<div dir="ltr">Please unsubscribe me.</div><br><div class="gmail_quote"><div dir="ltr" class="gmail_attr">On Mon, Sep 9, 2019 at 6:36 AM <<a href="mailto:spectre-request@mikrolisten.de">spectre-request@mikrolisten.de</a>> wrote:<br></div><blockquote class="gmail_quote" style="margin:0px 0px 0px 0.8ex;border-left:1px solid rgb(204,204,204);padding-left:1ex">Send SPECTRE mailing list submissions to<br>
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1. (fwd) CFP: How we work together (Ottawa, 8-10 Oct 19)<br>
(Andreas Broeckmann)<br>
<br>
<br>
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Message: 1<br>
Date: Mon, 9 Sep 2019 10:39:18 +0200<br>
From: Andreas Broeckmann <<a href="mailto:broeckmann@leuphana.de" target="_blank">broeckmann@leuphana.de</a>><br>
To: spec <<a href="mailto:spectre@mikrolisten.de" target="_blank">spectre@mikrolisten.de</a>><br>
Subject: [spectre] (fwd) CFP: How we work together (Ottawa, 8-10 Oct<br>
19)<br>
Message-ID: <<a href="mailto:c1b31f90-469d-0d13-47e5-9f0b903a6768@leuphana.de" target="_blank">c1b31f90-469d-0d13-47e5-9f0b903a6768@leuphana.de</a>><br>
Content-Type: text/plain; charset=utf-8; format=flowed<br>
<br>
From: Dr. phil. Franziska Koch<br>
Date: Sep 7, 2019<br>
Subject: CFP: How we work together (Ottawa, 8-10 Oct 19)<br>
<br>
Korean Cultural Centre/Carleton University Ottawa, October 8 - 10, 2019<br>
Deadline: Sep 15, 2019<br>
<br>
Call for papers<br>
“How we work together: ethics, histories and epistemologies of artistic <br>
collaboration”<br>
<br>
November 8, 2019, panel chaired by Franziska Koch (Heidelberg <br>
University) in the framework of the 1st TrACE Academy “Worlding the <br>
Global: The Arts in an Age of Decolonization,” organized by the Centre <br>
for Transnational Analysis (CTCA) of Carleton University, Ottawa; panel <br>
venue: Korean Cultural Centre Canada, Ottawa.<br>
<br>
This funded panel will critically engage with issues of collaboration <br>
within the larger framework of the 1st TrACE Academy (Transnational and <br>
Transcultural Arts and Cultural Exchange) “Worlding the Global: The Arts <br>
in an Age of Decolonization,” November 8-10, 2019, Carleton University, <br>
Ottawa. The international call invites researchers at every career <br>
stage, from early career to senior, to share new research on <br>
collaboration, which stresses transnational and/or transcultural <br>
perspectives and complicate existent (master) narratives of <br>
collaboration. Although the conference itself focuses on the age of <br>
decolonization, the panel is open to include earlier case studies as well.<br>
<br>
Collaboration is fundamental to and characteristic of many artistic <br>
endeavors not only in our contemporary, technologically wired and <br>
heavily mediated times, but has also marked artistic practices <br>
throughout the ages and in many places of the world. Indeed, we might <br>
argue that artworks – shaped as objects, performances, or concepts alike <br>
– more often than not come into being by engaging many hands and <br>
relating more than one (master) mind. Still, the modern European <br>
romantic notion of the singular (white, male) genius who “fathers” and <br>
authoritatively signs a masterpiece continues to inform art historical <br>
narratives, serves as a strong identitarian figure in the art market and <br>
haunts curatorial practices. However, post-colonial, feminist, queer, <br>
Indigenous and network theoretical discourses have successfully <br>
questioned this convention in the last decades, while artists have taken <br>
collaboration more seriously than ever.<br>
<br>
This becomes particularly evident in the field of socially engaged art <br>
practices as demonstrated in catalogues such as “Get together” <br>
(Kunsthalle Wien 1999), “Collaborative Practices in Contemporary Art” <br>
(Tate Modern, London 2003), “Kollektive Kreativität” (Kunsthalle <br>
