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[Museum] APHA - Divulgação (31.III.2017)
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Museum <Museum@ci.uc.pt>
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[Museum] APHA - Divulgação (31.III.2017)
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Madalena Costa Lima <madalena.costalima@gmail.com>
Date :
Fri, 31 Mar 2017 15:40:52 +0100
APHA – Divulgação
Concursos
Fellowships in Architectural History and Preservation | Italian Academy of for Advances Studies in America | Data limite: 17 de AbrilThe Italian Academy of for Advances Studies in America announces the establishment of the Weinberg Fellowships in architectural history and preservation. Funded with generous support from the Sidney J. Weinberg Jr., Foundation in conjunction with the Academy’s new International Observatory for Cultural Heritage, these Fellowships are devoted to the understanding and conservation of architecture in any geographic area and period. Two to four Fellowships will be awarded each year, and will run concurrently with the Academy’s other residential fellowships. Fellows receive a stipend, health benefits, travel allowance, and an office in the Academy. Candidates must be at the post-doctoral or faculty level. Applications are encouraged from all countries; Deadline: Monday, April 17, 2017 (11:59 pm, Eastern standard time). Residencies begin Sept. 2017. Fellows spend four months: either the Fall term (September-December) or the Spring term (January-April). Some scholars are invited to spend the full academic year (September to April).
+info/fonte: http://italianacademy.columbia
Prémios de Crítica e Ensaística de Arte e Arquitetura AICA/Fundação Carmona e Costa | Data limite: 21 de Abril
Considerando que: A Secção Portuguesa da Associação Internacional de Críticos de Arte tem por missão desenvolver e estimular a excelência no exercício da crítica e da ensaística nos campos das arte e da arquitetura; A Fundação Carmona e Costa é uma fundação privada que tem promovido as artes plásticas em Portugal e considera que o exercício da crítica e ensaística é essencial ao desenvolvimento de um panorama artístico dinâmico e socialmente atuante; Estabelece-se um prémio no campo da crítica e ensaística em arte e arquitetura que premeia obras originais publicadas em Portugal nos dois anos antecedentes à atribuição do prémio, selecionadas por um júri independente que se orienta por critérios de originalidade e excelência, salientando pontos de vista críticos que revelem visões de futuro. Assim, o Prémio de crítica e ensaística de arte e arquitetura.
Podem concorrer todos os trabalhos de crítica e ensaística de arte e arquitetura publicados nos dois anos anteriores à atribuição do prémio. Os trabalhos a concurso foram necessariamente obras inéditas, escritas em língua portuguesa e publicadas originalmente em Portugal, podendo os seus autores ser de nacionalidade portuguesa ou não. Não são admitidos a concurso obras que não tenham sido publicadas em suporte papel nos dois anos anteriores ao do processo de seleção.
+info/fonte: www.fundacaocarmona.org.pt/pt/
Junior-Professorship of Cultural Heritage/Provenance Research | Ludwig-Maximilians-Universität München | Data limite: 24 de Abril
As one of Europe’s leading research universities, Ludwig-Maximilians-Universität (LMU) in Munich is committed to the highest international standards of excellence in research and teaching. Building on its more than 500-year-long tradition, it offers a broad spectrum that covers all areas of knowledge within its 18 Faculties, ranging from the humanities, law, economics and social sciences, to medicine and the natural sciences.
The Faculty of History and Art invites applications for a Junior-Professorship (W1) for a period of 3 years of Cultural Heritage/Provenance Research commencing as soon as possible. The primary tasks of the successful candidate will include research and teaching that explores historic and contemporary issues of cultural heritage, provenance research, and the art market. Intensive cooperation with Munich’s Zentralinstitut für Kunstgeschichte in the field of provenance research is also expected. Prerequisites for this position are a university degree, teaching skills at the university level and an aptitude for an academic career, usually evidenced by the excellent quality of a doctoral degree. If the applicant was employed as a research assistant either before or after obtaining the doctoral degree, the entire duration of the period of employment and of the doctoral degree should not exceed six years.
+info/fonte: www.h-net.org/jobs/job_display
PhD Fellowships Art History | Eikones Graduate School – University of Basel | Data limite: 22 de Maio
The eikones Graduate School at the University of Basel invites applications for five doctoral fellowships on the theory and history of the image for three years beginning 1 September 2017. Since 2005, eikones has served as a center for research on images from systematic and historical perspectives. The international and interdisciplinary center investigates the meanings, functions and effects of images in cultures since Antiquity and in our contemporary society. It aims at foundational image theory and at an historical investigation of images as instruments of human knowledge and cultural practices. The eikones graduate school offers excellent students of the humanities who would like to pursue a doctorate in the history and theory of the image a structured program of graduate study distinguished by dedicated advising, an internationality, interdisciplinary, regular dialogue with guest scholars, and professional opportunities. The goal of the doctoral program is the successful completion of the degree within the duration of the fellowship.
Prerequisites: Masters or equivalent qualification in a relevant field of study, in particular art history, musicology, philosophy, German literature, media studies, or Egyptology. Doctoral students must be advised by a faculty member of the eikones graduate school. Doctorate students must also be enrolled in the University of Basel for the duration of the program.
Applicants must possess a MA degree or equivalent by 1 September 2017. The MA degree must have been completed in the previous two years. Exceptions may be possible in extraordinary circumstances.
+info/fonte: https://eikones.ch/fileadmin/d
Bolsas ICOM Portugal | Data limite: 31 de Maio
No cumprimento das suas linhas programáticas, um dos objectivos do ICOM Portugal é o de apoiar a qualificação e internacionalização dos profissionais de museus portugueses.
O Fundo de Bolsas ICOM Portugal destina-se a estimular a participação de membros individuais - regulares ou estudantes - portugueses do ICOM em conferências científicas internacionais de museus e museologia, através da atribuição de um subsídio de deslocação em classe económica e alojamento.
+info/fonte: http://icom-portugal.org/desta
Calls
O Ideário Patrimonial | Data limite: 01 de Abril
Publicação em série semestral electrónica, editada pelo Centro Transdisciplinar das Arqueologias do Instituto Politécnico de Tomar (Portugal). Tem como objectivo proporcionar um espaço informativo multidisciplinar e transversal das Ciências Sociais e Humanas. Pretende-se que o conteúdo seja de acesso livre, permitindo aos investigadores ter informação disponível gratuitamente, aumentando assim o intercâmbio do conhecimento.
A revista aceita contribuições nas áreas da História de Arte, Gestão do Património, Conservação e Restauro do Património, Museologia, Didáctica do Património, Ordenamento do Território, Comunicação Social, Turismo e outras áreas afins aplicadas ao Património, tal como ao próprio património industrial e construtivo. Este alargamento poderá contemplar a própria cultura material e técnica.
+info/fonte: www.cda.ipt.pt/?pagina=vinculo
Boletin de Arte | Data limite: 10 de Abril
BOA. Boletín de Arte (ISSN: 1853-0710) is an electronic academic journal of art history, published by the Instituto de Historia del Arte Argentino y Americano (Institute of Argentine and American Art History) of Facultad de Bellas Artes from Universidad Nacional de La Plata. The scope of the Journal focuses on theoretical and empirical research in the fields of art history, visual culture and comparative arts. BOA publishes original research, critical essays, interviews and exhibition and book reviews on historical, modern and contemporary art. The journal welcomes the submission in English, French and Portuguese besides Spanish and papers are published in its original language. It uses a double-blind, peer-reviewed trial.
+info/fonte: https://arthist.net/archive/15090
Centre Georges Pompidou | Data limite: 25 de Abril
EPCAF – European Postwar and Contemporary Art Forum, Second June Colloquium – Parsons Paris, France, June 17, 2017.
The European Postwar and Contemporary Art Forum (EPCAF), a worldwide forum for scholars working on postwar and contemporary European art is hosting its second June Colloquium at the Parsons Paris campus. As part of this event, we are seeking proposals for a session that will be devoted to the 40th anniversary of the Centre Georges Pompidou.
The inauguration of the Centre Georges Pompidou in 1977 aimed to manifest French culture as “open and revitalizing” in the aftermath of a decade of cultural unrest and contestation. Not only did this post ’68 initiative seek to address discontent with the highly institutionalized contemporary art culture in the capital during the post-war period, but it also signaled a new strategy of decentralization in recognition of cultural initiatives beyond the center and internationally. Taking a more critical stance and acknowledging the need to expand the vision of French art beyond Paris, and the need to expand definitions of creative work beyond conventional mediums, the Centre Georges Pompidou opened up space to art from regional cities, and developed its programming and resources to include design, performance, research centers, and new media. On this anniversary year, with some forty venues within France organizing exhibitions, performances, music, and more, in what has been described as a “festival” in collaboration with the Institute for Acoustics and Music Research Coordination (IRCAM) and the Public Information Library (BPI), the objective is to make this year a “decentralized” event and to demonstrate a broadened vision of the contemporary creative landscape. Having produced some 300 plus exhibition since its inception, and building one of the largest collections of modern and contemporary art in the world, like all mature institutions, the mission and challenges of the past will change in the future requiring new strategies.
This session aims to address aspects of its history, but also its position in the present tense, which may include any of the following topics: What were the specifics of the cultural landscape that fostered the founding of the CGP? The mega-exhibitions, Paris/New York; Paris/Moscow; and Paris/Paris, signaled an effort to reinforce Paris as the center of modern and contemporary art: What was the critical reception of these exhibitions and what is the legacy of these exhibitions today? As a “central station of decentralization” within France, it veered away from the Malraux policy. Has it been a success? How is decentralization understood today in France? Does the CGP have a voice in contemporary design in France or internationally? What exhibitions or performances indicate institutional innovation? How? How has the CGP had a voice in contemporary art in a global environment? What is the role of satellite museums within France? What is the exhibition strategy? Has the CGP created a curatorial pipeline? What are the ways curatorial voices are manifest? What are the issues that a world-known institution faces moving forward? Has its mission been realized? Has the institution changed significantly over the past 40 years? What is the relevance of this institution within and beyond France? Has its monumentalized Piano-Rodgers architecture sustained as a symbol of transparency and innovation or has it become a brand?
+info/fonte: http://us13.campaign-archive2.com/?u=0a91ab22a24dd52552c71e3ea&id=5a8854b6bd
The Global Power of Private Museums: Arts and Publics – States and Markets | Data limite: 30 de Abril
International Symposium Berlin, Germany 16–18 November 2017.
The history of state or public museums has been the focus of numerous symposiums and publications. Yet astonishingly little research has considered private museums, even though the number of private art museums has risen dramatically over the past two decades. According to the International Council of Museums (ICOM), there are now more private museum spaces in the world than public ones. The majority of these museums are in China, South Korea, the US and Germany, though private museums have been established also in Benin, Brazil, Canada, Denmark, Egypt, India, Japan, Cameroon, Lebanon, Mexico, New Zealand, Norway, Russia, South Africa, among other countries.
Alongside spectacularly designed venues that frequently draw international attention with their exhibition openings, events and acquisition politics, there are museum complexes that have a more regional focus, or operate with limited economic power. Others bridge regional and global concerns, needs or ambitions. At this year's international symposium of the Centre for Art Market Studies at TU Berlin – organized in cooperation with the Forum Transregionale Studien and its research program Art Histories and Aesthetic Practices – participants will be exploring the background, mechanisms and consequences of a phenomenon that may be referred to as the "global power of private museums": What are the reasons behind the current boom in private museums? Are there regional, national or country-specific differences? If so, are these rooted in historical, geographical, political, social, economic or cultural causes? Who are the key players (entrepreneurs, private collectors, museum directors, advisors, art dealers, artists, activists, etc.)? And who are the visitors (local public or communities, tourists, children, etc.)? What kind of art is acquired, collected, exhibited and, in some cases, resold on behalf of these museums? How are the artworks staged, displayed, contextualised and made publicly accessible? Do private museums cooperate with, compete with, or take the place of state/public institutions? Are they established for the long term (endowment capital, etc.) or – at least initially – only for the current generation? What role do the mechanisms of the contemporary art market play in the development of these collections? How much power do private collectors and their advisors have in this market? In which networks are they actively involved? How do art market institutions respond to this situation? And how does this affect the process of establishing artists and specific art forms? What impact do government subsidies such as tax breaks (e.g. on inheritance tax or value-added tax) have on collector's decisions to establish their own museum instead of supporting state/public museums with their own works/collections? What additional role is played by foreign cultural policy practices or cross-border incentives of international art exchange programs in this context?
