AC/CFP: « in:flux 1845-1945: A Century in Motion », University of Birmingham, 27th June 2013. Deadline: May 17, 2013.

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 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:

Source: H-ArtHist, Apr 15, 2013.

AC/CFP: « Regionalisms and Modernisms in Dialogue », Southeastern College Art Conference, Greensboro, NC, 30 October – 2 November 2013. Deadline: April 20, 2013.

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.


Information about The Southeastern College Art Conference (SECAC), abstract guidelines and submission procedures is available at:

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.

AC/CFP: « The European artistic avant-garde c. 1910-1930: formations, networks and trans-national strategies », Sodertorn University, Stockholm,11-13 September 2013. Deadline: April 15th, 2013.

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:

More info : Dr. Annika Ohrner

AC/CFP: « Art and gender: women creators in Latin America », Artelogie Journal. Deadline: Feb 28, 2013.

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: ; ; 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

Source: H-ArtHist, Feb 4, 2013.

AC/CFP: « Avant-garde discourses in Spain and Latin America », Madrid, Museo Reina Sofía, 11-13 July 2013. Deadline: Feb 28, 2013.

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

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.


AC/CFP: « European Art versus American Art », Prague, Czech Republis, March 15 – 16, 2013. Deadline: Feb 15, 2013.

Call for Papers for the Panel:

Histories and Imaginaries: European Art versus American Art

(As part of the Third Euroacademia Global Conference ‘Europe Inside-Out: Europe and Europeaness Exposed to Plural Observers’, 15 -16 March, Grand Majestic Plaza, Prague, Czech Republic)

Panel Description:

Perceptions of history and historicity are considered to substantially influence and configure the sphere of imaginary representations. The universe of arts is the main environment where essentializations of conceived symbols or reactions to such essentializations are most emphatically expressed and visible. It is an often made argument that arts do reflect in a substantive manner the signifiers of particular social imaginary constructs influenced by given dominant elements of a specific social order. That’s why a cleavage between the American and the European art is addressed as reflecting distinctive ways of looking at the past and living the memorialization, quotation and reference to a patrimonial inheritance that can stand as a ground for artistic interpretative construction, de-construction, nostalgia or call for radical innovation.

A rough simplification of the American Art/European Art nexus, that disregards the extremely diverse representations free from the bounds of specific imaginary geographies, emphasizes as a main argument the strong connection between the European artistic expression and historicity while the American art is linked to a more limited historical trajectory and more defined by the directness and immediacy of artistic representation. That is to say in simplified terms that European artistic expression relies on and relates to norms emerged from its historical tradition while American art reflects the imaginary universe directly experienced by the artist.

A different argument used for separating America and Europe in terms of artistic production comes from interpreting the social and economic models that divide the concrete realities in which the artistic expression is configured. The social and economic models can influence the ways of production, promotion and perception of art. The strongly subsidized European economies and the interventionist political systems are envisaged as providers of support, access and voice to the most diverse artistic movements and productions. The American free trade vision and support for limited intervention of the government in cultural production in understood as providing free and deregulated access to artists to a world where creation is an extension of individuality and the artistic object an item to be judged by its exchange value.

Of course these rough interpretations of a perceived cultural divide between Europe and America stand close to the border of misconceptions.

On the opposite side European art is often regarded as excessively complicated and historicist while American artistic environment provides access to a free, meaningful and autonomous development of the artistic expression. Despite their excessive simplification, these perceived differences between American and European art are still invoked as distinctions standing up in the 21st century.

This panel seeks to explore the limited validity and also the miss-conceptions inherent to such circulating arguments and to discuss deeper where the division between American and European art persists if it still does in such a culturally interconnected world as the one today.

The panel welcomes papers on (but not limited to):

– American versus European Art: Persisting Differences

– Confronting Misguided Interpretations of American/European Cultural Divisions

– Cultural Policies and Support for Artistic Production: Are There Two Different Ways?

– Historicity and the Past in Artistic Representations

– Market, Exchange Value and the Autonomy of the Artist

– Nostalgia and Memory: Artistic Ways of Seeing the Past

– State Intervention and Cultural Policies in Support for Artistic Expression

– Galleries and Artistic Inclusion/Exclusion Nexuses

– Education Through Arts

– Paris versus New-York

– Cultural Interconnections and the Disappearance of Geographical Boundaries of Imaginary

– Artistic Movements: America/Europe

– Performance Arts and the Challenges to Past and Boundaries

– Monuments, Public Arts and Views of The Past: European and American Sites of Memorialization

In order to apply, please send a 300 words abstract together with the details of your affiliation to

For full details of the conference please see:

Source: H-ArtHist, Feb 6, 2013.


