Call for Sessions: AAH Annual Conference 2011

37th AAH Annual Conference
31 March – 2 April 2011
University of Warwick, Coventry

Conference Convenor: Dr Louise Bourdua

Call for Sessions

Warwick 2011 invites the widest submissions to the 37th AAH Annual Conference. The 2011 Annual Conference is designed to showcase the diversity and richness of art history in the UK and elsewhere:

we are looking for an extensive chronological range from ancient to contemporary (with a healthy dose in the middle). We want sessions that are geographically inclusive of Western Europe and the Americas, the Middle East and Asia. We also want to ensure that we have a full range of methodologies on offer ranging from object-based studies, socio-historical analyses, theoretical discourses, visual culture of the moving image, exhibition cultures and display. We would particularly welcome anthropological and archaeological approaches to the History of Art. The sessions should finally reflect the composition of our wide constituency – independent or academic researchers (including students) and museum curators.

Call for Sessions – deadline 23 April 2010

Session proposals should be no longer than 250 words. They should include a title and abstract, the name(s) and contact details of the session convenor(s).
Session abstracts and a call for papers will be published in the June and October Bulletin in 2010.

Email: l.bourdua@warwick.ac.uk (please include AAH 2011 in your subject line).

Post: Louise Bourdua (AAH 2011), Department of History or Art, University of Warwick, Coventry, CV4 7AL, England, UK

Revista Idearte nº 6 – Call for Papers 2010

Idearte é uma revista online com o compromisso de divulgação de trabalhos teóricos no âmbito da História da Arte, da análise em Artes Visuais e representação artística numa diversidade de perspectivas teóricas e metodológicas, publicando artigos com temas desde a Antiguidade até à arte contemporânea.

Actualmente, estamos a receber propostas de artigos para o sexto volume da Idearte – Revista de Teorias e Ciências da Arte para ser publicada em Novembro de 2010. Serão considerados artigos teóricos e científicos sobre qualquer tema da história da arte, museologia, conservação, desde a Antiguidade até ao presente.

Data limite para entrega: 30 de Setembro de 2010

Todos os textos deverão ser enviados para: mail@idearte.org

Os colaboradores deverão incluir o seu nome, morada, nº de telefone e endereço de e-mail. Os artigos deverão ser enviados electronicamente por e-mail como formato Word e com as imagens e respectivas legendas em anexo. O texto não deverá exceder o máximo de trinta páginas em Times New Roman, tamanho 12 com espaçamento duplo.

Call for Papers

ICOM-CC 16th Triennial Conference in Lisbon – Call for papers an posters

Estão abertas as candidaturas de comunicações e posters para o congresso ICOM-CC 16th Triennial Conference, que se realizará em Lisboa em Setembro de 2011, subordinado ao tema “Património cultural versus identidade cultural – o papel da conservação”.

Consulte em http://www.icom-cc2011.org/
ou em http://www.icom-cc.org/244/triennial-conferences/16th-triennial-conference,-lisbon,-portugal/

O ICOM-CC é o maior dos comités do ICOM, contando com mais de 1.800 associados em todo o mundo. Integra 21 grupos de trabalho, abertos a conservadores-restauradores, cientistas, conservadores de museus, museólogos e diversas outras profissões ligadas ao património cultural. Mais informações em: http://www.icom-cc.org/9/working-groups/

Call for papers – Art in Translation: International Conference on Language and the Arts

Art in Translation: International Conference on Language and the Arts
University of Iceland and the Nordic House, Reykjavik
May 27-29, 2010

Like so many nations historically on the cultural and geographical fringes of globalized society, Iceland has seen tremendous growth in its presence on the international arts scene in recent years. And like visual artists, musicians, performers, filmmakers, writers, and arts professionals from other small language communities, many Icelanders have-whether by choice or necessity-embraced English as an integral aspect of the creation of and discourse on the arts, sometimes side-by-side with their native language, sometimes not. Such a practice seems to be inescapable for art and theory from these small language communities to be viable on the world stage. But what are the implications of this trend for artists, scholars, and audiences in any country and all language communities?

