CFP: Fotografie und Oekonomie (Basel, 6-7 Jun 19)

Basel, 06. – 07.06.2019
Deadline: Mar 8, 2019

Fotografie und Ökonomie 
5. Workshop der AG Fotografieforschung

Der diesjährige Workshop der AG Fotografieforschung widmet sich dem Thema «Fotografie und Ökonomie» und stellt dahingehend die grundsätzliche Frage, auf welche Weisen sich mit Fotografie Geld verdienen lässt. Medienpraxis im Allgemeinen lässt sich außerhalb eines ökonomischen Rahmens nicht denken. Und so stellen sich spezifisch für die Fotografie die Fragen, welche Praktiken es sind, die zum Geldverdienen führen, aber auch, welchen (ökonomischen) Bedingungen die Anfertigung und die Verbreitung von Fotografien unterworfen sind. 

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ANN: Workshop “Watteau, Gersaint And The Art Trade In Paris Under The Regency: A New Contextualisation Offered By Digital Technologies”, 12th March, 2019, Vienna

The Vienna Center for the History of Collecting is very pleased to announce its forthcoming workshop “Watteau, Gersaint And The Art Trade In Paris Under The Regency: A New Contextualisation Offered By Digital Technologies” led by Prof. Sophie Raux.

Date: 12th March 2019, 10:00-12:00

Location: Institute für Kunstgeschichte, Seminarraum 4, Garnisongasse 13, 1090 Wien

Places are limited. Please register by 5.3.2019: darthistaustria@gmail.com

CFP: The Formation and Development of New Markets (Workshop 3), London.

International Workshop Series

Tools for the Future: Researching Art Market Practices from Past to Present

We are pleased to invite you to participate in the third of our International Workshop son the formation and development of new and emerging markets organised in London. This workshop is part of the International Workshops Series “Tools for the Future: Researching Art Market Practices from Past to Present”, jointly organised by ART-Dev University Paul Valéry Montpellier 3, Creative Economy-HKU University of the Arts Utrecht and IESA & Institute of Historical Research, London. Through individual presentations followed by group discussions, the series aims at bringing together scholars from different disciplines and areas of study of the art market to confront key issues and related methodologies that can be used to analyse the structures and principals of the art market. Previous workshops were, respectively, on art collectors and the artist as an entrepreneur.

As the art market has developed worldwide, there have been many instances where new areas of producing, trading, collecting and valuating art have emerged onto the market, very often reaching record-breaking prices. This workshop focuses on examples of new paradigms and new ways that art markets function, whether in the primary or secondary sector, the aim being to analyse and understand the mechanisms by which a particular ‘product’ enters the art market, considering who are the main players of such changes, collectors, institutions, dealers or other agents. Equally, it would be interesting to explore market types that have not succeeded or gained a foothold. There are many well-known and well studied areas of innovation in the market, among which can be cited the 17th century imports of Chinese and Japanese ceramics, lacquers and textiles, the development of a market for 17th century Dutch and Flemish paintings in Paris and London during the 18th century, or the rise of the Barbizon school in 19th-century Paris, while we have seen the emergence of photography and street art as important areas of contemporary collecting, or even African art. New art forms such as digital and video art raise questions as to whether existing models of agency are still appropriate and thus, whether new technology is fundamentally changing the creation, trade, consumption and validation of art.

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Apply Now: “Currents and Currency. Cultural Circulations in the Mediterranean and Beyond.” June 13-15, 2019, Antalya

We invite abstract submissions for the 3-day workshop ‘Currents and Currency. Cultural Circulations in the Mediterranean and Beyond’, to be held in Antalya, Turkey, at the Koç University Suna & İnan Kıraç Center for Mediterranean Civilizations (AKMED) on June 13-15, 2019. Antalya is a Mediterranean inlet, with an overlapping archive of historical legacies, and Turkeyʼs gateway to its southern Mediterranean shores.

The current emphasis on migrations and cultural circulations in humanities corresponds to a re-turn to theMediterranean in literary and cultural studies.Currents and Currency: Cultural Circulations in the Mediterranean and Beyondaims to bring togethercultural works that constitute alternative archives of the Mediterraneanin order toreassessthe current geographical divides that shape typical understandingsof the Mediterranean and beyond. It thusopens upcomparative paradigms that suggestnewperspectives on translation, circulation, migration, art, and literature.What can circulation and currency tell us about current Mediterranean cultural productions? How do they travel? Do they leave traces?

​We encourage submissions engaging with diverse Mediterranean cultural and artistic productions from the 19th to the 21st century, including, but not limitedto:literature,photography,artistic productions, travel narratives, cinema, and documentaries, as well as TV series.

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ANN: Exhibiting (and) History (Rome, 6-7 Dec 18)

Rome, Bibliotheca Hertziana – Max Planck Institute for Art History, December 6 – 07, 2018

Workshop

Concept and organization: Maria Bremer (Bibliotheca Hertziana)

Conceived within the framework of the research initiative “Rome Contemporary,” this workshop will be aimed at developing novel perspectives on the relationship between exhibition practice and history from 1960 to the present. The encounter intends to address this relationship by focusing on postwar and contemporary examples worldwide, proposing both a historical and a methodological reflection. Especially since the postwar time, as the understanding of art has been expanded to include artistic practices beyond singular artworks, exhibitions too experienced significant transformations. Hitherto mainly object-based, they diversified into a range of discursive, contextual, and performative formats grounded in modes of acting rather than just modes of showing. These processual and activating formats engage more firmly with a broader social nexus, weaving themselves into the processes and contingencies involved in the making of history. Thereby, they draw our attention to the capacity of exhibitions to both mediate and impact their historical time, to spatialize or enact historical concepts, and, in so doing, to potentially offer new models for historiographical work.

