Circulaire 18

Dear Friends and Colleagues,

As a note of warning this Circulaire is very long but it is full of very interesting announcements, so make sure to look through it carefully. We want to thank everyone who sent us items to include and encourage all of you to let us know about your upcoming conferences, publications, exhibitions, or anything else that would be of interest to EPCAF members. We are happy to spread the word.

For those of you attending the CAA conference, we will send a special issue later in the week to announce the time and place of the EPCAF meeting as well as recommendations for the conference. If you have a panel or know of anything happening in New York that would be of interest, please let us know.


Catherine Dossin & Victoria H.F. Scott


Unfolding the Medium: Contemporary Perspectives on the Visual Arts

Montréal, Université de Montréal
March 22, 2013

Deadline: Feb 3, 2013

Despite its dismissal by postmodernist critics, the notion of ‘medium’ has never been discarded from visual arts’ discourses and practices. As Alex Potts (2004) shrewdly pointed it, abolishing medium specificity, which characterized Greenbergian modernism, does not mean putting an end to the concept of ‘medium’ itself. The 1970s art criticism indeed could not help referring to it and naming it. Yet the persistence of the medium seems to be accompanied by a confusion in its uses and functions, be it in the form of denial or abuse, default or habit. How can we analyze and clarify this discursive ambiguity? Is it the symptom of a true obsolescence? Or else – our hypothesis: is it an indication that despite its complex history, ‘medium’ is still a concept, not only useful but also critical to the artistic field? How can we reflect on the medium in ‘the age of the post-medium condition’ (Krauss, 1999)?

It is obvious that ‘medium’ in art history does not function anymore as it used to, i.e. neither as a criterion of differenciation between the fine arts according to materials, techniques and skills (the metier), nor as the modernist principle establishing a hierarchy in the artistic field (de Duve, 1994). We must now take into account an enlarged field of the medium, due to the increasingly hybrid artistic practices peculiar to the 20th century. We must also consider the development and theorization of communication means (McLuhan, Ivins); the ‘iconic turn’

in art history which reevaluates the medium as the image-making’s milieu and catalyst (Boehm, Mitchell, Belting); and the rise of intermedial theories (Müller, Moser, Méchoulan). Hence the contemporary stakes of the medium seem to target the relation and the porosity between the mediums in a network of medial practices, including yet exceeding the visual arts. Medium would therefore function less in terms of identity – providing specificity – than as a transforming agent for the image, or as an intention – a factor of dissemination.

This symposium aims to examine the notion of ‘medium’ in a contemporary perspective, and its relevance for art history and its methodologies, as well as for artistic practices.

We invite art historians, art critics, curators and artists to send their paper proposals (300 words maximum) in pdf or word (.doc), designed for a 15 to 20-minute oral presentation, in French or in English. We will consider papers presenting achieved results, as well as ongoing research. The proposal must be accompanied by a curriculum vitae. Both documents will be sent jointly to the organizers, Ji-Yoon Han ( and Laurence Schmidlin (, by February 3, 2013. The participants will be notified by February 6, 2013. Please note that we will unfortunately not be able to take charge of travel and accommodation costs.


Performanz und Performativität in der Kunst der Frühen Neuzeit

Institut für Kunstgeschichte, Universität Bern

14 Jun 2013

Deadline: Feb 10, 2013

Die Begriffe „Performanz“ und „Performativität“ erfahren seit den 1990er Jahren als Analysekategorie kultureller und sozialer Phänomene eine geradezu inflationäre Verwendung in den Geisteswissenschaften.

Während Philosophie, Linguistik und Soziologie, ausgehend von Austins Sprechakttheorie, insbesondere die Frage nach den Gelingensbedingungen sprachlicher Handlungen stellen, beschäftigen sich die kultur- und medienwissenschaftlich orientierten Disziplinen mit der Prozesshaftigkeit und Wirklichkeit konstituierenden Funktion körperbezogener Handlungen, Aufführungen und Inszenierungen.