This conference on Art in Translation seeks to address how arts discourse across linguistic borders affects the production, reception, and interpretation of art, music, film and literature in a globalized context. The conference invites proposals from scholars, professionals, and graduate students from a wide range of disciplines (art, music, film, and literary history and theory, as well as linguistics, translation, anthropology, cultural studies, and other relevant fields). Equally welcome are proposals from practitioners in any field in the arts, whether in the form of conference papers or other types of presentations.

Possible questions include:

- In what ways does language privilege the arts and art theory in hegemonic language communities at the expense of others?

- How are transnational and/or nationally localized languages adapting to globalized art discourse?

- How are certain language communities without a longstanding art historical or art theoretical discourse adopting, translating, or codifying foreign terms and/or concepts that have not previously existed?

- What are the consequences (positive or negative) of artists employing a second or third language in their art creation?

Additional suggestions for possible topics may be found on the conference website.

Submission guidelines:

Abstracts should be no longer than 500 words. All proposals must include the presenter’s name, academic/professional affiliation (all fields and disciplines will be considered), mailing address, phone number and email address. Presentations will be 20 minutes in length.

Please submit your proposal by February 22, 2010 to info@inotherwords.is. Decisions will be announced by March 15.

Keynote speakers are Icelandic writer and translator Gudbergur Bergsson, Faroese artist Rannva Holm Mortensen, and French writer and historian Francois Cusset. Guy Maddin, acclaimed Icelandic-Canadian filmmaker, will hold a lecture and give a screening of his film Tales from the Gimli Hospital. A panel consisting of local artists Haraldur Jonsson, Karlotta Blondal and Jeannette Castioni will discuss issues of art practice and theory in a cross-national and cross-linguistic context.

The conference committee includes Gauti Kristmansson, Associate Professor of Translation and Literary Criticism, University of Iceland; Runar Helgi Vignisson, Associate Professor of Creative Writing, University of Iceland; Hanna Gudlaug Gudmundsdottir, Chair of Art Theory, Iceland Academy of the Arts; Birna Bjarnadottir, Chair of the Icelandic Department, University of Manitoba; and Shauna Laurel Jones, independent art historian and writer.

Conference manager: Shauna Laurel Jones, Koma ordum ad ehf. / In Other Words

CFP: Images at Work (Florence, 30 Sep – 2 Oct 10)

Kunsthistorisches Institut in Florenz, Max-Planck-Institut
30 September – 2 October 2010

According to legend, Virgil made a fly out of bronze and placed it above the gates of Naples.  The sole purpose of the bronze fly was to prevent other flies from entering the city.  The conference Images at Work will set out to explore the intention, function, and reception of images like Virgil’s fly: images made to influence the natural world. We seek to examine the theories behind the construction of these operative images, to interrogate how the production of apotropaic images related to the production of Art, and to question how the manufacture of such working images interacted with the production of other types of mechanical apparatus.

In contrast to religious miracle-working images that perform multiple miracles of varying types, and which, crucially, are usually perceived as operating in the world only subsequent to their creation, the images with which this conference seeks to engage had, in most cases, very specific, predetermined functions. The objective of Images at Work is thus to focus on the scientific and magical spheres of image production; it will consider these adjunctive images as both objects in space and actors in ritual.  The goal of the conference at the Kunsthistorisches Institut in Florenz will be to map the central issues regarding images that function in the natural world.  We aim to discuss the phenomena ascribed to this category of images historically, culturally, and geographically, employing a broad array of theoretical and disciplinary approaches. The conference will address the manufacture of images that work, their function in real as well as in imaginary realms, and their reception on both functional and aesthetic levels.

