13 mai 2013 |
re2g
Professeur ordinarius au département d’histoire de l’art de l’université Adam Mickiewicz, Poznan, Piotr Piotrowski est professeur invité du Labex Transfers, du 15 mai au 15 juin 2013. Spécialiste de l’histoire de l’art en Europe centrale après 1945, Piotrowski prône une « histoire de l’art horizontale » qui renouvellerait les historiographies traditionnelles, et décentrerait en particulier l’histoire de l’art moderne de ses problématiques et de sa géographie traditionnelles. Plusieurs de ses publications ont été traduites en anglais et en francais. Notamment In the Shadow of Yalta. Art and the Avant-garde in Eastern Europe, 1945-1989. London : Reaktion Books, 2009, éditions française et italienne en préparation. Et And Art and Democracy in Post-Communist Europe, London : Reaktion Books, 2012.
Plus d’information : http://www.staff.amu.edu.pl/~piotrpio/.
Le Professeur Piotrowski donnera les cours, séminaires et conférences suivantes à l’École normale supérieure :
- 16 mai, dans le cadre du séminaire ARTL@S: présentation personnelle et discussion avec Jérôme Bazin (Univ. de Créteil) : «The Communist Geography of Arts after 1945 : other centralities, other universalities». Ecole normale supérieure, 45 rue d’Ulm, amphi Rataud, 13h30-15h30
This study addresses the question of so-called realistic artistic production in Communist countries—often considered marginal because this kind of creativity failed to correspond to the traditional definitions of art history and was made in peripheral regions—laying the east of the Iron Curtain. But in the context of the Cold War and the opposition between two dominant universal ideas—Capitalist and Communist—proponents of this realism attempted to implement a geography of alternative art, a geography in which this art would not be considered as peripheral.
In the vast and diverse geopolitical Communist milieu, other central places, platforms, and networks have also been developed. These are not merely traces of those existing in the West, but rather have been designed to follow the objectives of realistic art: to create an art that is close to the people and to the working class. It is this construction of a Communist universality, based on the relationship of local and daily experiences, which will be discussed here.
- Jeudi 30 mai, séminaire ARTL@S : conférence : « Globalizing Eastern Europe. The Global NETwork. An Introduction to Comparative Art History». ENS, amphi Rataud, 13h30-15h30
At the beginning of the 1970s Jarosław Kozłowski and Andrzej Kostołowski invented NET – a global network of artists who wanted to exchange their thoughts. This was the first such idea created in the
Eastern Block, and one of the first in the entire world. Ultimately over the course of more than a dozen years a few hundred people from both Eastern and Western Europe, the United States, Latin America, and Asia participated in this initiative. This paper does not aim to describe the project itself, but rather takes it as a point of departure for an analysis of the different contexts in which artworks circulate, in an effort to arrive at a theoretical approach to comparative art history. Piotrowski understands this concept not necessarily in the way that the circulation of ideas caused them to be influenced by each other, but rather how different geo-historical circumstances lie behind their meaning in context, how they illuminate each other—something that was not always perceived by the public that visited NET exhibitions.
We may thus be able to differentiate aspects of global culture as they were developed at the time, that are otherwise usually seen as homogeneous and west-centric, existing in a one-way relationship between the metropolis and its periphery.
- 14 juin, dans le cadre du colloque international Global Art History and the Peripheries (12-14 juin, ENS et INHA) : Keynote Address : Towards a Horizontal Art History Institut national d’histoire de l’art, 2, rue Vivienne (Paris 2e), Salle Walter Benjamin, 14h30-15h30
The point of departure of this paper is the idea of “horizontal art history,” published some years ago. The horizontal approach of art history challenges the dominant geopolitical narrative of modernism, and its unilateral and hierarchical denomination of centers (points of diffusion) and peripheries (areas of reception). Its main issue is to see modern art historical production in a couple of “historical cuts,” such as – for example – late 1940s. (beginning of the Cold War), 1968 (worldwide revolution), and 1989 (the end of the Cold War and a wake of “globalization”). The question, however, is: how art history, understood both as academic and curatorial practices, is able to take part in a global resistance movement called “alter-globalist,” against political processes responsible for the present crisis of democracy in the world?”
