From mail at timo-kahlen.de  Sun Feb  1 18:54:30 2026
From: mail at timo-kahlen.de (Timo Kahlen)
Date: Sun, 1 Feb 2026 18:54:30 +0100
Subject: [spectre] =?utf-8?q?Er=C3=B6ffnung_Japanisch-Deutsches_Zentrum=2C?=
 =?utf-8?q?_Berlin_///_Yale_University_///_Kunststiftung_DZ_Bank=2C_Frankf?=
 =?utf-8?q?urt_am_Main?=
Message-ID: <A2D1D1FB-890D-4C6C-AA98-074DAE8B8BF2@timo-kahlen.de>

¡uɹǝdloʇS
Stolpern, bitte!
Kunststiftung DZ Bank, Frankfurt am Main
bis zum 14. Februar

mit Werken, welche unsere Wahrnehmung gezielt aus dem Gleichgewicht bringen.

Miroslaw Balka, Johannes Brus, VALIE EXPORT und Peter Weibel, Johannes Franzen, Gerhard Gäbler, Philipp Goldbach, Timo Kahlen, Ulrike Königshofer, Sandra Kranich, Tatiana Lecomte, Zoe Leonard, Anna Malagrida, Jana Müller, Loredana Nemes, Frida Orupabo, Manfred Paul, Paul Pfarr, Adrian Sauer, Annegret Soltau, Gabriele Stötzer, Anna Vogel, Bruno Zhu.


ʎʇᴉsɹǝʌᴉu∩ ǝlɐ⅄ W∀ƆƆ @ snxnlℲ

Timo Kahlen: If a digital display…
Happening at CCAM Fest: Fluxus
Center for Collaborative Arts and Media, Yale University
New Haven, Connecticut / USA
vom 24. bis 26. Februar


ᴉʞɐɹᴉq ɐɯɐʞ
kama biraki: Der Moment des Öffnens des Ofens
Japanisch-Deutsches Zentrum

Herzliche Einladung zur Eröffnung
am Donnerstag, dem 5. Februar um 18 Uhr
Saargemünder Str. 2 / Ecke Clayallee, 14195 Berlin
direkt am U-Bhf Oskar-Helene-Heim


Die Ausstellung präsentiert zarte Teeschalen von Barbara Kahlen, den flüchtigen Klang des Windes, der einen leeren Holzrahmen in Vibration versetzt, sowie weitere Werke von Timo Kahlen, und fließendes Altöl, auskristallisiert in Naga-Zeichnungen von Wolf Kahlen.

Ausstellung bis zum 23. April. Jeweils Mo - Do von 15 - 20 Uhr geöffnet. Eintritt frei





Timo Kahlen
sound sculptor / media artist
Berlin / Germany

mail at timo-kahlen.de
www.timo-kahlen.de <http://www.timo-kahlen.de/>



Möchten Sie den Newsletter nicht mehr erhalten, senden Sie bitte eine Mail an mail at timo-kahlen.de <mailto:mail at timo-kahlen.de> mit dem Betreff ‚unsubscribe‘.
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From andreas.broeckmann at leuphana.de  Tue Feb  3 09:51:26 2026
From: andreas.broeckmann at leuphana.de (Andreas Broeckmann LEU)
Date: Tue, 3 Feb 2026 09:51:26 +0100
Subject: [spectre] CONF: Socialist Visual Cultures and Decolonization
 (online/Paris, 11 Feb-10 Jun 26)
Message-ID: <fe2cfe20-ff47-4a28-8f64-441b2dd6e1db@leuphana.de>

From: Gaelle Prodhon
Date: Feb 2, 2026
Subject: CONF: Socialist Visual Cultures and Decolonization 
(online/Paris, 11 Feb-10 Jun 26)

Institut national d'histoire de l'art Paris / Online, Feb 11–Jun 10, 2026

Socialist Visual Cultures and Decolonization: Circulations, 
(Re)interpretations, and Resistances of Visual Models in the Context of 
the Cold War

In the middle of the twentieth century, in the context of the Cold War, 
various countries began to envision socialism as an alternative to 
colonial domination. The “new Cold War history” and the scholarship on 
“global socialism,” which developed in the wake of Odd Arne Westad’s 
work, have contributed to questioning the bipolar view of the world 
during this period by restoring agency to countries in the process of 
decolonization. Far from playing a passive role in the ideological 
conflict between the two “superpowers,” these countries sought to make 
their voices heard. Numerous attempts to establish a “third way,” both 
ideologically and politically, emerged, and several states adopted 
socialist regimes that maintained sometimes complex relations with the 
USSR (Algeria, Vietnam, Ethiopia, among others). These nations thus 
became part of a “Red globalization” (Sanchez-Sibony, 2014) and engaged 
in a wide range of exchanges—educational, military, economic, and 
cultural—within a socialist camp that was far from homogeneous, 
reflecting the persistence of North–South dynamics throughout the Cold War.

