AC/CFP: « Les Peintres et la Première Guerre mondiale : commandes, productions, collections, vers une histoire comparative », Université Paris Ouest-Nanterre – Musée de l’Armée, 4-6 décembre 2014. Deadline: 15 janvier 2014

Colloque international organisé par le CREA-EA 370, la BDIC et le Musée de l’Armée

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En Grande-Bretagne, en France, et en Allemagne, pendant la Première Guerre mondiale et les années de l’immédiat après-guerre, des milliers d’œuvres d’art ont vu le jour, par lesquelles les artistes ont cherché à représenter le conflit. Les unes s’attachent à la figuration des combats sur les différents fronts, à la vie dans les tranchées, aux destructions humaines et matérielles, à la dévastation du paysage, les autres se concentrent sur l’arrière, le « front domestique » et les réorganisations de la société ; certaines, enfin, optent pour une approche plus elliptique, voire allégorique du conflit et de ses conséquences.Tableaux, dessins, gravures réalisés par des artistes de toutes tendances, renommés ou moins connus, engagés volontaires, mobilisés, missionnés aux armées, ou non-combattants : les conditions de production de ces œuvres varient; celles de leur diffusion et de leur réception, au cours du conflit, des années d’après-guerre, et du siècle qui suit, également.

En Grande-Bretagne, les représentations de la Grande Guerre par les peintres constituent un champ bien étudié qui, outre des chapitres de monographies consacrées à des artistes individuels ayant vécu le conflit, a donné lieu à des travaux  où sont examinées les conditions de leur émergence, notamment dans le cadre de programmes officiels de commandes (Harries & Harries, Malvern, Viney). De nombreux peintres ont en effet été recrutés comme « war artists » dans des programmes gouvernementaux qui se sont poursuivis dans l’après-guerre, et ont débouché sur la constitution de collections publiques d’envergure. Ainsi, l’Imperial War Museum, créé en 1917, et qui ouvre ses portes au public en 1920, deviendra-t-il un organe majeur de diffusion de ces œuvres ; œuvres auxquelles certains artistes, comme Paul Nash, ou Christopher Nevinson, doivent en partie leur célébrité.

Les missions d’artistes aux armées ont existé aussi en France et en Allemagne, fonctionnant selon des modalités différentes, et spécifiques à chaque pays. La Bibliothèque-Musée de la Guerre (actuelle BDIC) et le Musée de l’Armée sont dépositaires d’un nombre important de toiles, estampes et dessins acquis par l’Etat français ou reçus en don à l’armistice, réalisés par des artistes missionnés (comme Denis, Vallotton, Bonnard ou Vuillard) ou mobilisés (Léger, Dunoyer de Segonzac, Friesz, entre autres). Nombre d’œuvres demeurent encore dans des collections privées.

En Allemagne, la peinture est mise à contribution pour vanter les mérites de la culture allemande, avec l’organisation, entre autres manifestations culturelles, d’expositions dans les pays neutres. Les représentations du front par des peintres de guerre officiels ont fait l’objet d’une redécouverte au musée d’Oldenbourg en 2008 (catal. Bernd Küster). Plus étudiées sont les dénonciations de l’horreur des tranchées par les expressionnistes (Beckmann et Dix notamment) ou la critique des valeurs de l’État portée par le projet artistique Dada mené depuis Zurich. Abordée principalement dans le cadre de monographies d’artistes, la peinture allemande de la Première Guerre a fait également l’objet de plusieurs ouvrages généraux (Gerster et Helbling, Gölss, Jürgens-Kirchhoff). Nombre d’œuvres se trouvent dans les différents musées de la guerre ou de l’armée, notamment au Musée bavarois de l’Armée à Ingolstadt, d’autres, dans les musées d’art et dans des collections privées.

La participation ou non des grands noms de la peinture moderne, et, tout particulièrement, des artistes liés aux mouvements d’avant-garde, à la représentation du conflit, à titre privé ou dans le cadre de commandes, puis l’accès aux œuvres qu’ils ont produites sur ce thème ont joué un rôle majeur dans l’interprétation contemporaine des rapports des peintres à la guerre. Dès lors, le constat fait par Philippe Dagen d’un « silence », en France, de ces artistes, au sujet de la Grande Guerre s’explique-t-il surtout par l’inadéquation des ressources picturales au sujet, la nature irreprésentable de cette guerre, la fragmentation des avant-gardes, ou faut-il s’interroger davantage sur les commandes, les conditions de la réception et de la constitution des collections publiques dans les différents pays, et sur le statut accordé aux avant-gardes dans chacun d’entre eux?

