Om Netværket

Nordisk Netværk for Avantgardestudier er et nordisk forskningsnetværk støttet af Nordforsk 2004-2009. I november 2008 blev netværket af NordForsk udnævnt til ”Nordic Research Gem”, et særligt succesrigt forskernetværk. Nordisk Netværk for Avantgarde Studier vil styrke og koordinere mindre og spredte nationale forskningsmiljøer, bidrage til at fremme udveksling af viden om forskelle og ligheder mellem de nordiske lande og gøre nordisk avantgardeforskning internationalt synlig. Nordisk Netværk for Avantgardestudier afholder en årlig konference. Netværket danner også ramme for udarbejdelsen af De nordiske avantgarders kulturhistorie i 4 bind og et elektronisk arkiv for dokumenter fra de nordiske avantgarder. Det nordiske forskningsnetværk er en videreudvikling af det danske forskningsnetværk ”Avantgardernes genkomst og aktualitet” støttet af Det humanistiske Forskningsråd i Danmark 2001-2004. Nordisk Netværk for Avantgardestudier har desuden medvirket til at oprette et Europæisk Netværk for Avantgarde og Modernisme Studier, EAM, hvis første konference blev afholdt i Ghent, Belgien, maj 2008. EAMs anden konference afholdes i Poznan, Polen, 2010.

About the Network

The Nordic Network of Avant-Garde Studies is supported by Nordforsk 2004-2009. In November 2008 The Nordic Network of Avant-Garde Studies was elected as a ”Nordic Research Gem”, an exceptionally succesful research network, by NordForsk. The Nordic Network of Avant-Garde Studies aims to support and coordinate small and dispersed national centres of research, help promote the exchange of knowledge about differences and similarities among the avant-garde currents and research in the Nordic countries, and make Nordic avant-garde research visible in a European and international context. The Nordic Network of Avant-Garde Studies has a yearly conference. Within the Network an editorial group is preparing a four-volume Cultural History of the Nordic Avant-Gardes and an electronic archive of documents from the Nordic avant-gardes. The Nordic network is an extension of the Danish research network ”The Return and Actuality of the Avant-Gardes” supported by the Danish Research Council 2001-2004. The Nordic Network of Avant-Garde Studies has initiated a European Network of Avant-Garde and Modernism Studies, EAM, which had its first conference in Ghent, Belgium, in May 2008. The second EAM conference will take place in Poznan, Poland, in 2010.


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CFP: The Avant-Gardes in the Nordic Countries 1975-2000: History, Culture and Aesthetics, 3-5 December 2015


Some years ago the growing scholarly interest in avant-garde studies led to the formation of The Nordic-Network of Avant-Garde Studies as a forum for attempts to map the cultural influence of the aesthetic avant-gardes in the Nordic countries. Part of this project is the writing of a four volume Cultural History of the Avant-Gardes in the Nordic Countries. The first volume dealing with the years 1900-1925 was published by Rodopi (now a division of Brill) in 2013, and the second and third volume will be published in 2015 and 2016. The editors of this history now call for papers to a conference dealing with the history, culture, aesthetics, and politics of the avantgardes in the Nordic countries in the period 1975-2000. The first three volumes have focused mainly Denmark, Finland, Iceland, Norway and Sweden. In volume four we particularly want to include Greenland, the Faroe Islands and the Sami areas. Our hope is that most papers can be rewritten and published as contributions to the fourth volume of the series, A Cultural History of the Avant-Gardes in the Nordic Countries 1975-2000. For the publication there will be editorial panels of scholars from the different Nordic countries who will act as peer reviewers. 