Paper topics could include discussions of apotropaic imagery, as well as a wide variety of automata, from mechanical armed guards to timepieces and astronomical clocks. The interaction between the function of religious “miracle working images” and scientific developments in image making, as well as the place of magic in the making of images that work are welcome subjects. Theories of the making of images that work, as well as discussions of workshop methods that address the interaction between images that work and the creation of typical images (i.e., Art), are also possible topics.

Scholars interested in participating in the conference are invited to send a 250 word proposal, a CV and a list of publications to the following address by 19 April 2010: jones@khi.fi.it

Conference organized by Ittai Weinryb, Ashley Jones, Hannah Baader and
Gerhard Wolf

International Fellowship Program for Art and Theory

Kunstlerhaus Buchsenhausen
Innsbruck, Austria

Website: www.buchsenhausen.at
Deadline for Applications: January 29, 2010 (postmark)

Call For Applications for a Fellowship 2010-2011
Kunstlerhaus Buchsenhausen invites visual and media artists, art critics, theorists, and curators to apply for a fellowship in 2010–2011. Candidates can apply for one or two semesters (October 1, 2010 – February 18, 2011 and/or February 21 – July 8, 2011).

Institution
Kunstlerhaus Buchsenhausen is a post-graduate center for production, research, exchange in the fields of visual arts and art theory. Within the framework of the International Fellowship Program for Art and Theory, the Künstlerhaus provides a platform that facilitates the development and production of artistic and art-theoretical projects in a critical context. At the same time, Künstlerhaus Büchsenhausen offers a forum for direct exchange between professionals – artists, theoreticians, critics, and curators – from the region and abroad, as well as a point of interaction with local interested audiences. Künstlerhaus Büchsenhausen is affiliated with the Tyrolean Artists’ Association, the major association of visual artists from the region.

Büchsenhausen brings together two programs under one roof. On the one hand, it is the site of the International Fellowship Program for Art and Theory. On the other hand, it is the location of several studios for artists based in Tyrol, who require space for working in a professionally interesting environment.

Fellowship Program
With its International Fellowship Program for Art and Theory, Büchsenhausen promotes internationally relevant artistic production, research, and discussion in the region of Tyrol. The program is based on the idea of generating and maintaining a context for production and discussion, in which artists and theorists can connect and reflect on international art and societal discourses in relation to local topics and issues. At the same time, it affords the opportunity for an artistic laboratory of experimentation, where new artistic practices and strategies may be tried out.

The program’s aims are:
* To improve the production of a qualified discourse on art and society in the local and global context;
* To improve exchange between cultural producers in the visual arts and beyond (creating a network of experts);
* To support and expand the critical, socially relevant artistic and art-theoretical production of knowledge;
* To facilitate the transfer of knowledge between the art field and the public outside the art context.

The program brings together the advantages of a residency with the possibilities of a postgraduate non-university lectureship, without offering a formalized educational program. In terms of content, the program addresses both the interested public in the region as well as a worldwide public made up of professionals in the fields of contemporary art, architecture, art and media theory and criticism.

The fellows are selected by a jury of experts following an open call for applications. They come to Büchsenhausen for one or two semesters to work on realizing their submitted projects or research, and accompany this process with public events. For this purpose, Büchsenhausen offers a monthly stipend, a production budget, working spaces, free lodging, and artistic and technical advice.

The conveyance and discussion of the fellow’s own work occurs parallel to the development of the individual projects. The public events take place in series. The focus of these series of events is determined by the respective emphases of the various fellows’ works. Within the framework of this discursive format, the fellows (or their guests) can present various points in their research, open up their works-in-progress to critical discussion, interact with experts who they invite, work through content with the public, and/or try out new ways of working.

For former and current fellows and their projects can be found here on this website under the menu item Fellows.

Eligibility
Professional visual/media artists, art theorists, art critics, and curators from all over the world are eligible for the fellowship.