- Vendredi 14 juin, Global Art History and the Peripheries. Participation à la table ronde : « Which place for the peripheries in global art history ? » avec Christophe Charle, James Elkins, Carmen Popescu, David Cottington, Piotr Piotrowski, and Béatrice Joyeux-Prunel, modérée par Catherine Dossin. Institut national d’histoire de l’art, 2, rue Vivienne (Paris 2e), Salle Walter Benjamin, 14h30-15h30
Plus d’information : www.artlas.ens.fr
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16 avril 2013 |
re2g
La légendaire valise, contenant des négatifs de la guerre d’Espagne signés Robert Capa, Gerda Taro et Chim, était considérée comme perdue depuis 1939. Miraculeusement retrouvés au Mexique, ces documents, restitués à l’ICP (International Center of Photography) en 2007, ont fait l’objet d’une exposition présentée à New York en 2010, puis aux Rencontres internationales d’Arles en 2011.
Après l’Espagne (Barcelone, Bilbao et Madrid), l’exposition est présentée pour la première fois à Paris dans une nouvelle scénographie conçue par Patrick Bouchain.
En savoir plus
Voir la bande-annonce de l’exposition

Dimanche 21 avril 2013 à 15 h
“L’engagement des brigadistes et des intellectuels juifs dans la guerre d’Espagne
Avec :
Alexandre Adler, fils de volontaire de la guerre d’Espagne, écrivain et éditorialiste au Figaro
Rémi Skoutelsky, historien, auteur notamment avec Michel Lefebvre de l’ouvrage Les Brigades internationales. Images retrouvées (Seuil, 2003)
Jean-Jacques Marie, historien, auteur de la postface de l’ouvrage de Sygmunt Stein, traduit du yiddish, Ma guerre d’Espagne, Brigades internationales : la fin d’un mythe (Seuil, 2012)
Anne Mathieu, maîtresse de conférences en littérature et journalisme du XXe siècle à l’université de Lorraine, directrice de la revue ADEN. Paul Nizan et les années trente
Gila Lustiger, écrivain, fille de l’historien et écrivain allemand Arno Lustiger, auteur notamment de Shalom Libertad ! Les Juifs dans la guerre civile espagnole (éditions du Cerf, 1991)
Dorota Felman, fille de brigadiste, centre de civilisation française de l’université de Varsovie, traductrice
Coordination : Michel Lefebvre, journaliste au Monde
En savoir plus
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16 avril 2013 |
re2g
Interdisciplinary postgraduate conference – call for papers
Keynote speaker – Dr Matthew Rubery, Queen Mary University of London
How did the rapid period of industrialisation in the nineteenth and twentieth centuries help to shape societies and lifestyles in the West? What types of social changes, movements and developments characterise this time period? This interdisciplinary postgraduate conference, in affiliation with the Centre for the Study of Cultural Modernity and hosted by the College of Arts and Law, seeks to explore the various ways in which this century was one of ‘motion’, in every sense of the word. The conference title seeks to encapsulate both the uncertainty and upheaval of this period as well as the physical and cultural movements that occurred at this time. We invite papers addressing these themes from postgraduate researchers and early-career academics working on this period from a variety of backgrounds.
Topics could include, but are not limited to:
Cultural or social movements
• political movements
• the Women’s Movement
• arts movements (musical, artistic, literary)
• religious and philosophical
• popular cultural trends (food, fashion, advertising)
Physical movements
• mass movement of people (mobilisation of soldiers, migration from towns to cities)
• transatlantic and inter-continental travel (including emigration and immigration)
• leisure and tourism
• transport
• changing landscapes
Development and progress
• media (cinema, audio technology and radio, print media)
• scientific and medical advances
• technology
• economic growth and/or recession
• development of nationhood
These headings are suggestions only; we welcome proposals exploring crossovers between these topics, or addressing them from interdisciplinary perspectives. Abstracts of 250-300 words for 20 minute papers along with a short biographical note of no more than 50 words should be sent to pgculturalmodernity@contacts.bham.ac.uk by the 17th May 2013. We welcome any questions that you may have; please do not hesitate to contact us at the above address.