The Avant-Gardes in the Nordic Countries 1975-2000

Is avant-garde a useful notion when it comes to contemporary art practices? And if so, how is the avant-garde to be defined today? Maybe the title of the conference and the last volume of A Cultural History of the Avant-Gardes in the Nordic Countries ought to be followed by a question mark? The artistic landscape of the period 1975-2000 seems to be more diverse and spread across different media, platforms, and new technological and social means of organisation and collaboration than has been the case earlier in the century. Our own nearness to the period also makes it harder to make the (always reductive) categorisations that are part of the selection mechanism of writing history. The nearness, however, makes it easier to look beyond canonisation and keep an open and nuanced approach to the wide range of themes, media and modes of expression present in the period; ranging from, for instance, focus on gender and postcolonial issues, dematerialised and participatory relational practices, to new modes of communication and networking due to new media.
Many of the artistic practices of the period deliberately draw on or refer to previous practices. Should the many re-enactments of earlier avant-garde manifestations be considered avant-garde themselves, or are they simply mainstream examples of already established artistic norms and standards? And what does it mean to discuss them in an avant-garde context? Should a contemporary avant-garde rather relate to technological changes and new media? Or to the social changes in a complex and globalised world? Should we look at the field of countercultures and subcultures? Or should we talk of many different contemporary avant-gardes? From relational art, feminist and queer manifestations, net art, flashmobs, and challenges of high and low in design and music to appropriation and digital piracy?
The frame of the conference is cross-aesthetic and transnational, focusing on avant-garde activities in the Nordic countries, as well as on Nordic avant-garde artists working abroad. It includes aesthetic activities within, between and beyond the traditional arts (painting, literature, theatre, film, photography, music, dance, architecture).
Contributions may focus on individual activities, arts, artists and works and genres – but preferably in a perspective involving broader historical, cultural, political and aesthetic contexts. Regarded within a national framework, avant-garde enterprises often seem isolated, sporadic and fragmentary. That is why the transnational perspective stresses connections between local, national, Nordic and international manifestations of the avant-gardes.
The papers should present case studies rather than encyclopaedic elaborations, i.e. instructive examples introducing new perspectives on phenomena that condense important currents, tensions and controversies. They should reflect the topics dealt with as avant-garde (and not e.g. as modernism) and may even discuss different aspects of the concept of “avant-garde” or “anti-avant-garde”. The purpose of the conference is to discuss the avant-garde not as a predefined theoretical concept but as a crucial perspective on aesthetic and cultural history.

Culture, history and aesthetics of the avant-gardes: aspects and dimensions

The panels of the seminar will include such themes, aspects and dimensions as:
  • Renewal in Repetition - Re-mediation - Re-enactment – Digital Archives - Appropriation – Post-
  • Production – Sampling
  • High/Low (Industry, Institution, Market) – Design – Counterculture / Subculture – Kitsch – Music
  • Performative Turn – Do it yourself – Feminist/Queer/Body Art – Performance Art –– Post-dramatic
  • Theatre – Performative Architecture – Readings – Everyday – Participation
  • New Media/Digital – Digital poetry – Film – Video Art – Net Art – Interactive Art – Intermedia/Transmedia – Sound Art - Electronic Music
  • Network/Infrastructure: Magazines – Small Presses - Electronic Networks (Nordic) – Mail Art – Flashmobs - Copyright/Pirate – Market/Institutions
  • Intervention – Art in Public Space – Relational Art – Micro Utopias – Political art – Street Art –Pirate/Copyright

The themes specified here are meant as provisional suggestions. The organising committee invites participants to suggest other topics and individual cases.

Practical information and deadline for application

     The conference will take place at Copenhagen University from 3-5 December 2015. During these days we plan to present and discuss around 30 papers. Each paper will have 20 minutes of presentation followed by 10 minutes discussion, i.e. 3 papers in a 11⁄2 hour session. Working on the topic of the conference resulting in many interesting discussions and thought-provoking case studies. As a prelude to the conference we have made a special CfP giving the best students the opportunity to present a paper. The student presentations will take place 2 December and we hope that many of the participants will join this session too. 
     We will help you book a hotel room if you wish and will provide further information about local travel, location and other practical details. During spring term 2015 70 master students from Aarhus and Copenhagen have been 
     The conference fee will be 1000 DKK, covering coffee/tea, lunches and a conference dinner. 
Arrival and departure: The conference will start by midday Thursday 3 December and end by midday Saturday 5 December, so conference participants can arrive in Copenhagen Thursday morning and depart Saturday afternoon.
     The conference language is English. All participants should submit a title and a 2-300 word abstract before 2 June 2015. Abstracts should be sent to Questions regarding the conference may be sent to this address as well or to a member of the organizing committee.