Die Kunstgeschichte hat in diesem Kontext in erster Linie die Performance-Kunst ab der zweiten Hälfte des 20. Jahrhunderts fokussiert sowie die Inszenierungsstrategien der sogenannten Neuen Medien im Hinblick auf die Generierung und Speicherung von Wissen untersucht. Die methodischen Zugriffe für die Untersuchung der Wirkmächtigkeit und des handlungsstiftenden Potentials frühneuzeitlicher Kunst erfordern dagegen angesichts der aktuellen bildtheoretischen Konzepte von Bildakt bzw. Blickakt eine dezidiert gegenstandsbezogene Spezifizierung und Differenzierung. Darüber hinaus bleibt die Vielschichtigkeit der inszenatorischen Strategien von Objekten angewandter Kunst, die vor allem in zeremoniellen und rituellen Handlungen eine bisher kaum untersuchte performative Valenz besassen, ein Forschungsdesiderat des Faches. Eine gezielte Fokussierung der konkreten historischen Aufführungssituation könnte gerade in diesem Zusammenhang die einzelnen Kunstwerke aus ihrer kanonisch-gattungshierarchischen Einordnung lösen und deren Verständnis als konstitutive Teile einer komplexen Handlungseinheit von Objekt, Körper und Raum, insbesondere in der Frühen Neuzeit, fördern.

Der Studientag möchte Nachwuchswissenschaftlerinnen und Nachwuchswissenschaftlern die Möglichkeit bieten, aktuelle Forschungsprojekte zu diskutieren, in welchen auf methodischer Ebene eine performative Perspektive für die Interpretation von Kunstwerken der Frühen Neuzeit fruchtbar gemacht wird. Mit Impulsreferaten und konkreten Fallstudien möchten wir einen intensiven Austausch zu Methoden und Konzepten des Performativen anregen sowie eine stärkere Vernetzung der Forschenden ermöglichen. Interessierte Wissenschaftlerinnen und Wissenschaftler sind daher herzlich eingeladen, Ihre Arbeiten und Ideen im Rahmen des Studientags zu präsentieren.

Bitte senden Sie Ihr Abstract (max. 300 Wörter) für einen ca. 30-minütigen Vortrag sowie Ihre Kurzvita bis zum 10. Februar 2013 per Mail an:  und


Kunstlicht Journal

Mind the Map | Vol. 34 (2013) no. 2

Deadline proposals: 15 February 2013

Publication: Fall 2013

For centuries the map was an instrument of which neither the function nor the method of operation was questioned. Scientists and adventurers forced the terra incognita into confinement, and cartographers tamed the new worlds using nothing but a ruler and compass. A turn came during the twentieth century. It has since been said that the map covers (Jorge Luis Borges) or even replaces (Jean Baudrillard) the terrain, while others have argued that topography (literally: place writing) does not only describe our world, but writes it into existence. ‘Critical’ or ‘radical’ cartography shifted the focus from the map as an arrested status quo, to ‘mapping’ as a performative and political act. More recently, also outside geography notions such as ‘story maps’, ‘narrative cartography’ and ‘soft atlas’ pop up ever more. In anthropology, for instance, cartography has been used as an instrument to fathom the subjective experience of the everyday surroundings.

These developments are reflected in the visual arts. Stanley Brouwn’s This Way Brouwn (1961) already alluded to an alleged relation between cartography and the individual perception of space long before this became a topos in anthropology. Walter Benjamin’s wish to graphically express the ‘bios’, the Raum des Lebens, on a map, has curiously come true in the Situationist International’s psychogeographical collages, in Richard Long’s ‘hiking maps’, and in On Kawara’s cartographic diaries (I Went, 1968-1979). In her essay ‘Farewell to Modernism’ (1979), Kim Levin considered the map an ‘emblem’ of Postmodernism. For her and her contemporaries, the map symbolized the urge to look outward, and escape from the self-reflexivity of the artwork as sanctioned by Modernism. Art with cartographic material is no longer a rarity. The map is more interesting than the territory is the title of the first solo exhibition of Jed Martin, the protagonist in Michel Houellebecq’s La carte et le territoire (2010). Why do so many artists find the map so interesting? What explains the remarkable renaissance of this ‘medium’?

With Mind the Map, Kunstlicht aims to investigate the power of the map. The board of editors welcomes proposals for theoretical discussions on, among other topics, the changing ontological status of the map, or on the map as a device to order and visualize information. Art-historical analyses and original takes on specific case studies are also anticipated.