AC/CFP: Colloque « L’artiste en revues. Fonctions, contributions et interactions de l’artiste en mode périodique », du 28 au 30 octobre 2013 à l’Université libre de Bruxelles. Échéance : 1er mars 2013

Dans le cadre des travaux du groupe FNRS « Écrits d’artistes », ce colloque interrogera les différentes modalités de collaborations d’artistes et leurs réalisations concrètes dans une publication périodique. Sous le terme d’« artiste », on prendra en compte peintres, sculpteurs, musiciens, compositeurs, cinéastes, chorégraphes, danseurs… dont la majeure part de la production ne relève pas du champ littéraire. Le présent appel invite à considérer ces interventions sur la longue durée, de 1830 à nos jours, dans les publications périodiques, entendues au sens large : revues artistiques et littéraires, mais aussi journaux et revues généralistes, « petite presse » et magazines (pour la seconde partie du XXe siècle). Comité d’organisation: Laurence Brogniez, Clara Sadoun-Édouard et Clément Dessy.


Télécharger l’appel complet au format pdf: AC/CFP-Artiste en revues



AC/CFP: « Artists as Political Refugees », Minneapolis, 26-30 June 2013. Deadline: Feb 1, 2013

This year’s World History Association’s Conference has a theme on “Diasporas and Refugees in World History”. Because I have long had an interest in establishing more dialog between historians (especially ‘world historians’) and art historians, I propose to organize a panel on artists as political refugees.

My own field is Twentieth Century China and I am particularly interested in the first stage of China’s post Mao “opening up” in the 1980s. There have been other artistic refugees in the 20th Century, for instance Russia soon after the revolution (Chagall, Larionov, Kandinsky, etc.) and in the last years of The Soviet Union (Neizvestny, Bulatov, Komar and Melamid) or from Germany in the thirties, (Max Ernst, George Grosz, John Heartfield).But the panel need not, and should not, be confined to visual artists of these particular refugee flows. Dance, music, drama, literature may provide even more interesting cases of altered creativity in a new environment, of preservation or fusion of cultural identity among emigre groups, or of cultural influence in their new locations.

Topics need not be confined to the ones listed above. Please send your proposal to Ralph Croizier, University of Victoria, by February 1, 2013.

Source: H-ArtHist, Jan 14, 2013.

AC/CFP: « The Great War: Centenary Perspectives », Special Topics Issue 2014. Deadline: April 15, 2013

The editors of The Space Between: Literature and Culture, 1914-1945 would like to announce a call for papers for the next special topics issue, The Great War: Centenary Perspectives (volume 10.1), which will be guest edited by Mark D. Larabee. Especially appreciated are interdisciplinary articles on new developments in understanding literature, art, and culture of the First World War (produced by combatants or noncombatants, representing any nations and languages) and interdisciplinary articles on understudied issues or non-canonical figures influenced by the War and active between 1914 and 1945. Deadline for submissions to this special topics issue is April 15, 2013.

Please send submissions or correspondence regarding submissions to the special issue editor, Mark Larabee, at Articles should be 6,000 to 9,000 words (including notes and works cited). Please submit an electronic copy in MS Word. Articles should conform to MLA style. Include an electronic cover letter that describes the contents of your article. For inquiries about general topics issues, please contact the editor, Kristin Bluemel, at

The Space Between is a refereed journal that is published annually. Its editors are especially interested in innovative and interdisciplinary approaches to texts of all kinds. Publication is annual and is co-sponsored by the Space Between Society and Monmouth University.

The Space Between will publish reviews on books that represent various disciplines’ approaches to the culture of the space between the wars. Correspondence for the review editor should be addressed to Book Review Editor J. J. Butts, at or the Department of English, Simpson College, Indianola, IA 50125.



AC/CFP: Transnational Flows in European Fine Art Education 1900-2000, Association of Art Historians Annual Conference 2013, University of Reading, April 11 – 13, 2013. Deadline: Nov 12, 2012.

This panel will explore developments in European fine art education in the 20th century. It will seek first to examine national pedagogical models, identifying already established transnational strategies and flows. Further, it will work to build useful comparative models, identifying convergences and divergences, to reveal something of the often shifting and contested field of European fine art education.