For more information about the Centre for the Study of Cultural Modernity please visit their website:
http://www.birmingham.ac.uk/research/activity/culturalmodernity/index.aspx
www.facebook.com/pgculturalmod
http://pgculturalmodernity.wordpress.com
Source: H-ArtHist, Apr 15, 2013.
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4 avril 2013 |
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Call for Papers for the panel: Reciprocal Exchanges: Regionalisms and Modernisms in Dialogue (As part of The Southeastern College Art Conference 2013 Annual Conference, Greensboro, NC)
Recently, art historians have zealously endeavored to decenter or re-center formulations of modernisms (or Modernisms) away from the dominant urban centers of Paris, Berlin, London, and New York and toward artistic activities in more peripheral locations. Though exploring the native milieux of various modern artists has illuminated the significance of regional academic traditions and aesthetic preferences, as well as historical contingencies of place and geography, these studies have often privileged analysis of these peripheral circumstances over creating dialogue with the narratives of modernism that still prevail within much of art history. In contrast, this session will explore how considerations of ‘periphery’ inform those of ‘center,’ and vice versa, asserting that neither alone may sufficiently address the influences and outputs in these projects of scholarly recentering. Possible paper topics may include secessionist challenges to regional academies in Europe, educational opportunities or exhibitions complementing or extending those of hegemonic institutions, geographically decentered iterations of modernist movements in dialogue with their metropolitan counterparts, or individual artists who moved between regions as their careers progressed. Preference will be given to projects that address art created or displayed between 1850 and 1950 and embrace interdisciplinary methodologies.
Session chairs: Shannon Connelly, Rutgers University, and Mary Manning, Rutgers University.
Contact: connelly.shannon@gmail.com
Information about The Southeastern College Art Conference (SECAC), abstract guidelines and submission procedures is available at:
https://secac.memberclicks.net/assets/documents/secac/conference/secac_2013_call_for_papers.pdf
Please use SECAC’s online form and submit your abstract and CV no later than midnight on April 20, 2013.
Source: H-ArtHist, Apr 1, 2013.
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2 avril 2013 |
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La prochaine séance du séminaire ARTL@S a lieu dès ce jeudi 4 avril, de 13h30 à 15h30, à l’Ecole normale supérieure. Nous accueillerons le Professeur David Peters Corbett, professeur invité à l’ENS ce mois-ci, Professeur à East Anglia University (Norwich).
Cette séance prolonge notre réflexion sur la question de l’intégration des “périphéries” à l’histoire de l’art, et sur les effets d’un décentrement géographique et disciplinaire dans nos recherches.
David Peters Corbett a fortement contribué à renouveler l’histoire de l’art par ses travaux sur la peinture anglaise et britannique depuis le 19e siècle, dans une perspective transnationale, notamment anglo-américaine. Il nous présentera ses travaux actuels sur la peinture urbaine américaine, et son lien avec les traditions de la peinture de paysage, “The American City and the Transnational, 1880-1930″.
La séance aura lieu en salle de l’IHMC, de 13h30 à 15h30 (escalier D, puis au fond du couloir). Un rendez-vous est proposé dans le hall d’entrée de l’ENS, à 13h15.
Je vous invite déjà par ailleurs aux séances suivantes du séminaire :
- le 18 avril sera consacré à la question des traductions (la traduction est-elle toujours le fait des périphéries ? Comment utiliser le phénomène des traductions en histoire de l’art en général), avec Blaise Wilfert-Portal (ENS/PSL), Claire Guérin (Artlas) et Céline Berchiche (Paris 1).