Proposals (200 – 300 words) with attached résumés can be sent to   before 15 February 2013. Selected authors will be invited to write a 2,000 – 3,000-word paper (excluding notes). Papers may be written either in English or in Dutch, although we prefer native Dutch speakers to write in their native language. Authors who publish in Kunstlicht will receive three complimentary copies. Kunstlicht does not provide an author’s honorarium. Two years following publication, papers will be submitted to the freely accessible online archive at


The city in photographic albums

Catania, Italy

September 12 – 14, 2013

Deadline: Feb 16, 2013

This session invites papers about photograph albums as representational tools that portray the city variously.  Tourist albums construct canonical sites in a city’s self-representation; albums of parades and festivals record events historiographically; private albums imagine city life outside the public sphere. Questions to be addressed include such issues as identifying the commissioners, the photographers, and their audiences; specifying the narrative created about the city; describing the spatial and temporal sequencing of the images; analyzing the relationship between text and image.

La session invite des textes sur les albums photographiques qui fonctionnent comme outils de représentation. Albums touristiques construisent des sites canoniques dans l’auto-représentation de la ville; albums de parades et festivals enregistrent les évènements historiographiquement; albums  privés imaginent la vie publique en dehors le domaine publique. Les sujets qui seront adressés recouvrent:

identifier les commanditaires, les photographes et leur clients; spécifier les narratifs construits sur la ville; décrire la séquençage spatiale et temporelle des images ; analyser la relation entre texte et image.

Go to:

Associazione Italiana di Storia Urbana


Avant-garde discourses in Spain and Latin America

Madrid, Museo Reina Sofía

July 11 – 13, 2013

Deadline 28th of February 2013

This international conference brings together the Colección Patricia Phelps de Cisneros, CSIC, St. 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 in 2013. 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.

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.


Creative Processes in Art International Colloquium

Lisbon, Faculty of Fine-Arts

September 12 – 13, 2013

Deadline: Feb 25, 2013

The Center for Research and Studies of Fine Arts of the University of Lisbon and the Nucleus of Research in Painting and Education of the Federal University of Uberlandia are jointly organizing a two-day international Colloquium on Creative Processes in Art.

The aim of this event is to provide an interdisciplinary platform to the discussion of artistic creative processes. By bringing together artists, art educators, philosophers and art theorists, we intend to trace a comprehensive overview of this theme and, therefore, we are inviting submissions focusing on, but not limited to, the following four headings:

1- Aesthetics and Philosophy of Art

2- Artistic Practice

3- Artistic Education

4- Science and creativity

Abstracts are due by February 25, 2013 and should be submitted (Word or RTF format) by e-mail to

Papers which have been accepted will be published in the Seminar Proceedings, with ISBN.

Submission Guidelines. Please include: 1st page: 1. The proposed title of the paper in the language it will be presented. 2. A 150 to 300 words abstract in English for a 20-minute paper. 2nd page: 1. Author; 2. Email address 3. Institutional affiliation 4. Brief biographical note (100 words)

For further information and inquiries please e-mail us at

or contact: CIEBA Faculdade de Belas-Artes da Universidade de Lisboa Largo da Academia Nacional de Belas-Artes 1249-058 Lisboa | Portugal Tel.:+351 213 252 100


Public Art and Art’s Public: Annual Art History Association Symposium

San Jose State University

April 13, 2013

Deadline: Feb 28, 2013

In light of the increasing interest in public art and related problems of defining publicness and public space, we would like to explore the relationship, both between art and its publics and between contemporary spaces and public art. Each type of interaction, broadly considered, may serve to deepen a discussion as to how art functions and circulates in contemporary society, or how it has done so in previous periods and cultures. This topic addresses both the current and historical expectations regarding the efficacy of artworks in the public realm, as well as assumptions as to who these publics are or how they might be shaped. How do we define the ‘space’ of art and how are publics defined by their interactions with such art? Some examples of possible paper topics may include: how differing publics reacted to a certain exhibition or artwork; the interaction between diverse viewers and public art; how artworks transform landscapes and cities; how informal artistic practices and performances in public interact with officially sanctioned public art; how technology mediates space and publicness; how monuments signify in the political realm; or how art and ritual engage in constructing social identities. Papers covering a wide variety of cultures and historical periods are welcome.

