Circulaire 21

Dear Friends and Colleagues,

Here is our monthly selection of call for papers, and announcements for conferences and grants. Please remember to send us anything you would like to include. Even if you are just looking for an apartment in Europe for research.

We also would like to draw your attention to our Facebook page, where we post daily announcements, articles, interviews, and exhibitions. We already have 75 followers!

Please check it out:

Also: near the end of the month we will be getting ready for our annual event at the Southeastern College Art Conference (a.k.a. SECAC). This year we are chairing a double panel on Public Sculpture in Europe after 1945. It is scheduled to take place on the morning of Saturday, November 2, and we are planning to hold our annual meeting immediately afterward. We will send you more information on the conference and the different panels, and where and when the meeting will take place.

All our best!

Catherine Dossin & Victoria H.F. Scott


North Street Review: Arts and Visual Culture – Volume 17 (2014)

University of St. Andrews

Deadline: Oct 14, 2013

The North Street Review is a peer-reviewed annual publication for original and innovative postgraduate scholarship in the field of art history. Founded as Inferno in 1994, and published as the St. Andrews Journal of Art History and Museum Studies from 2009-2013, the North Street Review publishes essays representing the diverse approaches to all facets of art history within the University of St. Andrews, the United Kingdom, and abroad. Inclusive and interdisciplinary, the Review encourages research from all methodological perspectives and invites contributions pertaining to art history across all time periods and geographical areas.

We hereby invite submissions of essays (2,000 – 5,000 words, including endnotes) from the discourses of art and visual culture, including work that spans interdisciplinary and intermedial boundaries, and with no constraints on time period and geographical location.

Submissions must be made at,

Any queries or enquiries should be made to the editors of the North Street Review, Kristen Adlhoch and Michael Nott, through the Review website, or by email at


Art as Cultural Diplomacy: (Re)Constructing Notions of Eastern and Western Europe

Prague, Czech Republic

November 15 – 16, 2013

Deadline: Oct 15, 2013

The panel “Art as cultural diplomacy” seeks papers that explore the function of art (in its broadest definition) as an instrument of cultural diplomacy by the state and, especially, by nongovernmental actors. The main theme of the session is the question of art and diplomacy in Europe before and after the fall of the Berlin Wall. Papers are welcome which explore issues related to the role of art, diplomacy and the politicization of the European Union and its candidate countries, as are those which consider how the arts have pursued or resisted East-West dichotomies and other narratives of alterity in Europe and worldwide. The panel seeks to combine a wide range of interdisciplinary perspectives to explore how art—its various practices, history, and theory—are an important area of inquiry in the expanding field of cultural diplomacy. Selected papers will be invited for publication in a book.

Please submit abstracts of less than 300 words by October 15, 2013 to Panel Organizer, Cassandra Sciortino, University of California, Santa Barbara

As part of the Second Euroacademia International Conference ‘Re-Inventing Eastern Europe’ to be held at Grand Majestic Plaza, Prague, Czech Republic, 15-16 November 2013


Contemporary Art and History Panel-Nordic and Baltic Art

SASS/AABS 2014 Conference at Yale

March 13-15 2014

Deadline: Oct 23, 2013

We are seeking papers for a panel at the joint Society for the Advancement of Scandinavian Studies and Association for the Advancement of Baltic Studies conference at Yale University, March 13-15, 2014.

This panel will explore the relationships between contemporary art in the Nordic and Baltic regions produced since 1989 and different modes of temporality. Papers may deal with these or related questions: How do contemporary artists visualize, critique, or reimagine the past, particularly the recent past? How are artists exploring the legacies

of communism or modernism?   How do they imagine the future and its

relationship to the past and present? How do they engage or critique nostalgic and utopian desires? How do recent theories of contemporaneity (e.g. Terry Smith) shape contemporary art practices or impact art historical research in the region?

Please send abstracts of proposed papers (250 words or less) to the panel organizers: Paul Wilson ( and Leena-Maija Rossi ( by October 23, 2013.

For more information on the conference visit:


Future Bourgeois: A Symposium and Workshop for New Work on Louise Bourgeois


February 07, 2014

Deadline: Oct 30, 2013

This autumn The Scottish National Gallery of Modern Art and The Fruitmarket Gallery, both in Edinburgh, Scotland, will host complementary exhibitions of the work of artist Louise Bourgeois.

