CFP: Handbook of Heritage Law and Discourse

Call for papers for an edited Volume

Handbook of Heritage Law and Discourse. A Triadic Dimension: Protection, Regulation and Identity

Editors: Le Cheng and Anne Wagner. Publisher: Springer.
Deadline: Feb 28, 2019

The past four decades has witnessed the remarkable extension of enthusiasm in cultural heritage or property from the perspective of international laws, or international legal framework as the multilevel legal instruments for safeguarding, protection and maintenance of cultural heritage, property, or rights. In our project, the identification of “Heritage” employs specific discourses, codes, transcending values, and images that conceal assumption about members of a people comprising a people within a nation. Heritage narrates constructions of belongings that become tethered to negotiations for power and resistance over time and throughout a people’s history leading to powerful discursive narratives. While such likeness may be preserved, conserved or even perpetuated, the idea of “Heritage” may be socially, politically, culturally, and historically contested to reveal competing pasts, presents, and futures, esp. with innovation in arts leading to new social norms and identities. Continue reading “CFP: Handbook of Heritage Law and Discourse”

CFP: African Ivories in the Atlantic World, 1400-1900 (Lisbon, February 25-27, 2019)

African Ivories in the Atlantic World, 1400-1900

International Conference
University of Lisbon
February 25-27, 2019

Deadline for proposals: October 5th, 2018

The Centre for History of the University of Lisbon (CH-ULisboa) organizes the International Conference African Ivories in the Atlantic World, 1400-1900, at the School of Arts and Humanities of the University of Lisbon, 25-27 February, 2019.

The organizing committee welcomes paper proposals on the following topics:

  • History of the African elephant’s environment, hunting and ecology
  • Laboratory methods for testing and preserving African elephant ivories
  • Production of ivory objects in Africa and the Americas
  • Elephants and ivory: religious significance and power discourse
  • Elephant ivory in the history of African art
  • African elephant ivories and the history of technical arts
  • Ivory and ethnomusicology
  • Circulation and trade of raw and carved ivory in Atlantic settings
  • Collections and daily uses of African ivories in Europe and the Atlantic World

Proposals should be sent using the following form: http://www.centrodehistoria-flul.com/marfinsafricanosiii.html

For more information about this conference see: http://www.centrodehistoria-flul.com/marfinsafricanosiii.html#EN

For further inquiries you can also contact directly TIAMSA member Luís U. Afonso: luis.afonso@letras.ulisboa.pt

 

CFP: JOURNAL OF GLOBAL STUDIES AND CONTEMPORARY ART, REG/AC, Vol. 5 (2018)

Open call for participation in the thematic issue

Cultural Translation in Artistic Contexts

Guest Editors: Modesta Di Paola
Complutense University of Madrid, Spain

Critical Cartography of Art and Visuality in The Global Age: New Methodologies, Concepts, and Analytic Scopes – CCAV / Art, Part III. R + D Project (I +D +I HAR 2016-75100-P)

Art Globalization Interculturality, R + D Project (AGI/ART II: 2017 SGR 577)

PI: Dr.a Anna Maria Guasch

Abstract reception deadline: October 30, 2018
Article submission deadline: February 15, 2019

The Journal of Global Studies and Contemporary Art is an indexed journal and an open access publication focusing on visuality, contemporary artistic practice, and intercultural conflict through a global perspective. It is associated to the Art, Globalization, Interculturality (AGI) research group at the Department of Art History, University of Barcelona.

Theme
Recently critical theories and contemporary artistic practices use the concept of “visual translation” in the process of transmission and reception of contemporary art. The interest in translation, from a transcultural and global perspective, has brought about new approaches to historical artefacts in art history research, leading to an ever-increasing dissolution of boundaries between the various disciplines of art history. Many theories bring Art History, Political Philosophy, Visual Studies, and Translation Studies together to shape a new methodology. Nevertheless, the concept of translation has been articulated as a hermeneutical means to understand the complexity of contemporary works of art in which text and image coexist. It is also true that recent intuitions – especially coming from world art theorists – aimed to establish connections between arts and translation. Yet within critic theory there has never been a concrete research work with the purpose to identify the status quaestionis of a long-time neglected but crucial topic: visual translation. Continue reading “CFP: JOURNAL OF GLOBAL STUDIES AND CONTEMPORARY ART, REG/AC, Vol. 5 (2018)”

CFP: The Artistic Taste of Nations (Amsterdam, 13-14 Jun 2019)

