[spectre] SPECTRE Digest, Vol 199, Issue 9

Tue Sep 10 05:32:28 CEST 2019

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>    1. (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 <broeckmann at leuphana.de>
> To: spec <spectre at mikrolisten.de>
> Subject: [spectre] (fwd) CFP: How we work together (Ottawa, 8-10 Oct
>         19)
> Message-ID: <c1b31f90-469d-0d13-47e5-9f0b903a6768 at 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 (koch at 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: koch at 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>.
>
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> End of SPECTRE Digest, Vol 199, Issue 9
> ***************************************
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-- 

Lloyd Lowe
Producer/Director
Sugar-free Motion Pictures
m: 2133591468
w: www.sugarfreemp.com  e: lloyd at sugarfreemp.com
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