, architecture and/or design from any time period or geographical location. Sessions are invited to reflect the breadth of the field from historical analysis and contemporary criticism to practice-led research and work in curating, conservation and arts/heritage management.
Session format: Conference sessions are usually framed in the standard format of eight, 25-minute papers, presented in 35-minute slots over a single day. We can accommodate alternative session formats, such as world cafe, round table or open discussions, providing that they fit with the standard time-tabling structure. We envisage that the majority of session proposals will follow the standard format, but if you would like to propose an alternative format session, please indicate on the form the type of format your session would follow and how this would be organised.
Submission of Session Proposals
Session proposals should include a title and abstract (no longer than 250 words), and the name(s) and contact details of the session convenor(s). If your session proposes an alternative format, please include details of this in the proposal.
Deadline for session proposals: 18 April 2016
To be submitted to the Conference Convenor using the Loughborough conference email address: AAH2017@lboro.ac.uk
Marsha Meskimmon AAH2017@lboro.ac.uk
with Marion Arnold, Julia Kelly, Gillian Whiteley and Alison Yarrington.
Session abstracts and a call for papers will be distributed with Bulletin 122 and 123, June and October 2016.
This is the first UK solo show of the award winning Russian artist, Evgenia Arbugaeva (b.1985. Russia). The exhibition will include two bodies of work Weather Man (2014) and Tiksi (2010).
Weather Man is inspired by the solitary life of a meteorologist living on a remote peninsular in northern Russia. Having met Vyacheslav Korotki by chance on a journey through the artic, Arbugaeva remained at his outpost for two weeks, photographing his day-to-day life, unique surrounding and the isolation of his existence.
Tiksi depicts Arbugaeva’s hometown, a Siberian settlement on the shore of the Arctic Ocean. Featuring ethereal images the series captures the light, landscape and spirit of the town through the personal story of Tanya, a young local girl.
PAVEL FILONOV. WITNESS TO THE INVISIBLE.
Among the prominent artists of the Russian avant-garde, Pavel Filonov perhaps one of the few that is still virtually unknown to Western audiences. The name of Pavel Filonov, however, was a mystery until recently not only in the West but also in Russia. The 66 works in this first exhibition of Filonov in Spain come to discover this master. About his work a strict ban that would extend over almost five decades was imposed. In 1929 a monographic exhibition of the artist waited almost a year in the halls of the Russian Museum in Leningrad then without actually opening their doors to the public. However, the first monographic exhibition of Filonov had to wait until spring 1988, when it opened at the Russian Museum. In February 1990 an exhibition of the artist opened in Paris at the Georges Pompidou Center, which was followed by another in the same year, at the Kunsthalle in Dusseldorf.
Origins of the Russian Avant-Garde by John Bowlt, 25 November; Issue of forgery of Russian Avant-Garde, 2 December.
The dramatic experiments in Russian art of the first half of 20th century constitute a primary contribution to the history of Modernism. The object of this cycle of lectures is to revisit these innovations and to place them in a comparative context — taking due account of concurrent philosophical doctrines, material culture, the literary and performing arts and socio-political change. We will look at the cultural as well as geographical boundaries of Russian art, and its contact with the developments in Western European art. Against the different political phases, we will examine and critically discuss the shifts in the cultural context as well as the development of different artistic movements in this most dramatic period in the history of Russian art.
FOR COMPLETE DESCRIPTIONS OF THE LECTURES, SEE FULL POST
The exhibition BALAGAN!!! Contemporary Art from the Former Soviet Union and Other Mythical Places, with 150 works by 75 artists from 14 countries from Russia and the former East, will run across three spaces in central Berlin from 14 November to 23 December this year.
The exhibition and accompanying catalogue integrates the idea and reality of balagan within both a Russian and international historical context (particularly with that of Russian Symbolism and the avant-garde). A number of related lectures, discussions and symposia will be taking place at Max Liebermann Haus, ICI Berlin, and Hamburger Bahnhof.