Applicants can send their submissions to:

Our departmental website is:

Dept. of Art & Art History

San José State University

One Washington Square

San José, CA 95192-0089


L’artiste en revues. Fonctions, contributions et interactions de l’artiste en mode périodique

Université libre de Bruxelles

October 28 – 30, 2013

Deadline: Mar 1, 2013

Cet appel à communication s’inscrit à la fois dans la continuité des travaux du groupe de contact FNRS «écrits d’artistes » et du projet Pictoriana, ainsi que dans celle des recherches récentes qui ont mis en évidence les interactions entre presse et littérature, mais aussi entre art et revues. À la suite de ces travaux, 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. Ce colloque transdisciplinaire s’intéressera davantage à l’écrit et aux dispositifs qui l’encadrent dans la mesure où les contributions des artistes par l’illustration ont déjà été traitées (Stead et Védrine, 2008). Toute analyse mettant en jeu l’illustration se devra donc d’être pensée en connexion avec son environnement textuel.

De même, si les écrits critiques d’artistes ont pu faire l’objet d’analyses monographiques, force est de constater qu’une étude systématique des différents types d’interventions d’artistes dans les périodiques fait encore défaut, notamment en ce qui concerne le rôle des artistes dans la gestion ou l’organisation d’un périodique. Il s’agira d’interroger ces contributions dans la diversité de leurs formes et modalités, afin, notamment, de mettre au jour le rôle des revues et de la presse quotidienne dans la structuration de la vie artistique ainsi que dans les trajectoires individuelles des artistes.

Les travaux se concentreront non seulement sur les contributions écrites des artistes dans l’espace qui leur est traditionnellement imparti, comme celui de la critique d’art, mais aussi, et de façon plus innovante, dans tous les autres lieux d’action possibles (direction de revue, constitution du réseau de la rédaction, critique littéraire, publicité, tribunes politiques, enquêtes et tout type d’écriture journalistique). On envisagera en outre le périodique comme un outil de promotion, mais aussi comme un lieu d’échange et de rencontre avec le public, avec d’autres artistes, d’autres disciplines artistiques, l’actualité et surtout, avec l’écriture.

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). L’aspect contemporain n’est pas à négliger, si l’on songe, par exemple, au débat médiatique suscité en

2011 par Jean Birnbaum, quand il a pris la direction du Monde des Livres, et y a accueilli les critiques littéraires du chorégraphe Jean-Claude Galotta et, en 2012, du chanteur Dominique A et des comédiens Denis Podalydes et François Morel.

Les propositions de communications (d’environ 500 mots), en français ou en anglais, seront envoyées sur une page anonyme, accompagnée d’une page indépendante reprenant les coordonnées personnelles et une brève biobibliographie.

Elles devront parvenir à Clément Dessy (  et à Clara Sadoun-Édouard ( pour le 1er mars 2013. Une réponse sera adressée aux auteurs à la fin du mois du mars.

Une publication d’une sélection des travaux issus de cette journée est prévue sous la forme d’un dossier thématique de revue.


Identity in the Visual as part of the Euroacademia International Conference ‘Identities and Identifications: Politicized Uses of Collective Identities’

Panel Organizer: Daniela Chalániová, Anglo-American University, Prague

Zagreb, Croatia

April 18 – 20, 2013

Deadline: Mar 1, 2013

Ever since the so called ‘linguistic turn’ in the 1970s, majority of research on identity in political and social sciences has been focused on language and text – as language has been considered the primary tool for meaning formation, and ideas exchange. Today, we are twenty years from a digital revolution of the 1990s, which on the one hand, made communication faster, more efficient and more global, on the other hand made the linguistic exchange just one of many possibilities. While arguably some visual elements such as symbols and flags have been recognized as important for collective identification, the impact of journalist, fashion and travel photography, films, comic books and documentaries, billboards and brands, sports and arts,has largely been neglected by mainstream political science scholars, who viewed images as something rather suspicious. However, with increasing interest in the visual/aesthetic aspects of political and social life (the so called ‘visual/aesthetic turn’ of the late 1990s) it is only logical to take a hard look at identity beyond language, that is, from an interdisciplinary visual perspective.