The list of participants speaks to the broad disciplinary scope of the workshop: Louisa Avgita (University of Ioannina), Raffaele Bedarida (Cooper Union, New York), Ana Bilbao (Afterall Research Centre, London), Beatrice von Bismarck (Academy of Visual Arts Leipzig), Ana Bogdanović (University of Belgrade), Nanne Buurman (Kunsthochschule Kassel), Eleonora Charans (IUAV University, Venice), Davor Ereš (University of Belgrade), Flavio Fergonzi (Scuola Normale Superiore, Pisa), Anthony Gardner (University of Oxford), Jonida Gashi (Academy of Albanian Studies, Tirana), Kristian Handberg (University of Copenhagen), Sharon Hecker (Independent), Britta Hochkirchen (Bielefeld University), Catalina Imizcoz (Central Saint Martins, London), Vincent Normand (ECAL/University of Art and Design Lausanne), Vanessa Parent (University of British Columbia, Vancouver), Clarissa Ricci (IUAV University, Venice), and Simon Sheikh (Goldsmiths College, London). By convening such a diverse group of scholars, we mean to start a conversation around an expanded notion of exhibiting as entangled in and impacting the historical conditions of its time, and – not least importantly – to re-examine the ways in which art historical research can contribute to the broader field of exhibition studies.

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PROGRAM

Thursday, December 6, 2018

10:00 – Welcome (Tristan Weddigen)

10:10 – Introduction (Maria Bremer)

10:30-13:00 – Session I

Beginning with the attempt to locate the exhibition historically, we will discuss its roots in western modernity (Vincent Normand), retracing, in a second step, its currently decreasing specificity and unsettled future (Ana Bilbao). After situating our object of inquiry, our aim will be to concentrate on the ways in which – since the postwar time – exhibition practice has mediated events of contemporary history. By modulating or adjusting their structure, function, format, as well as the form and canon of their individual exhibits, exhibitions have responded or reacted to episodes of their time, such as the protests of 1968 (Clarissa Ricci) or Cold War politics (Kristian Handberg; Britta Hochkirchen).

13:00 – Lunch

14:00-15:30 – Session II

Moving beyond the mediating relationship of exhibitions to history, what will be at stake, then, is their increasing agency in constructing the (art history of the) present, by establishing or disseminating categories of relevance through formats ranging from biennials (Ana Bogdanović/Davor Ereš) to private gallery exhibitions (Flavio Fergonzi).

15:30 – Break

16:00-18:00 – Session III

Delving deeper into curatorial poetics, we will further highlight the aptitude of exhibitions to translate preexisting concepts of history, from universalizing to genealogic and nostalgic models, into the expository realm (Nanne Buurman). Conversely, a philosophy of the present as ‘the contemporary’ has recently been founded at a global scale through a specific, constellational and trans-historical exhibition practice (Louisa Avgita). Elucidating how the philosophy of ‘the contemporary’ has rendered linear and teleological patterns obsolete will then lead us to focus on the current state of scholarly historiographical work.

Friday, December 7, 2018

10:00 – Introduction (Maria Bremer)

10:30-12:30 – Session IV

At once attempting to anticipate future trajectories, we will ask whether expository practices could possibly offer new models for historiographical methods. Since their early feminist (Vanessa Parent) and postcolonial (Catalina Imizcoz) declinations, exhibitions have called into question conventional, hegemonic historiographies. Their participation in the rewriting of history can be further examined by looking at a widespread phenomenon, the reconstruction of exhibitions. We will discuss how such techniques of repetition, enacted in the exhibition medium, resonate with assumptions of curatorial evidence production (Beatrice Von Bismarck), to then dwell on the various effects of expository re-stagings (Eleonora Charans).

12:30 – Lunch

13:30-15:00 – Session V

In the context of expository reenactments, it appears that privately funded recreations of fascist exhibitions (Raffaele Bedarida/Sharon Hecker), or state-driven, public presentations of political archives (Jonida Gashi) urge us to refine our investigation of exhibition practice and its spheres of impact.

15:00 – Break

15:30-18:00 – Session VI

In our concluding session we will thus proceed to discuss viable ways of revisiting the “undisciplined” (Anthony Gardner) realm of exhibition history. By disentangling its categories; reassessing the impact of documentary records (and the lack thereof) (Gardner); or acquiring instruments from conceptual and social history (Simon Sheikh), the discipline can progress beyond the ongoing canonization of ‘curator-authors’ and ‘masterpieces.’

The workshop will be held in English. Participants will engage in group discussion, after each gives a brief presentation about their respective topics. No registration required. See the program at: http://www.biblhertz.it/en/news/event-calendar/

Workshop: International Workshop The Artist as an Entrepreneur & Career Paths, HKU University of the Arts Utrecht, December 17-18, 2018

The series of workshops is organised by ART-Dev University Paul Valéry Montpellier 3, Creative Economy-HKU, and IESA & Institute of Historical Research, London.

This is the second of a series of three international workshops aimed at bringing together scholars from different disciplines and areas of study of the art market, to confront issues in the history of the art market with those of contemporary practice, and to shed light on common patterns and differences, with a focus on the ir strategic impact on the market.

Application Deadline Dec. 7th, 2018

Registration form 

Full programme

 

Conference: Probing Provenance: Sources, Methods and Implications

Institute of Historical Research, Senate House, Malet St, Bloomsbury, London WC1E 7HU, March 28, 2018
Registration deadline: Mar 27, 2018

PROBING PROVENANCE: SOURCES, METHODS AND IMPLICATIONS

A Workshop for Researchers in the History of Collecting, Provenance and Art Market, organised by the Society for the History of Collecting

Date: 28 March 2018

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