Circulaire 19

Dear Friends and Colleagues,

Below you will find our usual listing of CFP, conferences, exhibitions, etc. We would especially like to draw your attention to the panel we are organizing for the Southeastern College Art Conference this year, which will be on Public Sculpture in Europe after 1945.

There are also several other interesting panels, and we have listed those we think might interest you. A list of available sessions can be found at

Catherine Dossin & Victoria H.F. Scott


Public Sculpture in Europe after 1945 

SECAC Annual Meeting in Greensboro NC

October 30 to November 2, 2013

Deadline: April 20, 2013

In 1964 Martin Heidegger wrote in his Remarks on Art—Sculpture—Space that the sculptor’s confrontation with their environment disrupted the smooth functioning of its spatial plan or setting. In other words, that sculpture challenged the very physicality of the social order and created a place apart: a place that disturbs the “seamless field over which proceeds the unending circulation of ersatz commodities.” Public monuments have always had a special place in Europe. However, they were never as controversial as following the Second World War during the reconstruction of bombed cities and the urban boom of the fifties and sixties. Heidegger’s analysis formed part of his critique of consumer culture, now it provides a useful philosophical lens through which we can begin to rethink and reassess the relationship between the beholder and the work of art anew.

Papers that examine the role and different historical traditions of public sculpture throughout Europe will be enthusiastically welcomed. Together we will consider modern and contemporary sculpture from every angle: its technical construction, its relation to monuments, as architectural elements and components of public gardens and landscaping, as well as its significance as sites of contemplative refuge: as sources for renewal, literally and metaphorically.

Information about 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.

Session chairs: Catherine Dossin, Purdue University,, and Victoria H.F. Scott, EPCAF Director of Research,


Sculpture’s Multiples

SECAC Annual Meeting in Greensboro NC

October 30 to November 2, 2013

Deadline: April 20, 2013

In a 1968 letter to the editor of Artforum, Barnett Newman declared, “I do not believe in the unique piece in sculpture when sculpture is cast or fabricated. The unique piece in sculpture can exist only when one is carving stone.” Newman objected to critic Andrew Hudson’s characterization of one of the two exemplars of Broken Obelisk as a “copy.” Instead, Newman felt both sculptures in the edition were in fact originals, calling them “identical twins.”

This idea would have been completely foreign to nineteenth-century sculptors working in Italy with huge teams of carvers to churn out multiples of neoclassical works such as Hiram Powers’ Greek Slave or Randolph Rogers’ Nydia. Why did Newman feel the need to qualify “copies” vs. “editions,” and what happened in sculpture in the decades before he made that statement to make that qualification necessary?

To answer these questions, this session invites papers that examine the place of multiples in sculpture during the nineteenth and twentieth centuries. Questions addressed might include: how to distinguish between copies, originals, editions, and replicas; how sculpture’s multiplication has affected its reception or commodity value; factors that have influenced sculptors’ decisions involving multiples; methods of replicating sculpture; and workshop practices.

Information about SECAC, abstract guidelines and submission procedures available at: Please use SECAC’s online form and submit your abstract and CV no later than midnight on April 20, 2013.

Session chairs: Amanda Douberley, University of Texas at Austin,  and Sarah Beetham, University of Delaware,


“Eew, gross!” Disgust in Art since the 1960s

SECAC Annual Meeting in Greensboro NC

October 30 to November 2, 2013

Deadline: April 20, 2013

Even though the emotion of disgust, which is one of the most intriguing and socially significant emotions of humans, has become an integral part of the arts over the past decades, it has stayed remarkably absent from art historical, philosophical or pedagogical discourse. As a countercultural aesthetic practice, an instrument of social or political criticism, a medium to question concepts of social or gender roles and identities, disgust in art is a difficult, yet important topic that calls for closer examination. Therefore, this panel aims at exploring the emotion of disgust in art since the 1960s and invites papers from a variety of disciplines and cultural angles that investigate topics like different forms of disgust in art, meanings and functions, triggers and significance of disgust in art in relation to a respective cultural and social environment, or the special situation that disgusting art creates with regard to its reception.

Information about 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.

Session chair: Anja Foerschner, The Getty Research Institute,


New Research on the Cold War of the 1970s and 1980s 

Blaubeuren, Germany

September, 13-15 2013

Deadline: 15 March 2013

The year 1983 marked a dramatic climax in the “Second Cold War”. Ronald Reagan called the Soviet Union an “evil empire”, announced the Strategic Defense Initiative, and a Korean passenger plane was shot down by Soviet Air Defense Forces. In November, Soviet-American tensions escalated during the NATO command post exercise Able Archer 83. High-ranking Soviet military and intelligence officers feared that the West was preparing for a nuclear first strike. Thus, some historians consider this crisis the most dangerous moment in the Cold War since the Cuban missile crisis.

The events of 1983 mark the culmination of tensions, which had already started with the crisis of détente in the 1970s. However, the beginning of a new American-Soviet rapprochement also made the year a turning point in the Cold War. Understanding 1983 as a watershed year thus points to phases of confrontation and cooperation in East-West relations. This workshop takes the 30th anniversary of these events as an opportunity to discuss new approaches to the Cold War of the 70s and 80s.

We especially invite contributions that encompass transnational and cultural perspectives on the Cold War, and/or consider actors who have been neglected in historical research.

Junior researchers and young academics (advanced graduate and postdoc level) are kindly invited to apply with a short abstract (approx. 300 words) by 15 March 2013. The conference will be held in English.

The CRC 923 ‘Threatened Order. Societies under Stress’ will cover travel expenses and accommodation.

Contact: Martin Deuerlein and Roman Krawielicki, CRC 923,University of Tübingen


Jacques Rancière’s work

2014 annual MLA convention

Deadline: March 15, 2013

This special session seeks submissions that discuss themes of vulnerability, resistance and social change in Jacques Rancière’s work. Approaches from various disciplines across the humanities and social sciences are welcomed. Please submit a 300-word abstract for a 20-minute presentation along with a 1-2 page C.V. to Haythem Guesmi ( by March 15, 2013.

Please note that this CFP is for a proposed, not a guaranteed, special session for the 2014 annual MLA convention. It is contingent on approval by the MLA Program Committee (which will make its decisions after April 1). All prospective presenters must be current MLA members by no later than 7 April 2012.


Futures past: Design and the Machine 

MIT, Cambridge, Massachusetts

November 21-23 Nov 2013

Deadline: March 29, 2013

In 1960, the readers of the IRE Transactions on Human Factors in Electronics encountered J.C.R. Licklider speculating on the future. “The hope,” he contended, “is that, in not too many years, human brains and computer machines would be coupled together very tightly and the resulting partnership will think as no human brain has ever thought.” He called this new cooperative interaction between the human and the computer a “symbiosis.”

This conference invites papers that inquire into the past that preceded, the present that coexisted with, and the future that followed Licklider’s proposition. We are interested in explorations of the assumptions and hypotheses that conditioned the coupling of humans with computational machines, and the debates around the roles of design and designer. Papers that investigate the institutional and intellectual history of human-machine systems and/or situate them within the social and economic context of the second half of the 20th century, are particularly welcome.

Please submit your CV and an abstract of 500 words to by March 29, 2013. Accepted participants will be notified by April 26.


Estrangement & Appropriation 

84th Kunsthistorischer Studierendenkongress (KSK)

Zurich, Switzerland, June 13 – 16, 2013

Deadline: Mar 31, 2013

 “Every nation is a lie that time and history have given – as in old myths or classical legends – an appearance of truth” (Mario Vargas Llosa, Nationalism and Utopia, 1992). Still, the nation as a construct seems nevertheless a fundamental reference point for traditional art history. Artifacts are often classified based on geographic criteria and the complexity and openness of political and cultural boundaries rarely discussed. At the same time, however, phenomena of exchange, communication and processes of translation are crucial for creative work. The story of globalisation is as old as the history of cultures, yet the attention to this development and those of digital networking in recent decades appears to stand in contrast to the simultaneous manifestation of nationalist-dominated views. As a country of immigrants and a federalist state with four (linguistic) cultures, Switzerland can serve as a model case for the discussion of the tension between local tradition and global context. As is evident in recent research (Homi K. Bhabha, Thomas DaCosta Kaufmann, David Summers and others), an examination of mobility, migration and exile as basic conditions of cultural processes is more relevant than ever before.

The thematic approach is consciously global, encompasses all epochs from the Middle Ages to the present and sees art as a broad area with the goal of encouraging papers concerning not only traditional media

such as painting, sculpture, and architecture, but also those concerning craft, design, film, photography and performance.

We welcome submissions including a synopsis of no more than one page and a brief curriculum vitae (preferably sent together as one PDF) until 31 March 2013 via email to

Concept and Organisation KSK Committee 2013, Art Historical Institute of the University of

Zurich. For more information, please see


East-Central European Criticism After the Fall of Communism 

EKPHRASIS. Images, Cinema, Theatre, Media

Issue 1(8)/2013

Deadline: May 30, 2013

East-Central European Criticism After the Fall of Communism: Cinema, Theatre, Visual Arts, Literature.

After the fall of Communism in East-Central Europe, the newly gained liberty of expression has generated both a creative euphoria and a liberalization of critical interpretation. Since everything had to be rebuilt in keeping with the democratic principles after forty years of totalitarianism, criticism – in all fields, from visual arts to literature or cinema – has remained, at least in the 1990s, a sort of old acquaintance somehow useless for the making of the new society. Only after the year 2000, when the economical, social and political transition became relatively stable for the majority of the countries in the region, critical reflection gained more legitimacy, acquired a certain sense of adequacy and redefined its social function.

Therefore, can we speak about critical methodologies that are specific for this intellectual geographical area, in the post-censorship decades? Is the recent Eastern-European criticism an interdisciplinary and cross-cultural effort, one that is easily exportable to the West? Or is it an intellectual model that is coherent only for an autochthonous paradigm? How the critical thinking models practiced mostly in the West (such as Postcolonialism, Critical Theory, Feminism or Cultural Studies) have entered and changed the East-Central European criticism? And finally, does criticism remain only a strong academic discipline or does it still hold resources for shaping the public taste?

The articles, written in English or French, together with the summary and key-words, should be sent to, and

The word limit is 5000-8000 words of text (including references).

The articles should be original material not published in any other media before.

Ekphrasis is a peer-reviewed academic journal, edited by the Faculty of Theatre and Television, “Babes-Bolyai University”, Cluj-Napoca, Romania.

For more information and submission guidelines, please visit:


Benjamin, Barthes, and Fashion

University of Manchester

June 28, 2013

Deadline: 1st April 2013.

Both Barthes and Benjamin wrote on fashion’s relationship to temporality, memory and history, and both critically investigated the potential of dress as metaphor in literary and visual analysis.  In the vein of such work as Caroline Evans’ Fashion at the Edge (2003), which utilizes Benjamin’s writing on fashion and time, and Malcolm Barnard’s Fashion as Communication (1996), which engages with Barthesian semiology, this conference invites new critical readings of fashion that engage with Benjaminian and Barthesian theories.

For this conference we invite researchers in fashion studies, dress history, costume studies, art history, visual studies, cultural studies, history, literature or other relevant disciplines to submit papers that engage with themes of temporality/chronology, semiotics, history, memory, and the process of fashion.  In addition to papers that apply Benjaminian and Barthesian theories, we also encourage papers that present critical readings of Benjamin’s and/or Barthes’ writing on fashion and clothing. .

Caroline Evans is our confirmed keynote speaker.

Please email a 300 word abstract with Name, Title, and Affiliation to both organisers by 1st April 2013.

Wendy Ligon Smith  and Gizem Kiziltunali


Popular Culture and Post-Socialist Societies 

Prague, Czech Republic

October 18 – 19, 2013

Deadline: May 15, 2013

We invite researchers to share their papers and panel proposals related to the conference theme, including but not limited to such topics as:

Culture Transfer: Westernization and Commodification of the “East”, Culture of the Post-Socialist New Rich: Continuities with Late State Socialism and Neoliberalism, Re-traditionalization, Nationalism, Exclusion and Mobilization in Popular Culture, Fostering Free-market Ideology through Popular Culture, Conflicting Memories of Anti-/Post-communism in Popular Culture, Reflections of Sexuality and Gender in Popular Culture, Exploitation Culture as Reply to Fast Changes in Post-Socialist Societies, Visual Culture of  Post-Socialist Societies of East-Central Europe, Popular Culture in East-Central Europe as Commodity, Travelling Cultural Theory (East West).

Deadline for abstracts is 15 May 2013. Deadline for panel proposals is 15 April 2013.

You may find further information here enclosed or at the conference  website:


Ephemeral Architecture in Central-Eastern Europe 

Budapest City Archives, Budapest

November 28 – 29, 2013

Deadline: Jun 15, 2013

The Research Centre for the Humanities, Institute of Art History, Hungarian Academy of Sciences, in cooperation with CentrArt Association – New Workshop for Art Historians, is organizing an international symposium entitled Ephemeral Architecture in Central-Eastern Europe in the 19th and 20th centuries.

It will focus on Central-Eastern Europe as a fluid geo-political conception and politically unstable territory with constantly shifting borders within the given timespan. Recognizing the growing interest in the latest research on ephemeral architecture, this conference will focus on temporary constructions erected for national and international exhibitions as a means of conveying ideas to an immediate audience. In this perspective the pavilion will be considered as a hub of architectural and artistic trends, political visions and cultural and social issues. Its complex political, cultural, social, economic and urban context will be analyzed: the exterior and interior design of an exhibition pavilion, along with its location within the exhibition park and neighboring edifices, its function as projecting regional, national or corporate representation.

Deadline: 15 June, 2013. Please send an abstract of no more than 300 words and a current CV of no more than 2 pages to Miklós Székely, organizer of the conference (  cc to Confirmations will be sent out by the end of June, 2013.


Invitation to the Seminar of LUCE IRIGARAY

University of Bristol

9-15 June 2013

The framework of the seminar is this: A group of at most fifteen researchers, doing their PhD on the work of Luce Irigaray, stay one week on the university campus. The timetable includes a presentation by each researcher of the aspect of their PhD which most focuses on the work of Luce Irigaray, the discussion of this presentation by the group, the comments of Luce Irigaray herself and her answers to the questions asked by each one, and also sessions devoted to an explanation of some key-words or key-thoughts chosen by the participants. Personal meetings with Luce Irigaray are organized on the last day. The participants pay for their travel, but receive, at least in part, hospitality from the university. The language of the seminar is English.

The participants in the seminar come from different regions of the world, they belong to different cultures, traditions and fields of research – Philosophy, Gender Studies, Religious Studies, Literature, Arts, Critical and Cultural Studies, etc.

If you are interested and would like to participate in such a seminar please send as soon as possible a CV, a PhD abstract (1 page) and a presentation of the issues and arguments of your PhD that most focus on the work of Luce Irigaray (5 – 6 pages) to Luce Irigaray (by mail: 15, rue Lakanal, 75015 Paris, France). After receiving this material, Luce Irigaray will tell you if you can participate in the seminar of 2013. You will be in contact, for further practical information, in the Spring after the selection of the candidates.


31st Annual Art History Graduate Symposium

Florida State University

October 18 – 19, 2013

Deadline: Aug 1, 2013

The Art History faculty and graduate students of The Florida State University invite students working toward an MA or a PhD to submit abstracts of papers for presentation at the Thirty-First Annual Art History Graduate Student Symposium.

Paper sessions will begin on Friday afternoon, October 18, and continue through Saturday, October 19, with each paper followed by critical discussion. Symposium papers may come from any area of the history of art and architecture. Papers will then be considered for inclusion in Athanor, a nationally-distributed journal published by the Department of Art History and the FSU College of Visual Arts, Theatre & Dance. Keynote Speaker: Magali Carrera, Chancellor Professor of Art History at the University of Massachusetts, Dartmouth

The deadline for receipt of abstracts (maximum 500 words) is August 1, 2013. Please include the title of the talk, graduate level, and whether the subject originated in thesis or dissertation research.

Send the abstract by email to:


The Matter of Contradiction / War against the sun 

David Roberts Art Foundation, London

 March 1 – 03, 2013

The Matter of Contradiction is a series of seminars initiated by Sam Basu, Fabien Giraud, Ida Soulard and Tom Trevatt. This third event, The Matter of Contradiction: War against the sun, is organised in collaboration with Inigo Wilkins.

The Matter of Contradiction/War against the sun consists in a public conference at the David Roberts Art Foundation (Friday evening and Saturday all day) and a workshop (Sunday all day) at Mute magazine office at Limehouse Town Hall followed by an After party organised by Tim Goldie.


Former West. Documents, Constellations, Prospects 

Haus der Kulturen der Welt Berlin

March 18 – 24, 2013

Even though the world turned on its pivot in 1989, the West has held onto the fiction of its own superiority. FORMER WEST investigates how contemporary art has been unsettling this reality and imagining its prospects otherwise.

FORMER WEST (2008–2014) is a long-term research, education, exhibition, and publication project aimed at a critical reinterpretation of post-1989, post-Cold War histories around an artistic imaginary of “formerness,” countering the persistent hegemonies of the so-called “West” within a global context.

Artworks, talks, discussions, rehearsals, and performances in various constellations of documents and prospects offer a multitude of encounters with the public for negotiating the way of the world from 1989 to today, and thinking beyond.

Documents, Constellations, Prospects is organized into five currents. Each day, students are involved in Learning Place – realized in collaboration with international cultural institutes, universities, and art academies – folded into contemporary negotiations on Art Production, Infrastructure, and Insurgent Cosmopolitanism. In addition, Dissident Knowledges contributions propose dynamic interventions into the ongoing program with artworks, performances, and statements.


Werkverzeichnisse der Moderne

München, Zentralinstitut für Kunstgeschichte

March 13, 2013

Welche Anforderungen werden heute an Werkverzeichnisse gestellt? Das 1. Forschungsgespräch des DFG-Projekts „Kommentiertes Werkverzeichnis der Möbel und Möbelentwürfe Mies van der Rohes“ stellt sich dieser Frage. Gerade kunstgeschichtliche Bestandsaufnahmen von Werkkomplexen der Moderne sehen sich nicht nur den Anforderungen der Forschung ausgesetzt. Auch die Praxis der „Anwendung“ im Fach, bei Sammlern, in Museen und Auktionshäusern ist zu berücksichtigen. Auf wissenschaftlicher Ebene wurde dies bisher kaum reflektiert.

Im ersten Teil des Forschungsgespräches diskutieren Experten aus Wissenschaft (Forschung/Museen) und Kunsthandel über die verschiedenen Erwartungen, die an ein Werkverzeichnis gestellt werden und die sich daraus ergebenden Herausforderungen im Zusammenhang mit Erstellung, Publikation und Gebrauch eines Werkverzeichnisses der Moderne.

Im zweiten Teil werden Konzepte und Lösungen anhand konkreter kunsthistorischer Werkverzeichnisse von Möbeln der Moderne erörtert. WissenschaftlerInnen berichten aus laufenden und abgeschlossenen Werkverzeichnisprojekten, sprechen über Erfahrungen und die sich wandelnden Problemstellungen.


Global Pop Symposium 

Tate Modern, London

March 14 – 15, 2013

This two-day symposium explores Pop beyond the mainstream. Organised in collaboration with the Royal College of Art, London, this event engages with new research in different fields and geographies to rethink orthodoxies as well as develop new interpretations of ‘Pop’. Of particular importance is the often critical nature of these global engagements with Pop. Reacting to the increasing dominance of the American post-war economy and media around the world, Pop art sometimes took the form of a destabilizing reversal of the normative messages associated with American culture and consumerism. This dialectic was effectively and memorably put to use by feminists, political groups and independence movements in order to simultaneously critique the hegemony of the West while drawing on its aesthetic mass appeal and graphic clarity. To date, the history of Pop art has tended to affirm the hegemonic position of New York. In an attempt to challenge the simple linear trajectory of influence that has dominated most accounts, this symposium will explore Pop beyond the mainstream and open the definition of Pop to critical re-thinking.


Die Skulptur Projekte und ihr Archiv

Münster, LWL-Landeshaus

March 19-20 2013

Die 1977 von Klaus Bußmann und Kasper König begründeten Skulptur Projekte Münster zählen zu den inter­national einflussreichsten Aus­stellungen der Gegen­warts­kunst. Sie spielen als „Langzeitstudie“ zum Span­nungs­­feld von Kunst und Öffentlichkeit seit den 1970er Jahren ­eine zentrale Rolle im weltweiten Kunst­geschehen. Die bis­her vier Ausstellungen der Skulptur Projekte Münster sind so zum Impulsgeber für zahl­reiche weitere Ausstel­lun­gen im öffentlichen Raum geworden.

Die Tagung „Die Skulptur-Projekte und ihr Archiv. Potenziale und Perspektiven“ widmet sich der Ge­schichte der Skulptur Projekte anhand ihres Archivs und wirft darauf aufbauend einen freien Blick in zu­künftige Neukonfi­gura­tio­nen zum Thema Kunst und Öffentlichkeit. Die Poten­ziale des Archivs dienen als Ausgangspunkt für die Debatte um zu­künftige Frage­stellungen in der öffentlichen Rezeption von Kunst.

TeilnehmerInnen: Claudia Blümle, Melanie Bono, Maria Eichhorn, Kurt W. Forster, Brigitte Franzen, Johann F. Hartle, Georg Imdahl, Suchan Kinoshita, Kasper König, André Rottmann und Karin Stengel.

Das gesamte Programm finden Sie unter:


Piero Gilardi, Collaborative Effects 

Nottingham Contemporary

March 23, 2013

Piero Gilardi’s work is synonymous with the term Arte Povera – but his distinct, multifaceted contribution to the context in which that movement was created is rarely examined in depth. Collaborative Effects brings together new thinking by established and emerging researchers. It departs from Gilardi’s work as artist, activist, exhibition organiser and alternative theorist of Arte Povera.

By examining his understanding of notions of living, play, and inhabitation contributors will draw out links between art, politics, and the Radical Design movement in Italy and seek to identify the continuing concerns of his work – from deinstitutionalization and ‘relational’ art to his role as artistic director of Parco Arte Vivente, a living art park founded in 2008 as a new public space and open-air exhibition site occupying a post-industrial wasteland in Turin.


Zirkulierende Bilder. Die Zeitschrift als Katalysator bildnerischer Konzepte

Kunsthistorisches Institut, Zürich

Datum: 27.2, 13.3, 20.3, 10.4, 24.4, 15.5, jeweils ab 18.15 Uhr

Zeitschriften übernehmen als chronologisches, kollektives und hybrides Kommunikationsmedium eine zentrale Rolle für die Verbreitung von ästhetischen und ideologischen Diskursen. Ihre spezifische Medialität zeichnet sie immer auch als Zeitdokument aus; dabei spielen das Verhältnis von Bild und Text, die Blicklenkung oder auch die Bildmontage zentrale Rollen. Bilder in Zeitschriften prägen immer wieder die visuelle Kultur verschiedenster Gesellschaften.

Die Veranstaltung wird verschiedene kunsthistorische Positionen der Zeitschriftenforschung vom 18. bis zum 21. Jahrhundert präsentieren. Die Vortragsreihe fokussiert dabei auf die Rolle der Zeitschrift als Katalysator unterschiedlicher bildnerischer Konzepte, deren Verbreitung wesentlich durch Zeitschriften ermöglicht wurden und nun als historische Dokumente untersucht werden können.


Bourses du DFK sur le thème de la répétition

Paris, September 1,  2013- September 1, 2014

Deadline: April 8, 2013

Dans le cadre du sujet annuel 2013/2014  RÉPÉTITION,  sous la direction d’Andreas Beyer (DFK) et Etienne Jollet (Université de Paris I Panthéon-Sorbonne), coordination scientifique par Markus Rath (DFK), le Centre allemand d’histoire de l’art à Paris offre, à partir du 1er septembre 2013, plusieurs bourses de recherche (durée de 12 mois). Si vous êtes diplômé en histoire de l’art ou une autre discipline proche (Master 2 ou doctorat)  et si vos recherches portent sur le sujet annuel, nous vous invitons à nous adresser votre candidature (Curriculum vitae, diplômes, liste des publications, deux lettres de recommandation établies par des professeurs d’université), ainsi qu’un projet de recherche (3 pages maximum suivies d’un échéancier et d’une bibliographie) avant le 8 avril 2013.

Le Centre Allemand d’Histoire de l’Art accepte également les candidatures hors du sujet annuel, mais dont les sujets sont susceptibles de correspondre avec d’autres thèmes de recherche promus par le centre.

Merci de nous envoyer votre candidature sous forme électronique à l’adresse suivante :

Plus d’informations :


Jesús Rafael Soto 

Centre Georges Pompidou, Paris

27 février 2013 – 20 mai 2013

Jesús Rafael Soto (1923-2005) a été l’un des principaux protagonistes du renouveau de l’art cinétique en Europe durant les années 1950 et 1960. Il crée, à partir de 1967, les célèbres Pénétrables, volumes suspendus dans l’espace et constitués de centaines de fines tiges verticales susceptibles d’être traversées par le spectateur. Aujourd’hui, l’entrée dans la collection du Centre Pompidou de vingt oeuvres-clés, datées de 1955 à 2004 et proposées en dation à l’État par la famille de l’artiste, comble une lacune importante et éclaire son parcours. C’est cet ensemble exceptionnel que le Centre Pompidou expose, pour la première fois.


Opere dalla XXIV Biennale di Venezia.1948

Museo di Ca’ Musei Pesarofino

From April 28 2013

In this Biennale year, Ca’ Pesaro will be offering a cycle of exhibitions in Room 10 that focus on the city’s cultural production through some of the major events of the late 20th century in Venice.

It will examine a fundamental group of works which entered the Gallery’s collections in 1948, during the 24th Venice Biennale. These are Trinité-sur-Mer – Breton port (1947) by Renato Birolli (Verona 1905 – Milan 1959), Homage to Sara (1948) by Mario Deluigi (Treviso 1901 – Venice 1978), Interior (1947) by Giuseppe Santomaso (Venice 1907 – 1990) and The ford (1948) by Emilio Vedova (Venice 1919 – 2006), which for the museum represent the start of its most recent history, coinciding with a broadening of its identity to include some of the most incisive works of the post-war period, with a focus that was at once international, national and local.

Making full use of the archive and documentary resources of the museum, the exhibition offers an instrument to reconsider and examine the links between the history of the collection and that of the Biennale, which have for many years been inextricably bound together.

Curated by Laura Poletto, Cristiano Sant


Silks & Prints from the Abraham Archive: Couture in Colour 

MOMU Fashion Museum Antwerp

March 13 to August 11 2013

During the 1950s and 1960s, the couturiers Christian Dior, Hubert de Givenchy, Yves Saint Laurent and Cristóbal Balenciaga all worked together with the Swiss firm, Abraham, for their exclusive fabrics. This company was specialized in printing silks. Today, the Abraham archives, an impressive collection of sample books, couture photographs and textiles, are housed at the Swiss National Museum in Zurich.


ARMANDO PIZZINATO (1910-2004) Nel segno dell’uomo

PArCo – Galleria d’arte moderna e contemporanea di Pordenone “A. Pizzinato”

February 9 to June 9 2013

More Information:


Franz West – Who is mein Achetr

Vienna, Mumok

February 23 to May 26, 2013

More Information:


I MESTIERI DELLA MODA con Agatha Ruiz de la Prada

Museo Correr, Venezia

March 8 to May 5, 2013

More Information:


The Revolution of Everyday Life: Donald Nicholson-Smith in conversation with T. J. Clark

London Review Bookstore

Tuesday 26 March at 7.00 p.m.

More Information:


Inventing a Heritage: Patrimoine, History and Memory in France by Jacques Revel 

Columbia University

Tuesday, April 16, 6-7:30 p.m.

East Gallery, Buell Hall,

Main campus entrance at Broadway and 116th st.

Jacques Revel is a Professor of History and former President of the École des Hautes Etudes en Sciences Sociales in Paris. His scholarship centers on historiography and the social and cultural history of Early and Modern Europe. His publications include Jeux d’échelles: La micro-analyse à l’expérience (1996), Histories: French Constructions of the Past, with Lynn Hunt (1996), Fernand Braudel et l’histoire (1999), Les usages politiques du passé (2001), and Penser par cas (2005).


Cabañas, Kaira M. The Myth of Nouveau Réalisme: Art and the Performative in Postwar France. New Haven: Yale University Press, 2013.

Keeney,Gavin. Dossier Chris Marker: The Suffering Image. Newcastleupon Tyne: Cambridge Scholars Publishing, 2012.


Hollywood’s German Influence

Exposition Giacometti au Musée de Grenoble
Daniel Buren on his work for Louis Vuitton.
A rare documentary made for German TV, is one of the earliest films devoted entirely to the work of John Cage (1966).
Lucio Fontana: la rivista “Pirelli
Louis Althusser, recorded 1962-63
Bosnia-Herzegovina’s Cultural Institutions in Crisis