The Artistic Taste of Nations: Contesting Geographies of European Art, 1550-1815

Vrije Universiteit Amsterdam
June 13 – 14, 2019

Deadline: Nov 15, 2018

Researchers are invited to submit papers scrutinizing the impact of the early modern notion of ‘school’ on the emergence of a geographical understanding of the visual arts in Europe. As an organizing principle in art collections and art books, this notion was used to indicate a range of different kinds of places, including artists’ workshops, art academies, cities, regions and nations in Europe. Its application was far from standardized, however, as evidenced by the broad debates, negotiations and contestations amongst scholars, collectors, dealers, agents and artists concerning the nature, prestige and identity of art and artists. Depending on the contexts in which such debates took place (e.g. scholarship, collecting, the market or aesthetics), the notion of school could be associated with issues of taste and civilization, human variety and national character, nature and climate, and commerce or knowledge. The concept of school was thus based on the location of certain practices and modalities of art, although it was equally suited to the active shaping of ideas about the European art world and, possibly, even about the nations of Europe. The early modern concept of school thus did not coincide with the modern notion of national school. The extent to which it influenced modern forms of national-school classifications of art and national art history (which are currently under critical scrutiny by art historians with a geographical interest in the artistic exchange, transfer or circulation of early modern art) is open to debate (Gaehtgens 1993, Kaufmann 2004, Maës 2010). Continue reading “CFP: The Artistic Taste of Nations (Amsterdam, 13-14 Jun 2019)”

CFP: Le musee comme terrain (Paris, 20 Nov 18)

Paris (EHESS/ENS)
November 20, 2018 – June 11, 2019

Deadline: Oct 7, 2018

En 2018-2019, un atelier doctoral portant sur Le musée comme terrain: stratifications des héritages coloniaux, sera proposé en lien avec le séminaire EHESS-ENS Réécrire le passé colonial : enjeux contemporains des collections de musée, afin de saisir de façon concrète la nature des collections dans leur dimension matérielle.

En travaillant avec la notion de biographie des objets et des collections, on interrogera le musée sur ce qu’il peut nous apprendre de « la vie sociale » des ensembles collectés en contexte colonial entre la fin du XIXe et la première moitié du XXe siècle. Cette recherche visera à appréhender, dans leurs complexités et leurs contradictions, des fonds qui constituent les traces matérielles des héritages coloniaux dans différents musées français et allemands. Chaque séance se déroulera dans une institution différente, musée ou archive, et la recherche sera organisée en collaboration avec un-e conservateur/trice du musée, un-e commissaire d’exposition, un(e) artiste ou un(e) archiviste. En s’invitant dans les coulisses de l’institution, il s’agit d’observer les différentes pratiques des professionnels du musée (classement, restauration, présentation), d’analyser en somme les processus de patrimonialisation des objets. En effet, l’anthropologie du musée vise à démêler et à transmettre les multiples épistémès qu’il recouvre et au sein desquels les objets prennent sens. Les visites organisées dans les musées donneront lieu à des études de cas approfondies qui permettront de valider l’atelier.

L’atelier s’inscrit dans l’axe « Anthropologie des héritages coloniaux » du Centre Maurice Halbwachs, CMH (CNRS, École des Hautes Études en Sciences Sociales de Paris, ENS/ PSL Research University). D’autres institutions et projets sont associées à l’atelier: le Département d’histoire de l’art de l’Université Paris 1 Panthéon-Sorbonne, le Département d’Arts Plastiques de l’Université Paris 8 Vincennes Saint Denis, le Département de sciences sociales de l’Ecole normale supérieure, Humboldt-Universität zu Berlin (The Centre for Anthropological Research on Museums and Heritage), la Technishe Universität de Berlin, l’Université Paris Lumières pour le projet Glissements de terrain. Les collections muséales réinvesties par le champ de l’art contemporain (2017-2018) et l’Ecole des Chartes.

Il débutera le 20 novembre 2018 avec un atelier de travail dans les archives photographiques du Musée du Quai Branly – Jacques Chirac et sera ouvert à un nombre limité de doctorant.e.s.

Les doctorant.e.s intéressé.e.s doivent envoyer une courte présentation de leur recherche doctorale (max. 3 pages) et un CV, avant le 7 octobre, via email : reecrirelepasse@gmail.com et heritage.doctoralschool@gmail.com

Page facebook de l’atelier: https://www.facebook.com/events/903448683179624/

Equipe de l’atelier:

Felicity Bodenstein, postdoctorante Technische Universität, Berlin
Benoît de L’Estoile, directeur de recherche au CNRS, professeur à l’ENS
Damiana Otoiu, maître de conférences à l’Université de Bucarest
Dominique Poulot, professeur à l’Université Paris 1 Panthéon-Sorbonne
Laurella Rincon, conservatrice du patrimoine au ministère de la Culture/École normale supérieure
Anna Seiderer, maître de conférences à l’Université Paris 8 Vincennes-Saint-Denis
Nathan Schlanger, professeur à l’École nationale des Chartes
Margareta Von Oswald, doctorante à l’EHESS

Reference: CFP: Le musée comme terrain (Paris, 20 Nov 18). In: ArtHist.net, Sep 24, 2018. <https://arthist.net/archive/19020>.