The conference is organised by

Benedikt Hjartarson, University of Iceland,
Camilla Skovbjerg Paldam, Aarhus University,
Laura Luise Schultz, University of Copenhagen,
Tania Ørum, University of Copenhagen,
And the conference secretary Marianne Ølholm,

Krigens skygge - Politisk kunst i Norge 1914-2014

Invitasjon til åpning

Per Krogh, Granaten / The Granade, 1916. © Trondheim Kunstmuseum / Trondheim Art Museum
© Per Krohg / BONO 2014. Foto © Trondheim kunstmuseums samling

Velkommen til utstillingsåpning fredag 30. januar 2015 kl 19.00



Krigens skygge.

Politisk kunst i Norge 1914-2014


30. januar – 29. mars 2015


Kurator: Kari J. Brandtzæg

Program for åpning

Kl. 19.00 Åpningstaler ved kunstnerisk leder Mats Stjernstedt og
kurator Kari J. Brandtzæg

Kl. 19.15 Musikalsk innslag ved Johanna Zwaig

Kl. 19.20 Direktør ved Det Norske Nobelinstitutt Olav Njølstad åpner utstillingen

Kl. 20.00 Lesning: Goksøyr & Martens OMsorg  (45 min) i Kunstnernes Hus' auditorium


Sommeren 2014 var det 100 år siden de første skuddene smalt i Sarajevo. I kunsthistorien markerer første verdenskrig overgangen fra en heroiserende krigsikonografi til en tematisering av krigens menneskelige lidelse og meningsløshet. Avantgarde- og tendenskunsten som fulgte i kjølvannet av krigen gjorde seg sterkt gjeldende også i Norge. I utstillingen Krigens skygge. Politisk kunst i Norge 1914–2014 viser kurator Kari J. Brandtzæg hvordan kunstnere til ulike tider har gjort opprør mot etablerte normer, skildret dramatiske kollektive erfaringer og skapt utopier om en bedre verden. Utstillingens 150 verk gir publikum en unik mulighet til selv å se brudd og kontinuitet i den politiske kunstens norske historie.
Utstillingens tematikk om kunstens relasjon til krig og samfunn er mer aktuell enn noen gang. Hvordan skal vi forholde oss til vår tids kriger og lidelse? Og har kunstnere en spesiell forpliktelse i så måte? Gjennom et nytt kildemateriale, med malerier, fotografier og tegninger, vil utstillingen belyse hvilken betydning krig og opprør har hatt for kunstnerrollen og den moderne kunstens utvikling. Utstillingen konsentrerer seg om tre perioder; mellomkrigstiden (1920–40), etterkrigstiden (1960–70) og vår egen tid (2000–2014).
Henrik Sørensen (1882–1962), Per Krohg (1889–1965), Reidar Aulie (1904–1977), Willi Midelfart (1904-1975), Kai Fjell (1907–1989), Arne Ekeland (1908–1994), Nanna Broch (1879–1971), Per Kleiva (1933), Willibald Storn (1936), Victor Lind (1940), Morten Krohg (1937), Elisabeth Haarr (1945), Elsebet Rahlff (1940), Thomas Kvam (1972), Anders Eiebakke (1970), Andrea Lange (1967), Shwan Dler Qaradaki (1977), Ane Hjort Guttu (1971), Lene Berg (1965), Vanessa Baird (1963), Toril Goksøyr (1970) & Camilla Martens (1969), Matias Faldbakken (1973), Marte Aas (1966), Ivan Galuzin (1979) og Knut Åsdam (1968).
Kurator Kari J. Brandtzæg (1966) er PhD kandidat i kunsthistorie ved Universitetet i Oslo med en avhandling om Henrik Sørensen og tendenskunsten i et transnasjonalt perspektiv. En sosial avantgarde? Hun har kuratert en rekke utstillinger i inn og utland, blant annet Kyss frosken! Forvandlingens kunst for Nasjonalmuseet på Tullinløkka i 2005.
Katalogen Krigens skyggePolitisk kunst i Norge 1914–2014 er utgitt på forlaget Teknisk Industri. Boken inkluderer verkdokumentasjon av kunstnere, samt tre nyskrevne artikler av Espen Hammer, Hubert van den Berg og Kari J. Brandtzæg.

Takk til Statens Museum for Kunst i København, Malmø Konstmuseum, Trondheim Kunstmuseum, KODE (Bergen), Rogaland Kunstmuseum, Holmsbu Billedgalleri (Drammens Museum), Nasjonalmuseet for kunst, arkitektur og design, Munchmuseet (Stenersen-samlingen), Arbeiderpartiet, Dagbladet/Berner gruppen, Standard (Oslo), private samlere og kunstnerne selv for lån av verk.
 Takk til KORO ved kunstprosjekter i offentlige uterom, URO
, for støtte til realiseringen av den mobile installasjonen Egress av Knut Åsdam.

En spesiell takk til Sven Oluf Sørensen for hans engasjement i utstillingen og støtte til teknisk konservering av verket Ærens mark (1931) av Henrik Sørensen.

Utstillingen er støttet av Fritt Ord, Norsk Kulturråd og Billedkunstnernes Hjelpefond.

For spørsmål, kontakt

Åpen omvisning
Hver søndag kl. 14 tilbyr vi åpen omvisning i utstillingene. Omvisningen er inkludert i inngangsbilletten og du behøver ikke forhåndsbestille.
Vi tilbyr gratis omvisninger til skoler. Utstillingen er svært relevant for skoleklasser, både innen estetiske fag, norsk og historieOmvisningene er dialogbaserte og holdes av billedkunstnere og kunsthistorikere, og gir en fordypende og aktuell innfallsvinkel. Varighet ca. 30-45 minutter. Bestill omvisning på epost til Marie Buskov,

Rethinking Social Memory (University of Oslo, Dec. 5-6)

Rethinking Social Memory (University of Oslo, Dec. 5-6)
If, as, Émile Durkheim once stated, society is memory, changes in the dominant technologies of memory necessarily impact how we conceptualize sociality as such. In this two-day conference we take a media archeological approach to the question of memory and discuss the relation between technology and social ontology.

The archive is in motion, and with it our concepts of memory. Digital networks seem to privilege the notion of a living, operative memory over a memory of storage and safekeeping. This displacement of the traditional notion of the archive and its emphasis on that which is singular, original, authentic and worthy of care, transforms the criteria of sharing and access in ways that may have dramatic implications for how we understand social memory.

For Rethinking Social Memory, the closing conference of the research project The Archive in Motion (AiM), we have invited a group of outstanding scholars from various fields to contribute to the development of a genealogy of modern and contemporary memory operations:
David M. Berry (Sussex), Ina Blom (AiM/Oslo), Michael Cuntz (Weimar/Bochum), Wolfgang Ernst (Humboldt), Matthew Fuller (Goldsmiths), Liv Hausken (AiM/Oslo), Trond Lundemo (AiM/Stockholm), Sonia Matos (Edinburgh), Jussi Parikka (Winchester), Eivind Røssaak (AiM / National Library of Norway), Tiziana Terranova (Napoli), Pasi Valiaho (Goldsmiths)

The conference will take place at the University of Oslo (Blindern campus) in the Helga Engs hus (auditorium 3). For further details about speakers and topics, see our website 