Panel topics will range widely. Possible topics might include – but are not limited to the influence of the US and conceptual art in 1960s European art education; the so-called free academies in Paris in the early 1900s; the atelier of Matisse, Academie Colarossi, Academie Libre, etc. that attracted young artists from all Europe, e.g. Russia, Germany, the Nordic countries but also the USA; Bauhaus pedagogy beyond the UK; the legacy of the Moscow Vhuktemas; or, the little-known exchanges between Weimar and Calcutta, especially through Rabindranath Tagore in the early 1920s and the emergence of basic design training in India.

Taking a largely discursive format, this international roundtable invites participants to prepare ten-minute presentations on their fields of expertise. These short ‘position papers’ will provide extensive time for debate and discussion. With the precise objective of identifying common interests, the panel will also aim to establish directions for possible comparative studies and to move towards future research collaborations for its contributors. Participants are therefore also welcome to shortly comment in their proposals areas of interest that could be developed in such collaborations.


Marta Edling, Uppsala University,
Maria Görts, Dalarna University,
Hester Westley, Tate Research,
Beth Williamson, Tate Research,

Source : H-ArtHist, Oct 23, 2012.

AC/CFP: « Historiography of Modernism and the Avant-garde, Einstein, Klee, Walser », Berne, Switzerland, November 07-09, 2013. Deadline: Dec 15, 2012.

Since the 1980s, there has been a growing interest in rewriting the history of literature, the arts, and the humanities by placing it within a broader cultural context (see, e.g., Arnulf Nünning, Geschichte der englischen Literatur; Linda Hutcheon & Mario J. Valdés, Rethinking Literary History; Alain Vaillant, L’histoire littéraire). In many respects the eras of modernism and the historical avant-garde provide rich terrain for such an endeavor. Among the points of departure are approaches to transnationality and cultural transfer (nation and nationalism, racial memory, colonialism and postcolonialism), the dialogue of the arts and other disciplines, the reciprocal effects of text and image, as well as the increasing proximity of social history (historicization of literary communication) and aesthetic-theoretical approaches.

An international conference scheduled for 7-9 November 2013 in the Zentrum Paul Klee (Bern) co-organized by the Carl-Einstein-Gesellschaft, the Zentrum Paul Klee and the Robert Walser Zentrum, will focus on this question of historiography. C. Einstein (1885-1940), P. Klee (1879-1940) and R. Walser (1878-1956) are not only ideal contemporaries of modernism and the avant-garde; they also embody in exemplary fashion the spirit of this new historiography, partly on account of their uncertain national identity between the Germanic and the Romance worlds.

That Einstein and Klee were in contact with one another has been documented. Most notably, Klee and the Blue Rider are the focus of the chapter “Die romantische Generation” (“The Romantic Generation”), which Einstein included under this rubric only in the third edition of his seminal work Die Kunst des XX. Jahrhunderts (1931). In that work, he sought to provide a new interpretation of the art of the Blue Rider through the prism of surrealism, as well as championing a method of writing history that was anchored in the viewpoint of the present.

Even if current scholarship presents no evidence of actual contact between Einstein and Walser or Klee and Walser, affinities between their respective oeuvres, especially in the processes of creative production, may be detected. Comparative approaches with respect to the experimental prose of the two authors are undoubtedly worthwhile, as are investigations of the influence of painting and the visual arts on literary techniques of modernism and the avant-garde.

Presentations dealing directly with the relationships between Einstein, Klee and/or Walser are most welcome. Fresh contributions on any of the three individual authors are likewise of interest; these should, however, relate to the general historiographical discussion and/or concentrate on an analysis of literary and artistic procedure.

Please submit proposals by 15 December 2012 to the three committee members of the Carl-Einstein-Gesellschaft, Nicola Creighton, Andreas Michel und Hubert Roland:,,

Proposals will be considered in consultation with Michael Baumgartner (Zentrum Paul Klee) and Reto Sorg (Robert Walser-Zentrum).

Source: H-ArtHist, Oct 18, 2012.

AC/CFP: « La plume contre le fascisme (1930-1935) », revue Aden – Paul Nizan et les années trente. Deadline: 31 mars 2013.

La revue Aden. Paul Nizan et les années trente continue son exploration des années 1930 et particulièrement des voix méconnues ou inconnues de la période, et ce, dans une perspective internationale.

Elle consacrera la majeure partie de son n° 12 (sortie en octobre 2013) à la plume contre le fascisme de 1930 à 1935.