CFP: Circulating Photographs: Materials, Practices, Institutions (Rome, Bibliotheca Hertziana, March 18–22, 2019)

A photo-historical course organized by the Bibliotheca Hertziana (Max Planck Institute for Art History) Rome and the Folkwang Universität der Künste Essen

Deadline: October 22, 2018

Photography has always been a powerful tool of communication and has developed into an instrument of our everyday experience: Through photographs we are able to communicate quickly and easily with each other. As a medium of social interaction, photographic images are used as a handy alternative to language, supplementing or even replacing it. They transport us to sites and individuals, connecting the distant and the temporally remote. This far-reaching development is increasingly driven by the digitization of our everyday culture. Photography is both part of this process, and its most visible expression. Continue reading “CFP: Circulating Photographs: Materials, Practices, Institutions (Rome, Bibliotheca Hertziana, March 18–22, 2019)”

CFP: Das Junge Rheinland (Duesseldorf, 22-24 May 19)

Haus der Universität
Schadowplatz 14
40212 Düsseldorf
22. – 24.05.2019

Deadline: Oct 21, 2018

Das Junge Rheinland – founded, failed, forgotten?
Das Junge Rheinland – gegründet, gescheitert, vergessen?

Das Junge Rheinland was one of the first artists’ associations founded in Germany after the First World War. Between 1919 and 1932, around 400 artists gathered around the association, which pursued the goal of creating exhibition opportunities and “visibility” for young Rhenish art locally and nationwide. Das Junge Rheinland became a rallying point for artists and intellectuals of various tendencies and disciplines – painters, graphic artists, architects, designers, poets and actors – who wanted to promote both the Rhenish cultural scene and networking with artists in other regions. Among the most important protagonists were the painters Gert Wollheim, Arthur Kaufmann, Adolf Uzarski and Max Ernst, the poets Herbert Eulenberg and Theodor Däubler, art historians such as Karl Koetschau and Walter Cohen, directors of the municipal art collections, and the art dealers Alfred Flechtheim and Johanna Ey.

On the occasion of the 100th anniversary of its foundation in 2019, an international symposium on Das Junge Rheinland shall give new impulses for research on the network of the artists’ association; the conference will take place from May 22nd to 24nd, 2019, while the exhibition “Too good to be true – Das Junge Rheinland” (Museum Kunstpalast, February 7th – June 2nd, 2019) will still be open. The conference intends to give room for an in-depth examination of the extensive network of artists in Das Junge Rheinland, shedding light on all phases of the artists’ association, from its foundation in spring 1919 to the spin-off of the Rhine Group (1923) and its reunion to the Rhenish Secession (1928).

The aim of the conference is to present new research results on this important chapter of modernity in the Rhineland and to stimulate further discussion of the topic. The following questions are of particular interest: How can the political circumstances that contributed to the foundation of the Young Rhineland in 1919 be evaluated? What role did the association’s or its members’ own political orientation play? What significance did Das Junge Rheinland have in comparison to other artist groups of the interwar period? Which art dealers and collectors were important for Das Junge Rheinland? How has the group been received over the past 100 years?

Contributions to the following topics are welcome, too:

  • Das Junge Rheinland in comparison to other networks of artists in the 1920s and 30s
  • Female artists among Das Junge Rheinland
  • Exhibition systems of the 1920s and 30s
  • Arts and Crafts in Das Junge Rheinland
  • Schools of Arts and Crafts in the Rhineland and their impetus on the Rhenish art scene
  • Relations with institutions (galleries, art associations, museums, etc.)
  • Religious tendencies in Das Junge Rheinland
  • Architects, writers, stage designers in Das Junge Rheinland
  • art criticism

Please send abstracts of up to 2500 characters to Prof. Dr. Andrea von Hülsen-Esch (huelsen-esch@phil.hhu.de) by October, 21, 2018. The presentations should not exceed 20-25 minutes, leaving enough time for discussion.

Organizer:
Univ. Prof. Dr. Andrea von Hülsen-Esch
Heinrich-Heine-University Düsseldorf,  Institute for Art History
Universitätsstraße 1, Geb. 23.32
40225 Düsseldorf
Germany

Reference: CFP: Das Junge Rheinland (Düsseldorf, 22-24 May 19). In: ArtHist.net, Sep 15, 2018. <https://arthist.net/archive/18867>.