Within this dual context of the Cold War and decolonization, the 
cultural sphere—and particularly the visual arts— occupied a crucial 
place. Socialism offered powerful visual models associated with ideals 
of international solidarity, class struggle, and resistance to colonial, 
racist, and imperialist oppression. For countries in the process of 
decolonization, the production of images served as a way to defend a 
worldview opposed to that of the enemy and, at the same time, to promote 
their emerging national cultures. Situated at the crossroads of multiple 
cultures and civilizations, the images produced within these 
postcolonial societies not only reflected this historical turning point 
but also actively contributed to it. Analyzing the processes of 
production, circulation, and reception of these images provides a key 
tool for understanding the formation of postcolonial nation-states. It 
reveals the logics of appropriation and reinvention of socialist models 
while highlighting the exchanges between the “brother countries” of the 
Global South and the Socialist Bloc. These young nations did not simply 
adopt external models but actively participated in their redefinition, 
producing hybrid images that were both local and transnational. Such 
visual productions testify to how postcolonial states constructed their 
symbolic and visual identities while asserting cultural autonomy within 
the networks of socialist solidarity.

Seminar program

February 11, 2026, 2 - 4 pm
Session 1: Presentation of the Seminar “Socialist Visual Cultures and 
Decolonization”

invited speakers:

Christina Kiaer (Northwestern University): “Socialist Axes of Exchange 
in Art History”

Rado Ištok (National Gallery Prague): “Art in the Age of Solidarity: 
Czechoslovakia and the Global South in the Cold War”

Vladislav Shapovalov (NABA Milan & HDK-Valand Göteborg): “Image 
Diplomacy: Legacy of Cold War Exhibitions in the Post-Cold War Continuum”

On Zoom: https://us02web.zoom.us/meeting/register/ viGgOXbcQL6x0qXpehOCkQ

In person: salle Chastel, galerie Colbert, INHA, 2 rue Vivienne ou rue 
des Petits Champs, 75002 Paris


March 11, 2026, 2 - 4 pm

Session 2: Socialist Internationalism and National Visual Identities in 
Postcolonial Contexts, moderated by Coline Perron

invited speakers:

Giulia Dickmans (Graduate School of Global Intellectual History, Freie 
Universität Berlin): “Tricontinental Solidarities: Cuban Angolan 
Cultural Relations Since the Cold War”

Douglas Gabriel (University of Florida) and Adrienn Kácsor 
(Bauhaus-Universität Weimar): “Tough Love: Caricatures of a Socialist 
Friendship across Hungary and North Korea during the 1950s”

On Zoom: https://us02web.zoom.us/meeting/register/ eT0siakJSWaG1xg2uQZYbw

In person: salle Chastel, galerie Colbert, INHA, 2 rue Vivienne ou rue 
des Petits Champs, 75002 Paris


April 8, 2026, 2 - 4 pm
Session 3: Forms, Constructions, and Performativities of Socialists 
Exoticisms, moderated by Gaëlle Prodhon

invited speakers:

Perrine Val (Université de Montpellier Paul-Valéry): “Cinematographic 
Relationships Between the GDR and Its Arab and African Partners: The 
“Others” of the “Other” Germany?”

Daniela Berghahn (University of London): “Post-socialist nostalgia and 
exoticism in The Road Home and Balzac and the Little Chinese Seamstress”

Registration link: https://us02web.zoom.us/meeting/ 
register/zrwpL-UxT6aVf6P6VRMzmA

In person: salle Chastel, galerie Colbert, INHA, 2 rue Vivienne ou rue 
des Petits Champs, 75002 Paris


May 13, 2026, 2 - 4 pm
Session 4: Women and the Politics of Emancipation in Socialist and 
Decolonial Contexts, moderated by Sasha Artamonova

invited speakers:

Christine Varga-Harris (Illinois State University): “Models of 
Decolonization and Female Emancipation: Women in Africa and South Asia 
vis-à-vis Soviet Women in the Visual Repertoire of Soviet Woman during 
the 1950s and 1960s”

Nora Annesley Taylor ( School of the Art Institute of Chicago): “Mother, 
Worker, Hero: Socialist and Post- Socialist Imaginings by Contemporary 
Vietnamese Women Artists”

On Zoom: https://us02web.zoom.us/meeting/register/ QRb1ijsXRbO_Ns_6QKYhSA

In person: salle Brière, galerie Colbert, INHA, 2 rue Vivienne ou rue 
des Petits Champs, 75002 Paris


June 10, 2026, 2 - 4 pm
Session 5: Subverting Socialist Aesthetics: Oppositions and 
Appropriations of Socialist Visual Models, moderated by Jade Thau

invited speakers:

Bojana Videkanic (University of Waterloo): “Yugoslav People’s Art”

Maria Mileeva (Courtauld Institute of Art): “Inji Efflatoun’s Socialist 
Friendship and Revolutionary Aesthetics”

Registration link: https://us02web.zoom.us/meeting/ 
register/VamjL_28Qfyp53GgtaDyQA

In person: salle Brière, galerie Colbert, INHA, 2 rue Vivienne ou rue 
des Petits Champs, 75002 Paris


All times are in Central European Time (Paris, CET)

In-person participation is limited and subject to availability.

contact: artamonova at u.northwestern.edu,  gaelle.prodhon at inha.fr, 
jade.thau at inha.fr, coline.perron.bonicel at gmail.com


Reference / Quellennachweis:
CONF: Socialist Visual Cultures and Decolonization (online/Paris, 11 
Feb-10 Jun 26). In: ArtHist.net, Feb 2, 2026. 
<https://arthist.net/archive/51639>.