Ce colloque international, consacré aux représentations de la Première Guerre mondiale par les peintres qui l’ont vécue, s’intéressera aux œuvres réalisées et aux conditions de leur production, de leur diffusion et de leur réception. Centré sur la France, la Grande-Bretagne et l’Allemagne, il sera ouvert à la possibilité de comparaisons plus larges, avec d’autres pays engagés dans le conflit (l’Italie, la Russie, la Belgique, l’Autriche, les Etats-Unis, le Canada ou l’Australie, par exemple). Le contexte institutionnel de la production et de la diffusion des œuvres en constituera une voie d’approche privilégiée, mais non la seule, en lien avec d’autres thématiques.

Les propositions de communication pourront être faites, notamment, mais de manière non exclusive, sur les thèmes suivants :

• Usages et finalités des représentations de la guerre par les artistes – usages privés / usages publics ; réalisations spontanées / œuvres de commandes ; documentation, commentaire, censure et propagande; pacifisme ; attentes collectives ; témoignage et construction du souvenir
• Transcrire l’expérience de l’extrême
• Regard porté par l’artiste sur son travail ; journaux et écrits d’artistes
• Contraintes matérielles, contraintes politiques, et temporalité de la création
• Approche comparative des divers programmes de commandes et missions d’artistes aux armées, rôle de l’Etat
• Rapports à la tradition, aux mouvements et aux affiliations ; la possibilité d’une peinture d’histoire moderne ?
• Vecteurs de diffusion – les galeries, la diffusion par le livre et la presse, les collections publiques…; les politiques de constitution des collections

Les propositions de communications, en français ou en anglais et d’une longueur d’environ 300 mots, sont à faire parvenir avant le 15 janvier 2014, accompagnées d’une brève notice bio-bibliographique, à :

Anne-Pascale Bruneau-Rumsey, mailto:anne-pascale.bruneau@u-paris10.fr et Séverine Letalleur-Sommer mailto:severineletalleur@gmail.com. La décision du comité scientifique sera communiquée le 28 février 2014.

Les communications et les discussions auront lieu en français et en anglais.

Il est prévu de publier un volume collectif regroupant une sélection des communications après examen par le comité scientifique.

Comité d’organisation :
Anne-Pascale Bruneau-Rumsey MCF Etudes anglophones, Nanterre, CREA–EA370
Séverine Letalleur-Sommer, MCF Etudes anglophones, Nanterre, CREA–EA370
Dominique Bouchery, Resp. secteur germanique, BDIC
Benjamin Gilles, Resp. périodiques & documents électroniques, BDIC
François Lagrange, Chef de la division de la recherche historique et de
l’action pédagogique du Musée de l’Armée

Comité scientifique :
Annette Becker, Pr. Histoire, Paris Ouest-Nanterre, HAR–EA4414
Anne-Pascale Bruneau-Rumsey, MCF Etudes anglophones, Paris Ouest-Nanterre, CREA–EA370
Cornelius Crowley, Pr. Etudes anglophones, Paris Ouest-Nanterre, Directeur du CREA–EA370
David Guillet, Directeur adjoint du Musée de l’Armée
Juliane Haubold-Stolle, Deutsches Historisches Museum, Berlin
Ségolène Le Men, Pr. Histoire de l’Art, Paris Ouest-Nanterre, HAR–EA4414
Marielle Silhouette, Pr. Etudes théâtrales, Paris Ouest-Nanterre, HAR, CEREG–EA4223
Valérie Tesnière, Directrice de la BDIC, Directrice d’études à l’EHESS

PAINTERS AND THE GREAT WAR: COMMISSIONS, PRODUCTION AND COLLECTIONS – TOWARDS A COMPARATIVE HISTORY

An international conference organized by the CREA research centre (Université Paris Ouest-Nanterre), the BDIC (Bibliothèque de documentation internationale contemporaine) and the Musée de l’Armée, Paris

In Great Britain, France and Germany, during the First World War and the years immediately following it, thousands of artworks were created
as artists attempted to represent the conflict.  Some works concentrated on the representation of combat on different fronts, on life in the trenches, on human and material destruction and the devastation of the landscape, while others looked to the home front and changes in the organization of society, and still others opted for a more elliptical or even allegorical approach to the conflict and its consequences. Paintings, drawings and engravings were executed by artists of all tendencies, some well-known, some less so, some volunteers, some conscripts, some on official assignment with the army, and some non-combatants.  As the conditions in which the works were produced varied, so did the conditions of their diffusion and reception, during the conflict, in the years that followed and over the course of the century that has elapsed since then.