- la séance du 25 avril sera une véritable après-midi, organisée en partenariat avec Ségolène Le Men, professeur à l’Université de Nanterre, et portera sur la place de la Belgique dans les circulations artistiques depuis le 19e siècle – une Belgique dont la présence centrale relativise fortement les approches en termes de centres et périphéries. Nos invités : John Davis, Pr. à Smith College (USA) et Terra invited Professor à Paris pour 2013, Laurence Brogniez, Pr. à l’Université Libre de Bruxelles et coordinatrice du programme ARC MIM “Bruxelles”, Tatiana Debroux (ULB), Noémie Goldmann (ULB) et Catherine Dossin (Purdue University).
Plus d’infos:
Béatrice Joyeux-Prunel
Maître de conférences
Histoire de l’art contemporain
Ecole normale supérieure, 45 rue d’Ulm, 75 005 Paris
beatrice.joyeux-prunel@ens.fr
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1 avril 2013 |
re2g
RE2G – Liste participants – 1er avril 2013
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20 mars 2013 |
re2g
Présentation par l’éditeur:
“Après plusieurs années de quête de documents visuels inédits, témoins vivants de l’exil russe, l’historien et iconographe Andrei Korliakov livre, dans son nouvel ouvrage Culture russe en exil, Europe 1917-1947, un récit émouvant, destiné à tous ceux qui s’intéressent à la culture et à l’émigration russes en Europe, mais aussi à ceux qui se passionnent pour l’art.
Ce recueil de documents visuels, pour la plupart rarissimes, paru aux éditions YMCA-PRESS le 12 mars 2013, est le cinquième et le plus gros volume de la série l’Émigration russe en photos, 1917-1947 ; 2 100 images de tous genres, évoquant ceux qui contribuèrent à conserver et à développer en exil leur culture d’origine, s’étalent sur les 720 pages de ce nouveau volume.
Des photographies professionnelles ou d’amateurs, des dessins, des cartes postales, mais encore des images publicitaires, des affiches, des coupures de presse et des négatifs sont mis au coeur de Culture russe en exil, Europe 1917-1947, composé autour de huit volets thématiques. Ce sont la photographie et le théâtre, le cinéma et les arts plastiques, la musique, le ballet et les danses populaires russes, la littérature, les maisons d’édition et la presse, les expositions et les journées de la culture russe.
Dans Culture russe en exil, Europe 1917-1947, Andrei Korliakov relate en détail le parcours des artistes slaves – des photographes, des metteurs en scène et des cinéastes, des hommes de lettres et des journalistes, des peintres et des architectes – depuis les premiers jours de leur émigration. De Gallipoli et Constantinople, en passant par les pays Baltes, la Serbie, la Croatie, la Tchécoslovaquie, la Bulgarie, la Hongrie, la Belgique, l’Allemagne, l’Espagne, jusqu’à, bien sûr, la France… Plus de 1 100 noms d’exilés sont cités. Ce faisant, l’auteur dévoile, avec beaucoup de précisions historiques dans les commentaires accompagnant chaque image, le quotidien des artistes, vedettes comme M. Doboujinsky, S. Lifar, I. Mosjoukine, I. Bounine et d’autres, mais aussi des amateurs, dont les noms, pour le lecteur d’aujourd’hui, sont ressuscités grâce à l’ouvrage.
Culture russe en exil, Europe 1917-1947 est un des rares livres à proposer une réflexion sur l’impact de la culture sur la vie en exil. Cet ouvrage constitue une nouvelle référence historique en matière de sauvegarde du patrimoine culturel russe à travers le monde.”
Culture russe en exil, Europe, 1917-1947, Paris, YMCA-PRESS, 2013, 2 100 photos (trichromie), 720 pages, ISBN : 978-2-85065-275-2
Télécharger la présentation complète de l’ouvrage: DP_CULTURE RUSSE EN EXIL
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11 mars 2013 |
re2g
Amphi Rataud
- Sophie Orlando, HICSA, Paris 1 Panthéon-Sorbonne : La pensée du décentrement dans la mondialisation artistique.