From mail at susannahertrich.com  Tue Feb  3 17:42:09 2026
From: mail at susannahertrich.com (Susanna Hertrich)
Date: Tue, 3 Feb 2026 17:42:09 +0100
Subject: [spectre] Crystalline Cosmologies. Unruhige Anordnungen | Thematic
 tour 7th Feb 2026
In-Reply-To: <a73f6242-ed5c-40a4-8646-2da53e03048d@susannahertrich.com>
References: <a73f6242-ed5c-40a4-8646-2da53e03048d@susannahertrich.com>
Message-ID: <f8b91477-f558-4791-8cc3-3c1c15452d0e@susannahertrich.com>


On February 7 at 3:00 PM, a guided tour and conversation will take place 
in the exhibition Crystalline Cosmologies. Unruhige Anordnungen 
(Restless Arrangements), the solo exhibition by Susanna Hertrich.
Runtime 20 November 2025 – 19 April 2026

The tour will be led by curator Isabel Balzer together with Sebastian 
Müller, Director of the Mineralogical Museum, and unfolds directly 
within the exhibition spaces.

Currently on view at Kunstmuseum Marburg, the exhibition enters into 
close dialogue with historical objects from the university’s 
mineralogical and physical collections, forming a constellation of 
scientific artifacts and speculative objects presented as experimental 
setups rather than explanatory displays. Rather than translating 
scientific knowledge into visual form, Hertrich’s works treat quantum 
theory as an epistemic provocation, developing aesthetic models for 
phenomena that resist direct representation and operate between 
empirical research and poetic construction. At the center of the 
exhibition is a new body of work engaging with time crystals—states of 
matter in which temporal order emerges without energy 
consumption—alongside AI-generated artificial minerals informed by the 
museum’s collections, older works by the artist and a new kinetic light 
sculpture exploring particle–wave duality through material experimentation.

Language: German (English summary possible)
Location: Museum für Kunst- und Kulturgeschichte, Landgrafenschloss Marburg
https://maps.app.goo.gl/qsap5XHkG5PBxDDv8

Date & Time: Saturday, February 7, 3:00 PM
Meeting point: Entrance of Landgrafenschloss (Landgrave's castle)
Admission: included with museum entry

Read more
https://www.uni-marburg.de/de/museum/aktuelles#events
https://www.susannahertrich.com/crystalline-cosmologies-unruhige-anordnungen-solo-show/

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From andreas.broeckmann at leuphana.de  Tue Feb 10 10:06:19 2026
From: andreas.broeckmann at leuphana.de (Andreas Broeckmann LEU)
Date: Tue, 10 Feb 2026 10:06:19 +0100
Subject: [spectre] CFP: Neurodiversity as Knowledge (online/Tel Aviv,
 24-25 Mar 26)
Message-ID: <5241a0a2-578e-4c8f-8ec2-2bbb4f2df6da@leuphana.de>

From: Vera Gailis
Date: Feb 9, 2026
Subject: CFP: Neurodiversity as Knowledge (online/Tel Aviv, 24-25 Mar 26)

Tel Aviv University, Social Sciences Library, Tel Aviv, Israel / online, 
Mar 24–25, 2026
Deadline: Mar 1, 2026

The independent interdisciplinary symposium “Neurodiversity as 
Knowledge: Art, Agency, and Exhibition-Based Research” invites 
submissions for 15-minute presentations exploring neurodiversity through 
artistic practice, cultural representation, and exhibition-based research.

The symposium will take place in a hybrid format:
• 24 March 2026 — onsite symposium at the Social Sciences Library, Tel 
Aviv University
• 25 March 2026 — international online panel (Zoom)

The event is intellectually initiated and organized by the Art 
Neuroverse Biennale Research Group and supported by the University’s 
Diversity Development Dean’s Office.

The symposium approaches neurodivergent experience not through medical 
or deficit-based frameworks, but as a source of artistic, cultural, and 
epistemic knowledge. A central premise is that art and exhibitions 
function as research environments where knowledge is produced through 
form, perception, narration, and embodied encounter.

We focus on two trajectories:
Self-represented neurodivergent agency — artistic practices in which 
neurodivergent authors articulate their own experience through visual 
art, performance, literature, theatre, and other forms.
Represented neurodivergent subjectivity — cultural works in which 
neurodivergent experience appears through characters, narratives, or 
dramaturgical structures.

We welcome a wide range of formats, including:
scholarly papers, presentations of artistic works, exhibition case 
studies, curatorial research, performative lectures, and reflections on 
works in progress.

Contributions from both theorists and practitioners are encouraged. 
Institutional affiliation is not required.
To submit, please send a 300-word abstract and short bio to: 
anvbiennale at gmail.com

Deadline: 1 March 2026
Notification of acceptance: 5 March 2026


Reference / Quellennachweis:
CFP: Neurodiversity as Knowledge (online/Tel Aviv, 24-25 Mar 26). In: 
ArtHist.net, Feb 9, 2026. <https://arthist.net/archive/51707>.

From marcela at aksioma.org  Wed Feb 11 13:00:00 2026
From: marcela at aksioma.org (=?UTF-8?Q?Marcela_Okreti=C4=8D?=)
Date: Wed, 11 Feb 2026 13:00:00 +0100
Subject: [spectre] We have always been brainrotted - streaming tonight at
 8pm CET
In-Reply-To: <CAKt7+KppJg3fk6mnF5H1WExob01WbJRfTkkFBghpJkSGtMWVYw@mail.gmail.com>
References: <CAKt7+KppJg3fk6mnF5H1WExob01WbJRfTkkFBghpJkSGtMWVYw@mail.gmail.com>
Message-ID: <CAKt7+KrJWBq4YYy6_CbhWj6f9fjBqm829DUte4fpXGi7Vez7Vw@mail.gmail.com>

Dear all,
Tonight at 8pm CET we'll be streaming on
https://networkcultures.org/void/2023/10/07/live/
<https://networkcultures.org/void/2023/10/07/live/>

*THE VOID +*
*We have always been brainrotted*
*Theory music performance*
11 February 2026 at 20:00 CET
Kino Šiška, Ljubljana + online
https://aksioma.org/we-have-always-been-brainrotted

Aksioma joins forces with the collective THE VOID in the transdisciplinary
performative essay *We have always been brainrotted.* The essay, interwoven
with audio-visual elements that will be composed on the spot, addresses the
prevailing imperative of contemporary social media cultural production,
brainrot, which tends towards a form of vertical video defined primarily by
unconditional algorithmic curation.

*We have always been brainrotted *addresses the elusive definition of the
cultural phenomenon of brainrot. It attempts to distance itself from
understanding of brainrot as a genre of content or a social media trend and
instead conceives of it as an imperative and true expression of algorithmic
culture. Through an examination of digital holes, peripheral media, and
operational images, it anchors brainrot as a reflection of the intertwining
of technological, cultural, social, and economic factors.

...
The stream is taking place in The Inbetween
<https://networkcultures.org/void/2023/10/07/live/>, a new online venue by
The Hmm, currently in testing ahead of its official launch.
...
THE VOID (T.V.) <https://networkcultures.org/void/> is a project that
questions the boundaries of audiovisual publishing and creates a platform
for sharing the findings of online researchers. It achieves this by
establishing a hybrid recording and broadcasting studio that uses a green
screen to add live-coded visuals and multi-layered images, broadcasting the
event in person and online.

For this event, the collective is expanding into THE VOID + "band", which
consists of members of the Institute of Network Cultures (INC)
<https://aksioma.us11.list-manage.com/track/click?u=1ae755fe8a8dbe61fc37d4622&id=0f39479358&e=b2b01b8bf8>
*Tommaso
Campagna*, *Jordi Viader Guerrero*, and *Giulia Timis*, new media artist
and VJ *Neža Knez*, DJ and producer *Tisa Troha aka msn gf*, and
researcher *Lea
Sande*.

...

Organised and produced by:
Aksioma - Institute for Contemporary Art, Ljubljana, 2026
www.aksioma.org

In partnership with:
CUK Kino Šiška
INC - Institute of Network Cultures, Amsterdam
THE VOID
Radio Študent
The Inbetween / The Hmm

Supported by:
The Ministry of Culture of the Republic of Slovenia
The Municipality of Ljubljana
Italian Cultural Institute in Ljubljana

Funded by the European Union and implemented by the Goethe-Institut

*This work was produced with the financial assistance of the European
Union.The views expressed herein can in no way be taken to reflect the
official opinion of the European Union.*

Technical support:
Kersnikova
Projekt Atol
Mladinski center Velenje
konS ≡ Platform for Contemporary Investigative Art

...

Marcela Okretič
Aksioma - Institute for Contemporary Art, Ljubljana
www.aksioma.org
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From gabriel.menotti at gmail.com  Fri Feb 13 13:57:48 2026
From: gabriel.menotti at gmail.com (Gabriel Menotti)
Date: Fri, 13 Feb 2026 07:57:48 -0500
Subject: [spectre] CFP & Videoessays: Besides the Screen Ningbo 2026 (due
 Mar 1)
In-Reply-To: <CAG=4eDSEtBaa0h4-X424KS7TtvNVUDDQg6XSPKQQXHtQ5mGvqA@mail.gmail.com>
References: <CAG=4eDSEtBaa0h4-X424KS7TtvNVUDDQg6XSPKQQXHtQ5mGvqA@mail.gmail.com>
Message-ID: <CAG=4eDTkLznT=jTFes24G15cn6RRM2WQiE7s7DVKk-g-EMGiBg@mail.gmail.com>

Hey all!