In Great Britain, significant scholarly attention has been paid to painters’ representations of the Great War.  This has given rise not only to chapters within monographs devoted to artists who experienced the conflict, but also to studies which have examined the conditions under which these representations were created, notably in the context of official commissions (Harries & Harries, Malvern, Viney). Numerous painters were recruited as war artists under government schemes that continued into the post-war period and led to the constitution of significant public collections.  The Imperial War Museum, which was established in 1917 and opened to the public in 1920, became a major organ of diffusion of these works – works to which some artists, such as Paul Nash and Christopher Nevinson, partly owe their fame.

War artist programmes also existed in France and Germany, organized in different ways, specific to the national context.  In France, the Bibliothèque de documentation internationale contemporaine or BDIC (formerly the Bibliothèque-Musée de la Guerre) and the Musée de l’Armée have significant holdings of paintings, prints and drawings that were acquired by the French state or donated at the Armistice; some were executed by artists on official assignment, such as Denis, Vallotton, Bonnard and Vuillard, and others by conscripts, including Léger, Dunoyer de Segonzac and Friesz.  Many works remain in private collections.

In Germany, painting was utilized to glorify national culture, and exhibitions were among the cultural activities organized to that end in neutral countries.  Official war artists’ paintings of the Front were the subject of new attention in an exhibition held at the State Museum in Oldenburg in 2008 (catalogue ed. Bernd Küster); more extensively studied are Expressionist painters’ denunciations of the horrors of the trenches, notably the work of Beckmann and Dix, and the critique of State values carried out by Zurich-based Dada artists.  German art of the First World War has been principally studied within monographs, but has also been the object of several overviews (Gerster and Helbling, Gölss, Jürgens-Kirchhoff).  Numerous works are held by military museums, notably the Bavarian Army Museum in Ingolstadt; others are in art museums and private collections.

Contemporary interpretations of painters’ relation to the War have drawn, to a significant extent, on the participation (or non-participation) of major painters – in particular those linked to avant-garde movements – in the representation of the conflict, whether in a private capacity or in order to carry out commissions; also significant has been the question of access to the works produced.  Philippe Dagen has argued that in France these artists remained “silent” on the subject of the First World War.  Can this silence be explained by painting’s not disposing of methods adequate to the subject, by the unrepresentable nature of the Great War, and by the fragmentation of avant-garde movements, or should analysis attend rather to such questions as public commissions, the conditions of reception and ways in which public collections were created in the different countries, and to the differing status of the avant-garde in each?

This international conference takes as its subject the representations of the First World War by painters who experienced it.  It will consider the works produced, and the conditions of their production, diffusion and reception.  The principal focus will be on France, Great Britain and Germany, but the conference will also be open to broader comparisons with other countries engaged in the conflict, including Italy, Russia, Belgium, Austria, the United States, Canada and Australia.  Particular attention will be given to the institutional context of works’ production and diffusion, in connection with other themes and approaches.

Proposals for papers will be welcome on topics including, but not limited to, the following:

• The uses and ends of artists’ representations of the War; private and public uses ; spontaneous productions versus works produced to commission; documenting, comment, censorship, propaganda; pacifism; public expectations; testimony and the construction of memory
• Representing extreme experiences
• The artist’s relationship to his/her work: journals and artists’ writings
• Material and political constraints ; the time and timing of creation
• Comparative approaches to the different programmes of commissions and war artists schemes; the role of the State
• The relation to tradition, to art movements, to affiliations; the question of the possibility of modern history painting
• Means of diffusion: galleries, books, the Press, public collections ; collecting policies.

Abstracts in English or French (around 300 words) should be sent with a short biographical note to Anne-Pascale Bruneau-Rumsey
mailto:anne-pascale.bruneau@u-paris10.fr and Séverine Letalleur-Sommer
mailto:severineletalleur@gmail.com before January 15, 2014.
Notification of acceptance by the scientific committee will be sent by February 28, 2014.

Papers and discussion will be held in French and English.

A volume of selected papers from the conference is planned for publication following examination by the scientific committee.

