Call for paper

Call for paper

96th "Kunsthistorischer Studierendenkongress" (KSK), Essen

 

University of Duisburg-Essen & Folkwang University
July 4-7, 2019

 

Bewerbungen mit einem Exposé (max. eine Seite) und einem kurzen Lebenslauf bis 15.04.2019
bitte an: cfp.96.ksk@gmail.com.

 

Weitere Informationen siehe:

> Cooperative Conferences
> 96. KSK, Essen

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Call for papers

Diasporic Imaginaries. Multiple Senses of Belonging

 

Workshop
Deutsches Forum für Kunstgeschichte / Centre allemand d’histoire de l’art, Paris

April 4-5, 2019

 

Conceived and organized by Lena Bader, Birgit Mersmann, Mona Schieren

 

The deadline for submissions is 31 December 2018. The selected presenters will be notified by 31 January 2019.


Migration in art and art history is primarily defined by the movement in both space and time of artists, curators, and critics, and their works, ideas, and memories (Mathur 2011). It has engendered geographically dispersed artistic communities bound by shared diasporic experiences and has generated splintered temporalities of artistic relationalities that negotiate between pastness, nowness, and futurity. The increasing diasporization of art and culture is a farreaching and profound shift resulting from global migration and its rapidly changing nature. As a global transnational process, migration has produced global diasporas (Cohen 1997), including ethnic, cultural, religious, and national diasporas, which fuel the dissemination of “diasporic imaginaries.” Beside the Jewish, Greek, Armenian, and Black diasporas — the most historically significant diasporic traditions — the Chinese, Indian, Iranian, Lebanese, Palestinian diasporas have, among others, become clearly visible on the world map of diaspora cartographies (Brah 1996, Dufoix 2008). To take account of these developments, diaspora research has undergone a process of reorientation over recent decades. Along with transcending
the limiting classical notions of diaspora as anchored in the Jewish tradition, it has diversified in scope on every level, extended its definitions, and repositioned itself at the intersection of (trans)migration, transnational, and postcolonial studies. Postcolonial and anthropological theories of transversality, transculturation, and translation, as exemplified by Edouard Glissant’s Traité du Tout-monde (1993), Paul Gilroy’s Black Atlantic (1993) and James Clifford’s Routes: Travel and Translation in the Late Twentieth Century (1997), have contributed to rethinking the diaspora in terms of hybridity and redefining it as a concept, structure, and social practice of translational migratory culture oscillating between integrity and discontinuity (Quaysan/Daswani 2013).

 

As a consequence of this shift, major diaspora research has moved away from the place-related analytical model that posits a diaspora as a place (of origin) and the hoped-for return to it. Instead of a strictly spatial separation between homeland and host country, it has foregrounded the analytical concept of the “diasporic imaginary” as a space of imagination which “account[s] for the creation of the diaspora […] through formations of temporality, affect, and corporeality” (Axel 2002, 412). Reconsidering diasporic communities as “imagined communities” (Anderson 1991) established the notion of the “diasporic imaginary” (Mishra 1996), making it possible to reinterpret the imaginary as the creation of a shared diasporic space of dreams, fantasies, and visions. Most powerfully — and often even violently — the
“diasporic imaginary” emerges at the intersection of global transnationalization and (re-)nationalization. For this reason, it is interconnected with and nourished by both the “global imaginary” (Steger 2008) as a consciousness of belonging to a global community and the “national imaginary” as a construction of shared ideas and ideologies within a nation.

 

As a migration-based force, the diasporic imaginary is generated and informed by a multiplicity of temporalities, localities, traditions, identities, and subjectivities. It is shaped by multiple senses of identification and belonging that emerge in the interstices between collective memories and future projections, traumas and dreams, nostalgic remembrances, and utopian
fantasies. The conference intends to approach the diverse plurality of “diasporic imaginaries” in the arts, art communities, and art histories from the viewpoint of “multiple belonging.” Following the example of migration studies, belonging is conceptualized as a process of becoming rather than a status or given category (Antonsich 2010). As such, it is understood in its entire complexity, ranging from a personal, intimate feeling of individual affiliation and athomeness to a collective sense of group identification and social participation (community, nationhood, cultural and political citizenship, humanity etc.). Since the tangible, affective, and corporeal is highly involved in the process, the analysis of multiple senses of belonging includes the multisensory aesthetic production of the “diasporic imaginary.”

 

The conference will raise the following themes and issues for critical discussion: How does redefining the diaspora as an imaginary at the interface of cosmopolitan detachment and deterritorialized nationalism affect the analysis of art history, art theory, and art practice? How are biographies of migration and displacement, trauma and fantasy, re-narrated in artistic and art historical discourses? Are multiple senses of belonging creating productive ambiguities of multilayered meaning? Or are they producing conflicting perceptions and fractured perspectives? How are individual subjectivities of diasporicity reflected in art production? Do diasporic imaginaries generate specific forms of art practices and epistemological images of thought like the rhizome? In what ways does the concept of the diaspora as a network of transnational connections allow us to transcend the frame of the mobile individual subject and address complex formations of community and network-building that even include nonhuman actors and ecologies? To what extent do digital technologies that facilitate imaginary migrations in both space and time contribute to producing multiple belongings?

 

We encourage postgraduate students, early career researchers, and established scholars to submit proposals for individual presentations of 25 minutes on the above-mentioned topics or their own choice of theme. In addition to contributions from art history, architecture, and film and fashion studies, we welcome papers from cultural studies, postcolonial studies, anthropology, and media studies.


The conference will be held in English. Please send a title and abstract of your proposal (maximum 400 words) along with a short CV to the organizers of the conference: birgit.mersmann AT uni-due.de, lbader AT dfk-paris.org, m.schieren AT hfk-bremen.de. The deadline for submissions is 31 December 2018. The selected presenters will be notified by 31 January 2019. Selected speakers can apply for travel funding (max. 250.- Euro).

 

Literature

 

Anderson, Benedict. Imagined Communities. Reflections on the Origin and Spread of Nationalism. London: Verso 1991.
Antonsich, Marco. “Searching for belonging: an analytical framework.” Geography Compass 4,6 (2010), 644-659.
Axel, Brian Keith. “The Diasporic Imaginary.” Public Culture 14,2 (Spring 2002), 411-428.
Brah, Avtar. Cartographies of Diaspora. Contesting Identities. London/New York: Routledge, 1996.
Cohen, Robin. Global Diasporas. An Introduction. London: Routledge, 2008.
Dufoix, Stéphane. Diasporas. Berkeley, Los Angeles, and London: University of California Press, 2008.
Glissant, Edouard. Traité du Tout-monde. Paris: Gallimard, 1993.
Mathur, Saloni, ed. The Migrant’s Time. Rethinking Art History and Diaspora. New Haven: Yale University Press, 2011.
Mishra, Vijay. “The Diasporic Imaginary. Theorizing the Indian Diaspora.” Textual Practice 10.3 (1991): 421-447.
Quayson, Ato, and Girish Daswani. “Introduction – Diaspora and Transnationalism. Scapes, Scales, and Scopes.” A Companion to
     Diaspora and Transnationalism
, edited by A. Quayson and G. Daswani. Oxford: Blackwell, 2013.

Steger, Manfred. The Rise of the Global Imaginary: Political Ideologies from the French Revolution to the Global War on Terror. Oxford: 
     Oxford University Press, 2008.

 

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Call for Articles

Positionierungen. Kritische Antworten auf die ‘Flüchtlingskrise’
in Kunst und Literatur

 

FKW // Zeitschrift für Geschlechterforschung und visuelle Kultur, www.fkw-journal.de
Themenheft Nr. 67, Herbst 2019, hg. v. Liesbeth Minnaard, Kea Wienand

 

Deadline für die Abstracts: 1. Dezember 2018

 

Mit den jüngst angestiegenen globalen Flucht- und Migrationsbewegungen sowie den gleichzeitigen massiven Versuchen, die Zuwanderungen in den globalen Norden zu verhindern, sind zahlreiche Bilder, Begriffe und Narrationen produziert worden, die die Ereignisse und Akteure erfassen und vermitteln sollen. Viele dieser Repräsentationen stellen die Migrierenden als Verdächtige dar und verbildlichen die Grenzüberschreitungen als außerhalb von jeglicher Kontrolle. In Verdacht geraten sind dabei aber auch die Repräsentationen von Flucht und illegaler Migration selbst. In vielen europäischen Ländern wurde die Zirkulation dieser Bilder begleitet von Diskussionen über deren Angemessenheit, moralische Zulässigkeit und gesellschaftspolitische Funktionen. Nicht nur im dezidiert künstlerischen Bereich, sondern auch in der Populär- und Medienkultur wird nun versucht, ‚kritische’ Reflexionen von Darstellungsweisen und ‚andere’/alternative Formen ihrer Verbildlichung oder Erzählung zu finden. Gefordert werden neue Darstellungsparameter und Bildformeln, die sich den kriminalisierenden Diskursen über Terrorismus und Bedrohung verweigern und dem überaus präsenten und immer auch geschlechtlich kodierten Topos des Opfers entkommen.i Aber was wird heutzutage, in einem von diversen ‚Krisen’ heimgesuchten Europa auf der Suche nach der eigenen Neudefinition im Kontext der Globalisierung, eigentlich als kritisch und progressiv verstanden?


Chantal Mouffe postuliert, „critical art is art that foments dissensus, that makes visible what the dominant consensus tends to obscure and obliterate“.ii Aber was bedeutet es ‚kritischzu sein’, wenn Reden über Krisen und Ausnahmezustände den aktuellen Konsens bestimmen? Wenn vermeintlich feministische Anliegen als Grund angeführt werden, um Kriege und Gewaltmaßnahmen gegen ‚die Anderen’ zu legitimieren,iii oder um Ausschlussmechanismen zu rechtfertigen und zu fixieren?iv Gerade aus einer geschlechtertheoretischen und kulturwissenschaftlichen Perspektive erscheint es uns dringend notwendig, sich in die aktuellen Debatten um Abschottungen und Grenzziehungen einzumischen und zu reflektieren, was es bedeuten kann (oder sollte), Kritik gegenüber solchen Versuchen zu artikulieren? In den Blick nehmen wollen wir visuelle und literarische Bild- und Textproduktionen aus dem weiten Feld der populären Kultur und des politischen Aktivismus, aber auch aus dem engeren Feld von bildender, literarischer und darstellender Kunst, die zu der sogenannten europäischen Flüchtlingskrise Position beziehen. Was bedeutet es in diesen Feldern kritisch zu sein und in Bezug auf was (oder auch auf was nicht)? Welche Effekte haben kritische (im weitesten Sinne) künstlerische Positionierungen? Können sie etwas im Denken der Handelnden und Betrachtenden – Bürger*innen, Politiker*innen und Entscheidungsträger*innen – bewegen, oder profitieren ihre Produzent*innen einfach nur von der jüngsten Aufmerksamkeitswelle, wie es z.B. anlässlich verschiedener Arbeiten von Ai Weiwei diskutiert wurde.


Mit der 67. Ausgabe von FKW//Zeitschrift für Geschlechterforschung und visuelle Kultur wollen wir diese Fragen stellen und die Möglichkeiten und Grenzen künstlerischer Formen der Kritik an Europas aktueller Migrations- und Flüchtlingspolitik ausloten. Wir

wünschen uns Beiträge, die den genannten Fragen nachgehen, entweder auf philosophischtheoretischer Ebene oder auch anhand von Beispielen in den Bereichen der Kunst, Literatur, Performance, Aktivismus und der populären Kultur.


Die 67. Ausgabe wird zweisprachig sein, willkommen sind Beiträge in englischer und deutscher Sprache.

Bitte schicken Sie bis zum 1. Dezember 2018 ein Abstract (max. 250 Wörter) und einen kurzen CV an Kea Wienand (kea.wienand@uni-oldenburg.de) oder an Liesbeth Minnaard (e.minnaard@hum.leidenuniv.nl), die gerne auch weitere Fragen beantworten. Die Deadline für die ausgewählten Beiträge ist der 30. März 2019. Die 67. Ausgabe wird im Herbst 2019 erscheinen.

 

_____________________

i   Celik, Ipek A. (2015): In Permanent Crisis. Ethnicity in Contemporary European Media and Cinema. Ann Arbor, University of Michigan Press.
ii   Mouffe, Chantal (2007): Artistic Activism and Agonistic Spaces. In: Art and Research: A Journal of Ideas, Contexts and Methods 1, no. 2, o.P.
iii  Butler, Judith (2004): Precarious Life. The Power of Mourning and Violence. London/New York, Verso

iv  Hark, Sabine und Paula-Irene Villa (2017): Unterscheiden und Herrschen. Ein Essay zu den ambivalenten Verflechtungen von Rassismus, Sexismus und Feminismus in der Gegenwart. Bielefeld, transcript.

 

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Austrian Center for Fashion Research

 

Call for Abstracts

Special Issue of Fashion Theory

Fashion as Politics: Dressing Dissent

Deadline: June 30, 2018

 

At present we are witnessing an unprecedented politicization of fashion in a global political climate characterized by the rise of far right, authoritarian, populist and neoliberal movements. From the ubiquity of pink Pussy Hats as symbols of resistance to the Trump administration to the employment of migrants and refugees in the Turkish garment industry, from the ongoing debates about racial and ethnic diversity on and off the catwalks to the decolonization of fashion’s past and future through the growth of Afrofuturism, contemporary fashion is deeply imbedded in current global politics. Fashion has always provided rich visual, material, symbolic and narrative spaces within which to articulate, negotiate and perform political issues and a vast body of historical research testifies to the many links between fashion and politics.

 

The special issue of Fashion Theory – The Journal of Dress, Body and Culture entitled “FASHION AS POLITICS: DRESSING DISSENT” focuses on the present and aims at exploring the links between contemporary politics and fashion and to examine fashion’s role in advancing and disseminating political goals, resistance and dissent on a regional, national and global scale.

 

The editors of the special issue invite contributions from scholars who put current political discourses, movements and political events in relation to fashion design, fashion practices or fashion theory. The special issue proposes to depict the variety of ways in which fashion partakes in, shapes and intervenes in contemporary global political and social developments such as migration, technological progress, decolonization, neoliberalism and globalization.

 

Suggested topics for the papers include, but are not limited to:

Political dressing and critical fashion practices as manifestations of political activism, protest, resistance and revolt against authoritarian, right-wing and populist politics
Decolonizing, anti-racist, queer, feminist, and radical political strategies in fashion design and fashion media production
Fashion production, labour geographies and post-colonial politics of the contemporary garment industry
The politics of cultural appropriation, ownership and cultural exchange in fashion
Socially engaged practices of digital fashion technologies
Dress, displacement and global migration

 

The call is open to abstracts from all research methods and disciplines. We encourage innovative and new fashion research. Please submit a paper abstract of 250 words and a short biography to austrian.fashionresearch@gmail.com by June 30, 2018.

The special issue of Fashion Theory is edited by the Austrian Center for Fashion Research, a co-operation between the Academy of Fine Arts Vienna (Dr. Elke Gaugele and Dr. Monica Titton) and the University for the Arts Linz (Dr. Christiane Luible-Bär and Wally Salner). The special issue will be published in November 2019.

 

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