On the occasion of these two exhibitions, there will be a one-day symposium workshop showcasing new research on Bourgeois and related themes and ideas. We now invite proposals for papers for this event from researchers developing new work on the artist. Proposals from PhD students or from individuals working with an interdisciplinary approach, from conservators or from artists, as well as from art historians are particularly welcome. Informal presentations, lasting no more than 15 minutes, can be on any aspect of Bourgeois’s production or explore the relationship between it and the wider field of modern and contemporary practices. Equally welcome would be discussions of the idea of artists whose work flourished late in their lives, the appropriation of psychoanalytic ideas as the content of art, the critical fortunes of Bourgeois in relation to feminist, psychoanalytic and other art histories, and work on the technical and collaborative aspects of Bourgeois’s practice (casting, construction, printmaking etc.). On the day, immediate or speculative responses to individual works on display in Edinburgh will also be valued as part of this event.

Proposals should be submitted by 30 October 2013 to

UK travel and two night’s accommodation will be provided for all speakers.


Culture clash? Contemporary arts in historic contexts

Greenwich, London

February 14, 2014

Deadline: Oct 31, 2013

To coincide with the latest in a series of contemporary interventions, Yinka Shonibare MBE at Greenwich, Royal Museums Greenwich is organising a conference on 14 February 2014 to explore the role of contemporary art outside the white cube.

In recent years it has become increasingly popular for museums and historic buildings to invite living artists to respond to their buildings or collections by curating, creating or performing on site.

What has been the impact of this popular collaborative trend for artists, museums and their audiences?

Themes addressed by the conference may include (but are not restricted to): the artist as curator/the curator as artist; contemporary art, memory and commemoration; the relationship between artists, museums and the market; artists’ residencies and audience engagement.

We welcome submissions for papers and less-formal presentations from curators, artists and other specialists in the fields. Proposals from postgraduate students and early career scholars are encouraged.

Proposals of no longer than 250 words, for presentations of 20 minutes, should be sent to no later than Thursday, 31 October 2013.


News Pictures

Los Angeles, University of Southern California

May 4 – 05, 2014

Deadline: 1 Nov. 2013

News pictures promise to make the world, through the faculty of vision, at once immediate and knowable. Few would dispute that the news picture, whether static or moving, photographic or autographic, is one of the most ubiquitous, powerful and controversial kinds of images today and that there is a long and complex history of the news picture still to be analyzed and explained.

This two-day conference seeks to classify and comprehend those pictures that are news with attention to their production and material history. The decline of print journalism, the rise of the Internet and the advent of digital photography suggest that our current moment presents an obvious turning point in the history of news pictures and yet we lack a clear narrative of its earlier history. While research has examined photojournalism through thematic priorities in the representation of historical events – war, catastrophe, atrocity, and exoticism – we seek papers that focus as much on the form, practice and material history of news pictures as on the images’ content. We are also interested in reception as it relates to contextual definitions of news and the value of its pictorial communication.

We invite submissions from junior scholars and graduate students in their final year working across all times and places on « news pictures. »

Please send a 250-word abstract and CV by November 1, 2013 to include « News Pictures » in the email title. Travel and expenses will be paid. Papers will be pre-circulated and commented upon and there is an expectation that participants will read the papers of other participants (between 10-12 papers). They will be due April 25, 2014.



What Images Do

The Royal Danish Academy of Fine Arts, Copenhagen

March 19 – 21, 2014

Deadline: Nov 1, 2013

Confirmed keynotes: Georges Didi-Huberman – Jonathan Hay – Jacques Rancière

The aim of this symposium is to contribute to our understanding of what the image does (its pragma). The awkward entanglement of being and non-being (Plato) calls for an examination of the image as an act or event. Through its event, the image-act instigates an image-related reflection upon the issues of being and non-being, physis and semiosis, actuality and potentiality. The concept of iconic difference as coined by art historian and philosopher Gottfried Boehm is vital to our concern. Iconic difference embraces an internal effect in the formation of images as an entanglement of being and non-being, matter/perception, imagination/representation, but also externally in the relations between images, language, and concepts.

Today, educational institutions within the fields of art, design, and architecture may no longer simply approach image making intuitively, but are requested to engage in a dialogue with academic research and science. Such primarily verbal discourse may, at best, support rather than suppress insights into the unique potentials of the image. Yet a prolific dialogue would not sustain the identity of the image as an already established reality (as re-presentation), but moreover articulate the particular behaviours of the image.