Thus, this panel aims at a more inclusive interdisciplinary approach to identity building, especially in terms of the empirical scope. The goal is to collect empirical as well as theoretical and methodological papers on political and social identity, focused on visual aspects of identity construction.

Please submit abstracts of less than 300 words together with details of affiliation by March 1st, 2013 to

For more details see:


Graduate student seminar: Coloring Color

New Haven, Yale Center for British Art

June 17 – 21, 2013

Deadline: Mar 4, 2013

In June 2013, the Yale Center for British Art will offer a week-long graduate student seminar, open to doctoral candidates interested in color and its historical development, manufacture, and use in a range of art works in the eighteenth, nineteenth, and twentieth centuries.

The seminar is organized by the YCBA’s Conservation Department, and concentrates on the physical materials of color, as well as historic and scientific perspectives.

The seminar dates are June 17-21, 2013. Applications are welcomed from current PhD students anywhere in the world, whose doctoral research focuses on issues relating to painterly practice and the materiality of paintings and works on paper. Participants will be provided with economy airfare, ground transportation, meals, and accommodation at Yale.

The deadline for applications is March 4, 2013.

Full details are available at

Enquiries should be sent to Marinella Vinci at


Enchanted Modernities: Theosophy and the arts in the modern world

A Conference at the University of Amsterdam

 25-27 September 2013

Deadline for paper proposals: Friday, 1st March 2013

This is the first conference of the newly established research network, Enchanted Modernities: Theosophy, modernism and the Arts c. 1875-1960, funded by the Leverhulme Trust. The conference will be organized in collaboration with the Centre for the History of Hermetic philosophy and related currents, University of Amsterdam. Building on a very successful exploratory colloquium at Liverpool Hope University in December 2010, this conference will explore what the arts can tell us about the complex relationships between Theosophy, modernity and artistic culture c. 1875-1960. The purpose of this conference is to bring together an international group of scholars working on Theosophy and the arts across the globe in this period, and as a result, map the rich variety of artistic responses to the influence of Theosophy and the Theosophical movements in the modern world. The connections between Theosophy and modernist aesthetics have been well documented in relation to certain artists such as Kandinsky and Mondrian, as well as composers like Scriabin and Rudhyar. However, the purpose of this conference is to develop a more nuanced and complex picture of the multiple layering of art, modernity and mysticism in a range of artistic practices in the nineteenth and twentieth centuries. The wider critical significance of the relationships between painting, sculpture, applied and decorative arts, music, architecture on the one hand and Theosophy on the other, with the exception of a few well known case-studies, is still largely to be explored, possibly because, as the historian Alex Owen has suggested, ‘the very notion of mysticism and the occult seem to run counter to our conception of modern culture and the modern mind set’.

We plan to publish the proceedings of this conference. Please indicate whether you are interested in developing your paper, if accepted, for a publication of collected essays after the conference.

In 2015, the network will hold another conference at Columbia University, New York, which will focus more on literature and text.

Proposal format: abstract (300 to 500 words ) and a short bio (100 to 200 words)

Please send your proposals to Dr. Marco Pasi:


Der dokumentarische Film im Medienwandel

CfP für das Buchprojekt

Deadline: Apr 15, 2013

Der dokumentarische Film im Medienwandel. Neue Formen, neue Perspektiven, inter- und transdisziplinäre Ansätze Herausgegeben von Dr. Carsten Heinze und Prof. Dr. Thomas Weber, Universität Hamburg,  geplantes Erscheinungsdatum Ende 2014, in Kooperation mit dem DFG Projekt ”Geschichte des dokumentarischen Films in Deutschland 1945 – 2005” (Teilprojekt 3: Themen und Ästhetik) und dem Forum Medienkulturforschung.

Dokumentarische Filme finden sich in den letzten Jahren in einer kaum mehr überschaubaren Anzahl und Vielfalt in den unterschiedlichsten Medien. Von der Kino- und Fernsehdokumentation bis hin zu Industriefilmen, Lehrfilmen oder sogenannten How-To-Filmen auf YouTube, von videographierten Zeugenaussagen der Shoah-Foundation oder der Organisation WITNESS bis hin zu den hybridisierten Formaten des Reality TV reicht inzwischen ein komplexes Feld ganz unterschiedlicher Produktions-, Distributions- und Rezeptionspraktiken des Dokumentarischen. Doch was macht den dokumentarischen Film heute aus?