« Peste brune » ? « Montée des périls » ? Le titre de la célèbre relation de voyage de Daniel Guérin, ou celui d’un des volumes des Hommes de bonne volonté de Jules Romains, recouvrent une réalité bien plus ancienne que leurs dates de publication, à savoir 1933 et 1935.

En 1919, Miklos Horthy entre à Budapest pour contrer la révolution de Bela Kun et y instaure une véritable dictature à l’aube des années 30 ; en 1922, Benito Mussolini marche sur Rome et installe dans les années qui suivent une dictature d’un nouveau type ; en 1923, Miguel Primo de Rivera assoit sa puissance en Espagne jusqu’en 1930 ; à partir de 1926, c’est au tour de la Pologne de subir le joug d’un dictateur, Joséf Pilsudski, jusqu’à sa mort en 1935 ; en 1933, Adolf Hitler arrive au pouvoir en Allemagne…

En France, des mouvements préfascistes – ou jugés comme tels par les gauches –, sont fondés dès les années 20 – tel le Faisceau de Georges Valois en 1925 –, auxquels succèderont différents Ligues et Partis dans les années suivantes.

En octobre 1935, l’Italie envahit l’Éthiopie, inaugurant une ère de conquêtes territoriales qui ne cesseront de se poursuivre à partir de cette date, l’Allemagne nazie prenant ensuite le relais en Europe.

Ces différents événements vont susciter de nombreux articles, essais et romans que nous étudierons pendant la période 1930-1935, moins analysée que celle qui suit.

Précisons que nous n’entendons pas revenir sur la caractérisation des mouvements visés, mais bien nous attarder sur la représentation que s’en sont fait ceux qui tenaient la plume.

Suivant le principe qui nous anime et dont nos six derniers numéros[1] peuvent témoigner, nous souhaitons traiter de toutes les sensibilités de la gauche, et ce, dans une perspective internationale.

Enfin, nous aimerions qu’une partie de ce dossier soit consacrée aux héritages des thématiques et autres procédés discursifs mis en place contre le fascisme entre 1930 et 1935, dans les époques postérieures (à partir de 1945).

Chaque article doit comporter 20.000 signes minimum et 35.000 signes maximum.

Il doit être rendu sans aucune marge et mise en page, en format Word ou RTF exclusivement, en police Times New Roman impérativement et en caractère 12, les notes devant être en bas de page et dans la même police.

Il doit, enfin, être d’une tenue irréprochable tant dans le style que dans la problématique mise en place.

Tout article ne respectant pas ces conditions ne sera pas considéré.

L’article doit parvenir en fichier-joint à Anne Mathieu (, Directrice de la publication, pour la fin mars 2013, délai à respecter scrupuleusement.

Il est conseillé de faire préalablement une proposition de sujet, auprès de la rédaction, par l’intermédiaire de cette même personne (



La revue Aden.



[1] N° 5 (oct. 2006) : « Intellectuels, écrivains et journalistes aux côtés de la République espagnole (1936-1939) » ; n° 6 (oct. 2007) : « Féminisme et communisme » ; n° 7 (oct. 2008) : « Pacifisme et Antimilitarisme » ; n° 8 (oct. 2009) : « Anticolonialistes des années trente et leurs héritages » ; n° 9 (oct. 2010) : « Intellectuels, écrivains et journalistes aux côtés de la République espagnole (1936-1939) [2e vol.] » ; n° 10 (oct. 2011) : « Artistes, engagez-vous ! ». À paraître en oct. 2012 : « Un air de prolétaire… »



AC/CFP: Workshop « Historiographies of Art in Latin America: National Constructions, Reception, and Institutions », Departamento de História da Arte, Universidade Federal de São Paulo, August 30 – 31, 2012 (Deadline: Jun 29, 2012)

The Universidade Federal de São Paulo (Unifesp) and University of Zurich (UZH) are pleased to announce the workshop, “Historiographies of Art in Latin America: National constructions, Reception, and Institutions”.

This conference intends to map out the historiographies of art in Latin America, especially in Brazil. We seek to analyze the circulation of aesthetic ideas and methods and to discuss questions of reception and cultural transfer. The workshop also calls for a wider theoretical and epistemological debate: Can we assume a “universal” theory of reception and historiography? How can we apply aspects of today’s theoretical and political debates on global art history?