Submit your abstract (max. 400 words + a short CV) to Martin Søberg, by November 1, 2013. NB: There will be a moderate registration fee for participation in this symposium, covering lunches and a symposium dinner, etc.

WHAT IMAGES DO follows upon the work of an international research network established in 2012 in collaboration between NCCR Iconic Criticism ‘eikones’ in Basel, TU Delft, Kunstakademie Düsseldorf, and The Royal Danish Academy of Fine Arts. The network and its activities are funded by The Danish Council for Independent Research | Humanities (FKK).


Within a frame. Boundary, interaction and transition between art and its surroundings

40th Association of Art Historians Annual Conference

Royal College of Art, London

April 10 – 12, 2014

Deadline: Nov 11, 2013

The relationship between an artwork and its frame continues to be a matter for on-going academic discussion. With the introduction of detachable frames, which opened up the possibility of replacing original frames, often for the reason of taste or to suit a collection display, the continuity between painting and frames has been increasingly overlooked. Seeing art and its surroundings together, an original frame as well as a replacement frame, provides references about purpose, context, significance, mise-en-scène or the viewing angle of the painting both originally intended or later applied.

Whilst the frame sometimes complements the original artwork occasionally in the form of an extended image support, the artwork was sometimes designed from the outset with the frame in mind. The way the frame defines the border of an image and integrates the artwork into a spatial context evokes questions about the integrity of art and its aesthetic interplay between its physical and artistic aspects.

The panel seeks to examine the frame as an integral and historic part of the artwork and the role of the frame in facilitating and expanding the meaning, perception and impact of the artwork. We encourage an interdisciplinary approach regarding display practice and parameters for framing, involving also the interrelationship between picture, frame and its backdrop. The panel would like to discuss these viewpoints from a diverse range of disciplines and particularly invites curators and frame conservators to take part. Any views regarding time periods and media that deal with these themes are welcomed.

Please submit abstracts for consideration to Session Convenors: Dr Daniela Roberts (Civic museum Brunswick): and Stuart Ager (National Portrait Gallery): by November 11, 2013.

For more information on the conference and details on how to submit an abstract, please see the AAH website:


The Reception of German Art, Art Theory, and Philosophy by the Americas in the 20th Century

Panel at the AAH Annual Conference, London, Royal College of Art

April 10 – 12, 2014

Deadline: Nov 11, 2013

The panel considers the impact of German Art, Art Theory, Aesthetics, and Philosophy on the Americas. The goal is to focus on German cultural transfer and influence in American Art History and Philosophical discourse. In the 20th century, many German artists and art theorists had to emigrate to the Americas. This contributed to the dissemination of Germany Art and Art Theory in the Americas.

We are trying to examine critically the dialog between American and German Art using Marcusian terms. World Wars I and II are very important to understanding German exile, as well as emigration and dissemination of German culture in the Americas. Moreover, the subject of German exile is not restricted to “escape” from the wars or political persecution, but it also reflects a strong nostalgic feeling for Germany and how this is represented in American visual art.

Another important factor is the fundamental role of American museums, galleries, collectors, art markets, and the discipline of German Studies in America. The interactions between these institutions promote awareness of inter- and trans-cultural issues not commonly understood about German art. German emigration contributes to the dialog in modern and contemporary contexts and the concept of cultural issues in national and local discourse in our globalized world. Papers should address one or more of the following topics: German Art, Art Theory, and Aesthetics in the Americas.

Abstracts (max. 250 words) for papers of 20 minutes are to be sent to Tatiane de Oliveira Elias ( and to Fernando Scherer ( by 11 November 2013.

For more information on


Un thème : collectionner – Un pays invité : la Suisse

4e édition du Festival de l’histoire de l’art

Fontainebleau, 30 mai – 1er juin 2014

Deadline : November 25, 2013

Le Festival explore chaque année un thème, en 2014 « Collectionner », et propose trois rendez-vous annuels : le Forum de l’actualité, qui accueille un pays invité, cette année la Suisse, le Salon du livre et des revues d’art et Art & Caméra la section film et vidéo du Festival. Le Festival est aussi l’occasion de propositions pédagogiques pour l’enseignement de l’histoire des arts à l’école, à travers une Université de printemps et des ateliers pédagogiques proposés et soutenus par le ministère de l’Éducation nationale.
L’appel à communication s’adresse à des chercheurs français et étrangers, de préférence francophones, confirmés ou débutants. Les propositions de jeunes chercheurs, conservateurs ou encore restaurateurs seront examinées avec une attention particulière.