Organizing committee:
Anne-Pascale Bruneau-Rumsey, Senior Lecturer in English, Paris
Ouest-Nanterre, CREA–EA370
Séverine Letalleur-Sommer, Senior Lecturer in English, Paris
Ouest-Nanterre, CREA–EA370
Dominique Bouchery, Curator of German Collections, BDIC
Benjamin Gilles, Head of Periodicals and Digital Collections, BDIC
François Lagrange, Head of historical research and educational
programmes, Musée de l’Armée

Scientific committee:
Annette Becker, Professor of History, Paris Ouest-Nanterre, HAR–EA4414
Anne-Pascale Bruneau-Rumsey, Senior Lecturer in English, Paris
Ouest-Nanterre, CREA–EA370
Cornelius Crowley, Professor of English, Paris Ouest-Nanterre, Director
of CREA–EA370
David Guillet, Deputy Director of the Musée de l’Armée
Juliane Haubold-Stolle, Deutsches Historisches Museum, Berlin
Ségolène Le Men, Professor of Art History, Paris Ouest-Nanterre,
HAR–EA4414
Marielle Silhouette, Professor of Theatre Studies, Paris
Ouest-Nanterre, HAR, CEREG–EA4223
Valérie Tesnière, Director of the BDIC, Professor, EHESS

Source: H-ArtHist, Jun 27, 2013.

Publication: « L’école des producteurs. Aux origines de l’enseignement technique en France (1800-1940) » par Stéphane Lembré, Presses universitaires de Rennes, 2013.

À partir du cas du nord de la France, Stéphane Lembré montre que les caractères principaux de l’enseignement technique agricole, commercial et industriel sont le résultat de multiples stratégies. En dépit du consensus qui s’établit sur l’importance de l’enseignement technique, les clivages ont été durables quant au rôle de l’État ou aux modalités de la formation et de sa certification. L’enquête menée à partir de documents nombreux montre que cet enseignement doit beaucoup à l’engagement d’enseignants, d’entrepreneurs et de fonctionnaires.

Avec une préface de Jean-François Chanet.

2013

Stéphane Lembré

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Domaines : Histoire contemporaine, Éducation

Collection : Carnot

filet

Format : 15,5 x 24 cm
Nombre de pages : 340 p.

Illustrations : N & B

ISBN : 978-2-7535-2733-1

Disponibilité : en librairie
Prix : 20,00 €

 Plus d’infos: www.pur-editions.fr

Publication: « DADA, Surrealism, and the Cinematic Effect », par R. Bruce Elder, Wilfrid Laurier University Press, 2013.

Présentation par l’éditeur:

Wilfrid Laurier University Press is pleased to announce the release of DADA, Surrealism, and the Cinematic Effect by R. Bruce Elder. A a companion to the author’s award-winning book Harmony & Dissent, this new release examines the DADA and Surrealist movements as responses to the advent of the cinema.

Pre-publication Review:

« DADA, Surrealism, and the Cinematic Effect, Bruce Elder’s superb companion volume to his earlier Harmony and Dissent, convincingly demonstrates that for the early twentieth-century avant-garde movements, cinema was the model, the preeminent form that prompted a recasting of the other arts. This wide-ranging study shows that Dada artists created cinematic collages and transformative machines, whereas Surrealists developed the film script as a new literary genre. His brilliant analyses of Duchamp’s Anémic cinema, Man Ray’s Retour à la raison and Emak Bakia, and Buñuel’s Un chien andalou and Las Hurdes are only surpassed by his intricate explication of Ernst’s cinematic collage novels, which he relates as models for Lawrence Jordan’s surrealist films. This is that rare book that casts the early twentieth-century avant-garde in a very new light. » – Rudolf Kuenzli, director, International Dada Archive, University of Iowa

R. Bruce Elder is a filmmaker, critic, and teacher (and former Program Director) in the Graduate Program in Communication and Culture at Ryerson University. His film work has been screened at New York’s Museum of Modern Art and Millennium Film Workshop, Berlin’s Kino Arsenal, Paris’ Centre Pompidou, the San Francisco Cinematheque, Atlanta’s High Museum, Los Angeles’ Film Forum, Stadtfilmmuseum München, and Hamburg’s Kino Metropolis. Cinematheque Ontario has said this about him: « R. Bruce Elder is not only one of Canada’s foremost experimental filmmakers, he’s one of our greatest artists, thinkers, critics, and filmmakers, period. »

To order this book please visit your favourite local or online bookstore, or enjoy a 25% discount by ordering directly from our website: http://www.wlupress.wlu.ca/press/Catalog/elder-dada.shtml

To order an examination copy for course use, please email examcopy@press.wlu.ca and provide information about the course you are teaching, the anticipated enrolment, and start date. Please provide a full mailing address.

For media copies, please email clare@press.wlu.ca and provide information about your publication.