Friedericianum Kassel 2005), “Living as form” (Thompson, 2012) or the <br>
“Coop” exhibition at Bangkok Biennale 2017. Yet, the cultural <br>
implications of this seemingly global “participatory” (Kravagna 1998) or <br>
“collaborative turn” (Lind 2007 and 2009) have only recently come under <br>
scrutiny. Critically building on a debate that discussed activist versus <br>
antagonist strategies as characteristic for the turn (Bourriaud 2002 and <br>
2006, Bishop 2004 and 2012, see summary by Miller 2016). Grant Kester’s <br>
“The one and the many” (2011) deliberately introduced case studies from <br>
the “global South” to the debate in order to un-pack and undermine the <br>
prevailing theoretical approaches and regional specific genealogies. <br>
Significantly, he questioned the deconstructivist paradigm, which <br>
pervades the debate and ignores the cultural as well as historical <br>
specificity of an originally French strand of aesthetic discourse that <br>
has increasingly been taken as universal.<br>
<br>
The panel aims to bridge earlier inquiries into cultural and historical <br>
differences and entanglements with more recent transcultural and <br>
transnational perspectives (e.a. Juneja 2018 and 2017, Tomii 2016, <br>
D’Souza 2014, Kravagna 2013) when discussing artistic collaboration in <br>
an age of decolonization and globalization. As part of the TrACE Academy <br>
“Worlding the Global” which seeks to relate long separated discourses of <br>
settler-colonial, Indigenous, migrant, diasporic, and other <br>
transnational and transcultural histories and ways of knowing in art, <br>
the panel aim is to understand how these perspectives enact and <br>
(co-)constitute the global when “we work together.” The panelists are <br>
asked to move towards understanding decolonization as a multi-sited and <br>
collaborative engagement with histories, epistemologies, power, <br>
migration, capital, and culture. Given the International Indigenous Art <br>
Exhibition "Àbadakone / Continuous Fire / Feu Continuel" at the National <br>
Gallery of Canada as a starting point, the four speakers should engage <br>
at least with one of the following questions:<br>
<br>
- How to write and present art history in ways that critically <br>
acknowledge and distinguish collaborative authorship (auctorialités) and <br>
local as well as global cultural entanglements?<br>
- How do collaborative artists/works address issues of situatedness in <br>
spatial as well as temporal regards? In other words: how do <br>
collaborative strategies contribute to “worlding the global” beyond <br>
dominant binary narratives?<br>
- Does artistic collaboration serve particular functions in the process <br>
of decolonization? What roles do collaborative practices play in the <br>
expression of Indigenous voices?<br>
- What are the conditions and limits of artistic collaboration?<br>
- How are ethics, epistemologies and histories of collaboration <br>
(in-)formed by cultural contexts? What role does transculturality play <br>
in artistic collaboration?<br>
<br>
The funding of most of the travel and accommodation costs is secured by <br>
the organizer thanks to a grant from the Baden-Württemberg Stiftung. To <br>
receive the grant, selected applicants need to provide a short <br>
presentation of 15 min. length based on a longer manuscript, which will <br>
be circulated among the speakers one week before the panel. They have to <br>
commit to submitting the revised full paper (ca. 5.000- max. 8.000 <br>
words) before the end of February 2020. Together with other written <br>
contributions selected by means of this call, the panel organizer will <br>
publish a theme issue in the peer reviewed and open access journal <br>
"Transcultural Studies" (Heidelberg University).<br>
<br>
Applicants should send an abstract of max. 500 words and a short CV to <br>
Franziska Koch (<a href="mailto:koch@hcts.uni-heidelberg.de" target="_blank">koch@hcts.uni-heidelberg.de</a>) until 15 September 2019. <br>
The selected applicants will be informed until 20 September 2019.<br>
<br>
Dr. phil. Franziska Koch<br>
Assistant Professor of Global Art History<br>
Heidelberg Centrum for Transcultural Studies<br>
Voßstr. 2, Building 4400, R. 105<br>
D-69115 Heidelberg, Germany<br>
E-Mail: <a href="mailto:koch@hcts.uni-heidelberg.de" target="_blank">koch@hcts.uni-heidelberg.de</a><br>
<br>
——<br>
<br>
References<br>
<br>
Bishop, Claire (2004), “Antagonism and Relational Aesthetics,” in: <br>
October, vol. 110, The MIT Press, New York, pp. 51-79.<br>
Bishop, Claire (2012), “Participation and Spectacle: Where are we now” <br>
in: Living as Form: Socially Engaged Art From 1991-2011, The MIT Press, <br>
New York, pp.34-45.<br>
Block, René and Angelika Nollert, eds. (2005), Kollektive Kreativität. <br>
Collective Creativity, (exh. cat.), Kunsthalle Fridericianum, Revolver.<br>
Bourriaud, Nicolas (2002), Relational Aesthetic, Les Presses du Réel, <br>
France, pp.11-24.<br>
Bourriaud, Nicolas (2006), “Relational Aesthetic//1998”, in: Documents <br>
of Contemporary Art: Participation, The MIT Press, Cambridge, pp. 160-171.<br>
d’Souza, A. (2014), “Introduction”, in: Art History in the Wake of the <br>
Global Turn, ed. by J. H. Casid and A. d’Souza, Sterling and Francine <br>
Clark Art Institute, Williamstown, MA, pp. vii–xxiii.<br>
Green, Charles (2001), The Third Hand: Collaboration in Art from <br>
Conceptualism to Postmodernism, New South Publishing.<br>
Juneja, Monica (2018), “‘A very civil idea…’: Art History, <br>
Transculturation and World-Making – with and beyond the Nation”, in: <br>
Zeitschrift für Kunstgeschichte, vol. 81, issue 4, pp. 461–485.<br>
Juneja and Kravagna in Conversation (2013), “Understanding <br>
Transculturalism”, Transcultural Modernism, ed. by Christian Kravagna et <br>
al., Sternberg Press, Berlin, pp. 23-33.<br>
Kester, Grant (2011), The One and the Many: Contemporary Collaborative <br>
Art in a Global Context, Duke University Press, Durham and London.<br>
Kravagna, Christian (1998), Models of Participatory Practice, <br>
<a href="http://republicart.net/disc/aap/kravagna01_en.htm" rel="noreferrer" target="_blank">http://republicart.net/disc/aap/kravagna01_en.htm</a>.<br>
Lind, Maria (2007), “The Collaborative Turn”, in: Taking the Matter lnto <br>
Common Hands: On Contemporary Art and Collaborative Practices, ed. by <br>
Johanna Billing and Lars Nilssonszerk, Black Dog Publishing, London, pp. <br>
15-31.<br>
Lind, Maria (2009), “Complications: On Collaboration, Agency and <br>
Contemporary Art”, in: New Communities, ed. by Nina Möntmann, The Power <br>
Plant and Public Books, Toronto, pp. 52-73.<br>
Miller, Jason (2016), “Activism vs. Antagonism: Socially Engaged Art <br>
from Bourriaud to Bishop and Beyond”, in: FIELD, A Journal of Socially <br>
Engaged Art Criticism, issue 3, winter, pp. 165-183.<br>
O’ Neill, Paul (2010), “Beyond Group Practice”, in: Manifesta <br>
Journal—Collective Curating 8, Amsterdam, pp. 37-45.<br>
Reiko, Tomii (2013) “Introduction: Collectivism in Twentieth-Century <br>
Japanese Art with a Focus on Operational Aspects of Dantai”, in: <br>
Positions Asia Critique, Vol. 21, Issue 2, Spring, Duke University <br>
Press, pp. 225-267.<br>
Roberts, John and Wright Stephen, eds. (2004), “Art and Collaboration”, <br>
Third Text, Vol. 18, Issue 6, London.<br>
Thomson, Nato (2012), “Living as Form”, in: Living as Form: Socially <br>
Engaged Art From 1991-2011, The MIT Press, New York, pp. 16-33.<br>
<br>
Reference / Quellennachweis:<br>
CFP: How we work together (Ottawa, 8-10 Oct 19). In: ArtHist.net, Sep 7, <br>
2019. <<a href="https://arthist.net/archive/21496" rel="noreferrer" target="_blank">https://arthist.net/archive/21496</a>>.<br>
<br>
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