Gibt es eine allgemeingültige Definition? Oder müssen wir unser Verständnis seinen jeweiligen Praktiken anpassen?

Das geplante Projekt möchte eine Bestandsaufnahme der neuen Ansichten des dokumentarischen Films versuchen:

Wie brauchbar ist der Begriff des Doku­men­tarischen aus heutiger Sicht zur Unterscheidung nichtfiktionaler wie fiktionaler Formen? Ist diese Unterscheidung angesichts einer fortlaufenden Hybridi­sierung überhaupt noch sinnvoll? Gibt es erkenntnistheoretisch über­greifende Konzepte, die den dokumentarischen Film unabhängig von seinen vielfältigen praktischen Verwendungsweisen auszeichnen und ein Festhalten an diesem Begriff rechtfertigen? Welche technischen, ökonomischen, institutio­nellen, sozialen und auch ideologischen Bedingungen prägen seine ästhetische Form? Wie werden dokumentarfilmische Formen in sich wandelnde mediale Praktiken eingebunden und welche kommunikativen Funktionen erfüllen sie? Wie lässt sich der dokumentarische Film aus Sicht der Produktion, dem Produkt Film und der Rezeption konzeptualisieren? Und welchen Stellenwert haben dokumentarische Filmformen heute für die Diskussion in den verschiedenen Disziplinen?

Vorschläge für Beiträge aus allen geistes-, kultur- oder sozialwissenschaftlichen Disziplinen sind willkommen. Bitte schicken Sie uns Ihre Abstracts (bis max. 1500 Zeichen) mit einer Kurz-Biographie bis zum 15. April 2013 zu. Sie erhalten bis zum 15.

Juni Antwort von der Redaktion, ob Ihr Vorschlag zur weiteren Ausarbeitung ange­nommen worden ist. Die fertigen Manuskripte werden bis Januar 2014 erwartet.

E-Mails bitte an:  oder


Renaissance of Roland Barthes 

CUNY Graduate Center

April 25th-26th 2013

Deadline: March 1, 2013

The students of the Comparative Literature and English departments at the City University of New York Graduate Center present the second annual interdisciplinary conference on Critical Theory, to be held April 25-26, 2013. The conference will be devoted to the writings of French literary theorist and critic Roland Barthes.

Speakers: Jonathan Culler, Diana Knight, Rosalind Krauss, D.A. Miller, and Lucy O’Meara

Please submit a 300 word abstract for a 15-20 minute paper by March 1, 2013 to Proposals should include the title of the paper, presenter’s name, institutional and departmental affiliation, and any technology requests. We also welcome panel proposals of three to four papers.


Penser l’exposition. Points de vue pragmatiques : Journée d’étude interdisciplinaire

Université Paul Valéry – Montpellier 3

February 15, 2013

De sa production à sa réception, en passant par sa mise en espace, toute exposition nécessite l’intervention de plusieurs professionnels du monde de l’art (artistes, commissaires/conservateurs/collectionneurs, architectes/scénographes, critiques/historiens de l’art). Toutefois, ces derniers ont rarement l’occasion d’échanger sur leurs exigences spécifiques. Car il est indéniable qu’en fonction de son champ de spécialité, chacun pose un regard très différent sur les expositions. Une telle journée d’étude vise donc à croiser les regards, pour un enrichissement professionnel réciproque. Il s’agira de mettre en valeur la large gamme de critères d’évaluation à laquelle est soumise toute exposition, selon les professionnels qui l’envisagent.

Programme détaillé consultable à l’adresse suivante :


The politics of the social in contemporary art

Tate Modern, Starr Auditorium

Friday 15 February 2013, 10.30 – 19.00

Can art intervene in social relations? What are the implications of involving art and its audiences in an ethical problem? And how do such practices relate to art’s social institutions? This symposium examines the turn towards participatory and collaborative art forms and the ethical questions that raises.