Information :


Art Brut et Matérialité

Carleton University (Ottawa)

June 11-12, 2014

Deadline: 30 November 2013

This symposium seeks to reorient our understanding of ‘art brut’ by shifting scholarly focus to the concrete aspects of artworks and to different meanings of ‘materiality’. It aims to develop new lines of inquiry on ‘art brut’ and to question our discipline’s conventions. In foregrounding the concept of ‘materiality’, we will refer to the history of this concept, especially the philosophical opposition of matter/mind, as well as to recent theories that have emphasized the role of objects in the constitution of scientific knowledge, society and identity (Latour, Gell, Miller). The materiality of ‘art brut’ itself will be considered as a means of knowledge, and as a medium that may be unfolded according to different approaches. We suggest different paths of reflection.

These study days will be interdisciplinary and international. Researchers coming from different countries and different fields (Art history, literature, psychoanalysis, philosophy, cultural studies, material culture studies, film studies, etc.) are invited to send their paper proposals before November 30, 2013 to or to the organisers of the symposium, and

Proposals should be one page (single-spaced) and indicate the title of their presentation and the author’s information (name, university, position, discipline, current research, publications).


The ‘Mediatization’ of the Artist

EYE Film Institute, Amsterdam/Netherlands Institute for Art History (RKD), The Hague Sandra Kisters, University of Utrecht Rachel Esner, University of Amsterdam

19-20 June 2014

Deadline: 13 December 2013

The international conference The Mediatization of the Artist aims to examine the various aspects of the visual-media presence of the artist from the nineteenth century to today. With the rise of notions of artistic autonomy and the simultaneous demise of old systems of patronage, artists increasingly found themselves confronted with the necessity of developing a public image. At the same time, new audiences for art discovered their fascination for the life and work of the artist. The rise of new media such as the illustrated press, photography and film meant that the needs of both parties could easily be satisfied in both words and images. This led to a transformation of the artist from a mere producer of works of art into a widely recognized celebrity.

We invite contributions that critically examine these forms of mediatization, their pros and cons, as well as their historical dimensions. We encourage an interdisciplinary, trans-historical, and trans-national approach, and welcome papers that are either theoretical or more case-study based.

Please send an abstract of no more than 300 words (for a 20-minute paper) and a CV to: Sandra Kisters ( and Rachel Esner ( no later than 13 December 2013.

Speakers will be notified by the end of January 2014.

A publication inspired by this conference is foreseen; therefore please indicate in your abstract whether you would be interested in further developing your paper for a book of collected essays after the event.


Constructions of the Exotic in Europe and North America

Material Culture Review

Deadline: December 15, 2013

Material Culture Review solicits articles for a special issue on the theme of constructing the exotic. We are looking for articles that examine the question of how a person, an object or a work of art comes to be seen as exotic. How is “foreignness” constructed? How is one culture appropriated and domesticated by another? The goal here is not to show the constructed nature of the concept of the exotic. Rather, papers should emphasize the processes by which something is made exotic, including the stories that surround an object, the ways in which an object is exhibited, and how the representation of an object affects whether or not it is perceived as foreign. We invite papers that examine exoticization and domestication in relation to territory and place, agency and identity – papers that examine not only what is exoticized but also who does the exoticizing and how they do it.

We are particularly interested in analyses of the exotic in Europe and North America that are grounded in social and political contexts.

Articles should be 20-30 double-spaced pages, including endnotes. Articles are expected in English or French. Please submit manuscripts by December 15, 2013 to Noémie Etienne at


Pluralité des arts, singularité des oeuvres.

Louvain-la-Neuve, Institut supérieur de philosophie

28-30 mai 2014

Date limite: 31 décembre 2014

Ce colloque entend rassembler des artistes, des philosophes, des historiens et autres théoriciens autour d’une pluralité d’arts et de pratiques dans leur spécificité ou leur singularité, sans exclusive a priori.

Puisqu’il faut bien reconnaître que les « Beaux-Arts » traditionnels ne sont plus guère évoqués que dans les dénominations de certaines institutions, on se propose d’aborder la question de l’hétérogénéité –passée et présente– et de la diversité des œuvres, des arts, des techniques, afin d’envisager le devenir contemporain de l’ancien « système des Beaux-Arts » ainsi que le devenir problématique de la notion même d’art dans les discours et les pratiques actuelles. On prend donc ici le parti de mettre entre parenthèses les approches frontales et générales des questions, distinctes mais liées, de l’unité des arts et de la définition de l’Art pour se pencher davantage sur les spécificités des pratiques artistiques d’aujourd’hui. Il s’agit donc de privilégier les approches théoriques et artistiques de la spécificité et la diversité des pratiques, des œuvres, des techniques et supports.