- Béatrice Joyeux-Prunel, ENS, Artl@s : Quelle place réelle pour les périphéries dans la Global Art History ? état des lieux du débat
L’accès à l’amphi Rataud se fait par l’entrée des bibliothèques (entrer par le 45 rue d’Ulm, traverser la Cour aux Ernests, tout droit, jusqu’à la cour Rataud et le bâtiment des bibliothèques).
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7 mars 2013 |
re2g
Présentation de l’exposition par le musée:
“Artiste français, Paul Jacoulet (1896-1960) arrive au Japon en 1899, où il séjournera la plus grande partie de sa vie. Il voyage en Corée, en Chine et en Micronésie où il se rend à de nombreuses reprises pour faire des portraits des habitants. À travers ses estampes et dessins, il représente les hommes et les femmes qu’il a rencontrés avec un regard à la fois intime, esthétique et ethnographique.
Plusieurs grandes thématiques permettent de voyager dans son oeuvre abondante et singulière : la vision d’artiste-ethnographe d’un ailleurs devenu quotidien et intime, la représentation des tatouages et des parures mais aussi de certains rituels ou encore la composante érotique qui caractérise certains portraits.
L’exposition réunit plus de 160 dessins, croquis et estampes exceptionnels issus de la donation faite au musée du quai Branly en 2011 par Madame Thérèse Jacoulet-Inagaki, fille adoptive de Paul Jacoulet, ainsi que les trois autres héritiers-donateurs – Messieurs Chisei Ra, Louis Young Whan Rah et Shozo Tomita. Un ensemble de bois utilisés pour la préparation des estampes, des objets du musée du quai Branly et du Museum national d’Histoire naturelle de Paris, ainsi que des programmes audiovisuels complètent cette présentation.
Pour retrouver en ligne l’ensemble des œuvres de la donation Jacoulet, suivez ce lien et effectuez une recherche sur le terme “Jacoulet”.”

Plus d’infos: www.quaibranly.fr
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7 mars 2013 |
re2g
Présentation de l’exposition par le musée:
“Voici la première grande rétrospective, depuis plus de vingt ans, consacrée au modernisme belge vers 1920. L’avant-garde belge historique est illustrée à travers les beaux-arts, l’architecture, l’art décoratif, la typographie, la photographie, le cinéma, la musique, la littérature et le théâtre. Des protagonistes belges tels que Marthe Donas, Jozef Peeters, Jules Schmalzigaug, Victor Servranckx et Georges Vantongerloo côtoient des contemporains étrangers comme László Moholy-Nagy, Vassily Kandinsky, Fernand Léger, Kurt Schwitters et Theo Van Doesburg. Plusieurs grands musées étrangers prêtent des œuvres majeures pour cette exposition.”
A noter: une très belle section de (trop rares) photographies.

Georges Vantongerloo, Etude n° III, 1920, © Musée des Beaux-Arts Gand.
Plus d’infos: www.mskgent.be
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18 février 2013 |
re2g
A three-day interdisciplinary symposium will be hosted by Art History at Sodertorn University,11-13 September 2013. Its focus will be the European avant-gardes of c. 1910-1 30, with a certain focus on those of the Nordic Countries and Central and East ern Europe,and their relation to the Parisian avant-garde.
The cultural energies released in central Europe by the collapse of the Soviet Union in 1989 have, over the succeeding two decades, driven the recovery and exploration of the profound and complex histories of avant-garde activi ties and artistic modernisms across this continent. Moreover, the recent development of archival resources towards new, open access has facilitated the potential production of new knowledge and renewed questioning of modernist art history. As a result, many features of the art-historical land scape of the first third of the twentieth century are changing. Perhaps fore most among these changes is the recognition that the paradigm of Paris-both as capital of modernism and headquarters of the artistic avant-garde-that was until recently taken as unquestioned in its influence during this period, has yielded to an awareness of differences between nation al-cultural discourses of modernism, and between the artistic groupings of cities across Europe that sprang up, in the years either side of the first world war.