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AC/CFP: « Beyond boundaries. Artists and art critics from Central and Eastern Europe in the West », RIHA Journal Special Issue. Deadline: Nov 30, 2013.

RIHA Journal (http://www.riha-journal.org) invites submissions for its Special Issue:

« Beyond boundaries.Artists and art critics from Central and Eastern Europe in the West »

The aim of the Special Issue is to present artists and art critics from Central and Eastern Europe who gained a special position in the Western Art World and played an important role in the development of art and art criticism. Many of them, well-known in the West (i.e., France, Germany, Great Britain), stayed almost unknown in their homelands although their output was imposing. The Special Issue is not confined to one particular period or one country. Papers may deal with figures active through all the centuries (from the Middle Ages to contemporary times).

Guiding questions:
1. Mechanics of success
2. Relations with local/national artistic milieu
3. Reception and evaluation by the local/national artistic milieu
4. Fate (from fame to oblivion)

We welcome papers in English, French and Polish. Suitable submissions will be sent to two expert peer reviewers for blind peer review.

Texts should not exceed 50,000 characters (incl. footnotes and spaces) and include no more than 15 images. For the format of bibliographic references please consult the RIHA Journal styleguide at
http://www.riha-journal.org/about/for-authors/style-guide. No particular electronic formatting is required. Please keep the formatting of your manuscript as simple as possible.

Submission deadline: 30 November 2013.

Envisaged date of publication of the Special Issue: October 2014.

The Special Issue will be edited by the Institute of Art, Polish Academy of Sciences (ISPAN), Warsaw.

Please send your submissions to:

Prof. Dr hab. Anna Wierzbicka and Dr Dariusz Konstantynów
Institute of Art, Polish Academy of Sciences (ISPAN)
Warsaw
mailto:riha-journal@ispan.pl

Source : H-ArtHist, Jun 13, 2013.

AC/CFP: « Cultural mediators in Europe 1750-1950 », Leuven, 5-7 June 2014. Deadline: Oct 1, 2013.

The research groups “Translation and intercultural transfer” and “Cultural History since 1750” of the KU Leuven organise an international colloquium on “Cultural mediators in Europe 1750-1950”, June 5-7 2014 in Leuven, Belgium.

This conference wants to advance understanding of the complex yet largely unknown cultural transfer activities that helped shaping international, national and urban cultures during the last two  centuries in Europe. A privileged way to gain insight in these transfer activities is to focus on the agents, i.e. the cultural mediators who embody them.

We want to focus specifically on those cultural mediators who develop a broad range of partly overlapping transfer activities through different cultural fields (literature, painting, music, theatre…), different languages and geo-cultural frontiers.
•    They are multilingual writers and publishers, multilingual literary and art critics who promote specific artistic subsets as typically national, international or regional; they are art dealers who organize (inter)national art exhibitions; they are self-translators or translators who translate, adapt, plagiarise, summarize, censor, manipulate, … works of other language communities. Recent studies illustrate how mediators freely combine several of these transfer techniques even within one and the same work.
•    They are active in a variety of more or less institutionalised intercultural and inter-artistic networks (editing boards of magazines and periodicals, salons, literary and artistic associations, art and music academies, artists’ workshops, reading circles etc.) which promote or oppose their transfer activities.
•    They are real migrants, persons with hybrid identities, who develop transfer activities in several geo-cultural spaces, which considerably sharpens their intercultural and international consciousness.

These complex but crucially important transfer roles are rarely acknowledged as such or studied in any depth because they transcend traditional disciplinary divides (translation studies, literary studies, history…) and their binary concepts (source-target, national-international, cultural-intercultural…). The study of cultural mediators and their transfer activities is therefore preferably
•    interdisciplinary and collective, bringing together methods from translation sociology, descriptive translation studies, transfer studies, cultural history…
•    process- and actor-oriented, in order to discover the complex intersections of which cultural products are the surface result;
•    start from the assumption that translation has to be studied in relation to other transfer techniques and that “le débat académique opposant transferts, comparaisons et croisements se résout de lui-même dans la recherche empirique” (Charle 2010:16).

In short, “we need histories that describe the meshing and shifting of different spatial references, narratives in which historical agency is emphasized, and interpretations acknowledging that the changing patterns of spatialization are processes fraught with tension” (Middell & Naumann 2010 :161).