Les propositions de communications (maximum 2500 caractères espaces compris) sont à adresser, exclusivement à l’adresse suivante : en annexe à un mail et accompagnées d’un bref CV, pour le 31 décembre 2013 au plus tard.

Comité organisateur : Pr D. Lories (Université catholique de Louvain), Pr R. Steinmetz (Université de Liège), Pr C. Thérien (Université du Québec à Trois-Rivières)


Oscar Cahén (b.1916, Copenhagen-d.1956, Toronto)


Deadline February 9, 2014

The Cahén Foundation is inviting researchers to produce in-depth scholarship on Oscar Cahén, who came to Canada as a refugee in 1940, and he established himself as a leading illustrator and abstract painter.

We welcome ideas from authors. Possible topics could include Oscar Cahén’s

  • European roots, especially training at Dresden, art scenes in Copenhagen and Stockholm and Prague 1930-1938, teaching at Rotter School in Prague 1938 • Engagement with Expressionism and other European modernisms • Relationships with Painters Eleven and/or other Toronto artists • Awareness of New York School art movements • Place in Jewish diaspora studies • Life in Montreal 1942-1945; relation to Les Automa- tistes • Fame/loss of renown/recuperation in relation to institutions and/or market • Sculptures and/or ceramics • Relation to the subconscious or psychoanalytical theory • Religious identity, themes, and imagery • War posters • Magazine covers and interiors • Illustrations for Canadian literature • Sojourns in Florida, associations with other artists in the Naples and Venice area of Florida • Textbook illustrations • Treatment of jazz in paintings and illustrations • Iconographies of grief, prayer, family, birds, etc • Works for children • Portrayal of ethnic minorities in illustrations • Relationship to issues in Canadian identity • Use of humour/irony/cartoon/caricature • Technical experimentation, media, and form; and is- sues in conservation

We will provide access and research assistance to our holdings (original figurative and abstract art, original illustration art, mss, oral histories, family history, photographs, exhibition catalogs, correspondence, published illustration). Much of this can be conducted remotely through our extensive digital offerings.

A colloquium is planned for April 26, 2014, and submissions will also be considered for an edited book. Chosen participants will be awarded honoraria. Research with especial promise on European topics may qualify for limited funding.

Please visit for complete details.


The Future of Art & Science collaborations

October 7 – 10, 2013

Leiden / Amsterdam / The Hague

The Future of Art & Science Collaborations is a series of double lectures by eminent international researchers and practitioners from the field where art and science interact. From October 7-11 October the Lorentz Centre (Leiden) welcomes 25 researchers and practitioners to explore future benefits and challenges, processes and politics and collaborations between art and science. Every evening two experts talk about their distinct field of work related to a theme that is at stake concerning art & science. The presentations take place at institutions that position themselves in the midst of the development of art & science interactions in Leiden, The Hague and Amsterdam.


Form Finding, Form Shaping, Designing Architecture Experimental

October 10 – 11, 2013

Mendrisio, Switzerland

In the early 1950s the German architect FREI OTTO (born 1925) developed the concept of «FORM FINDING». He defined this concept in opposition to the shaping of forms, which in his eyes could only result in a deformation. Otto wanted to find, to explore and to optimize form instead. In the meantime, contemporary architecture has seen an emergence and increasing prevalence of seemingly or factually arbitrary forms. The workshop takes Frei Otto’s influential concept as the starting point for a critical assessment and investigation into POSTWAR AND RECENT CONCEPTIONS of the GENESIS OF ARCHITECTURAL FORM. Researchers and practitioners from different fields will discuss the following

questions: How unrestricted, how random should or can architectural form be? Which processes lead to form? Which considerations influence the process of design? Which part does the «design tool» play? Are there aesthetical and ethical criteria which can be influential to form?

More information:


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

Université libre de Bruxelles

28-30 octobre 2013

Ce colloque interroge les différentes modalités de collaborations d’artistes et leurs réalisations écrites dans une publication périodique. Sous la désignation d’« artiste » sont ici pris en compte tant peintres que sculpteurs, musiciens, compositeurs, cinéastes… dont la majeure part de la production ne relève pas du champ littéraire. Ce projet transdisciplinaire considère les contributions d’artistes dans la diversité de leurs formes et modalités afin 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.