The symposium will focus on privately-funded art museums which are run by individuals, private foundations, associations or companies, with publicly accessible collections in any country or region of the world. The artworks in these collections may range from ancient artefacts to contemporary art.
+info/fonte: www.fokum.org/wp-content/uploads/2017/03/CfP_The-Global-Power-of-Private-Museums_final.pdf
The Medieval Chronicle | Data limite: 01 de Maio
The Institute for the Study of Literature and Tradition (IELT) and the Institute for Medieval Studies (IEM) of the Universidade NOVA de Lisboa, and the Universidade Aberta are delighted to announce that the VIII International Conference on the Medieval Chronicle will take place at the Universidade NOVA de Lisboa - Faculdade de Ciências Sociais e Humanas, 10-14 July 2017. The Medieval Chronicle Conferences are organized on behalf of The Medieval Chronicle Society (MCS). The Medieval Chronicle Society is an international and interdisciplinary organisation founded to facilitate the work of scholars interested in medieval chronicles, or more generally medieval historiography. The VIII International Conference of The Medieval Chronicle aims at providing a meeting point for scholars who work on different aspects of the medieval chronicle (historical, literary, art-historical) to announce new findings and projects, present new methodologies, and discuss the prospects for collaborative research.
As in previous conferences, the main themes are: i) Chronicle: history or literature? The chronicle as a historiographical and/or literary genre; genre identification; genre confusion and genre influence; typologies of chronicle; classification; conventions (historiographical, literary or otherwise) and topoi. ii) The function of the chronicle. The function of chronicles in society; contexts historical, literary and social; patronage; reception of the text(s); literacy; orality; performance. iii) The form of the chronicle. The language(s) of the chronicle; inter-relationships of chronicles in multiple languages; prose and/or verse chronicles; manuscript traditions and dissemination; the arrangement of the text. iv) The chronicle and the representation of the past. How chronicles record the past; the relationship with ‘time’; how the reality of the past is encapsulated in the literary form of the chronicle; how chronicles explain the past; motivations given to historical actors; the role of the Divine. v) Art and Text in the chronicle. How art functions in manuscripts of chronicles; do manuscript illuminations illustrate the texts or do they provide a different discourse that amplifies, re-enforces or contradicts the verbal text; origin and production of illuminations; relationships between author(s), scribe(s) and illuminator(s).
Keynote speakers include: Professor Georges Martin (Université Paris-Sorbonne), Professor Hermengildo Fernandes (Universidade de Lisboa), Professor Inés Fernández-Ordóñez (Universidad Autónoma de Madrid), Professor Peter Linehan (University of Cambridge), Professor José Carlos Miranda (Universidade do Porto) and Professor Maria do Rosário Ferreira (Universidade de Coimbra).
+info/fonte: https://ielt.fcsh.unl.pt/pt/investigacao/call-for-papers/2060
Uniqueness and Multiplication: Plaster as an Art Material | Data limite: 05 de Maio
International conference, Brussels, Royal Institute for Cultural Heritage, October 10 - 11, 2017.
The study of plaster objects is experiencing a true revival, amongst others attested by the scientific conferences of the past years. Plaster, a material of low value often used for reproductions, has been part of sculpture practice for centuries. The conferences and publications of the past years have discussed a wide range of subjects related to plasters, from the restoration and valorisation of plaster collections to the study and possible implementation of conservation and restoration campaigns.
The Royal Institute for Cultural Heritage (KIK-IRPA, Brussels), is the Belgian federal institution committed to the inventory, scientific study, conservation and promotion of the country's cultural heritage. The Institute, whose chief mission is research and public service, represents a unique instrument for the Belgian heritage, both movable and immovable. Amongst others active in the historical study, conservation and restoration of these objects, KIK-IRPA has partnered up with Epitaaf. Since 1989, this non-profit volunteer organization manages the former sculptor’s and mason’s studio of the Ernest Salu dynasty, active in Laeken (near Brussels) between 1872 and 1983. As a funerary art museum they have a substantial collection of plaster moulds and models that were manufactured in the studio. The wide range of approaches presented on this international conference will allow us to study different aspects of plaster objects.
The conference will take place at the KIK-IRPA in Brussels on 10-11 October 2017 and consists of three sessions: Session 1 – Plaster (and plaster moulds), their role and signification within the studio activity. This session will focus on the role of plaster (as a material for sculpture or architecture), plaster moulds (casts) and plaster models in art history. The following topics could be addressed: plaster for which use, the use and or role of plaster in the artist’s training, in an institutional context (academy, art education) or in that of the studio? The authenticity and position (status) of plaster in the artistic process (design, intermediary state, model, art work)? The added value of plasters, prints and photos in the artist’s studio? The representation or the role of plasters in the practice of the artist’s studio, and more particularly their position within an artist’s oeuvre and its diffusion? The significance or status of plasters as autonomous objects? Session 2 – Plaster collections, their origins, aim and future. The aim of this session is to put together a survey of existing plaster collections as museum collections, not in the form of an exhaustive inventory, but in order to get a broad and general view of the wide range of differences (and significations) of the collections to get insight in the collection building and composition of the different plaster collections. The lines of approach are the collections’ history and objective. How should one go about their presentation (museology) and what is the status of plaster collections within a public (museum), semi-public (university, academy) or private context (artist’s collection). Session 3 – Conservation and restoration of plasters (and plaster moulds). This session is the logical continuation of session 2. Due to a renewed interest in plaster objects, regardless of their context, repairing them has once again become a priority. Which conservation and restoration techniques are best suited for plaster and plaster objects? Should a different approach be adopted with regards to their presentation and status (within art history or as an educational tool)? Can the material or technique used tell us more about the period, place of origin or author of the plaster? These topics are preferably evoked through case studies and examples of best practices, by choice concerning so-called masterpieces.
+info/fonte: www.kikirpa.be/EN/1/61/Home.htm
Looking at Art-Language: Artist’s Magazines and Conceptual Art, 1965-1985 | Data limite: 14 de Maio
University of York, Heslington, York, UK, October 12, 2017.
Despite Art & Language’s prominence and reputation, key aspects of their output and legacy remain overshadowed by dominant histories and narratives of conceptual art practice. The importance of the collective’s contribution to the field of artists’ writings and publications, for example, should not be under-estimated, as recent exhibitions focusing on conceptual art in Britain have shown. This one-day symposium, to be held at the University of York, will explore in particular the often under-considered journal Art-Language, published between 1965 and 1985 within the wider context of artists’ magazines and their production, distribution and consumption during this period. The periodical was originally conceived as a discursive platform for the group’s text-based work, circumventing the space of the gallery and questioning the status of the art object as static, museum-bound artefact. Yet Art-Language has been frequently overlooked or misunderstood, being read instead through its exhibition history, and the critical discourses which surround it. These often re-situate the journal in precisely the object-based frameworks of display and consumption that the collective sought to question and challenge. We therefore welcome proposals which seek to position Art-Language within the burgeoning field of the study of artists’ publications and their histories, and with particular interest in how magazines and journals come to be framed subsequent to their original production.
+info/fonte: https://arthist.net/archive/15058
O Cinema e as Outras Artes | Data limite: 15 de Maio
Ao longo da história do cinema temos assistido a um complexo debate sobre a relação recíproca entre o cinema e as outras artes que se caracteriza, sobretudo, por um conjunto de esforços criativos e gestos experimentais de ambos os domínios, permeado por dialogismos que transitam entre a expressão das outras artes no cinema e a transmutação do cinema nas outras artes. Desde a defesa do valor estético da imagem em movimento até às formas mais híbridas construídas sob novos referenciais, o cinema está em constante relação de reciprocidade com as outras artes, quer seja por uma relação de tensão, de presença de uma na outra, ou em última instância, de diluição das fronteiras. Este campo investigativo encontra nas possibilidades operativas da intertextualidade e no regime dialógico da construção artística, processos metodológicos capazes de estruturar o discurso científico.
O encontro internacional O Cinema e as outras Artes terá a sua segunda edição nos dias 28 e 29 de setembro de 2017, na Universidade da Beira Interior. O seu principal objetivo passa por promover a discussão/reflexão sobre problemáticas atuais relativamente ao diálogo entre as diferentes formas de arte, tendo como ponto de contacto o cinema. Procurando reunir esforços para ensaiar hipóteses de leitura interdisciplinares e interculturais, são convidados a participar neste encontro, investigadores das diversas áreas científicas, com especial preponderância para os Estudos Fílmicos, os Estudos Artísticos e os Estudos Culturais, que, em diferentes domínios disciplinares e fases de investigação, se ocupam destas questões.
+info/fonte: http://labcom-ifp.ubi.pt/files/ocinemaeasoutrasartes/
Divine Presence: Representing Angels and God in Dutch and Flemish Art | Data limite: 15 de Maio
Session at Quadrennial conference of the Historians of Netherlandish Art, Ghent/Bruges, May 24 - 26, 2018. Session chairs: Larry Silver, University of Pennsylvania; Joanna Sheers Seidenstein, The Frick Collection.
Accompanying the Counter Reformation and Protestant confession-building in Europe in the later sixteenth and seventeenth centuries were new, disparate priorities for representing the divine. Underpinning Catholic and Protestant imagery in these years was an increasingly divergent attitude toward the sensory. Episodes of iconoclasm and a broader distrust of the visual on one side were met with explicit calls by the other side for art and ritual that would employ the sensual, even the seductive, as a means to inspire devotion.
In negotiating the complexities of representing the otherworldly in visual form, artists articulated their own ideas about the nature of divine presence and about human perception of the divine. Scenes of encounter between mortals and immortals, in particular, offered artists working in Protestant and Catholic milieux distinct challenges and opportunities, as such scenes often involved visual, even physical, contact between the earthly and the celestial.
This session invites papers that examine images of divine figures produced in Catholic Flanders and/or in the predominantly Protestant Dutch Republic from the mid-sixteenth century to the end of the seventeenth century. Preference will be given to interdisciplinary studies that address contemporary philosophical and theological writings and that position visual art not only as respondent to but as shaper of ideas about the divine.
+info/fonte: www.hnanews.org/hna/conferences/HNA-Ghent-2018-Call-for-Papers.pdf
Nineteenth-Century Ecocritical Visual Cultures: A Critical Anthology | Data limite: 01 de Junho
Editors: Maura Coughlin, Bryant University; Emily Gephart, School of the Museum of Fine Art at Tufts University.
In the past two decades, ecocriticism has moved into central visibility in the humanities, as a vital, interdisciplinary mode of practice that rises to meet the challenges of our changing world, considering the fundamental interconnectedness between humans and their environments. The essays in this anthology will consider how art makers, images, and objects had particular ecological agency: they observed, critiqued, created and maintained resilient and biologically diverse local and global ecologies, just as ecological discourses were taking shape. We welcome proposed 5000 word essays (inclusive of footnotes) by emerging and established scholars whose work integrates the study of nineteenth-century visual culture with ethical and political concerns about fragile global ecosystems, resilient practices and/or nonhuman animal-cultural entanglements, and environmental justice. These essays may span the disciplines of art history, visual and material culture, and the history of science, to articulate and demonstrate engagement with emerging and established critical discourses. We particularly invite contributions that investigate indigenous and global approaches to the visual cultures of the long 19th century, articulating how eco-materalism may help us re-think traditional historical accounts of spatial and cultural contact, hybridity, and change. In their proposals, authors should specifically affirm how their research contributes to or intervenes in current theories of ecocriticism/ecomaterialism, and how it aligns with or queries the growing, interdisciplinary fields of inquiry across the environmental humanities.