The colloquium is open to the totality of these historiographical and translational questions, preferably tackled by means of case studies analysing e.g.:
•    How and why mediators’ transfer activities created new forms of writing and translating and new actor roles, challenging the very distinctions between translation, self-translation, multilingual writing, adaptation … How and why did they introduce or oppose  new artistic practices? Did they undertake inter-artistic or field-transgressing activities? Did they assume different attitudes/strategies towards discursive and artistic mediating activities?
•    Which networks –  informal or institutionalized, urban or (inter)national, intra-cultural or intercultural – organized, supported or controlled these transfer activities?  « Les premières manifestations d’un transfert ne sont pas des œuvres, souvent diffusées et traduites à une époque très tardive, mais des individus échangeant des informations ou des représentations et se constituant progressivement en réseaux. » (Espagne & Werner 1987: 984).
•    What was the function and effect of these transfer activities on the consolidation or disintegration of multiple cultural identities? Special attention should be paid to multiple interactions, implying multiple directions and effects which a conceptualization in terms of ‘source’ vs. ‘target’ cannot fully grasp.
•    Which diachronic evolutions can be distinguished in mediating activities? Did a shift from heterogeneous to more homogeneous cultures possibly change the form, the content and the effects of discursive transfer techniques and of mediation as a whole?
•    How do these insights lead to a new historiography of cultural practices and cultural transfer?
•    Which theoretical and methodological frameworks are most helpful to study discursive, artistic and institutional mediating activities? And which methodological implications does the study of intercultural and international transfer practices have on the basic assumptions of cultural history, translation studies and literary studies?

Proposals of 300 words approximately (English or French) and a short CV should be submitted to the organizers (reine.meylaerts@arts.kuleuven.be) before October 1st 2013.
Notification of acceptance will be given by November 15, 2013. Papers and discussions will be held in English and French.

Publication: Anne Grynberg et Johanna Linsler (s.d.), « L’Irréparable. Itinéraires d’artistes et d’amateurs d’art juifs, réfugiés du ‘Troisième Reich’ en France / Irreparabel. Lebenswege jüdischer Künstlerinnen, Künstler und Kunstkenner auf der Flucht aus dem ‘Dritten Reich’ in Frankreich », Veröffentlichungen der Koordinierungsstelle Magdeburg, Band 9, bearb. v. Andrea Baresel-Brand, Magdeburg, 2012

Présentation par l’éditeur:

« Es werden die Schicksale von sieben jüdischen Künstlerinnen, Künstlern und Sammlern geschildert, die in Frankreich Schutz vor dem Nazi-Regime suchten: Otto Freundlich, Leo Maillet, Jesekiel Kirszenbaum, Horst Rosenthal, Johanna Mandello [de Bauer], Willibald Duschnitz und Paul Westheim. Frankreich galt als Vaterland der Menschenrechte, doch wurden viele Immigranten desillusioniert: Das Land, geschwächt durch Wirtschaftskrise und Angst vor einem Militärschlag, wurde zunehmend fremdenfeindlich, verschärfte die Einwanderungspolitik und verstärkte die Repressalien gegenüber Flüchtlingen. Einigen der hier vorgestellten Künstler und Sammler blieb ein Platz in der Nachwelt beschert, ihre Werke finden sich in den Sammlungen von Museen. Andere jedoch gerieten als Opfer des Holocaust in Vergessenheit, ihr Oeuvre wurde zerstört, weswegen man sie zur Generation der ‘vergessenen Künstler’ zählt. »

Bilingual (Französisch-Deutsch) mit englischen u. hebräischen Zusammenfassungen

ISBN 978-3-9811367-6-0

34,90 €

Plus d’infos: www.lostart.de

Colloque annuel du groupe Artl@s : « Histoire mondiale de l’art et péripheries / Global Art History and the Peripheries », du 12 au 14 juin 2013 à l’ENS (12 et 13 juin), à la Terra Foundation for American Art (14 juin matin) et à l’INHA (14 juin après-midi)

On June 12, 13 and 14, the Artl@s team organizes an international conference titled “Global Art History and the Peripheries”, in partnership with the École normale supérieure, the Terra Foundation for American Art and the Institut national d’histoire de l’art, inviting researchers to gather and develop a removed and well-thought out approach to the question of the peripheries in art history.

Presentation

Organisation: Catherine Dossin, Béatrice Joyeux-Prunel, Michela Passini (the Artl@s Project)

Labex TransferS ; Agence nationale pour la recherche:

Global Art History and the Peripheries

École normale supérieure
Terra Foundation for American Art
Institut national d’histoire de l’art

June 12-13-14 2013

Creating a place for peripheries has been one of the main issues of a global approach to art as it has developed over the past twenty years. In the legacy of postcolonial studies in particular, a global approach encourages revisiting a story whose margins have been too long forgotten or disregarded and devalued. Studies on non-Western regions have thus, since the 1990s, grown remarkably, especially in Central European and South American art. This renewal also leads to renewed disputes over museum collections.