Le colloque envisage le périodique comme un outil de promotion, mais aussi comme un lieu d’échange et de rencontre avec le public, ainsi qu’avec d’autres artistes, d’autres disciplines artistiques, avec l’actualité et surtout, avec l’écriture. Les interventions s’inscrivent dans une longue période, de 1830 à nos jours, en comprenant l’objet des publications périodiques dans leur sens le plus large, c’est-à-dire en incluant revues artistiques et littéraires, mais aussi journaux et revues généralistes, « petite presse » et magazines.

Renseignements : Clément Dessy,


Autour des figurations : critiques d’art et artistes dans la France d’après-guerre

Toulouse-II Le Mirail

21-22 novembre 2013

Dans le domaine des arts plastiques, les conquêtes menées par les artistes d’avant-garde au lendemain de la seconde guerre mondiale ont fini par éclipser toute une production figurative qui, pourtant, occupait le devant de la scène aux yeux des contemporains. L’histoire de l’art qui a été écrite depuis près d’un demi-siècle a eu tendance à accréditer la thèse du grand transfert atlantique de l’art moderne, qui, de Paris à New York, se serait accompagné du délaissement inéluctable des figurations au profit des abstractions et, bientôt, des diverses formules de l’art conceptuel. La présence des choses et des êtres traduite par le peintre, le graveur, le sculpteur, ne serait plus, dès lors, qu’une survivance du passé, tout comme la notion de sujet avec son contenu politique, social ou religieux. Peut-on se contenter d’une vision de l’histoire aussi exclusive ? Il est temps aujourd’hui, nous semble-t-il, de réexaminer les forces en présence afin de commencer à restituer la pluralité historique des années 1945-1960, leur richesse, leur diversité. Tout ne se résume pas aux artistes qui ont cherché la rupture à tout prix et la novation radicale. Ceux qui ont été en quête de leur propre singularité dans la continuité, voire dans un certain respect de la tradition, méritent peut-être d’être reconsidérés. C’est du moins l’un des paris de ce colloque. Pari d’autant plus nécessaire que les artistes figuratifs des années 1945-1960, négligés par les études académiques, ouvrent pour l’avenir un vaste champ de recherche.

Contacts : ;


Bourses de recherche du Centre Pompidou

Bibliothèque Kandinsky, Paris

Dans le cadre de sa politique de soutien à la recherche, le Centre Pompidou propose trois bourses destinées à des doctorants inscrits au moins en deuxième année de thèse, dans une université, française ou étrangère, pour l’année universitaire 2013-2014.

–     Bourse d’études « Histoire et sociologie de l’art »

–     Bourse d’études « Histoire des expositions »

–     Bourse d’études « Mondialisation et Etudes culturelles »

Pour en savoir plus et déposer votre candidature, suivez le lien :


Post-doc position, ERC-project “To each his own reality”

Deutsches Forum für Kunstgeschichte (German Center for Art History), Paris

Application deadline: Nov 22, 2013

Starting with an analysis of the notion of the real in a variety of forms that use the concept (e.g. performance art, integrating objects in art, figuration, etc.) and from these multiple interpretations in France, West Germany, East Germany and Poland, the project (see description below) aims to develop an understanding of sharing, exchanges as well as misunderstandings and common points on both sides of the Iron Curtain. By focusing on a single concept, the project aims to analyse the possible relationship between separate formal practices, to question the relevance of certain similarities between neighbouring art practices and to investigate why this notion was significant between 1960 and 1989. With this in mind, it will be important to analyse the ways in which the artistic, cultural, theoretical, political and ideological issues of the day fit together.

The postdoctoral researcher will be hired full-time. The position is for a fixed duration of 2 years. The position will be subject to a 6-month probationary period. Candidates must have submitted their thesis and hold a PhD. It will be particularly helpful if the candidate speaks French and one of the two languages of the project (Polish or German) as this would contribute to ensuring a rigorous analysis of the dialogue between the four countries and to facilitate communication within the team.

The application must include a description of a research project specifying the research year, an estimation of the number of remaining years (max. 4 pages), a cover letter in which the candidate explains how this project will enrich and supplement his/her own research, a CV (max. 4 pages) and two letters of recommendation.

Applications must be sent by email to no later than 22 November 2013.

For further information see: