Please unsubscribe me. On Mon, Sep 9, 2019 at 6:36 AM <spectre-requ...@mikrolisten.de> wrote:
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(fwd) CFP: How we work together (Ottawa, 8-10 Oct 19) > (Andreas Broeckmann) > > > ---------------------------------------------------------------------- > > Message: 1 > Date: Mon, 9 Sep 2019 10:39:18 +0200 > From: Andreas Broeckmann <broeckm...@leuphana.de> > To: spec <spectre@mikrolisten.de> > Subject: [spectre] (fwd) CFP: How we work together (Ottawa, 8-10 Oct > 19) > Message-ID: <c1b31f90-469d-0d13-47e5-9f0b903a6...@leuphana.de> > Content-Type: text/plain; charset=utf-8; format=flowed > > From: Dr. phil. Franziska Koch > Date: Sep 7, 2019 > Subject: CFP: How we work together (Ottawa, 8-10 Oct 19) > > Korean Cultural Centre/Carleton University Ottawa, October 8 - 10, 2019 > Deadline: Sep 15, 2019 > > Call for papers > “How we work together: ethics, histories and epistemologies of artistic > collaboration” > > November 8, 2019, panel chaired by Franziska Koch (Heidelberg > University) in the framework of the 1st TrACE Academy “Worlding the > Global: The Arts in an Age of Decolonization,” organized by the Centre > for Transnational Analysis (CTCA) of Carleton University, Ottawa; panel > venue: Korean Cultural Centre Canada, Ottawa. > > This funded panel will critically engage with issues of collaboration > within the larger framework of the 1st TrACE Academy (Transnational and > Transcultural Arts and Cultural Exchange) “Worlding the Global: The Arts > in an Age of Decolonization,” November 8-10, 2019, Carleton University, > Ottawa. The international call invites researchers at every career > stage, from early career to senior, to share new research on > collaboration, which stresses transnational and/or transcultural > perspectives and complicate existent (master) narratives of > collaboration. Although the conference itself focuses on the age of > decolonization, the panel is open to include earlier case studies as well. > > Collaboration is fundamental to and characteristic of many artistic > endeavors not only in our contemporary, technologically wired and > heavily mediated times, but has also marked artistic practices > throughout the ages and in many places of the world. Indeed, we might > argue that artworks – shaped as objects, performances, or concepts alike > – more often than not come into being by engaging many hands and > relating more than one (master) mind. Still, the modern European > romantic notion of the singular (white, male) genius who “fathers” and > authoritatively signs a masterpiece continues to inform art historical > narratives, serves as a strong identitarian figure in the art market and > haunts curatorial practices. However, post-colonial, feminist, queer, > Indigenous and network theoretical discourses have successfully > questioned this convention in the last decades, while artists have taken > collaboration more seriously than ever. > > This becomes particularly evident in the field of socially engaged art > practices as demonstrated in catalogues such as “Get together” > (Kunsthalle Wien 1999), “Collaborative Practices in Contemporary Art” > (Tate Modern, London 2003), “Kollektive Kreativität” (Kunsthalle > Friedericianum Kassel 2005), “Living as form” (Thompson, 2012) or the > “Coop” exhibition at Bangkok Biennale 2017. Yet, the cultural > implications of this seemingly global “participatory” (Kravagna 1998) or > “collaborative turn” (Lind 2007 and 2009) have only recently come under > scrutiny. Critically building on a debate that discussed activist versus > antagonist strategies as characteristic for the turn (Bourriaud 2002 and > 2006, Bishop 2004 and 2012, see summary by Miller 2016). Grant Kester’s > “The one and the many” (2011) deliberately introduced case studies from > the “global South” to the debate in order to un-pack and undermine the > prevailing theoretical approaches and regional specific genealogies. > Significantly, he questioned the deconstructivist paradigm, which > pervades the debate and ignores the cultural as well as historical > specificity of an originally French strand of aesthetic discourse that > has increasingly been taken as universal. > > The panel aims to bridge earlier inquiries into cultural and historical > differences and entanglements with more recent transcultural and > transnational perspectives (e.a. Juneja 2018 and 2017, Tomii 2016, > D’Souza 2014, Kravagna 2013) when discussing artistic collaboration in > an age of decolonization and globalization. As part of the TrACE Academy > “Worlding the Global” which seeks to relate long separated discourses of > settler-colonial, Indigenous, migrant, diasporic, and other > transnational and transcultural histories and ways of knowing in art, > the panel aim is to understand how these perspectives enact and > (co-)constitute the global when “we work together.” The panelists are > asked to move towards understanding decolonization as a multi-sited and > collaborative engagement with histories, epistemologies, power, > migration, capital, and culture. Given the International Indigenous Art > Exhibition "Àbadakone / Continuous Fire / Feu Continuel" at the National > Gallery of Canada as a starting point, the four speakers should engage > at least with one of the following questions: > > - How to write and present art history in ways that critically > acknowledge and distinguish collaborative authorship (auctorialités) and > local as well as global cultural entanglements? > - How do collaborative artists/works address issues of situatedness in > spatial as well as temporal