Some of the problems raised by the global project have yet to be resolved. Can a global approach integrate artistic peripheries into the canons of a history still far too oriented towards the universalist and linear model that particularly crystallizes the notion of modernism? If, since the publication of the work Provincialism (1962) by Sir Kenneth Clark, the history of art has been engaged in a reflection on the spatial dimensions of artistic production, and has thus called upon concepts of ’center’ and ’periphery’, these two notions are still being associated with a hierarchical conception of artistic production. This tendency—to designate artistic « peripheries” as places where artistic production is less decisive for art history than in the presumed centers for artistic activity—remains strong to this day.

How do we overcome these prejudices, themselves linked to a historiography strongly determined by the canons of Western modernism focused first on Italy, then Paris, and finally New York? Indeed, if only it were a question of embracing forgotten areas research, the historian would never leave this hierarchical presupposition. Retaining a canon in which the periphery would be measured as the focal point would further exile and subject the peripheries to a cartoonish diffusion model. However, by refusing to follow issues of progress or to compare them to the canon, peripheries are all the more excluded by forcing them to be places of « specificity » unrelated to the history of the so-called centers. Generally speaking, the very idea of a global history, where all would have a place, does not come out of Western conceptual models (James Elkins, Is Art History Global?). Rather, this notion has been brought about by Western institutions—universities or museums—which always seem to win at the game of globalization which even the contemporary art market was able to absorb. Finally, the valorization of non-Western areas elicits the production of new peripheries: it has created a destructive Western model, more overbearing than what one would have thought because it drowns the stories and productions of already outlying areas in an even stronger oversight: specialists of Western or, in particular, Eastern European art cannot find their place in the discipline.

Some, favoring the idea of conflict, have attempted to show to what extent artistic « peripheries » have been and are still active and selective. Others, sometimes radically, call into question the use of the same ’center’ and ’periphery ’ categories. They value particularly complex approaches that can characterized as mixed (Serge Gruszinski), geographical (Thomas DaCosta Kaufmann), circulatory (Michel Espagne), horizontal (Piotr Piotrowski) or connected (Romain Bertrand); these approaches, however, involve a multilingualism, mobility and access to a multiplicity of sources enjoyed by few historians. The problem is all the more punishing for museums whose collections have been established according to the dominant diffusion model. Is it possible to construct a history of art which takes into account gradients of activity, information and circulation? A truly « horizontal » history that, despite the problems created by different sources, languages, cultural traditions, is still able to make room for lesser-known productions of universal heritage?

The Artl@s team (www.artlas.ens.fr) invites researchers to gather and develop a removed and well-thought out approach to the question of the peripheries in art history.

Program

Wednesday, June 12 2013

École normale supérieure
45, rue d’Ulm (Paris 5e), Amphi Rataud

10 – 10:30 am: Tea & Coffee

10:30 – 10:40 am: Michel Espagne (Centre national pour la recherche scientifique, Labex TransferS), Welcome

10:40 – 11 am: Béatrice Joyeux-Prunel (École normale supérieure), Introduction: Thinking the Peripheries in the Context of a Global Art History?

11 – 11:30 am: Michela Passini (Centre national pour la recherche scientifique), Centres and Peripheries in the International Museum System. Exhibiting National Art Histories in Jeu de Paume Museum between the Wars

11:30 – 12 am: Carmen Popescu (Paris 4 Sorbonne University – The Nomad Seminar), At the periphery of architectural history – looking at Eastern Europe

12 – 12:30 pm: Olivier Marcel (Bordeaux 3 University), Mapping Art from the Global South – the Case of Nairobi and the Benefits of a Relational Approach to Peripheries

12:30 – 1:30 pm: Lunch at the restaurant of the ENS

1:30 – 1:45 pm: Catherine Dossin (Purdue University), Introduction: Taking a Closer Look at the Peripheries

1:45 – 2:15 pm: Ewa Brobowska (Terra Foundation for American Art Paris), The Boundaries of Empires in Quest of an Artistic Center: the Case of Polish artists, 1890-1914

2:15 – 2:45 pm: Jérôme Bazin (Paris-Est Créteil Val-de-Marne University), The geography of Communist art after 1945: other centralities, other universalities

2:45 – 3:15 pm: Kristine Khouri (Independent Scholar), Beyond Kuwait: Mapping the Sultan Gallery of the 1970s

3:15 – 3:45 pm: Tea & Coffee

3:45 – 4:15 pm: Annika Öhrner (Södertörn University), Historical microspaces and methods towards horizontal art history. Swedish artists in Paris 1908-1925

4:15 – 5:15 pm: Rasha Salti (Independent Scholar), The International Art Exhibition in Solidarity with Palestine of 1978

5:15 – 5:45 pm: Giovanni Rubino (University of Udine), Arte programmata. Italian Art in Former Yugoslavia in the 1960s and 1970s

5:45 – 6 pm: Concluding remarks

6:00 – 7:00 pm: Reception, École normale supérieure

 

Thursday, June 13 2013

École normale supérieure
45, rue d’Ulm (Paris 5e), Amphi Rataud

10 – 10:30 am: Tea & Coffee

10:30 – 11:30 am: David Cottington (Kingston University), Towards a historical understanding of the ‘historic’ avant-garde: trans-national and inter-disciplinary considerations

11:30 – 12 am: Derek Sayer (Lancaster University), « All the beauties of the world»: modernism, seen from twentieth-century Prague

12 – 12:30 pm: Catherine Dossin (Purdue University) and Béatrice Joyeux-Prunel (École normale supérieure), The German Century: Towards a Geopolitical Art History

12:30 – 1:30 pm: Lunch at the restaurant of the ENS

1:30 – 1:45 pm: Michela Passini (Centre national pour la recherche scientifique), Introduction: Measuring and Visualizing the Centers and the Peripheries

1:45 – 2:15 pm: Sophie Raux (Lille 3 University), Visualizing spaces, flows, agents and networks of the Art Markets in the 18th century: some methodological challenges

2:15 – 2:45 pm: Mathilde Arnoux (Centre allemand d’histoire de l’art), How the analysis of artistic exchanges challenges categories. Some observations based on the research program “To Each His Own Reality”

2:45 – 3:15 pm: Carolyn C. Guile (Colgate University), Borderlands: Mapping Early Modern Architecture in the Polish-Lithuanian Commonwealth

3:15 – 3:45 pm: Catherine Dossin (Purdue University), Béatrice Joyeux-Prunel (École normale supérieure), and Nicole Kong (Purdue University), Artl@s

3:45 – 4:15 pm: Tea & Coffee

4:15 – 5:30 pm: General discussion with all the presenters and the audience, Which Methods to Tackle the Peripheries?

5:30 – 6:30 pm: Reception, École normale supérieure

 

Friday, June 14 2013

Terra Foundation for American Art
29, rue des Pyramides (Paris 1er)

9:30 – 10 am: Tea & Coffee 

10 – 10:45 am: Zahia Rahmani (Institut national d’histoire de l’art), Why an Art and Globalization Research Program at INHA? And why me?

10:45 – 11:45 am: Catherine Grenier (Centre Georges Pompidou), The Role of the Museums in the Decentering of the History of Art. Visit of the new display of the collection of the Centre Georges Pompidou

11:45 – 12:15 pm: Sophie Orlando (Paris 1 Panthéon-Sorbonne University), Sources for a Decentered History of the Arts

12:30 – 2 pm: Lunch at the restaurant of the INHA

Institut national d’histoire de l’art
2, rue Vivienne (Paris 2e), Salle Walter Benjamin

2 – 2:10 pm: Antoinette Le Normand-Romain (Institut national d’histoire de l’art), Welcome

2:10 – 2:20 pm: Michela Passini (Centre national pour la recherche scientifique), Introduction

2:20 – 3:20 pm: Piotr Piotrowski (Adam Mickiewicz University), Towards a Horizontal Art History

3:20 – 4 pm: Tea & Coffee

4 – 5 pm: James Elkins (The School of the Art Institute of Chicago), Ten examples of encounters with alternate art historical practices

5 – 5:15 pm: Pause

5:15 – 6:45 pm : David Cottington (Kingston University), Béatrice Joyeux-Prunel (École normale supérieure), Piotr Piotrowski (Adam Mickiewicz University), Carmen Popescu (Paris 4 Sorbonne University, The Nomad Seminar), Derek Sayer (Lancaster University), Veerle Thielemans (Terra Foundation for American Art), moderated by Catherine Dossin (Purdue University), Which Place for the Peripheries in the Global Art History ?

6:45 – 8 pm: Reception at the Terra Foundation for American Art

More information : www.artlas.ens.fr