What is now urgently needed is an exploration of theoretical tools for the study of the early avant-garde and its transnational strategies, as well as a mapping of the research within the field that is now developing in different parts of Europe. This symposium is intended as a starting-point for such (a) collective project (s).
Keynote speakers: Professor David Cottington (Kingston University,London) Professor Piotr Piotrowski (Adam Mickiewicz University,Poznan)
Venues: Sodertorn University and Moderna Museet, Stockholm .
Proposals for papers are invited on any of the following themes:
-the ‘nodes’ of the avant-garde network that emerged in Europe, including the Nordic countries, Central and Eastern Europe, on their relation to the Parisian avant-garde and their transnational strategies, as well as on the inter-relations between artistic and other (e.g. literary) avant-gardes in the period.
- the role of Cubism, both in motivating and shaping the dynamic of these relations and, as a lingua franca of modernism, in articulating (via the dialects it generated) the modernisms to which these relations gave rise, and
- a consideration of the present spectrum of methodologies and theories of the study of the early European avant-garde and cultural transfer.
Proposals should include the paper’s title of paper, name, address and e-mail of contributor; a summary of the contribution; and a short biography, includ ing main publication and area of expertise. Finally, contributors should write briefly about their visions and intentions for future research. Hotel and travel expenses are offered to contributors. Proposals can be sent through the form at the conference website: www.sh.se/euroavantgarde2013.
More info : Dr. Annika Ohrner annika.ohrner@telia.com
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8 février 2013 |
re2g
The Journal of Surrealism and the Americas has just published its latest, “U.S. issue,” at: http://jsa.asu.edu/index.php/jsa
Summary:
Notes for a Historiography of Surrealism in America, or the Reinterpretation of the Repressed (i-ix)
Samantha Kavky
What Makes a Collection Surrealist: Twentieth-Century Cabinets of Curiosities in Paris and Houston (1-23)
Katharine Conley
Dalí, Magritte and Surrealism’s Legacy, New York, c. 1965 (24-38)
Sandra R. Zalman
‘What Makes Indians Laugh’: Surrealism, Ritual and Return in Steven Yazzie and Joseph Beuys (39-60)
Claudia Mesch
Feature Review: Cracking Up an Alligator: Ethnography, Juan Downey’s Videos, and Irony (61-86)
Hjorleifur Jonsson
Book Review: Effie Rentzou, Littérature Malgré Elle: Le Surréalisme et la Transformation du Littéraire (87-90)
Pierre Simon Taminiaux
Exhibition Review: “In Wonderland: the Surrealist Adventures of Women Artists in Mexico and the United States” (91-94)
Susan L. Aberth
Source:H-ArtHist, Feb 3, 2013.
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8 février 2013 |
re2g
CFP: Art and gender: women creators in Latin America
Deadline: Feb 28, 2013
Org: Ana Paula Cavalcanti Simioni (professor, IEB/USP-Brazil), Maira Ishtar de Luca (PhD student, Efisal/CRAL-EHESS), Deborah Dorotinsky (researcher, IIE-UNAM, Mexico)
For this edition of Artelogie we intend to explore on the one hand the possible intersection between artistic creation (production) and gender relations, and on the other, the relationship that gender studies have with those of territoriality. We aim to establish a dialogue between scholars working in and on Latin America.
Since the publication of Linda Nochlin’s well known essay “Why have there been no great women artists?” (1971), we can assert that women’s scarce presence in the History of Art became a prolific topic of research, capable of generating a methodological renewal of the discipline.