With apologies for the cross-posting, this is a reminder of the upcoming
deadline for the next Besides the Screen Ningbo conference. Please check it
below!

Best!
Menotti

+++

*CFP: Besides the Screen Ningbo 2026: Audiences, Subjects & Agents*
University of Nottingham Ningbo China, June 4-6, 2026

- Deadline for submissions Mar 1, 2026
- Apply at https://forms.office.com/r/LCusR2E5ZU

In 2026, the Besides the Screen conference returns to the city of Ningbo to
explore the ways audiences, subjects and agents are distributed and
negotiated across borders – whether institutional, spatial, linguistic or
technological.

This year’s conference begins from the premise that the concept of the
passive media audience has always been a myth. Nowadays, it would be
difficult to find a situation where viewers are not doing anything, even if
it is just scrolling on their phones during a streaming marathon. Novel
media forms are teeming with opportunities to participate, interact, share
with our friends, and likely gamble. Audience reactions have become a
popular genre in itself and just look at all the chaos fans make at movie
theatre sing-alongs. Can these be spaces of solidarity and creativity? The
same technologies that empower amateur filmmakers and influencers make each
user a potential promotional node to be mobilized. If most internet traffic
is automated, does it even matter if the content is tailored for bots and
search engine optimization?

We invite contributions that reflect upon the many audiences, subjects, and
agents that make the media, culture, and creative industries and associated
artforms. What has been the impact of technological advancements on
audiences, and how are they in turn impacting the creative industries? What
new subjects and agents have emerged from these developments, and how are
they transforming audiovisual practices?

Related research areas include:

   - Cultural and Creative Industries
   - Film, TV, and Screen Studies
   - Game Studies
   - Digital Humanities and Emerging Technologies
   - New media, Contemporary, and Performance Arts

The conference is open to both *short papers* and *films/video essays* (up
to 20 minutes). Submissions should be made through the online form
available at besidesthescreen.com.

*Paper proposals* require title, 3-5 keywords, abstract (300 words max),
and a short author affiliation/bio (200 words max). *Short film/video
essays* *proposals* require title, link (with password if required), 3-5
keywords, synopsis or artist statement (300 words max), and a short author
affiliation/bio (200 words max)

Submission deadline: *March 1, 2026*. We will accept submissions up to
midnight in the proponent’s time zone. Selected participants will be
notified in Mid-March.

If you experience any issues with the submission form, please email
besidesthescreen at gmail.com with the email header *NINGBO26 –Submission
issue*. Please note: *email submissions will not be accepted*.

Besides the Screen Ningbo 2026 is organized by Dr. Corey Schultz (UNNC),
Dr. Virginia Crisp (King’s College London), and Dr. Gabriel Menotti
(Queen’s University). The conference is funded by the University of
Nottingham Ningbo China’s Research and Knowledge Exchange Conference and
Event Organising Support Scheme, and supported by the Social Sciences and
Humanities Research Council of Canada.
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From andreas.broeckmann at leuphana.de  Mon Feb 16 08:42:58 2026
From: andreas.broeckmann at leuphana.de (Andreas Broeckmann LEU)
Date: Mon, 16 Feb 2026 08:42:58 +0100
Subject: [spectre] CFP: Future of Practice: Artists and Art in 21st Century
 (New Delhi, 19-20 Aug 26)
Message-ID: <2339755e-33d8-460b-bf70-a0ee1541c8d0@leuphana.de>

From: Karin Zitzewitz
Date: Feb 15, 2026
Subject: CFP: Future of Practice: Artists and Art in 21st Century (New 
Delhi, 19-20 Aug 26)

India International Centre, New Delhi, Aug 19–20, 2026
Deadline: Mar 15, 2026

Globally, artistic practice is shaped by art education, art world 
institutions, and digital media, all of which are driven by logics of 
value production. This conference, a collaboration between the project 
ANTHROFUTURE (anthrofuture.com), which is hosted by the University of 
Vienna’s Department of Social and Cultural Anthropology, and Shiv Nadar 
Institution of Eminence’s Department of Art, Media and Performance, 
invites discussion of how the future is articulated through artistic 
practice in India in a time of complex and interrelated social, 
political and ecological crises.

Since the 1990s, the region has witnessed a tidal change in practice in 
tandem with the transformation of art’s infrastructure, made visible 
through dramatic changes in mediums, artistic form, and artists’ careers 
(Zitzewitz 2022). Yet, these transformations have occurred unevenly 
because ‘practising creativity’ is anchored to a country’s vision of its 
cultural economy (Chumley 2016). Simultaneous developments in digital 
media have generated unique affordances for and representations of the 
art world that are as much a product of national as of global 
conventions, languages and governance.

Against this backdrop, the conference asks whether and how an emerging 
generation of artists can leverage the existing physical-digital 
infrastructure to address the multiple crises of the present, and 
whether their practices require new conceptual frameworks. The 
conference places artistic creation and contemporary understandings of 
creativity at the center of its inquiry.