Requirements
The candidates must submit a project proposal. Work on the submitted project forms the core of each fellow’s activities during his/her stay in Büchsenhausen. A description of a series of public events intended to accompany the individual work during the duration of the fellowship (four to six events) is also an integral part of the project proposal. If the application is successful, the fellows are required to specify the details of the presentation series and carry out the proposed program.

Selection
The selection of fellows is made by a jury of experts and based on the quality, originality, and relevance of the project proposal and the work samples submitted by the applicants. The jury includes the director of Künstlerhaus Büchsenhausen, a member of the board of the ‘Tyrolean Artists’ Association’ and one external expert.

The selection procedure occurs in two stages. In the first stage, the submitted applications are evaluated and the jury makes a shortlist of candidates who will be invited to Büchsenhausen for personal interviews. The personal interview with the jury forms the second stage. For the interview, the applicants have to come to Innsbruck to personally present their working plans and aims during the fellowship.

For the full text of the call, more information on the application procedure, financial questions, etc. please consult the website or contact us at: office@buchsenhausen.at, phone +43 512 278627, fax -11.

CFP: Concept & Future of Nature in Contemporary Art (Paris, 31 May-1 Jun 10)

Redefining the Concept & Future of Nature in Contemporary Art

Symposium, 31st of May and 1st of June 2010, université Paris 1 Panthéon-Sorbonne, INHA.

In December, the United Nations will host its 15th Conference on climate change in Copenhagen. In this same city, the Staten Museum for Kunst opens its exhibition entitled Nature Strikes Back, twinned with an international symposium addressing the relationships between art, nature and technology. This follows a precedence set by the Barbican Art Gallery, London, which recently looked back over the last few years of artistic production. The Barbican’s exhibitors were also faced with the notion of an endlessly changing planet, and included Land Artists, active environmentalists, experimental architects and representatives of the new generation. Paris followed with (In)habitable ? L’art des environnements extrêmes, heldat the Maison Européenne de la Photographie. The exhibiting artists tried through various means, and by exploiting new technologies, to explore and re-appropriate with humour, the poetry and utopia inherent within the concept of Nature.

The idea of questioning the idea of Nature is far from original, nevertheless when confronted with increasing ecological problems and the emergence of new science; the concept is constantly renewed and forced to take on new forms. Paradoxes appear when damaging new technologies, such as the perpetration of mass industrialisation, simultaneously hold the answer to healing their own assaults on our ecology. Public opinion becomes lost in these paradoxes and finds no answer, whether we have faith in science, or are supporters of sustainable de-growth. Up until the 1980s, artists were united under their wish for a return to original Nature, whereas our contemporaries are no longer gathered under a common banner.

Nature is then not uniquely used for promoting ecology, but as a material to reflect the wide ranging scope of society’s problems. This has lead Kin Levin, in the catalogue Trans’Plant : Living vegetation in contemporary art (Hatje Catz Publishers, 2000), to conclude: ‘Artists using plants today have little in common except they share the crucial anxieties of our time.’ Anxiety for the deterioration of our environment, fear for new sciences which, by dint of helping humans dominate nature, their nature, have lead to its uncontrollability. The question is how can we define Nature, or rather redefine it, confronted as we are with these new forms of creation, hybridisation and manipulation?

This symposium will aim to propose a new and/or completed definition of the idea of Nature by focusing all papers on contemporary art. Firstly, it will take issue with an idea of contemporary nature, evoking nations of cultural landscape alongside the metamorphosis of society’s problems.
Secondly, it will question the relationship which binds us with Nature, even whilst genetic manipulations proceed apace, frequently blurring the lines between human beings and the animal kingdom.

Topic may include but are not
limited to:
- cultural landscapes/emerging landscapes
- relationship art/Science Fiction
- decadence and attraction to new technologies
- disenchantment
- ecology

Abstract (300 words) should be submitted to Marion Duquerroy
(marionduquerroy(at)yahoo.fr) before the 28th of February 2010.
Presentations will be expected not to exceed 30 minutes.