regards? In other words: how do > collaborative strategies contribute to “worlding the global” beyond > dominant binary narratives? > - Does artistic collaboration serve particular functions in the process > of decolonization? What roles do collaborative practices play in the > expression of Indigenous voices? > - What are the conditions and limits of artistic collaboration? > - How are ethics, epistemologies and histories of collaboration > (in-)formed by cultural contexts? What role does transculturality play > in artistic collaboration? > > The funding of most of the travel and accommodation costs is secured by > the organizer thanks to a grant from the Baden-Württemberg Stiftung. To > receive the grant, selected applicants need to provide a short > presentation of 15 min. length based on a longer manuscript, which will > be circulated among the speakers one week before the panel. They have to > commit to submitting the revised full paper (ca. 5.000- max. 8.000 > words) before the end of February 2020. Together with other written > contributions selected by means of this call, the panel organizer will > publish a theme issue in the peer reviewed and open access journal > "Transcultural Studies" (Heidelberg University). > > Applicants should send an abstract of max. 500 words and a short CV to > Franziska Koch (k...@hcts.uni-heidelberg.de) until 15 September 2019. > The selected applicants will be informed until 20 September 2019. > > Dr. phil. Franziska Koch > Assistant Professor of Global Art History > Heidelberg Centrum for Transcultural Studies > Voßstr. 2, Building 4400, R. 105 > D-69115 Heidelberg, Germany > E-Mail: k...@hcts.uni-heidelberg.de > > —— > > References > > Bishop, Claire (2004), “Antagonism and Relational Aesthetics,” in: > October, vol. 110, The MIT Press, New York, pp. 51-79. > Bishop, Claire (2012), “Participation and Spectacle: Where are we now” > in: Living as Form: Socially Engaged Art From 1991-2011, The MIT Press, > New York, pp.34-45. > Block, René and Angelika Nollert, eds. (2005), Kollektive Kreativität. > Collective Creativity, (exh. cat.), Kunsthalle Fridericianum, Revolver. > Bourriaud, Nicolas (2002), Relational Aesthetic, Les Presses du Réel, > France, pp.11-24. > Bourriaud, Nicolas (2006), “Relational Aesthetic//1998”, in: Documents > of Contemporary Art: Participation, The MIT Press, Cambridge, pp. 160-171. > d’Souza, A. (2014), “Introduction”, in: Art History in the Wake of the > Global Turn, ed. by J. H. Casid and A. d’Souza, Sterling and Francine > Clark Art Institute, Williamstown, MA, pp. vii–xxiii. > Green, Charles (2001), The Third Hand: Collaboration in Art from > Conceptualism to Postmodernism, New South Publishing. > Juneja, Monica (2018), “‘A very civil idea…’: Art History, > Transculturation and World-Making – with and beyond the Nation”, in: > Zeitschrift für Kunstgeschichte, vol. 81, issue 4, pp. 461–485. > Juneja and Kravagna in Conversation (2013), “Understanding > Transculturalism”, Transcultural Modernism, ed. by Christian Kravagna et > al., Sternberg Press, Berlin, pp. 23-33. > Kester, Grant (2011), The One and the Many: Contemporary Collaborative > Art in a Global Context, Duke University Press, Durham and London. > Kravagna, Christian (1998), Models of Participatory Practice, > http://republicart.net/disc/aap/kravagna01_en.htm. > Lind, Maria (2007), “The Collaborative Turn”, in: Taking the Matter lnto > Common Hands: On Contemporary Art and Collaborative Practices, ed. by > Johanna Billing and Lars Nilssonszerk, Black Dog Publishing, London, pp. > 15-31. > Lind, Maria (2009), “Complications: On Collaboration, Agency and > Contemporary Art”, in: New Communities, ed. by Nina Möntmann, The Power > Plant and Public Books, Toronto, pp. 52-73. > Miller, Jason (2016), “Activism vs. Antagonism: Socially Engaged Art > from Bourriaud to Bishop and Beyond”, in: FIELD, A Journal of Socially > Engaged Art Criticism, issue 3, winter, pp. 165-183. > O’ Neill, Paul (2010), “Beyond Group Practice”, in: Manifesta > Journal—Collective Curating 8, Amsterdam, pp. 37-45. > Reiko, Tomii (2013) “Introduction: Collectivism in Twentieth-Century > Japanese Art with a Focus on Operational Aspects of Dantai”, in: > Positions Asia Critique, Vol. 21, Issue 2, Spring, Duke University > Press, pp. 225-267. > Roberts, John and Wright Stephen, eds. (2004), “Art and Collaboration”, > Third Text, Vol. 18, Issue 6, London. > Thomson, Nato (2012), “Living as Form”, in: Living as Form: Socially > Engaged Art From 1991-2011, The MIT Press, New York, pp. 16-33. > > Reference / Quellennachweis: > CFP: How we work together (Ottawa, 8-10 Oct 19). In: ArtHist.net, Sep 7, > 2019. <https://arthist.net/archive/21496>. > > ____________________________________________________________________ > > ArtHist.net - Network for Art History / Netzwerk für Kunstgeschichte > > Editorial Board Contact Address / Fragen an die Redaktion: > edit...@arthist.net > > Submit contributions to / Beiträge bitte an: > https://arthist.net/mailing-list/mode=contribute > > Update your subscription / Abo-Verwaltung: > https://arthist.net/admin/ > > > > ------------------------------ > > Subject: Digest Footer > > _______________________________________________ > SPECTRE mailing list > SPECTRE@mikrolisten.de > http://post.in-mind.de/cgi-bin/mailman/listinfo/spectre > > ------------------------------ > > End of SPECTRE Digest, Vol 199, Issue 9 > *************************************** > -- Lloyd Lowe Producer/Director Sugar-free Motion Pictures m: 2133591468 w: www.sugarfreemp.com e: ll...@sugarfreemp.com
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