To address this, authors might also consider: What might ecocriticism offer as a new vantage point relative to the study of nineteenth-century art, objects, makers, materials, and practices, and what can art history and visual culture – considered broadly – contribute to enriching the scope of the environmental humanities? What might a new canon of nineteenth-century visual culture look like if it were framed by the ecological concerns of the Anthropocene? Put another way, how can eco-critical approaches help us expand the disciplinary limits of what has long been considered the purview of ‘art,’ aesthetics, or visual culture? How can we better understand the networks of exchange and materialities of objects, representational models, and art-making in the nineteenth century, on both global and local levels, before ecological discourses had a well-articulated language, and before they had taken on their present urgency? Apart from “illustrating” a growing popular interest in natural history, how did visual culture participate in and enable scientific thinking about the nascent field of ecology? How could artworks or objects invite ecological thinking by engaging the sensory imaginations of viewers, and/or exceeding the limitations of the visual? How can the approach you take to your images or objects suggest new avenues of inquiry for other scholars? How does the engagement of so many 21st century contemporary artists and critics in ecological art, resilience, global issues of social justice and environmental “slow violence” in the global south encourage new research into art of the long nineteenth century?
+info/fonte: https://arthist.net/archive/15054
Polemic | Data limite: 01 de Junho
Announcing a Call for Papers for the MIT History, Theory, and Criticism of Architecture + Art Graduate Student Conference to be held on October 14, 2017, featuring a keynote address by Dr. Julia Bryan-Wilson. polemic… Polemic? POLEMIC!
The polemic as argument has a particular form. It does not mince words; it hones them, sharpens them, collapsing the target of its critique. The polemic is a lobbed bomb; a sharp text interested not in responses but rather in consequences, craters. While definitions of “polemic” may read as brash, bold, and unambiguous, the pre-Socratic Heraclitus was no less direct in his characterization of war [polemos] as the great arbiter and “father of all and king of all,” which makes of humans “gods. . .[or] men,” “slaves. . .[or] free.” [1] Heraclitus’s polemos is destructive, but nonetheless it inscribes hierarchies, classes, victors, and losers. In dragging the polemic back into play as an object of interest and analysis, this conference reviews territory that has been off-limits and irradiated for some time now, and perhaps for good reason. The polemic, for some, is an academic swear word—the stuff of nastiness, gym-class antagonism, and ad hominem attacks. Michel Foucault once offered some choice words on the matter: “[The polemicist] possesses rights authorizing him to wage war. . .; the person he confronts is not a partner in the search for truth, but an adversary. . .whose very existence constitutes a threat.” [2] A “parasitic figure on discussion,”the polemic is a scholarly taboo. [3] And yet, the polemic beckons us today, perhaps because civil discourse and delicacy no longer seem palatable in the current political climate as protests assemble and marches spill into streets. However, nuance remains crucial. To look back at history’s cycles of turmoil is to see that the arguments of the academe and the proclamations of the polemicist function dialectically. We ask today: what do the academic thesis and the pithy protest slogan have to say to one another?
The History, Theory, and Criticism program at MIT thus invites graduate students from architectural history, art history, communication studies, anthropology, and other related disciplines whose research broadly addresses the role of polemic. In particular, we are interested in historical and contemporary case studies of polemical projects and ambitions, as well as theoretical considerations of the role of the polemic today.
[1] Heraclitus, The Cosmic Fragments, trans. G. S. Kirk (Cambridge: Cambridge University Press, 1978), 245. [2] Michel Foucault and Paul Rabinow, "Polemics, Politics, and Problemizations: An Interview with Michel Foucault," in The Foucault Reader, ed. Paul Rabinow (New York: Pantheon Books, 1984), 382. [3] Ibid.
+info/fonte: https://arthist.net/archive/15065
Resist, Reclaim, Speculate: Situated Perspectives on Architecture and the City, Architectural Theory Review | Data limite: 01 de Junho
In search of new forms of critical and creative resistance, the Editors of this issue of ATR call for situated, relational, and embodied perspectives in architectural scholarship rather than distant, autonomous, and authoritarian ones. In this we draw our inspiration from radical (feminist) thinkers including Donna Haraway, Isabelle Stengers, Jane Bennett, Rosi Braidotti, Maria Puig de la Bellacasa and Karen Barad. Whilst the relevance of these perspectives for architectural and urban studies—and more specifically Donna Haraway’s “situated viewpoints” and Isabelle Stengers’s “ecology of practices” and “cosmopolitics”—have now, arguably, become evident, this issue asks how such approaches as these can also inform new critical engagements with architecture and the city. Through slowing down, hesitation (Stengers, 2005), and “category work” (Haraway, 2006), scholars are invited to resist the taxonomies and conceptual categories through which they have become accustomed, or feel obliged, to think. The Editors invite scholars to reconnect with (hi)stories and (radical) imaginations that tell alternative stories; stories that went unnoticed because they were considered odd, unrealistic, or inconvenient. From the authors named above, we learn that by reclaiming and reconnecting with alternative stories, other forms and imaginations of engagement, of resistance, can emerge.
This issue of ATR articulates embodied-relational and feminist perspectives as a form of critical engagement that can be, but are not necessarily, intertwined with the feminist struggle. It contends that a wider scholarly openness to feminist epistemologies and situated perspectives suggests valuable approaches to addressing timely and urgent questions regarding the ethical, political and critical agency of architecture and urban design. We seek accounts of concrete situations that challenge the authority of theoretical taxonomies and analytical categories, or that offer alternative forms of resistance that are embodied, situated, experimental, risky, and probing. It also asks how embodied-relational perspectives can inform not just critical analysis, but how they can inform critical (design) practices. What is the transformative potential and what are possible “speculative gestures” (Stengers and Debaise, 2015) of relational perspectives, for research, for theory, and for design?
The Editors invite contributors to examine the potential of situated perspectives for the study of architecture and the city and to demonstrate the possibility of a critical engagement in research and design through the analysis of concrete practices and practices of thought: architectural and urban, contemporary and historical. We welcome contributions from architectural and urban studies, and from fields outside (but pertinent to) the study of architecture and the city. Contributions may include papers that recount stories that do not fit neatly into the current discourses and paradigms; present models of critical engagement; or discuss material instances of the realization of feminist perspectives in speculative design practice.
+info/fonte: www.tandfonline.com/toc/ratr20/current
Digital Art History, Visual Resources | Data limite: 01 de Julho
BOA. Boletín de Arte (ISSN: 1853-0710) is an electronic academic journal of art history, published by the Instituto de Historia del Arte Argentino y Americano (Institute of Argentine and American Art History) of Facultad de Bellas Artes from Universidad Nacional de La Plata. The scope of the Journal focuses on theoretical and empirical research in the fields of art history, visual culture and comparative arts. BOA publishes original research, critical essays, interviews and exhibition and book reviews on historical, modern and contemporary art. The journal welcomes the submission in English, French and Portuguese besides Spanish and papers are published in its original language. It uses a double-blind, peer-reviewed trial.
+info/fonte: https://arthist.net/archive/15
Centre Georges Pompidou | Data limite: 25 de Abril
EPCAF – European Postwar and Contemporary Art Forum, Second June Colloquium – Parsons Paris, France, June 17, 2017.
The European Postwar and Contemporary Art Forum (EPCAF), a worldwide forum for scholars working on postwar and contemporary European art is hosting its second June Colloquium at the Parsons Paris campus. As part of this event, we are seeking proposals for a session that will be devoted to the 40th anniversary of the Centre Georges Pompidou.
The inauguration of the Centre Georges Pompidou in 1977 aimed to manifest French culture as “open and revitalizing” in the aftermath of a decade of cultural unrest and contestation. Not only did this post ’68 initiative seek to address discontent with the highly institutionalized contemporary art culture in the capital during the post-war period, but it also signaled a new strategy of decentralization in recognition of cultural initiatives beyond the center and internationally. Taking a more critical stance and acknowledging the need to expand the vision of French art beyond Paris, and the need to expand definitions of creative work beyond conventional mediums, the Centre Georges Pompidou opened up space to art from regional cities, and developed its programming and resources to include design, performance, research centers, and new media. On this anniversary year, with some forty venues within France organizing exhibitions, performances, music, and more, in what has been described as a “festival” in collaboration with the Institute for Acoustics and Music Research Coordination (IRCAM) and the Public Information Library (BPI), the objective is to make this year a “decentralized” event and to demonstrate a broadened vision of the contemporary creative landscape. Having produced some 300 plus exhibition since its inception, and building one of the largest collections of modern and contemporary art in the world, like all mature institutions, the mission and challenges of the past will change in the future requiring new strategies.
This session aims to address aspects of its history, but also its position in the present tense, which may include any of the following topics: What were the specifics of the cultural landscape that fostered the founding of the CGP? The mega-exhibitions, Paris/New York; Paris/Moscow; and Paris/Paris, signaled an effort to reinforce Paris as the center of modern and contemporary art: What was the critical reception of these exhibitions and what is the legacy of these exhibitions today? As a “central station of decentralization” within France, it veered away from the Malraux policy. Has it been a success? How is decentralization understood today in France? Does the CGP have a voice in contemporary design in France or internationally? What exhibitions or performances indicate institutional innovation? How? How has the CGP had a voice in contemporary art in a global environment? What is the role of satellite museums within France? What is the exhibition strategy? Has the CGP created a curatorial pipeline? What are the ways curatorial voices are manifest? What are the issues that a world-known institution faces moving forward? Has its mission been realized? Has the institution changed significantly over the past 40 years? What is the relevance of this institution within and beyond France? Has its monumentalized Piano-Rodgers architecture sustained as a symbol of transparency and innovation or has it become a brand?
+info/fonte: http://us13.campaign-archive2.
The Global Power of Private Museums: Arts and Publics – States and Markets | Data limite: 30 de Abril
International Symposium Berlin, Germany 16–18 November 2017.
The history of state or public museums has been the focus of numerous symposiums and publications. Yet astonishingly little research has considered private museums, even though the number of private art museums has risen dramatically over the past two decades. According to the International Council of Museums (ICOM), there are now more private museum spaces in the world than public ones. The majority of these museums are in China, South Korea, the US and Germany, though private museums have been established also in Benin, Brazil, Canada, Denmark, Egypt, India, Japan, Cameroon, Lebanon, Mexico, New Zealand, Norway, Russia, South Africa, among other countries.
Alongside spectacularly designed venues that frequently draw international attention with their exhibition openings, events and acquisition politics, there are museum complexes that have a more regional focus, or operate with limited economic power. Others bridge regional and global concerns, needs or ambitions. At this year's international symposium of the Centre for Art Market Studies at TU Berlin – organized in cooperation with the Forum Transregionale Studien and its research program Art Histories and Aesthetic Practices – participants will be exploring the background, mechanisms and consequences of a phenomenon that may be referred to as the "global power of private museums": What are the reasons behind the current boom in private museums? Are there regional, national or country-specific differences? If so, are these rooted in historical, geographical, political, social, economic or cultural causes? Who are the key players (entrepreneurs, private collectors, museum directors, advisors, art dealers, artists, activists, etc.)? And who are the visitors (local public or communities, tourists, children, etc.)? What kind of art is acquired, collected, exhibited and, in some cases, resold on behalf of these museums? How are the artworks staged, displayed, contextualised and made publicly accessible? Do private museums cooperate with, compete with, or take the place of state/public institutions? Are they established for the long term (endowment capital, etc.) or – at least initially – only for the current generation? What role do the mechanisms of the contemporary art market play in the development of these collections? How much power do private collectors and their advisors have in this market? In which networks are they actively involved? How do art market institutions respond to this situation? And how does this affect the process of establishing artists and specific art forms? What impact do government subsidies such as tax breaks (e.g. on inheritance tax or value-added tax) have on collector's decisions to establish their own museum instead of supporting state/public museums with their own works/collections? What additional role is played by foreign cultural policy practices or cross-border incentives of international art exchange programs in this context?
The symposium will focus on privately-funded art museums which are run by individuals, private foundations, associations or companies, with publicly accessible collections in any country or region of the world. The artworks in these collections may range from ancient artefacts to contemporary art.
+info/fonte: www.fokum.org/wp-content/uploa
The Medieval Chronicle | Data limite: 01 de Maio
The Institute for the Study of Literature and Tradition (IELT) and the Institute for Medieval Studies (IEM) of the Universidade NOVA de Lisboa, and the Universidade Aberta are delighted to announce that the VIII International Conference on the Medieval Chronicle will take place at the Universidade NOVA de Lisboa - Faculdade de Ciências Sociais e Humanas, 10-14 July 2017. The Medieval Chronicle Conferences are organized on behalf of The Medieval Chronicle Society (MCS). The Medieval Chronicle Society is an international and interdisciplinary organisation founded to facilitate the work of scholars interested in medieval chronicles, or more generally medieval historiography. The VIII International Conference of The Medieval Chronicle aims at providing a meeting point for scholars who work on different aspects of the medieval chronicle (historical, literary, art-historical) to announce new findings and projects, present new methodologies, and discuss the prospects for collaborative research.