We invite individual papers and multimodal submissions from artists and 
scholars concerning key projects, sites, and methods by which artistic 
practice addresses the future. Our conference combines discussions of 
contemporary art practice with the social life of art, and so we invite 
all contributors to reflect upon issues of hierarchy and power as they 
constrain or inform the practices they discuss.

Of particular interest are engagements with the following questions:

1) Anthrofuture focuses on the dynamics of the digital and physical 
(art) worlds. What sorts of limitations and productivities can we find 
in (art) infrastructures? How might these digital and physical realms 
interact? What is their relative significance, durability, or longevity?

2) Technology, in particular digital media, appears to be increasingly 
vital to the social life of creativity. What roles do digital media play 
in art making, display and circulation? Is analogue practice possible?

3) In India, the artistic landscape is increasingly enlivened by the 
work of art collectives. How can we evaluate the contemporary 
significance of collectives vis-à-vis individual art practice? What are 
the ethical and artistic productivities or limitations of individual, 
collective and collaborative art practices?

4) Anthrofuture aims to understand how artistic practice reveals or 
addresses what is new about the crises of the present moment. In what 
ways are artists shaping art infrastructure through their participation 
in or withdrawal from the market, other forms of art infrastructure, or 
the digital world?

5) Time and temporality are essential concepts to Anthrofuture. How are 
these ideas explored in artistic practice in the present? Drawing on 
these reflections, how are imaginations of the future manifest in art 
practice through and beyond utopian or dystopian impulses?

In order to participate in the conference, please submit a 250 word 
abstract and a short CV via Google Form by 15 March 2026 (see website 
https://www.anthrofuture.com/news for link). You will receive a 
notification regarding your participation just after 15 April. The call 
is open to academics and practitioners at all seniority levels and we 
particularly encourage younger applicants to contribute to this event. 
The project has limited need-based funding for selected participants 
from within India.

We envisage a publication including a selection of conference 
presentations. By submitting your abstract and CV, you also agree to be 
part of this publication. All submissions must be previously unpublished.

About the project
ANTHROFUTURE is the short name of ‘The anthropology of the future: an 
art world perspective’, a European Research Council (ERC) sponsored 
project hosted by the University of Vienna Department of Social and 
Cultural Anthropology that uses multimodal methods to examine how 
understandings of the future are generated through art in South Asia and 
the Gulf. The project has emerged from a set of intertwined concerns, 
namely anthropology’s fundamental difficulty of applying the 
ethnographic method toward studies of the future; scholarship suggesting 
that the global south’s current dystopic political and social conditions 
increasingly shape—and therefore predict—the future norms of the global 
north; scholars’ calls to look past the preoccupations of a global north 
and towards decolonised futures; a significant absence of engagement 
with the future in South Asia; and the combination of art’s thematic 
engagement with imagining the future and the art world’s structural 
commitment to the production of future value.


Reference / Quellennachweis:
CFP: Future of Practice: Artists and Art in 21st Century (New Delhi, 
19-20 Aug 26). In: ArtHist.net, Feb 15, 2026. 
<https://arthist.net/archive/51762>.

From jg at monochrom.at  Sat Feb 21 12:18:50 2026
From: jg at monochrom.at (J. Grenzfurthner [Das Ende der Nahrungskette])
Date: Sat, 21 Feb 2026 12:18:50 +0100
Subject: [spectre] Manifesto of Reality: Cinema After the Physical Trace
Message-ID: <20260221111851.AEA6533658D2@mail.monochrom.at>

I'm very honored that the Midwest Film Journal published my manifesto 
"Manifesto of Reality: Cinema After the Physical Trace."
A reflection on cinema after AI... and what happens when images no 
longer require a physical origin.

https://midwestfilmjournal.com/2026/02/20/manifesto-of-reality-cinema-after-the-physical-trace/


From darko at darkofritz.net  Tue Feb 24 14:59:58 2026
From: darko at darkofritz.net (Darko Fritz)
Date: Tue, 24 Feb 2026 14:59:58 +0100
Subject: [spectre] Jean-Claude Marquette: Fugue Opus 1 in Black, White,
 and Grey @ Wi-Fi Gallery grey) (area
Message-ID: <DBE443A3-D209-4682-AE69-C5A33D1937EF@darkofritz.net>

Jean-Claude Marquette: Fugue Opus 1 in Black, White, and Grey
Wi-Fi Gallery grey) (area, St. Mark’s Square, Korčula
Open: 0–24 h, access with personal mobile device
On view from 28 February to 30 April 2026
Curator: Darko Fritz
 
Fugue Opus 1 in Black, White, and Grey (A Tribute to Hans Richter, Viking Eggeling, and Norman McLaren) is a digital animation conceived as a contemporary reactivation of a seminal moment in the history of visual and computer-based art. Created for the Wi-Fi Gallery Grey Area in 2026, the work revisits and extends the conceptual and formal investigations initiated in the early 1970s through the series Hommages à Khlebnikov.

The series, begun in 1971, consists of thirty original prints on listing paper conceived as scores,  both visual and procedural. These works functioned as generative documents, serving as the basis for compositions realised across various media between 1972 and 1985, characterised by sharply contrasting chromatic structures and systematic variation.

Central to the animation is the reconstruction of a graphic produced in 1972 using the silkscreen technique, widely regarded as one of the earliest visual artefacts derived from the transformation of literary text into digital binary code. The original paper-based record consists exclusively of ones and zeros, black squares on a white ground, arranged in a 36 × 44 grid corresponding to a 6-bit digital structure. This matrix translates language into a modular visual system, positioning the poetic text as both source material and algorithmic substrate.

The work draws on the poem Conjuration by Laughter by the Russian Cubo-Futurist poet and theorist Velimir Khlebnikov (1885–1922), inventor of the Zaum transrational language, here mediated through the 1967 French translation by Luda Schnitzer. By subjecting Khlebnikov’s linguistic experimentation to early computational logic, the work establishes a dialogue between avant-garde poetics, postwar abstraction, and the emergence of digital aesthetics.

The Hommages à Khlebnikov series was exhibited in 1973 at Tendencies 5 in Zagreb, within the section Computers and Visual Research, situating it firmly within the critical framework of the New Tendencies network. Fugue Opus 1 in Black, White, and Grey rearticulates this historical lineage in the present, foregrounding questions of notation, translation, and temporal displacement, while reaffirming the enduring relevance of early experiments at the intersection of art, language, and computation.

The exhibition can be accessed through personal mobile devices at Korčula’s St. Mark's Square. This digital art presentation format is organised by the grey) (area and realised in cooperation with the Korčula Town Museum and Format C. The Wi-Fi Gallery grey) (area has been set up on Pivilion <https://us8.mailchimp.com/mctx/clicks?url=https%3A%2F%2Fpivilion.net&xid=a6ec6eb2db&uid=30817315&iid=dcc0a654db&pool=cts&v=2&c=1771941463&h=402954f14cbb689816c50e0e8079c2dba6cd2df2703a254b6123f27bafd38557>, a free and open operating system developed by Dina and Vedran Gligo of Format C. The wireless local area network (WLAN) is publicly accessible and automatically displays digital artwork to anyone connecting to the Wi-Fi network, without a password or further action.

more info: https://sivazona.hr/events/fuga-opus-1 <https://us8.mailchimp.com/mctx/clicks?url=https%3A%2F%2Fsivazona.hr%2Fevents%2Ffuga-opus-1&xid=a6ec6eb2db&uid=30817315&iid=dcc0a654db&pool=cts&v=2&c=1771941463&h=11911a8e99890e64f5b03ca78c892e10cad8e3bb16079e44a8809977e8f377dc>
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From gabriel.menotti at gmail.com  Wed Feb 25 12:44:47 2026
From: gabriel.menotti at gmail.com (Gabriel Menotti)
Date: Wed, 25 Feb 2026 06:44:47 -0500
Subject: [spectre] CFP & Videoessays: Besides the Screen Ningbo 2026 (due
 Mar 1)
In-Reply-To: <CAG=4eDT2i7GB_ipwru+a+F7evwb7NPY-SpWDt6kgEku5A5pOeQ@mail.gmail.com>
References: <CAG=4eDSEtBaa0h4-X424KS7TtvNVUDDQg6XSPKQQXHtQ5mGvqA@mail.gmail.com>
 <CAG=4eDTkLznT=jTFes24G15cn6RRM2WQiE7s7DVKk-g-EMGiBg@mail.gmail.com>
 <CAG=4eDT2i7GB_ipwru+a+F7evwb7NPY-SpWDt6kgEku5A5pOeQ@mail.gmail.com>
Message-ID: <CAG=4eDSLkuqLTTQod=FfEgSBeRy9Z+JvTqqxQq+9Ypf8oN+exg@mail.gmail.com>

*CFP: Besides the Screen Ningbo 2026: Audiences, Subjects & Agents*
University of Nottingham Ningbo China, June 4-6, 2026

- Deadline for submissions Mar 1, 2026
- Apply at https://forms.office.com/r/LCusR2E5ZU

In 2026, the Besides the Screen conference returns to the city of Ningbo to
explore the ways audiences, subjects and agents are distributed and
negotiated across borders – whether institutional, spatial, linguistic or
technological.

This year’s conference begins from the premise that the concept of the
passive media audience has always been a myth. Nowadays, it would be
difficult to find a situation where viewers are not doing anything, even if
it is just scrolling on their phones during a streaming marathon. Novel
media forms are teeming with opportunities to participate, interact, share
with our friends, and likely gamble. Audience reactions have become a
popular genre in itself and just look at all the chaos fans make at movie
theatre sing-alongs. Can these be spaces of solidarity and creativity? The
same technologies that empower amateur filmmakers and influencers make each
user a potential promotional node to be mobilized. If most internet traffic
is automated, does it even matter if the content is tailored for bots and
search engine optimization?

We invite contributions that reflect upon the many audiences, subjects, and
agents that make the media, culture, and creative industries and associated
artforms. What has been the impact of technological advancements on
audiences, and how are they in turn impacting the creative industries? What
new subjects and agents have emerged from these developments, and how are
they transforming audiovisual practices?

Related research areas include:

   - Cultural and Creative Industries
   - Film, TV, and Screen Studies
   - Game Studies
   - Digital Humanities and Emerging Technologies
   - New media, Contemporary, and Performance Arts

The conference is open to both *short papers* and *films/video essays* (up
to 20 minutes). Submissions should be made through the online form
available at besidesthescreen.com.

*Paper proposals* require title, 3-5 keywords, abstract (300 words max),
and a short author affiliation/bio (200 words max). *Short film/video
essays* *proposals* require title, link (with password if required), 3-5
keywords, synopsis or artist statement (300 words max), and a short author
affiliation/bio (200 words max)

Submission deadline: *March 1, 2026*. We will accept submissions up to
midnight in the proponent’s time zone. Selected participants will be
notified in Mid-March.

If you experience any issues with the submission form, please email
besidesthescreen at gmail.com with the email header *NINGBO26 – Submission
issue*. Please note: *email submissions will not be accepted*.

Besides the Screen Ningbo 2026 is organized by Dr. Corey Schultz (UNNC),
Dr. Virginia Crisp (King’s College London), and Dr. Gabriel Menotti
(Queen’s University). The conference is funded by the University of
Nottingham Ningbo China’s Research and Knowledge Exchange Conference and
Event Organising Support Scheme, and supported by the Social Sciences and
Humanities Research Council of Canada.
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From gabriel.menotti at gmail.com  Thu Feb 26 17:04:15 2026
From: gabriel.menotti at gmail.com (Gabriel Menotti)
Date: Thu, 26 Feb 2026 11:04:15 -0500
Subject: [spectre] Post-Doctoral Fellow in Emerging Media Practices at
 Queen's University - deadline Mar 30
Message-ID: <CAG=4eDT+0Ctn8mYzJ=iS3eLadw30Pv3aWQFZOJZNHLoAQsgBog@mail.gmail.com>

*Post-Doctoral Fellow in Emerging Media Practices*

- Queen's University, Ontario - deadline Mar 30, 2025
- https://universityaffairs.ca/search-jobs/?job_id=70682

The Department of Film and Media at Queen’s University is accepting
applications for a 2-year postdoctoral fellowship beginning July 1, 2026.
This funded fellowship supports the development of an original research
project working in the areas of media, communication studies, and/or
practice with a focus on technological innovation, the development of new
production models for artists and critical discourses in emerging media.

Applicants must have completed a PhD in a discipline relevant to the
position’s terms prior to beginning the fellowship. Previous teaching
experience and evidence of scholarly research and publication related to
the terms of the position will also be considered an asset. A postdoctoral
supervisor will be named based on the successful candidate’s field of
specialization.

The successful applicant will be expected to maintain an active scholarly
profile and to teach two semester-long courses per year in their subject
field.

*The candidate will:*

   - Develop a rigorous research profile around new and emerging media
   technologies, including but not limited to AR, VR, media façades, and AI
   - Develop curricula to assist film, media and visual arts students in
   developing their own artistic and research projects and assist young
   academics working in the field of media and communications as they assess
   their relationship with artificial intelligence and other emerging
   technologies.

A postdoctoral supervisor will be named based on the successful candidate’s
field of specialization.

The total salary for 2026-2027 will be approximately $75,000 CAD per year,
comprising a fellowship salary and a teaching stipend for 2 one-term
courses per year. Additional funds have been allocated for academic travel
and research.

July 1, 2026.  2 years

PhD in Film or Media or related fields.

   1. a 2-3 page cover letter that outlines current or proposed research
   project(s) to be pursued during the fellowship and ideas for courses the
   candidate would propose teaching.
   2. a complete and current curriculum vitae.
   3. upon request, letters of reference from two referees sent directly to
   Gary Kibbins, Department Head, gk6 at queensu.ca.
   4. a writing sample such as a dissertation chapter or article.
   5. any other relevant materials the candidate wishes to submit for
   consideration such as a teaching dossier or artist portfolio

Applications will be received until* 30 March, 2026.*

Please arrange to have applications sent electronically to Gary Kibbins,
Department Head, gk6 at queensu.ca.

This Post-Doctoral Fellow in Emerging Media Practices is a new position
within the University.

Our recruitment process does not use Artificial Intelligence (AI) as
defined under the Ontario Employment Standards Act to review applications.

The university invites applications from all qualified individuals. Queen's
is strongly committed to employment equity, diversity, and inclusion in the
workplace and encourages applications from Black, racialized/visible
minority and Indigenous/Aboriginal people, women, persons with
disabilities, and 2SLGBTQ+ persons.

The university has policies in place to support its employees with
disabilities, including an Accommodation in the Workplace Policy and a
policy on the provision of job accommodations that take into account an
employee's accessibility needs due to disability. The University will
provide support in its recruitment processes to applicants with
disabilities, including accommodation that takes into account an
applicant’s accessibility needs. If you require accommodation during the
application/interview process, please contact Denise Arsenault,
arsenaud at queensu.ca.

cc.  PSAC Local 901, Unit 2 - info at psac901.org
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