The workshop focuses mainly on the reception of art-historical models and methodologies and their “translation” abroad by architects, professionals in heritage and patrimony as well as art historians, art critics and museum curators. The aim of the workshop is not to establish a new universal narrative of art history. On the contrary, it intends to overcome the dichotomy between the idea of a “pure reception” of European and US models in Latin American historiography and national discourses. An integral part of the discussion will be the diverse and different experiences of reception and circulation of ideas and more complex concepts of transfer. Some questions neglected by historiographical research will be addressed, such as how institutional frameworks constitute the development of discipline and its paradigms and how institutions like museums, universities, associations but also journals and scientific projects have shaped the circulation of ideas.

Participants will present papers, which discuss aspects of transfer, national discourses, and institutional impacts. A main purpose of the workshop will be to stimulate a discussion between specialists of European and Latin American historiography as to re-evaluate different approaches, including their terminology. On this basis we can explore the omissions in past methods and reflect on their potential for the discipline’s future.

We invite papers that consider the following themes:

– the reception of authors such as Burckhardt, Wölfflin, Warburg in Latin American countries

– national historiographies in Latin America

– the historiography of global art history in Latin America

– the circulation of ideas in Latin American art history

– the impact of migration of forms upon ideas and values concerning originals and copies

– the impact of universities, associations, museums, patrimony, journals upon the shaping of art history

– parallels with “neighboring fields” of art history like literature and anthropology concerning the circulations of ideas

The deadline for the submission of a 30-minute presentation proposal is Friday, 29 June 2012. Abstracts should not exceed 250 words. Papers will be preferably delivered in English, Portuguese or Spanish.

Please send your abstract and CV to

The organizers are pleased to reimburse travel and accommodation expenses depending upon funding.

This conference is one of the scholarly activities connected with the project “New Art Histories”, a joint venture between the University of Zurich and Federal University of São Paulo, as part of the initiative

“Connecting Art Histories”, sponsored by the Getty Foundation. It also forms part of a collaboration with the thematic project “Plus Ultra” funded by the Fundação de Amparo à Pesquisa do Estado de São Paulo.

Descriptions of the project can be found on the following websites:

Organizers: Jens Baumgarten, Cássio Fernandes, Angela Brandão, André Tavares, Tristan Weddigen

Main Sponsor: Connecting Art Histories, The Getty Foundation

For further information, please contact Jens Baumgarten at

Source : H-ArtHist, Jun 13, 2012. <>.

Parution + AC: Via@, nouvelle revue internationale et interdisciplinaire, multilingue (FR, EN, PT, SP, IT, DE, CA) sur le tourisme

Parution du premier numéro de la  nouvelle revue internationale et interdisciplinaire, multilingue  (FR, EN, PT,  SP, IT, DE, CA) sur le tourisme, Via@ :

portée par plusieurs universités est en ligne. Ce numéro porte sur les «Imaginaires Touristiques».

La revue vient par ailleurs de lancer trois appels à contribution ( pour ses futurs
numéros :




Les instructions pour la soumission de textes sont consultables sur :

Les doctorants ou jeunes docteurs pourraient également être intéressés par la rubrique « position de thèse ».

Merci de prendre aussi le temps pour découvrir les autres rubriques auxquelles vous pouvez contribuer (photographie, carte, recensions, etc.).

Les articles soumis peuvent être rédigés à l’une des langues de la revue, au choix. Les textes acceptés sont traduits, par  la revue, en deux autres langues.

AC/CFP: Séminaire sur la réception des oeuvres d’art – Lille 3 – rentrée 2012/2013. Deadline: 7 mai 2012.

L’équipe 1 du centre de recherche IRHiS à l’Université de Lille 3 ( organise à partir de la rentrée prochaine un séminaire de recherche sur la réception des oeuvres d’art du Moyen-Age à nos jours. Il s’agira de compléter nos travaux précédents en accueillant de nouveaux chercheurs, de nouveaux sujets et/ou en accordant une attention particulière aux fondements théoriques de ces approches. Si vous êtes intéressé(e), merci de vous mettre en relation avec Monsieur Patrick Michel, responsable dudit séminaire, avant le 7 mai prochain:

The IRHiS research centre in the Université de Lille 3 ( will organize next academic year a research seminar about the reception of works of art from mediaeval times to the contemporary period. Priorities will be granted to new researchers or/subjects or to theorization of this kind of approaches. PhD students’ proposals are also welcome. If you are interested, please make contact with Prof. Patrick Michel, organizer of the seminar, before 2012, May 7th :