This edition of Arteologie dedicated to Women producers, mostly in the visual arts (painting, sculpture, design, architecture, decoration, fashion, etc.) but not exclusively, can become a privileged opportunity to bring together researchers in Latin America and elsewhere already involved in the topic.
We propose here to have studies on art and on gender converge with postcolonial theories. The latter as decisive contributions to the political critique of the universal subject, predominant actors of traditional art historical narratives, usually centered in the myth of the artist as genius, solitary transgressor that supposes a male subject, preferably white and western. (Griselda Pollock, Tamar Garb). Feminist studies have put forth assertive critiques to the sexist purposes that impregnate the categories on which judgment, selection and values within canonical art historical discourse is founded.
Abstracts (1 page) must be sent by e-mail before 28/02/2013 to: ana.simioni@hotmail.com ; deborah.dorotinsky@gmail.com ; mairaishtar@gmail.com. The editorial committee will make a selection before 30/03/2013. In case your abstract is selected, completed article must be sent by 30/06/2013.
Texts are welcomed in French, Spanish, Portuguese and English.
Full CFP in French, Spanish and Portuguese in http://cral.in2p3.fr/artelogie/spip.php?article188
Source: H-ArtHist, Feb 4, 2013.
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8 février 2013 |
re2g
This international conference brings together the Colección Patricia Phelps de Cisneros, CSIC, Saint Louis University and the Reina Sofía in order to investigate the artistic and intellectual dialogue between Spain and Latin America during the twentieth century. It forms part of the Reina Sofía’s mission to become a platform for the study and representation of Latin American art in Europe. The conference has been planned to coincide with the exhibition “La invención concreta: Colección Patricia Phelps de Cisneros”(23 Jan – 16 Sept). In this way the studies and debates here proposed will help to rethink dominant historiographies of modernism and modernity – a revisionist undertaking that has been promoted by the Reina Sofía through its exhibitions, public programs and publications.
A growing interest in the study of modern art from Latin America has helped to question the legacy of Modernism, and the way in which the formalist canon has legitimized boundaries between centre and periphery. The relationship between the avant-gardes and Modernism has been a complex history of competing narratives which continue to debate the political and aesthetic agendas of the avant-garde. Resisting absorption into the Modernist canon, championed by Greenberg’s notion of ‘self-criticism’, many avant-garde practices in Spain and Latin America were fueled by utopian desires to create a new society through the agency of art. Their experimentations gave rise to innovative and radical practices which have helped to revise dominant historiographies of modern art. Many of these works were the result of transatlantic encounters between artists, critics and curators working from these two geopolitical spheres.
Rather than looking at specific movements, this conference aims to explore the notion of the avant-garde as it relates to the experience of modernity, and the way in which a political and aesthetic vanguardia was shaped by post-war art and politics between 1920 and 1970. The specific nature of avant-garde and neo avant-garde practices, and the way which transnational dialogues helped to delineate artistic discourses in Spain and Latin America, will be the guiding reflections behind this event. Through keynote speakers and papers, the different sessions aim to present the most current research contributing in this way to a better understanding of Modernism from a transnational perspective.
We invite proposals that address the following:
• The way in which the concept of a national avant-garde in Latin America and Spain challenged the cosmopolitan nature of vanguardismo – thereby manifesting the complexities of avant-garde projects outside the main cosmopolitan centers of New York and Paris.
• The complex negotiation between history and modernity, originality and tradition.
• The way in which the utopian projects of the historical avant-gardes transformed and adapted to the socio-political problems of Spain and Latin America in the 50s, 60s and 70s.
• The artistic and intellectual exchange between Spain and Latin America during the first half of the twentieth century.
• The relationship between artists and critics in the articulation of an aesthetic and political avant-garde, and the mechanisms of representation and display that responded to these.
The papers will be divided between the following sessions. Please specify in your abstract to which of these your proposal responds.
Session 1: Encounters between Spain and Latin America
Session one explores new routes of exchange that bypass the Paris – New York axis, establishing in this way new cartographies and journeys that highlight exchanges between avant-garde movements that have not been sufficiently considered by current historiography.