As in previous conferences, the main themes are: i) Chronicle: history or literature? The chronicle as a historiographical and/or literary genre; genre identification; genre confusion and genre influence; typologies of chronicle; classification; conventions (historiographical, literary or otherwise) and topoi. ii) The function of the chronicle. The function of chronicles in society; contexts historical, literary and social; patronage; reception of the text(s); literacy; orality; performance. iii) The form of the chronicle. The language(s) of the chronicle; inter-relationships of chronicles in multiple languages; prose and/or verse chronicles; manuscript traditions and dissemination; the arrangement of the text. iv) The chronicle and the representation of the past. How chronicles record the past; the relationship with ‘time’; how the reality of the past is encapsulated in the literary form of the chronicle; how chronicles explain the past; motivations given to historical actors; the role of the Divine. v) Art and Text in the chronicle. How art functions in manuscripts of chronicles; do manuscript illuminations illustrate the texts or do they provide a different discourse that amplifies, re-enforces or contradicts the verbal text; origin and production of illuminations; relationships between author(s), scribe(s) and illuminator(s).
Keynote speakers include: Professor Georges Martin (Université Paris-Sorbonne), Professor Hermengildo Fernandes (Universidade de Lisboa), Professor Inés Fernández-Ordóñez (Universidad Autónoma de Madrid), Professor Peter Linehan (University of Cambridge), Professor José Carlos Miranda (Universidade do Porto) and Professor Maria do Rosário Ferreira (Universidade de Coimbra).
+info/fonte: https://ielt.fcsh.unl.pt/pt/in
Uniqueness and Multiplication: Plaster as an Art Material | Data limite: 05 de Maio
International conference, Brussels, Royal Institute for Cultural Heritage, October 10 - 11, 2017.
The study of plaster objects is experiencing a true revival, amongst others attested by the scientific conferences of the past years. Plaster, a material of low value often used for reproductions, has been part of sculpture practice for centuries. The conferences and publications of the past years have discussed a wide range of subjects related to plasters, from the restoration and valorisation of plaster collections to the study and possible implementation of conservation and restoration campaigns.
The Royal Institute for Cultural Heritage (KIK-IRPA, Brussels), is the Belgian federal institution committed to the inventory, scientific study, conservation and promotion of the country's cultural heritage. The Institute, whose chief mission is research and public service, represents a unique instrument for the Belgian heritage, both movable and immovable. Amongst others active in the historical study, conservation and restoration of these objects, KIK-IRPA has partnered up with Epitaaf. Since 1989, this non-profit volunteer organization manages the former sculptor’s and mason’s studio of the Ernest Salu dynasty, active in Laeken (near Brussels) between 1872 and 1983. As a funerary art museum they have a substantial collection of plaster moulds and models that were manufactured in the studio. The wide range of approaches presented on this international conference will allow us to study different aspects of plaster objects.
The conference will take place at the KIK-IRPA in Brussels on 10-11 October 2017 and consists of three sessions: Session 1 – Plaster (and plaster moulds), their role and signification within the studio activity. This session will focus on the role of plaster (as a material for sculpture or architecture), plaster moulds (casts) and plaster models in art history. The following topics could be addressed: plaster for which use, the use and or role of plaster in the artist’s training, in an institutional context (academy, art education) or in that of the studio? The authenticity and position (status) of plaster in the artistic process (design, intermediary state, model, art work)? The added value of plasters, prints and photos in the artist’s studio? The representation or the role of plasters in the practice of the artist’s studio, and more particularly their position within an artist’s oeuvre and its diffusion? The significance or status of plasters as autonomous objects? Session 2 – Plaster collections, their origins, aim and future. The aim of this session is to put together a survey of existing plaster collections as museum collections, not in the form of an exhaustive inventory, but in order to get a broad and general view of the wide range of differences (and significations) of the collections to get insight in the collection building and composition of the different plaster collections. The lines of approach are the collections’ history and objective. How should one go about their presentation (museology) and what is the status of plaster collections within a public (museum), semi-public (university, academy) or private context (artist’s collection). Session 3 – Conservation and restoration of plasters (and plaster moulds). This session is the logical continuation of session 2. Due to a renewed interest in plaster objects, regardless of their context, repairing them has once again become a priority. Which conservation and restoration techniques are best suited for plaster and plaster objects? Should a different approach be adopted with regards to their presentation and status (within art history or as an educational tool)? Can the material or technique used tell us more about the period, place of origin or author of the plaster? These topics are preferably evoked through case studies and examples of best practices, by choice concerning so-called masterpieces.
+info/fonte: www.kikirpa.be/EN/1/61/Home.ht
Looking at Art-Language: Artist’s Magazines and Conceptual Art, 1965-1985 | Data limite: 14 de Maio
University of York, Heslington, York, UK, October 12, 2017.
Despite Art & Language’s prominence and reputation, key aspects of their output and legacy remain overshadowed by dominant histories and narratives of conceptual art practice. The importance of the collective’s contribution to the field of artists’ writings and publications, for example, should not be under-estimated, as recent exhibitions focusing on conceptual art in Britain have shown. This one-day symposium, to be held at the University of York, will explore in particular the often under-considered journal Art-Language, published between 1965 and 1985 within the wider context of artists’ magazines and their production, distribution and consumption during this period. The periodical was originally conceived as a discursive platform for the group’s text-based work, circumventing the space of the gallery and questioning the status of the art object as static, museum-bound artefact. Yet Art-Language has been frequently overlooked or misunderstood, being read instead through its exhibition history, and the critical discourses which surround it. These often re-situate the journal in precisely the object-based frameworks of display and consumption that the collective sought to question and challenge. We therefore welcome proposals which seek to position Art-Language within the burgeoning field of the study of artists’ publications and their histories, and with particular interest in how magazines and journals come to be framed subsequent to their original production.
+info/fonte: https://arthist.net/archive/15
O Cinema e as Outras Artes | Data limite: 15 de Maio
Ao longo da história do cinema temos assistido a um complexo debate sobre a relação recíproca entre o cinema e as outras artes que se caracteriza, sobretudo, por um conjunto de esforços criativos e gestos experimentais de ambos os domínios, permeado por dialogismos que transitam entre a expressão das outras artes no cinema e a transmutação do cinema nas outras artes. Desde a defesa do valor estético da imagem em movimento até às formas mais híbridas construídas sob novos referenciais, o cinema está em constante relação de reciprocidade com as outras artes, quer seja por uma relação de tensão, de presença de uma na outra, ou em última instância, de diluição das fronteiras. Este campo investigativo encontra nas possibilidades operativas da intertextualidade e no regime dialógico da construção artística, processos metodológicos capazes de estruturar o discurso científico.
O encontro internacional O Cinema e as outras Artes terá a sua segunda edição nos dias 28 e 29 de setembro de 2017, na Universidade da Beira Interior. O seu principal objetivo passa por promover a discussão/reflexão sobre problemáticas atuais relativamente ao diálogo entre as diferentes formas de arte, tendo como ponto de contacto o cinema. Procurando reunir esforços para ensaiar hipóteses de leitura interdisciplinares e interculturais, são convidados a participar neste encontro, investigadores das diversas áreas científicas, com especial preponderância para os Estudos Fílmicos, os Estudos Artísticos e os Estudos Culturais, que, em diferentes domínios disciplinares e fases de investigação, se ocupam destas questões.
+info/fonte: http://labcom-ifp.ubi.pt/files
Divine Presence: Representing Angels and God in Dutch and Flemish Art | Data limite: 15 de Maio
Session at Quadrennial conference of the Historians of Netherlandish Art, Ghent/Bruges, May 24 - 26, 2018. Session chairs: Larry Silver, University of Pennsylvania; Joanna Sheers Seidenstein, The Frick Collection.
Accompanying the Counter Reformation and Protestant confession-building in Europe in the later sixteenth and seventeenth centuries were new, disparate priorities for representing the divine. Underpinning Catholic and Protestant imagery in these years was an increasingly divergent attitude toward the sensory. Episodes of iconoclasm and a broader distrust of the visual on one side were met with explicit calls by the other side for art and ritual that would employ the sensual, even the seductive, as a means to inspire devotion.
In negotiating the complexities of representing the otherworldly in visual form, artists articulated their own ideas about the nature of divine presence and about human perception of the divine. Scenes of encounter between mortals and immortals, in particular, offered artists working in Protestant and Catholic milieux distinct challenges and opportunities, as such scenes often involved visual, even physical, contact between the earthly and the celestial.
This session invites papers that examine images of divine figures produced in Catholic Flanders and/or in the predominantly Protestant Dutch Republic from the mid-sixteenth century to the end of the seventeenth century. Preference will be given to interdisciplinary studies that address contemporary philosophical and theological writings and that position visual art not only as respondent to but as shaper of ideas about the divine.
+info/fonte: www.hnanews.org/hna/conference
Nineteenth-Century Ecocritical Visual Cultures: A Critical Anthology | Data limite: 01 de Junho
Editors: Maura Coughlin, Bryant University; Emily Gephart, School of the Museum of Fine Art at Tufts University.
In the past two decades, ecocriticism has moved into central visibility in the humanities, as a vital, interdisciplinary mode of practice that rises to meet the challenges of our changing world, considering the fundamental interconnectedness between humans and their environments. The essays in this anthology will consider how art makers, images, and objects had particular ecological agency: they observed, critiqued, created and maintained resilient and biologically diverse local and global ecologies, just as ecological discourses were taking shape. We welcome proposed 5000 word essays (inclusive of footnotes) by emerging and established scholars whose work integrates the study of nineteenth-century visual culture with ethical and political concerns about fragile global ecosystems, resilient practices and/or nonhuman animal-cultural entanglements, and environmental justice. These essays may span the disciplines of art history, visual and material culture, and the history of science, to articulate and demonstrate engagement with emerging and established critical discourses. We particularly invite contributions that investigate indigenous and global approaches to the visual cultures of the long 19th century, articulating how eco-materalism may help us re-think traditional historical accounts of spatial and cultural contact, hybridity, and change. In their proposals, authors should specifically affirm how their research contributes to or intervenes in current theories of ecocriticism/ecomaterialism, and how it aligns with or queries the growing, interdisciplinary fields of inquiry across the environmental humanities.
To address this, authors might also consider: What might ecocriticism offer as a new vantage point relative to the study of nineteenth-century art, objects, makers, materials, and practices, and what can art history and visual culture – considered broadly – contribute to enriching the scope of the environmental humanities? What might a new canon of nineteenth-century visual culture look like if it were framed by the ecological concerns of the Anthropocene? Put another way, how can eco-critical approaches help us expand the disciplinary limits of what has long been considered the purview of ‘art,’ aesthetics, or visual culture? How can we better understand the networks of exchange and materialities of objects, representational models, and art-making in the nineteenth century, on both global and local levels, before ecological discourses had a well-articulated language, and before they had taken on their present urgency? Apart from “illustrating” a growing popular interest in natural history, how did visual culture participate in and enable scientific thinking about the nascent field of ecology? How could artworks or objects invite ecological thinking by engaging the sensory imaginations of viewers, and/or exceeding the limitations of the visual? How can the approach you take to your images or objects suggest new avenues of inquiry for other scholars? How does the engagement of so many 21st century contemporary artists and critics in ecological art, resilience, global issues of social justice and environmental “slow violence” in the global south encourage new research into art of the long nineteenth century?
+info/fonte: https://arthist.net/archive/15
Polemic | Data limite: 01 de Junho
Announcing a Call for Papers for the MIT History, Theory, and Criticism of Architecture + Art Graduate Student Conference to be held on October 14, 2017, featuring a keynote address by Dr. Julia Bryan-Wilson. polemic… Polemic? POLEMIC!
The polemic as argument has a particular form. It does not mince words; it hones them, sharpens them, collapsing the target of its critique. The polemic is a lobbed bomb; a sharp text interested not in responses but rather in consequences, craters. While definitions of “polemic” may read as brash, bold, and unambiguous, the pre-Socratic Heraclitus was no less direct in his characterization of war [polemos] as the great arbiter and “father of all and king of all,” which makes of humans “gods. . .[or] men,” “slaves. . .[or] free.” [1] Heraclitus’s polemos is destructive, but nonetheless it inscribes hierarchies, classes, victors, and losers. In dragging the polemic back into play as an object of interest and analysis, this conference reviews territory that has been off-limits and irradiated for some time now, and perhaps for good reason. The polemic, for some, is an academic swear word—the stuff of nastiness, gym-class antagonism, and ad hominem attacks. Michel Foucault once offered some choice words on the matter: “[The polemicist] possesses rights authorizing him to wage war. . .; the person he confronts is not a partner in the search for truth, but an adversary. . .whose very existence constitutes a threat.” [2] A “parasitic figure on discussion,”the polemic is a scholarly taboo. [3] And yet, the polemic beckons us today, perhaps because civil discourse and delicacy no longer seem palatable in the current political climate as protests assemble and marches spill into streets. However, nuance remains crucial. To look back at history’s cycles of turmoil is to see that the arguments of the academe and the proclamations of the polemicist function dialectically. We ask today: what do the academic thesis and the pithy protest slogan have to say to one another?
The History, Theory, and Criticism program at MIT thus invites graduate students from architectural history, art history, communication studies, anthropology, and other related disciplines whose research broadly addresses the role of polemic. In particular, we are interested in historical and contemporary case studies of polemical projects and ambitions, as well as theoretical considerations of the role of the polemic today.
[1] Heraclitus, The Cosmic Fragments, trans. G. S. Kirk (Cambridge: Cambridge University Press, 1978), 245. [2] Michel Foucault and Paul Rabinow, "Polemics, Politics, and Problemizations: An Interview with Michel Foucault," in The Foucault Reader, ed. Paul Rabinow (New York: Pantheon Books, 1984), 382. [3] Ibid.
+info/fonte: https://arthist.net/archive/15
Resist, Reclaim, Speculate: Situated Perspectives on Architecture and the City, Architectural Theory Review | Data limite: 01 de Junho
In search of new forms of critical and creative resistance, the Editors of this issue of ATR call for situated, relational, and embodied perspectives in architectural scholarship rather than distant, autonomous, and authoritarian ones. In this we draw our inspiration from radical (feminist) thinkers including Donna Haraway, Isabelle Stengers, Jane Bennett, Rosi Braidotti, Maria Puig de la Bellacasa and Karen Barad. Whilst the relevance of these perspectives for architectural and urban studies—and more specifically Donna Haraway’s “situated viewpoints” and Isabelle Stengers’s “ecology of practices” and “cosmopolitics”—have now, arguably, become evident, this issue asks how such approaches as these can also inform new critical engagements with architecture and the city. Through slowing down, hesitation (Stengers, 2005), and “category work” (Haraway, 2006), scholars are invited to resist the taxonomies and conceptual categories through which they have become accustomed, or feel obliged, to think. The Editors invite scholars to reconnect with (hi)stories and (radical) imaginations that tell alternative stories; stories that went unnoticed because they were considered odd, unrealistic, or inconvenient. From the authors named above, we learn that by reclaiming and reconnecting with alternative stories, other forms and imaginations of engagement, of resistance, can emerge.
This issue of ATR articulates embodied-relational and feminist perspectives as a form of critical engagement that can be, but are not necessarily, intertwined with the feminist struggle. It contends that a wider scholarly openness to feminist epistemologies and situated perspectives suggests valuable approaches to addressing timely and urgent questions regarding the ethical, political and critical agency of architecture and urban design. We seek accounts of concrete situations that challenge the authority of theoretical taxonomies and analytical categories, or that offer alternative forms of resistance that are embodied, situated, experimental, risky, and probing. It also asks how embodied-relational perspectives can inform not just critical analysis, but how they can inform critical (design) practices. What is the transformative potential and what are possible “speculative gestures” (Stengers and Debaise, 2015) of relational perspectives, for research, for theory, and for design?
The Editors invite contributors to examine the potential of situated perspectives for the study of architecture and the city and to demonstrate the possibility of a critical engagement in research and design through the analysis of concrete practices and practices of thought: architectural and urban, contemporary and historical. We welcome contributions from architectural and urban studies, and from fields outside (but pertinent to) the study of architecture and the city. Contributions may include papers that recount stories that do not fit neatly into the current discourses and paradigms; present models of critical engagement; or discuss material instances of the realization of feminist perspectives in speculative design practice.
+info/fonte: www.tandfonline.com/toc/ratr20
Digital Art History, Visual Resources | Data limite: 01 de Julho
In 2013, Visual Resources published a special issue devoted to Digital Art History. We recognize that since that date considerable activity has taken place in this area, which was then still
in a phase of relative infancy. We feel that now is an opportune moment to assess what has been accomplished in the last half decade. To do so, we invite papers for another special issue dedicated to Digital Art History, to be published in 2018.
We seek papers that address key issues highlighted in Johanna Drucker's contribution to the 2013 special issue: "Is There a 'Digital' Art History?" Here, Drucker observed that art history had been slow to adopt the methods and tools of digital humanities and computational analysis. We therefore seek papers that demonstrate model projects applying such approaches to significant art-historical problems. These approaches may include text analysis, image analysis, geospatial analysis, and network analysis. In addition, recognizing that our discipline does have a history of creating online research resources composed of large datasets such as the Getty Provenance Index databases and the Getty vocabularies, as well as image libraries like Artstor and Bridgeman, we also seek papers that reveal innovative approaches to the development of this type of resource. Lastly, we invite papers that explore how new modes of online publication can advance art-historical scholarship and have a significant effect on the dissemination of knowledge. Papers should not only illuminate projects and processes, but also share insights from lessons learned and mistakes made- that is, we hope that contributors to this issue will share practical perspectives acquired in the process of developing and implementing projects in digital art history.
+info/fonte: http://explore.tandfonline.com/cfp/ah/gvir-cfp-digital-art-history-1q2017
Architectural Histories | Data limite: 31 de Dezembro
The open access journal of the European Architectural History Network (EAHN), is now accepting submissions for the Open Issue of 2017.
Architectural Histories is the international, blind peer-reviewed scholarly journal of the EAHN that creates a space where historically grounded research into all aspects of architecture and the built environment can be made public, consulted, and discussed. The journal is open to historical, historiographic, theoretical, and critical contributions that engage with architecture and the built environment from a historical perspective. We invite original contributions of the highest quality from scholars and critics in all stages of their career. The journal especially welcomes contributions that stimulate reflection and dialogue about the place of history and historical research within the varied and multifaceted ways in which architecture and the built environment are studied and debated today, across disciplines, cultures and regions. The journal publishes on a continual basis, with new articles coming online as soon as they have passed peer review and copy-editing, in one open issue (running from Jan 1 to Dec 31) as well as one or more special collections per year.
+info/fonte: http://journal.eahn.org/
Encontros
Conferência "O Subsistema Hidráulico Superior Presente na Catedral de Elvas" | Oradora: Ana Patrícia Alho | 01 de Abril | Museu Militar de Elvas
Sessão do Ciclo de Conferências História, Arte e Património da Raia Alentejana. 1.º Ciclo: Novas perspectivas para o estudo do edificado da cidade de Elvas.
A cidade de Elvas, à semelhança do que sucedeu com outros centros urbanos do Alentejo, conheceu, sobretudo a partir do século XVI, momentos de estabilidade política e económica que a tornaram um polo artístico e cultural de extraordinário dinamismo, capaz de atrair artistas que se viriam a radicar nesta região, com áreas de atuação muito diversas. O seu carácter fronteiriço definiu, desde cedo, aquilo que constitui a sua identidade enquanto "zona de transição", característica que, talvez, melhor a distingue das localidades vizinhas. As deslocações e permanências de artistas (nacionais e estrangeiros) por Elvas, ao longo de séculos, e aquilo que nos deixaram são a prova mais visível e, também, mais marcante de uma herança cultural e patrimonial valiosa, que mereceu, inclusive, recentemente o reconhecimento da UNESCO. Esta circunstância acarreta, para a cidade e região, novas responsabilidades, na medida em que torna evidente a urgência da definição de estratégias de preservação e de divulgação de um património que pertence a todos. É neste sentido que a Liga do Museu Militar de Elvas decidiu levar a cabo um ciclo de conferências, de periodicidade mensal, onde serão apresentados trabalhos de investigação ou de valorização patrimonial que incidam sobre a história e os bens culturais da raia alentejana. Este evento científico realiza-se em parceria com o gabinete de investigação IMAGINARE: Estudos de Arte e Património em Portugal na Época Moderna, do CLEPUL – Centro de Literaturas e Culturas Lusófonas e Europeias da Universidade de Lisboa e da Cátedra Infante Dom Henrique da Universidade Aberta (CIDH-UAb/CLEPUL-FLUL), e com o ARTIS – Instituto de História da Arte da mesma universidade. Conta ainda com o apoio da Câmara Municipal de Elvas e do CECHAP – Centro de Estudos de Cultura, História, Artes e Património.
+info/fonte: http://www.artis.letras.ulisboa.pt/eventos,9,1008,detalhe.aspx
As Escolhas dos Críticos: Jean Dubuffet por José Luís Porfírio | 01 de Abril | Museu Coleção Berardo | Lisboa
We seek papers that address key issues highlighted in Johanna Drucker's contribution to the 2013 special issue: "Is There a 'Digital' Art History?" Here, Drucker observed that art history had been slow to adopt the methods and tools of digital humanities and computational analysis. We therefore seek papers that demonstrate model projects applying such approaches to significant art-historical problems. These approaches may include text analysis, image analysis, geospatial analysis, and network analysis. In addition, recognizing that our discipline does have a history of creating online research resources composed of large datasets such as the Getty Provenance Index databases and the Getty vocabularies, as well as image libraries like Artstor and Bridgeman, we also seek papers that reveal innovative approaches to the development of this type of resource. Lastly, we invite papers that explore how new modes of online publication can advance art-historical scholarship and have a significant effect on the dissemination of knowledge. Papers should not only illuminate projects and processes, but also share insights from lessons learned and mistakes made- that is, we hope that contributors to this issue will share practical perspectives acquired in the process of developing and implementing projects in digital art history.
+info/fonte: http://explore.tandfonline.com
Architectural Histories | Data limite: 31 de Dezembro
The open access journal of the European Architectural History Network (EAHN), is now accepting submissions for the Open Issue of 2017.
Architectural Histories is the international, blind peer-reviewed scholarly journal of the EAHN that creates a space where historically grounded research into all aspects of architecture and the built environment can be made public, consulted, and discussed. The journal is open to historical, historiographic, theoretical, and critical contributions that engage with architecture and the built environment from a historical perspective. We invite original contributions of the highest quality from scholars and critics in all stages of their career. The journal especially welcomes contributions that stimulate reflection and dialogue about the place of history and historical research within the varied and multifaceted ways in which architecture and the built environment are studied and debated today, across disciplines, cultures and regions. The journal publishes on a continual basis, with new articles coming online as soon as they have passed peer review and copy-editing, in one open issue (running from Jan 1 to Dec 31) as well as one or more special collections per year.
+info/fonte: http://journal.eahn.org/
Encontros
Conferência "O Subsistema Hidráulico Superior Presente na Catedral de Elvas" | Oradora: Ana Patrícia Alho | 01 de Abril | Museu Militar de Elvas
Sessão do Ciclo de Conferências História, Arte e Património da Raia Alentejana. 1.º Ciclo: Novas perspectivas para o estudo do edificado da cidade de Elvas.
A cidade de Elvas, à semelhança do que sucedeu com outros centros urbanos do Alentejo, conheceu, sobretudo a partir do século XVI, momentos de estabilidade política e económica que a tornaram um polo artístico e cultural de extraordinário dinamismo, capaz de atrair artistas que se viriam a radicar nesta região, com áreas de atuação muito diversas. O seu carácter fronteiriço definiu, desde cedo, aquilo que constitui a sua identidade enquanto "zona de transição", característica que, talvez, melhor a distingue das localidades vizinhas. As deslocações e permanências de artistas (nacionais e estrangeiros) por Elvas, ao longo de séculos, e aquilo que nos deixaram são a prova mais visível e, também, mais marcante de uma herança cultural e patrimonial valiosa, que mereceu, inclusive, recentemente o reconhecimento da UNESCO. Esta circunstância acarreta, para a cidade e região, novas responsabilidades, na medida em que torna evidente a urgência da definição de estratégias de preservação e de divulgação de um património que pertence a todos. É neste sentido que a Liga do Museu Militar de Elvas decidiu levar a cabo um ciclo de conferências, de periodicidade mensal, onde serão apresentados trabalhos de investigação ou de valorização patrimonial que incidam sobre a história e os bens culturais da raia alentejana. Este evento científico realiza-se em parceria com o gabinete de investigação IMAGINARE: Estudos de Arte e Património em Portugal na Época Moderna, do CLEPUL – Centro de Literaturas e Culturas Lusófonas e Europeias da Universidade de Lisboa e da Cátedra Infante Dom Henrique da Universidade Aberta (CIDH-UAb/CLEPUL-FLUL), e com o ARTIS – Instituto de História da Arte da mesma universidade. Conta ainda com o apoio da Câmara Municipal de Elvas e do CECHAP – Centro de Estudos de Cultura, História, Artes e Património.
+info/fonte: http://www.artis.letras.ulisbo
As Escolhas dos Críticos: Jean Dubuffet por José Luís Porfírio | 01 de Abril | Museu Coleção Berardo | Lisboa
A vigésima primeira visita do ciclo «As escolhas dos críticos» é orientada por José Luís Porfírio, conservador e diretor do Museu Nacional de Arte Antiga entre 1973 e 2004, e crítico de arte desde
1964, tendo colaborado regularmente no Diário de Lisboa, no Jornal e, de 1980 até hoje, no Expresso. A visita é dedicada à obra Paysage aux Arbustes, 1949, de Jean Dubuffet.
O Serviço Educativo do Museu Coleção Berardo tem procurado, através de uma programação diversificada, apresentar diferentes leituras sobre a Coleção Berardo. Neste sentido, o museu está a realizar um ciclo de visitas, orientadas por críticos e historiadores da arte, de forma a promover leituras mais específicas e aprofundadas de aspetos particulares da coleção. A participação é gratuita, mas é necessária inscrição prévia.
+info/fonte: http://pt.museuberardo.pt/educacao/atividades/escolhas-dos-criticos-jean-dubuffet-por-jose-luis-porfirio
Apresentação da Revista Monumentos n.º 34 | 03 de Abril | Fundação Calouste Gulbenkian | Lisboa
A apresentação será conduzida pelo arquiteto e professor José Manuel Fernandes.
+info/fonte: www.patrimoniocultural.gov.pt/pt/agenda/atividades-diversas/apresentacao-da-revista-monumentos-n-34/
Conferências sobre Arquitectura e Tratadística Modernas | 03 a 05 de Abril | Coimbra
Iniciativa do Instituto de História da Arte da Faculdade de Letras da Universidade de Coimbra e do Departamento de Arquitectura da mesma universidade.
+info/fonte: www.patrimoniocultural.gov.pt/pt/agenda/meetings-and-conferences/arquitectura-e-tratadisitica-moderna/
Apresentação do Projecto Editorial "Coleções Em Foco" | 04 de Abril | Palácio Nacional de Sintra
Na sessão de apresentação será lançado o número 1 desta série de monografias que tem como objetivo publicar e divulgar os resultados de investigações e estudos sobre as coleções dos Palácios Nacionais de Sintra, Queluz e Pena. Trata-se de edições publicadas e distribuídas em formato e contexto digital, de acesso livre e gratuito, em português, inglês e espanhol.
A edição inaugural está dedicada a um retrato de corte proveniente das coleções da Casa Real, pintura emblemática do acervo do Palácio Nacional de Sintra.
Este lançamento incluirá ainda uma palestra sobre o processo de aquisição do retrato, ordem expressa da rainha D. Maria Pia.
+info/fonte: http://ml.ci.uc.pt/mhonarchive/histport/msg12952.html
Raul Lino e a Cerâmica na Arquitetura e nas Artes Decorativas Portuguesas do Século XX: 2.º Curso Livre Raul Lino e a Casa de Santa Maria | Início: 05 de Abril | Casa de Santa Maria | Cascais
Ao longo do século XX assiste-se em Portugal a uma produção artística em torno da cerâmica de grande originalidade. Associada à arquitetura, ou na forma de objetos artísticos, a criatividade dos artistas nacionais revelou-se talentosa e versátil. Este curso abordará múltiplos autores com um imaginário particular, a maioria com obra artística para lá da cerâmica ou da azulejaria, estendendo-se também à pintura, à tapeçaria, à pintura mural e até ao vitral. Uma abordagem ao mundo das artes decorativas portuguesas ao tempo de Raul Lino, ele próprio autor de obra de arte total.
+info/fonte: www.cm-cascais.pt/evento/raul-lino-e-ceramica-na-arquitetura-e-nas-artes-decorativas-portuguesas-do-sec-xx
Colóquio "Império e Arte Colonial" | 06 e 07 de Abril | Faculdade de Ciências Sociais e Humanas da Universidade Nova de Lisboa
O colóquio parte da necessidade de reflectir sobre o modo como a deslocação entre as ex-colónias europeias e a metrópole inspirou a criação de uma arte que se implantou não só no território nacional mas igualmente se estruturou a partir das antigas províncias ultramarinas. Partindo da crescente visibilidade do tema a nível internacional, e enquadrando-se o programa numa matriz sedimentada na História da Arte Contemporânea que tem em conta as especificidades da cultura nacional, propõe-se refletir sobre a triangulação Viagem – Criação Artística Colonial – Cultura Contemporânea, feita não só a partir do contexto geo-político europeu mas igualmente de perspectivas de uma mundivência autoral que permite a mudança de paradigma.
Painéis temáticos ( séc. XVIII ao séc. XX): A Política Cultural dos Impérios Coloniais Europeus; Representação da Arte Colonial na Metrópole; Repercussões da Influência Colonial na Criação Artística das Ex-Colónias; Percursos e Discursos Pictóricos Coloniais.
Entrada livre.
+info/fonte: www.cham.fcsh.unl.pt/ac_actividade.aspx?ActId=481
Conferência "Sebastiano Serlio en France: Entre Théorie et Pratique" | Oradora: Sabine Frommel | 06 de Abril | Faculdade de Ciências Sociais e Humanas da Universidade Nova de Lisboa
+info/fonte: https://drive.google.com/file/d/0B9g9n1EC2s-ebndiaV84Zk1UOVZUaUhaRFhnYkU5a3JkTm5B/view?usp=sharing
Conferência "A Condição da Arte: Valor, Mercado, Utopia" | 07 de Abril | Museu Nacional de Arte Contemporânea do Chiado | Lisboa
Entrada gratuita, sujeita a marcação prévia.
+info/fonte: www.museuartecontemporanea.pt/pt/programacao/1812
Visita Temática "O Palácio Marquês de Pombal e a sua Implementação na Vila de Oeiras" | Orientação: José Meco | 09 de Abril | Palácio Marquês de Pombal | Oeiras
Esta será a segunda de uma série de seis visitas orientadas por José Meco em torno do Palácio Marquês de Pombal. As visitas procurarão dar a conhecer todo este espaço monumental do Palácio, dos jardins e da antiga Quinta de Cima (onde se situam algumas joias artísticas, como o jardim e cascata da Casa da Pesca, a Fonte do Ouro ou o impressionante pombal) ainda hoje forma um extraordinário conjunto arquitetónico, paisagístico e decorativo que ocupa uma posição primordial dentro do património artístico e histórico português.
Esta visita centrar-se-á na implementação desta Casa no espaço urbano de Oeiras, na sua relação com o Largo Marquês de Pombal, o espaço público inicial do município (pelourinho e edifício da primeira Câmara) e a sua articulação com a antiga Estrada Real para Cascais e a estrada para S. Julião da Barra
+info/fonte: www.cm-oeiras.pt/noticias%5CPaginas/UmaCasaMuitosMundosPalacioMarquesdePombal.aspx
Fórum do Património 2017 | 10 de Abril | Sociedade de Geografia de Lisboa
Este evento é essencialmente destinado às ONG que se dedicam à salvaguarda do Património Cultural Construído e pretende constituir-se como um espaço de debate e de tomada de posição relativamente a quatro áreas temáticas que refletem as principais questões que hoje enfrentamos quando falamos e intervimos em Património Cultural Construído.
Embora os principais protagonistas do Fórum sejam as ONG do Património que se encontram em atividade, esta iniciativa pretende fazer chegar a sua mensagem aos decisores políticos e a todos os parceiros dos setores de atividade que diretamente ou indiretamente envolvem o Património Cultural Construído.
Sendo o Património cultural algo que concerne os cidadãos de uma forma global, o Fórum do Património acolhe ainda todos os interessados nesta matéria e que procurem uma abordagem cívica para as questões da nossa herança cultural comum.
+info/fonte: www.forumdopatrimonio.pt
Conferências sobre o Claustro da Sé de Lisboa | 14 de Abril | Museu Arqueológico do Carmo | Lisboa
Iniciativa da Secção de História da Associação dos Arqueólogos Portugueses que contará com as seguintes comunicações: "Arqueologia no Claustro da Sé de Lisboa, Anos Noventa - de Espaço Contemplativo aos Mercadores Fenícios", por Clementino Amaro, arqueólogo; e "O Claustro da Sé de Lisboa: Da Escavação à Valorização", por Alexandra Gaspar e Ana Gomes, arqueólogas, DGPC.
Entrada livre.
+info/fonte: www.facebook.com/aap.historia/photos/a.259083460898877.1073741828.238081996332357/840396869434197/?type=3&theater
Congresso Internacional "Portugal e a Europa nos Séculos XV e XVI. Olhares, Relações, Identidade(s)" | 20 e 21 de Abril | Faculdade de Ciências Sociais e Humanas da Universidade Nova de Lisboa
Num momento em que se discutem as fragilidades da União Europeia, evocar as origens da própria ideia de Europa (assim como os sentimentos e as identidades inerentes), percepcionando obstáculos e limitações, mas também continuidades e permanências, pode revestir-se de importância decisiva para os anos que se avizinham. Neste quadro, o presente encontro pretende reflectir sobre a composição e descrição de paisagens europeias (humanas e físicas) no período de transição da Respublica Christiana para uma Europa concebida enquanto cenário emergente das monarquias nacionais e das grandes Casas dinásticas. Se por um lado se visa indagar sobre a forma como em Portugal, nos séculos XV e XVI, se projectava o espaço europeu, por outro ambiciona-se identificar a natureza das representações então construídas. Noutra vertente, buscam-se respostas válidas para questões centrais como o carácter e a constância das relações mantidas com os diversos territórios europeus. Os contactos político-diplomáticos, militares e estratégicos, de índole religiosa, comercial e mercantil, bem como a circulação artística estarão no centro de uma reflexão multidisciplinar. As representações que suportavam as figurações desenvolvidas denunciavam identidades cada vez mais marcadas, mas também traziam consigo, ainda que na maioria das vezes de forma pouco declarada, as primeiras evocações de uma consciência relativamente a um espaço e uma herança cultural comuns.
Participação mediante inscrição prévia. As inscrições estão abertas até ao dia 17 de Abril. O congresso é de entrada livre para estudantes (inclui coffee breaks, documentação, certificado de presença). Nesta modalidade, deve ser enviado um comprovativo da qualidade de estudante junto com o email de inscrição. Para o público em geral tem um custo de 5€ (inclui coffee breaks, documentação, certificado de presença) [a informação para pagamento será disponibilizada brevemente].
+info/fonte: http://iem.fcsh.unl.pt/section.aspx?kind=noticia&id=1200
Passeio Temático "Um Jardim e os Seus Azulejos: O Jardim do Palácio Fronteira" | Orientação: Ana Paula Rebelo Correia | 22 de Abril | Palácio Fronteira | Lisboa
Guiados pela investigadora Ana Paula Rebelo Correia, venha descobrir os azulejos do Palácio Fronteira, num dos raros jardins do século XVII que preserva até hoje a sua decoração cerâmica praticamente intacta.
+info/fonte: www.facebook.com/events/1872467699643531
Curso Livre "As 'Artes da Cal' em Portugal: Estudo, Análise e Reabilitação" | Coord.: Patrícia Monteiro | Início: 04 de Maio | Associação Portuguesa dos Amigos dos Castelos | Lisboa
O conceito das "artes da cal", tal como formulado pelo arquitecto Ignácio Gárate-Rojas, designa um conjunto de soluções ornamentais onde a cal foi um material dominante. As dificuldades que hoje em dia se apresentam à sua preservação tornam urgente a formação de novos públicos, no sentido de promover o debate quanto à sustentabilidade deste património.
O Curso Livre decorrerá num conjunto de oito sessões, entre os dias 2 e 25 de Maio de 2017, na sede da Associação Portuguesa dos Amigos dos Castelos, Rua Barros Queirós, n.º 20, em Lisboa, instituição promotora deste evento. Esta iniciativa conta com a colaboração do Centro de Literaturas e Culturas Lusófonas e Europeias (CLEPUL), o ARTIS - Instituto de História da Arte da Faculdade de Letras da Universidade de Lisboa e do HERCULES, Universidade de Évora.
+info/fonte: www.amigosdoscastelos.org.pt/tabid/81/ctl/Details/mid/474/projectID/123/language/pt-PT/default.aspx
Formação sobre Azulejaria Romântica | Formador: Francisco Queiroz | 06 de Maio | Ovar
Na formação, aborda-se a azulejaria romântica portuguesa (c. 1834 - c. 1910), focando especialmente a azulejaria de fachada e tentando responder às questões: "como", "quando", "quem" e "porquê".
A abordagem é interdisciplinar e minimamente aprofundada, cobrindo a análise histórica, a análise artística e iconográfica, os artistas e as fábricas, a integração na arquitectura e alguns dos casos mais interessantes. Em certos tópicos, são apresentados dados inéditos, fruto de investigação recente.
A formação é complementada com uma sessão em oficina, demonstrando-se como era feita a produção dos azulejos oitocentistas. No final, há uma visita guiada por algumas ruas do centro histórico de Ovar, sendo também abordada a questão da salvaguarda e da valorização de conjuntos de azulejaria de fachada subsistentes.
O que mais distingue esta formação de outras sobre azulejaria já realizadas em Portugal, é a particular atenção à azulejaria de fachada, e ao período romântico, época para a qual existe menos bibliografia mas sobre a qual temos hoje a percepção de uma maior singularidade da azulejaria portuguesa no contexto internacional. Por outro lado, na formação são também sumariamente abordadas as estátuas e os ornatos em faiança e terracota usados para decorar fachadas e jardins (calões de beiral, balaustradas e arabescos, vasos decorativos, pinhas e globos), elementos que se complementam entre si e formam, muitas vezes, conjuntos notáveis, sendo de realçar que, em Ovar, subsistem alguns dos melhores conjuntos do género.
Conteúdos: O nascimento da azulejaria de fachada; Romantismo e decoração de fachadas - da azulejaria de revestimento aos artefactos cerâmicos para beirais e platibandas; A azulejaria em interiores do período romântico; Evolução da azulejaria de fachada: padrões, influências, fábricas, artistas, centros produtores; Azulejaria romântica em contexto religioso e em contexto publicitário; Os padrões tardo-românticos e a influência da Arte Nova; Enquadramento da azulejaria do início do século XX no movimento da chamada "casa portuguesa", os padrões revivalistas e os pintores de matriz historicista; Técnicas de produção e questões de conservação, salvaguarda e valorização da azulejaria de fachada.
+info/fonte: www.facebook.com/events/178220822685753/
3.ª Edição das Jornadas Árabes "Memórias Árabe-Islâmicas, Diálogo entre Civilizações" | 17 e 18 de Maio | Lisboa
Sob O Alto Patrocínio e Presença de Sua Excelência O Presidente da República Portuguesa, Professor Doutor Marcelo Rebelo de Sousa, em estreita colaboração com a União das Câmaras Árabes, a Liga dos Estados Árabes e as Embaixadas Árabes acreditadas em Portugal e, à semelhança das Jornadas organizadas em 1997 e em 2002, pretende-se dar continuidade e ênfase à Herança Árabe-Islâmica na Península Ibérica, fomentando ainda um maior intercâmbio entre as Civilizações.
O primeiro dia destas Jornadas, 17 de Maio, será reservado à realização de um Colóquio no Auditório do Arquivo Nacional da Torre do Tombo, em Lisboa, com a ilustre Presença e Participação de Sua Excelência O Presidente da República Portuguesa, Professor Doutor Marcelo Rebelo de Sousa, e de Altas Individualidades da vida política, académica e cultural de Portugal, dos Países Árabes e de Espanha. Estão previstas para o segundo dia, 18 de Maio, visitas guiadas a Lisboa e Sintra, nas quais se pretende ressaltar alguns dos legados e vestígios urbanísticos e outros testemunhos da presença Árabe em Portugal.
O primeiro dia será consagrado ao Colóquio, com a ilustre participação de Altas Individualidades, Instituições, Entidades e Personalidades da vida política, académica e cultural de Portugal, dos Países Árabes e de Espanha, onde serão focados, nas várias Sessões, temas directamente afectos ao Legado Histórico, Cultural e Civilizacional Árabe-Islâmico, a Herança do Povo Árabe na Península Ibérica, os Contributos para a Sociedade actual, entre outros de elevado relevo para a compreensão dos objectivos pretendidos.
Estas Jornadas Árabes têm por objectivo: O Incremento e consolidação das relações de cooperação e de amizade entre Portugal e os 22 Países da Liga dos Estados Árabes; O Reforço do intercâmbio cultural; A Promoção das relações entre Portugal e os Países Árabes; Dar a conhecer melhor as realidades culturais e sociais Árabe-Islâmicas; Dar a conhecer as influências Árabe-Islâmicas na cultura Ibérica, ressaltando a convivência multisecular entre Portugueses e Árabes; Dar a conhecer o legado resultante desse contacto, cujos vestígios se reflectem em áreas tão distintas como a língua, literatura, música, arquitectura, gastronomia, costumes e contributos técnico-científicos.
+info/fonte: www.cciap.pt/index.php?id=680
Interdisciplinary Conference "The Medieval Iberian Treasury in the Context of Muslim-Christian Interchange" | 19 e 20 de Maio | Princeton University | E.U.A.
+info/fonte: https://ica.princeton.edu/conferences/
Congreso Internacional Sevilla Lusa "La Nación Portuguesa en el Reino de Sevilla en Tiempos del Barroco" | 05 a 07 de Junho | Sevilha, Espanha
Un equipo de investigación nacido de un acuerdo de colaboración entre las Universidades de Sevilla y Pablo de Olavide, está trabajando, con el respaldpo del Consulado de Portugal, en la recuperación de la memoria histórica de las relaciones culturales entre España y Portugal. De partida hemos preparado un encuentro con colegas de España, Portugal, además de Alemania, Francia, Irlanda y Estados Unidos, para compartir los conocimientos e investigaciones sobre lo que Portugal y los portugueses han representado en la vida de nuestra ciudad, Sevilla. Avanzaremos así en la construcción del relato de la historia portuguesa de nuestra ciudad.
Con ello, además, avanzamos en el estudio cooperativo hispano-luso que se va a impulsar con un proyecto transregional que hemos dado en llamar La Raya Barroca, y que preparamos con la colaboración de otros organismos públicos de Andalucía, Algarve y Alentejo, entre Universidades e Instituciones Culturales, además de empresas, que se reparten por dichos territorios.
+info/fonte: www.upo.es/historia_arte/noticias/noticia_0159.html
O Serviço Educativo do Museu Coleção Berardo tem procurado, através de uma programação diversificada, apresentar diferentes leituras sobre a Coleção Berardo. Neste sentido, o museu está a realizar um ciclo de visitas, orientadas por críticos e historiadores da arte, de forma a promover leituras mais específicas e aprofundadas de aspetos particulares da coleção. A participação é gratuita, mas é necessária inscrição prévia.
+info/fonte: http://pt.museuberardo.pt/educ
Apresentação da Revista Monumentos n.º 34 | 03 de Abril | Fundação Calouste Gulbenkian | Lisboa
A apresentação será conduzida pelo arquiteto e professor José Manuel Fernandes.
+info/fonte: www.patrimoniocultural.gov.pt/
Conferências sobre Arquitectura e Tratadística Modernas | 03 a 05 de Abril | Coimbra
Iniciativa do Instituto de História da Arte da Faculdade de Letras da Universidade de Coimbra e do Departamento de Arquitectura da mesma universidade.
+info/fonte: www.patrimoniocultural.gov.pt/
Apresentação do Projecto Editorial "Coleções Em Foco" | 04 de Abril | Palácio Nacional de Sintra
Na sessão de apresentação será lançado o número 1 desta série de monografias que tem como objetivo publicar e divulgar os resultados de investigações e estudos sobre as coleções dos Palácios Nacionais de Sintra, Queluz e Pena. Trata-se de edições publicadas e distribuídas em formato e contexto digital, de acesso livre e gratuito, em português, inglês e espanhol.
A edição inaugural está dedicada a um retrato de corte proveniente das coleções da Casa Real, pintura emblemática do acervo do Palácio Nacional de Sintra.
Este lançamento incluirá ainda uma palestra sobre o processo de aquisição do retrato, ordem expressa da rainha D. Maria Pia.
+info/fonte: http://ml.ci.uc.pt/mhonarchive
Raul Lino e a Cerâmica na Arquitetura e nas Artes Decorativas Portuguesas do Século XX: 2.º Curso Livre Raul Lino e a Casa de Santa Maria | Início: 05 de Abril | Casa de Santa Maria | Cascais
Ao longo do século XX assiste-se em Portugal a uma produção artística em torno da cerâmica de grande originalidade. Associada à arquitetura, ou na forma de objetos artísticos, a criatividade dos artistas nacionais revelou-se talentosa e versátil. Este curso abordará múltiplos autores com um imaginário particular, a maioria com obra artística para lá da cerâmica ou da azulejaria, estendendo-se também à pintura, à tapeçaria, à pintura mural e até ao vitral. Uma abordagem ao mundo das artes decorativas portuguesas ao tempo de Raul Lino, ele próprio autor de obra de arte total.
+info/fonte: www.cm-cascais.pt/evento/raul-
Colóquio "Império e Arte Colonial" | 06 e 07 de Abril | Faculdade de Ciências Sociais e Humanas da Universidade Nova de Lisboa
O colóquio parte da necessidade de reflectir sobre o modo como a deslocação entre as ex-colónias europeias e a metrópole inspirou a criação de uma arte que se implantou não só no território nacional mas igualmente se estruturou a partir das antigas províncias ultramarinas. Partindo da crescente visibilidade do tema a nível internacional, e enquadrando-se o programa numa matriz sedimentada na História da Arte Contemporânea que tem em conta as especificidades da cultura nacional, propõe-se refletir sobre a triangulação Viagem – Criação Artística Colonial – Cultura Contemporânea, feita não só a partir do contexto geo-político europeu mas igualmente de perspectivas de uma mundivência autoral que permite a mudança de paradigma.
Painéis temáticos ( séc. XVIII ao séc. XX): A Política Cultural dos Impérios Coloniais Europeus; Representação da Arte Colonial na Metrópole; Repercussões da Influência Colonial na Criação Artística das Ex-Colónias; Percursos e Discursos Pictóricos Coloniais.
Entrada livre.
+info/fonte: www.cham.fcsh.unl.pt/ac_activi
Conferência "Sebastiano Serlio en France: Entre Théorie et Pratique" | Oradora: Sabine Frommel | 06 de Abril | Faculdade de Ciências Sociais e Humanas da Universidade Nova de Lisboa
+info/fonte: https://drive.google.com/file/
Conferência "A Condição da Arte: Valor, Mercado, Utopia" | 07 de Abril | Museu Nacional de Arte Contemporânea do Chiado | Lisboa
Entrada gratuita, sujeita a marcação prévia.
+info/fonte: www.museuartecontemporanea.pt/
Visita Temática "O Palácio Marquês de Pombal e a sua Implementação na Vila de Oeiras" | Orientação: José Meco | 09 de Abril | Palácio Marquês de Pombal | Oeiras
Esta será a segunda de uma série de seis visitas orientadas por José Meco em torno do Palácio Marquês de Pombal. As visitas procurarão dar a conhecer todo este espaço monumental do Palácio, dos jardins e da antiga Quinta de Cima (onde se situam algumas joias artísticas, como o jardim e cascata da Casa da Pesca, a Fonte do Ouro ou o impressionante pombal) ainda hoje forma um extraordinário conjunto arquitetónico, paisagístico e decorativo que ocupa uma posição primordial dentro do património artístico e histórico português.
Esta visita centrar-se-á na implementação desta Casa no espaço urbano de Oeiras, na sua relação com o Largo Marquês de Pombal, o espaço público inicial do município (pelourinho e edifício da primeira Câmara) e a sua articulação com a antiga Estrada Real para Cascais e a estrada para S. Julião da Barra
+info/fonte: www.cm-oeiras.pt/noticias%5CPa
Fórum do Património 2017 | 10 de Abril | Sociedade de Geografia de Lisboa
Este evento é essencialmente destinado às ONG que se dedicam à salvaguarda do Património Cultural Construído e pretende constituir-se como um espaço de debate e de tomada de posição relativamente a quatro áreas temáticas que refletem as principais questões que hoje enfrentamos quando falamos e intervimos em Património Cultural Construído.
Embora os principais protagonistas do Fórum sejam as ONG do Património que se encontram em atividade, esta iniciativa pretende fazer chegar a sua mensagem aos decisores políticos e a todos os parceiros dos setores de atividade que diretamente ou indiretamente envolvem o Património Cultural Construído.
Sendo o Património cultural algo que concerne os cidadãos de uma forma global, o Fórum do Património acolhe ainda todos os interessados nesta matéria e que procurem uma abordagem cívica para as questões da nossa herança cultural comum.
+info/fonte: www.forumdopatrimonio.pt
Conferências sobre o Claustro da Sé de Lisboa | 14 de Abril | Museu Arqueológico do Carmo | Lisboa
Iniciativa da Secção de História da Associação dos Arqueólogos Portugueses que contará com as seguintes comunicações: "Arqueologia no Claustro da Sé de Lisboa, Anos Noventa - de Espaço Contemplativo aos Mercadores Fenícios", por Clementino Amaro, arqueólogo; e "O Claustro da Sé de Lisboa: Da Escavação à Valorização", por Alexandra Gaspar e Ana Gomes, arqueólogas, DGPC.
Entrada livre.
+info/fonte: www.facebook.com/aap.historia/
Congresso Internacional "Portugal e a Europa nos Séculos XV e XVI. Olhares, Relações, Identidade(s)" | 20 e 21 de Abril | Faculdade de Ciências Sociais e Humanas da Universidade Nova de Lisboa
Num momento em que se discutem as fragilidades da União Europeia, evocar as origens da própria ideia de Europa (assim como os sentimentos e as identidades inerentes), percepcionando obstáculos e limitações, mas também continuidades e permanências, pode revestir-se de importância decisiva para os anos que se avizinham. Neste quadro, o presente encontro pretende reflectir sobre a composição e descrição de paisagens europeias (humanas e físicas) no período de transição da Respublica Christiana para uma Europa concebida enquanto cenário emergente das monarquias nacionais e das grandes Casas dinásticas. Se por um lado se visa indagar sobre a forma como em Portugal, nos séculos XV e XVI, se projectava o espaço europeu, por outro ambiciona-se identificar a natureza das representações então construídas. Noutra vertente, buscam-se respostas válidas para questões centrais como o carácter e a constância das relações mantidas com os diversos territórios europeus. Os contactos político-diplomáticos, militares e estratégicos, de índole religiosa, comercial e mercantil, bem como a circulação artística estarão no centro de uma reflexão multidisciplinar. As representações que suportavam as figurações desenvolvidas denunciavam identidades cada vez mais marcadas, mas também traziam consigo, ainda que na maioria das vezes de forma pouco declarada, as primeiras evocações de uma consciência relativamente a um espaço e uma herança cultural comuns.
Participação mediante inscrição prévia. As inscrições estão abertas até ao dia 17 de Abril. O congresso é de entrada livre para estudantes (inclui coffee breaks, documentação, certificado de presença). Nesta modalidade, deve ser enviado um comprovativo da qualidade de estudante junto com o email de inscrição. Para o público em geral tem um custo de 5€ (inclui coffee breaks, documentação, certificado de presença) [a informação para pagamento será disponibilizada brevemente].
+info/fonte: http://iem.fcsh.unl.pt/section
Passeio Temático "Um Jardim e os Seus Azulejos: O Jardim do Palácio Fronteira" | Orientação: Ana Paula Rebelo Correia | 22 de Abril | Palácio Fronteira | Lisboa
Guiados pela investigadora Ana Paula Rebelo Correia, venha descobrir os azulejos do Palácio Fronteira, num dos raros jardins do século XVII que preserva até hoje a sua decoração cerâmica praticamente intacta.
+info/fonte: www.facebook.com/events/187246
Curso Livre "As 'Artes da Cal' em Portugal: Estudo, Análise e Reabilitação" | Coord.: Patrícia Monteiro | Início: 04 de Maio | Associação Portuguesa dos Amigos dos Castelos | Lisboa
O conceito das "artes da cal", tal como formulado pelo arquitecto Ignácio Gárate-Rojas, designa um conjunto de soluções ornamentais onde a cal foi um material dominante. As dificuldades que hoje em dia se apresentam à sua preservação tornam urgente a formação de novos públicos, no sentido de promover o debate quanto à sustentabilidade deste património.
O Curso Livre decorrerá num conjunto de oito sessões, entre os dias 2 e 25 de Maio de 2017, na sede da Associação Portuguesa dos Amigos dos Castelos, Rua Barros Queirós, n.º 20, em Lisboa, instituição promotora deste evento. Esta iniciativa conta com a colaboração do Centro de Literaturas e Culturas Lusófonas e Europeias (CLEPUL), o ARTIS - Instituto de História da Arte da Faculdade de Letras da Universidade de Lisboa e do HERCULES, Universidade de Évora.
+info/fonte: www.amigosdoscastelos.org.pt/t
Formação sobre Azulejaria Romântica | Formador: Francisco Queiroz | 06 de Maio | Ovar
Na formação, aborda-se a azulejaria romântica portuguesa (c. 1834 - c. 1910), focando especialmente a azulejaria de fachada e tentando responder às questões: "como", "quando", "quem" e "porquê".
A abordagem é interdisciplinar e minimamente aprofundada, cobrindo a análise histórica, a análise artística e iconográfica, os artistas e as fábricas, a integração na arquitectura e alguns dos casos mais interessantes. Em certos tópicos, são apresentados dados inéditos, fruto de investigação recente.
A formação é complementada com uma sessão em oficina, demonstrando-se como era feita a produção dos azulejos oitocentistas. No final, há uma visita guiada por algumas ruas do centro histórico de Ovar, sendo também abordada a questão da salvaguarda e da valorização de conjuntos de azulejaria de fachada subsistentes.
O que mais distingue esta formação de outras sobre azulejaria já realizadas em Portugal, é a particular atenção à azulejaria de fachada, e ao período romântico, época para a qual existe menos bibliografia mas sobre a qual temos hoje a percepção de uma maior singularidade da azulejaria portuguesa no contexto internacional. Por outro lado, na formação são também sumariamente abordadas as estátuas e os ornatos em faiança e terracota usados para decorar fachadas e jardins (calões de beiral, balaustradas e arabescos, vasos decorativos, pinhas e globos), elementos que se complementam entre si e formam, muitas vezes, conjuntos notáveis, sendo de realçar que, em Ovar, subsistem alguns dos melhores conjuntos do género.
Conteúdos: O nascimento da azulejaria de fachada; Romantismo e decoração de fachadas - da azulejaria de revestimento aos artefactos cerâmicos para beirais e platibandas; A azulejaria em interiores do período romântico; Evolução da azulejaria de fachada: padrões, influências, fábricas, artistas, centros produtores; Azulejaria romântica em contexto religioso e em contexto publicitário; Os padrões tardo-românticos e a influência da Arte Nova; Enquadramento da azulejaria do início do século XX no movimento da chamada "casa portuguesa", os padrões revivalistas e os pintores de matriz historicista; Técnicas de produção e questões de conservação, salvaguarda e valorização da azulejaria de fachada.
+info/fonte: www.facebook.com/events/178220
3.ª Edição das Jornadas Árabes "Memórias Árabe-Islâmicas, Diálogo entre Civilizações" | 17 e 18 de Maio | Lisboa
Sob O Alto Patrocínio e Presença de Sua Excelência O Presidente da República Portuguesa, Professor Doutor Marcelo Rebelo de Sousa, em estreita colaboração com a União das Câmaras Árabes, a Liga dos Estados Árabes e as Embaixadas Árabes acreditadas em Portugal e, à semelhança das Jornadas organizadas em 1997 e em 2002, pretende-se dar continuidade e ênfase à Herança Árabe-Islâmica na Península Ibérica, fomentando ainda um maior intercâmbio entre as Civilizações.
O primeiro dia destas Jornadas, 17 de Maio, será reservado à realização de um Colóquio no Auditório do Arquivo Nacional da Torre do Tombo, em Lisboa, com a ilustre Presença e Participação de Sua Excelência O Presidente da República Portuguesa, Professor Doutor Marcelo Rebelo de Sousa, e de Altas Individualidades da vida política, académica e cultural de Portugal, dos Países Árabes e de Espanha. Estão previstas para o segundo dia, 18 de Maio, visitas guiadas a Lisboa e Sintra, nas quais se pretende ressaltar alguns dos legados e vestígios urbanísticos e outros testemunhos da presença Árabe em Portugal.
O primeiro dia será consagrado ao Colóquio, com a ilustre participação de Altas Individualidades, Instituições, Entidades e Personalidades da vida política, académica e cultural de Portugal, dos Países Árabes e de Espanha, onde serão focados, nas várias Sessões, temas directamente afectos ao Legado Histórico, Cultural e Civilizacional Árabe-Islâmico, a Herança do Povo Árabe na Península Ibérica, os Contributos para a Sociedade actual, entre outros de elevado relevo para a compreensão dos objectivos pretendidos.
Estas Jornadas Árabes têm por objectivo: O Incremento e consolidação das relações de cooperação e de amizade entre Portugal e os 22 Países da Liga dos Estados Árabes; O Reforço do intercâmbio cultural; A Promoção das relações entre Portugal e os Países Árabes; Dar a conhecer melhor as realidades culturais e sociais Árabe-Islâmicas; Dar a conhecer as influências Árabe-Islâmicas na cultura Ibérica, ressaltando a convivência multisecular entre Portugueses e Árabes; Dar a conhecer o legado resultante desse contacto, cujos vestígios se reflectem em áreas tão distintas como a língua, literatura, música, arquitectura, gastronomia, costumes e contributos técnico-científicos.
+info/fonte: www.cciap.pt/index.php?id=680
Interdisciplinary Conference "The Medieval Iberian Treasury in the Context of Muslim-Christian Interchange" | 19 e 20 de Maio | Princeton University | E.U.A.
+info/fonte: https://ica.princeton.edu/conf
Congreso Internacional Sevilla Lusa "La Nación Portuguesa en el Reino de Sevilla en Tiempos del Barroco" | 05 a 07 de Junho | Sevilha, Espanha
Un equipo de investigación nacido de un acuerdo de colaboración entre las Universidades de Sevilla y Pablo de Olavide, está trabajando, con el respaldpo del Consulado de Portugal, en la recuperación de la memoria histórica de las relaciones culturales entre España y Portugal. De partida hemos preparado un encuentro con colegas de España, Portugal, además de Alemania, Francia, Irlanda y Estados Unidos, para compartir los conocimientos e investigaciones sobre lo que Portugal y los portugueses han representado en la vida de nuestra ciudad, Sevilla. Avanzaremos así en la construcción del relato de la historia portuguesa de nuestra ciudad.
Con ello, además, avanzamos en el estudio cooperativo hispano-luso que se va a impulsar con un proyecto transregional que hemos dado en llamar La Raya Barroca, y que preparamos con la colaboración de otros organismos públicos de Andalucía, Algarve y Alentejo, entre Universidades e Instituciones Culturales, además de empresas, que se reparten por dichos territorios.
+info/fonte: www.upo.es/historia_arte/notic
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