Featuring a keynote by Professor Shannon Jackson and contributions from Wafaa Bilal, Not an Alternative, Wochenklausur, Ztohoven, Renzo Martens, Grupo Etcétera, Gavin Grindon and Anja Kanngieser.

The symposium will be followed by film screenings by the day’s speakers.

 Initiated by Adventures of Seeing and the Visual and Material Culture Research Centre, Kingston University.



Bildende Kunst in Westdeutschland 1945-1964:  Akteure, Institutionen, Ausstellungen und Kontexte

Kolloquium der TU Dresden, Hörsaalzentrum – Raum 103

28 Feb-1 Mar 13

Registration deadline: Feb 17, 2013

Im Rahmen des DFG Projektes: “Soziale Geburt der ‘Westkunst’. Netzwerke bildender Kunst in Westdeutschland 1945-1964”

Prof. Dr. Karl-Siegbert Rehberg, Institut für Soziologie der Philosophischen Fakultät der Technischen Universität Dresden

Kontakt: ,



The First Bi-annual Lovis Corinth Colloquium on German Modernism

Emory University, Department of Art History & Carlos Museum

March 8th-9th


Considine, Liam. New Realisms: Pop Art in France, 1962-1968. Institute of Fine Arts, New York University, 2012, 313 pages; AAT 3546389.


Kress Language Fellowships for Art History Students

Middlebury College Language Schools

June 21 – August 16, 2013

Application deadline: Apr 1, 2013

Middlebury College is pleased to announce the Kress Fellowships for language study, made possible by a generous gift from the Samuel H. Kress Foundation. Five fellowships are available for art history graduate students to attend the Middlebury summer Language Schools, in French, German, Italian, Portuguese, or Spanish during the summer of 2013. These fellowships are intended for graduate students in art history with a proposed focus on European Art History. Preference will be given to graduate students who have recently been accepted or are currently enrolled in the requisite program at a Ph.D.-granting institution in the United States. In exceptional cases advanced undergraduates in Art History who are preparing for graduate study in the same field may also be considered. Fellowships cover the comprehensive fee (tuition, room, and board) at the Middlebury summer Language Schools. They are merit-based and intended for exceptionally qualified individuals.

For more information about the Fellowships, please visit

For more information about the language programs, including specific dates and site for each language, please visit


Salzburg Summer Academy – Grants

Bassam El Baroni

22 July – 3 August 2013

Dealdine: 10 April 2013

Bassam El Baroni is developing a curatorial practice course with an emphasis on art theory, philosophy, pedagogy and exhibition making. Some 90 grants, usually covering tuition costs only, are available for participation in one of the classes at the Summer Academy. Additional subsidies for travel and living costs are offered by the American Austrian Foundation (AAF), ERSTE Foundation, Free State of Bavaria, and Münster Academy of Fine Arts. Applications for these grants should be made directly to the granting bodies, according to their guidelines and closing dates. The Eastern Europe grants awarded by the Summer Academy also include travel and living costs.

Applications for all other grants should be made, online only, via the Summer Academy.

The grant application also counts as the application for a class (so need not be made separately).

The closing date for all applications is 10 April 2013.

It is not necessary to apply for a special grant, applications should  contain the following:

Application form for grants

Brief informative curriculum vitae

Statement on the reason for applying and what you expect from participation in a course at the Summer Academy

Portfolio, approximately 10 photographs of your work (for the curatorial courses a portfolio is not necessary)


Bourses 2013 / archives de la critique d’art 

Deadline: 10 février 2013

Les Archives de la critique d’art, avec le soutien de la Fondation Bettencourt Schueller, ont convenu de soutenir la recherche sur leurs ressources documentaires par l’attribution de plusieurs bourses chaque année…


Mythmaking Eastern Europe: Art in Response

Institute of Art History at the University of Zurich, October 18, 2012

Report by: Ana Bogdanovic, Berlin

The last large Eastern European art exhibition took place at the Centre national d’art et de culture Georges Pompidou in Paris in 2010. The curators of this ambitious show, Christine Macel and Joanna Mytkowska, declared that “Eastern Europe does not exist” [1]. Nevertheless they recovered the myth of the deceased region by displaying a problematic understanding of contemporary art from Eastern Europe based on East-West stereotypes as well as on the artist vs. state apparatus antagonism shown through the exhibition narrative. [2] The dissolution of any non-Western geo-political region appears to be proclaimed by the Western art establishment at the moment its exotic or commercial potential has been emptied out. At the same time, the regional art historical research, in this case the scholarship of the art in former Eastern Europe, bears the difficulty of constructing the collective, generalized characteristics of art rather than scrutinizing the many aspects of its multifaceted complexity…


Report Faults German Governments and Museums on Handling of Nazis’ Loot

By Patricia Cohen


Vous avez manqué la conférence avec Guiseppe Penone du 17 janvier? 