Session 2: Museography, representation and curatorial narratives
Session two considers the significance of museography and exhibitions in the dissemination or institutionalization of avant-garde projects between 1920 and 1970, as well as current curatorial narratives and mechanisms of display that offer revisionist readings of this period.
Session 3: Genealogies, and avant-garde discourses
Parting from the study of artistic practices, session three analyzes the role of art criticism and theory in the construction of avant-garde discourses. It will seek to establish a genealogy of practices,vocabularies and concepts that reflect the particularities of avant-garde production in Spain and Latin America.
Session 4: Modernity and modernism(s): discrepancies and displacements
Session four debates the legacy of the modernist canon and formalism as discourses that have helped to legitimize the boundaries between centre and periphery. Considering concepts like ‘margins, periphery, alterity and divergence’ this session seeks to reveal the fissures of a complex geopolitical map.
Confirmed keynotes: Gabriel Pérez Barreiro and Andrea Giunta
Deadline 28th of February 2013.
Proposals must consist of a 500 word abstract and CV (two pages maximum). Please send to Paula Barreiro López paula.barreiro@cchs.csic.es
The official language of the conference will be Spanish but papers in English will be accepted.The results will be communicated on the 25th of March.
A limited amount of financial aid to cover the costs of travel and accomodation is available. If the proposal is accepted the participants may request this kind of aid, but must justify that no other sources of funding are available. The scientific committee will then decide how these funds will be allocated.
Conference Convenors:
Paula Barreiro López; Instituto de Historia, Centro de Ciencias Humanas y Sociales, CSIC
Fabiola Martínez Rodríguez, Saint Louis University, Madrid
Jesús María Carrillo Castillo, Museo Reina Sofía
Gabriel Pérez Barreiro, Colección Patricia Phelps de Cisneros
Source: H-ArtHist, Feb 5, 2013.
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8 février 2013 |
re2g
First Bi-Annual Lovis Corinth Colloquium on German Modernism
Emory University
Department of Art History
March 8th, 9-5 and March 9th, 9-1
The Michael C. Carlos Museum
Keynote Speakers:
Walter Benn Michaels (UIC), “The Art of Inequality: Sander and Evans (with a note on Binschtok and Deschenes)”
Brigid Doherty (Princeton), “Rilke’s Magic Lantern: Suggestion and Metaphor in the 1905 Rodin Lecture”
Colloquium Schedule:
Friday, March 8th
9 Fred Schwartz, “Danger and Disenchantment: Thoughts on Narrative and Neue Sachlichkeit”
10 Peter Jelavich, “Legal Hypocrisy and Artistic Mendacity: The Trials of Corinth, Dix, and Grosz”
11 Lisa Siraganian, “Sounding Form: On Bauhaus Interdisciplinarity”
12 Lunch
1 Jennifer Ashton, “The Author as Consumer: Finance Modernism from Brecht, Benjamin, and Pound to Now”
2 Todd Cronan, “Less is More: The Bauhaus & The (Non-)Politics of Medium”
3-3:20 Break
3:20 Brigid Doherty, “Rilke’s Magic Lantern: Suggestion and Metaphor in the 1905 Rodin Lecture”
4:20 Walter Benn Michaels, “The Art of Inequality: Sander and Evans (with a note on Binschtok and Deschenes)”
Saturday, March 9th
9 Iain Boyd Whyte, “The German Utopia: Expressionism, National Socialism, and the Fable of Community”
10 Charles Haxthausen, “Paul Klee and the Problem of Style”
11 Lynette Roth, “The ‘Crisis of Painting’ in the Late Weimar Period”
12 Michael Clune, “Bernhard’s Way”
Detailed information can be found at http://nonsite.org/colloquium-german-modernism
For more information about the event please contact todd.cronan@emory.edu or catherine.barth@emory.edu.
Source: H-ArtHist, Feb 6, 2013.
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