Artists’ List and further details can be found at http://momentumworldwide.org/
Jacobs University, Bremen, Germany, December 3 - 06, 2015
Peripheral Expressionisms: Artistic Networks and Cultural Exchange between Germany and its Eastern Neighbors in the Context of the European Avant-garde
Jacobs University, Bremen, December 3-6, 2015
Funded by the Federal Government Commissioner for Culture and the Media and Jacobs University, Bremen
FOR THE COMPLETE PROGRAM, SEE FULL POST
Department of Humanities and Social Sciences, Jacobs University, Campus Ring 1, Bremen, Germany, Room 32/33, Lab III (Laboratory for Behavioral and Social Sciences) November 26 - 27, 2015
Registration deadline: Nov 19, 2015
RUSSIAN ART: BUILDING BRIDGES BETWEEN EAST AND WEST
IN MEMORIAM DMITRY SARABYANOV
Russian Art and Culture Group, Third Graduate Workshop
Dmitry Sarabyanov (1923–2013), long-time head of the Department of Russian Art History at Moscow State University, was among the first scholars in the USSR to reconsider the so-called “formalist” artists, who had been denounced for ideological reasons, thus marking a turn in postwar Soviet thinking about Russian art. The third graduate workshop of the Russian Art and Culture Group focuses on a key aspect of Sarabyanov’s scholarship, the artistic dialogues between Russia and its neighbors to the west and to the east.
FOR THE COMPLETE CONFERENCE PROGRAM, SEE FULL POST
The Gospel Circle of Vassily Polenov
26 November 2015, 6pm
The Courtauld Institute of Art
A screening and discussion of The Gospel Circle of Vassily Polenov will take place at the Lecture Theatre, The Courtauld Institute of Art.
Vassily Polenov was one of the most important Russian painters of the Peredvizhniki art movement in the late nineteenth century. He is remembered primarily for his sublime landscapes. However, the deeply religious Polenov considered the series of paintings on the life of Christ his most important work. He was the only Russian artist who made long trips to the Middle East to study nature and characters for his “Gospel Circle.”
The film is directed by Elena Yakovich, with participation of the writer Alexander Ilichevsky. The producer of the film is the artist’s great-granddaughter, Natalya Polenova, founder of the Vassily Polenov Association.
After the screening there will be a round-table discussion with Elena Yakovich, Alexander Ilichevsky, and Natalya Polenova, followed by a wine reception.
Entrance is free but advance booking via The Courtauld Institute website is essential.
International Symposium: Avant-Garde Migrations
Calouste Gulbenkian Foundation, Lisbon, November 19 - 20, 2015
Organised by: Art History Institute, Universidade Nova de Lisboa
Calouste Gulbenkian Foundation, Lisbon
with the support of RIHA (International Association of Research Institutes in the History of Art)
Nina Gourianova - Northwestern University, Chicago
Enric Bou - Università Ca Foscari Venezia
Béatrice Joyeux-Prunel - École normale supérieure, Paris
The Symposium proposes an interdisciplinary and cross-cultural analysis on avant-garde forced and deliberate migrations in the twentieth century, in particular during the so-called “interwar” period (1918-1939). It seeks to debate the significance of artistic migrations for both avant-garde formations and individual artists (painters, illustrators, poets, writers, architects, designers, photographers, film makers, etc) by considering not only major “émigré” movements from “peripheries” to well established artistic centres, as Paris, Berlin or Moscow, but also lesser known nomadic tendencies and circuits within regions and continents, those caused by the two world conflicts, and those triggered by less accounted for political, social, cultural, or personal circumstances.
This is not just another forum on art in emigration, the topic well researched in the past two decades. Instead, while discussing the diversity of the twentieth century “migration phenomenon”, and the prevailing international character of the avant-garde movement, the Avant-garde Migrations Symposium aims at observing the significance of cultural and artistic circuits, transfers, collaborations, dialogues and confrontations within groups and formations that cannot be entirely considered under the umbrella of straightforward centre/periphery dichotomies. We would like to question the validity of the well-established methodological frameworks strictly operating within the concepts of “artistic influences” or “assimilation of pre-fixed styles”, which often feel outdated and dogmatic when applied to the arts being produced.
This Symposium will address the effects of avant-garde artists’ motion between places, its contingent and historical factors, the national and trans-national grounds of artistic production, as well as cultural and artistic intersections, meetings, discoveries, paradoxes and exchanges streaming from translations, travel, escape, dislocation and exile.
FOR THE COMPLETE SYMPOSIUM PROGRAM, SEE FULL POST