Retrouvez la vidéo complète sur CentrePompidou@centrepompidou


Gilles Caron’s first major retrospective opens at Musée de l’Elysée in Lausanne

January 31, 2013


“We Went Back: Photographs from Europe 1933-1956″ by Chim on view at the International Center of Photography   January 26, 2013

A new home for the National Archives of France by Massimiliano and Doriana Fuksas:


Nazis Collecting Art: Art Dealer Gustav Cramer’s Wartime Records

Isabella Zuralski August 27, 2012


Presente e futuro di Artefiera | Artribune

By Antonio Grulli

Ha creato un certo clamore la lettera aperta di Antonio Grulli pubblicata qualche giorno fa sull’atpdiary. Alfredo Cramerotti lo ha intervistato, per capire come si potrebbe imprimere una svolta alla città di Bologna, e ad Artefiera in particolare. Magari con una quadriennale che faccia il punto sul……


Rheinländerin in New York – Charline von Heyl im Bonner Kunstverein


Vom Ideal des reinen Lichts – die Künstlergruppe ZERO


Munich to get its own Fourth Plinth

Scandinavian artists Elmgreen and Dragset are organising temporary art commissions in Germany

By Clemens Bomsdorf. Web only

15 January 2013 The Art Newspaper



By Fan Zhong

January 9, 2013 The Daily W

“Electricity Paper Vinyl…,” opens tomorrow at both Bortolami Gallery and the new Friedrich Petzel space in Chelsea.…


European History Online


Contemporary Art Daily

January 28th, 2013

Bernard Piffaretti at Cherry and Martin


Metasuche für elektronische E-Dissertationen in Europa

“Access to 374738 open access research theses from 527 Universities in 27 European countries”


Ebooks in Foreign Languages: Electronic Books Online: Public Domain Texts


off topic

Focused on media art, in which the variety of electronic and digital art forms are explored in practice and theory. The magazine is published by the Academy of Media Arts Cologne, and picks up on the current developments and events, providing both insight into the activities and projects of the university.



Diaphanes was founded in 2001 and has since gained a high reputation for independent publishing in the field of literature, contemporary philosophy, academic studies and the arts within the German-speaking area. At present, some 50 publications are being released annually.


Geschlossene Gesellschaft

Video by Berlinische Galerie:

20. Januar 2013 von interfilm

Unbedingt hingehen und die Künstlerische Fotografie in der DDR 1949-1989 anschauen – läuft noch bis 28. Januar! Und nicht verpassen, die längere Doku im Kinosaal anzuschauen – in der Berlinischen Galerie


Challenging dominant discourses of the past: 1968 and the value of oral history

Edited by: Andrea Hajek


Guy Debord’s The Society of the Spectacle (1973)

La Société du Spectacle (Society of the Spectacle) is a black and white 1973 film by the Situationist Guy Debord based on his 1967 book of the same title. It was Debord’s first feature-length film. It uses found footage and detournement in a radical criticism of mass marketing and its role in the alienation of modern society.


Dior – Collection automne-hiver 1961 

Présentation de la collection Dior automne-hiver 1961 dans les salles grecques du Musée du Louvre.


Universität Mainz: Neue Plattform für Frankreichforschung geplant 

Mainz University Library receives DFG funding for the expansion of the “collective focus research France” to a broad platform for france-related activities at the Johannes Gutenberg-University



Bowling Green State University…

I just signed a petition to Mary Ellen Mazey, BGSU President, Rodney Rogers, BGSU Provost, William J. Primrose III, BGSU Chairman of the Board of Trustees, and Name, Title or Position (optional): In opposition to Bowling Green State University President Mary Ellen Mazey’s announcement to terminate 1…