Please note: the conference is open to all interested, but participation requires registration here​. The conference fee of NOK 200 covers lunch as well as hot and cold beverages. Registration closes on November 29, or when the event is fully booked. 
Ina Blom
IFIKK Dept. of Philosophy, 
Classics, History of Art and Ideas
University of Oslo
Box 1020 Blindern
0315 Oslo, Norway

Another Review of the Nordic Avant-Garde

There is a quite extensive and positive review of The Cultural History of the Avant-Garde in the Nordic Countries 1900-1925 by Stephan Michael Schröder in the recent issue of Nordeuropaforum.



best  Tania

A Review of the Avant-Garde

The first volume of The Cultural History of the Avant-Garde in the Nordic Countries 1900-1925 has been reviewed in the latest issue of the Danish journal Kritik 


Full review in .pdf format: Download file

Utopia: The Avant-Garde, Modernism and (Im)possible Life.

David Ayers10:01am Jul 13
Utopia: The Avant-Garde, Modernism and (Im)possible Life.

Utopian hope and dystopian despair are characteristic features of Modernism and the avant-garde. Readings of the avant-garde have frequently sought to identify utopian moments coded in its works and activities as optimistic signs of a possible future social life, or as the attempt to preserve hope against the closure of an emergent dystopian present. In the fourth volume of the EAM series, European Avant-Garde and Modernism Studies, we aim to cast light on the history, theory and actuality of the utopian and dystopian strands which run through the European modernism and avant-garde from the late 19th to the 21st Century.

• how have modernism and the avant-garde responded to historical circumstance in mapping the form of possible futures for humanity?
• how have avant-garde and modernist works presented ideals of living as alternatives to the present?
• how have avant-gardists acted with or against the state to remodel human life or to resist the instrumental reduction of life by administration and industrialisation?
• how have theory and the avant-garde interacted and co-articulated each other in the projection of utopian/dystopian possibilities?
• does the avant-garde inevitably succumb to the domination of the real or do its workings achieve real or symbolic effects?
• is modernism the mirror of the modern or its utopian antithesis?

We invite proposals for contributions of about 6000 words relevant to these themes, in English, French or German. The outline proposal should consist of one page of no more than 700 words. It should also include the name of the contributor, institutional affiliation, biography (max. 200 words) and a list of no more than ten recent and relevant publications. Proposals by non-members of EAM and by Ph.D. students will be considered. 

Proposals will NOT be accepted after August 29, 2014.

Please send proposals to

Special offer on Karen Kurczynski's book on Asger Jorn

Dear Members of the Nordic Network of Avant-Garde Studies,

Please find attached a flyer announcing Karen Kurczynski’s book on Asger Jorn. The publishers at Ashgate have kindly offered a special deal to members of the network: 

Members of the network can order the book with a 20 % discount, see the code below.

I think it is probably the best book about Jorn published yet.

Best wishes


Download file

Last call; Art in transfer. Curatorial Practices and Transnational Strategies in the Era of Pop

Dear Colleagues,   

Please note the upcoming deadline for proposals to the conference; 

Art in transfer. Curatorial Practicesand Transnational Strategies in the Era of Pop. 
CONFERENCE 6-8th November 2014, arr. by Södertörn University, CBEES, Terra Art Foundation. 

Conference sites; Södertörn University and Moderna Museet.



Annika Öhrner 

A Valentine to Gertrude Stein: Copenhagen Conference in May 2014

Click to view poster

CfP - Modernism Now! BAMS International Conference

26–28 June 2014

Institute of English Studies, Senate House, London

Call For Papers

Keynote Speakers:
Tyrus Miller (University of California, Santa Cruz)

Jacqueline Rose (Queen Mary, London)

Modernism Now! is a three-day international, interdisciplinary conference organised by the British Association for Modernist Studies, designed to explore ‘modernism’ today. The conference thus aims to discuss not only the past achievements of modernism but also to consider its possible futures. In Modernism and Theory, Neil Levi has recently suggested that in thinking about modernism we consider ‘the idea of a contemporary perpetuation of artistic modernism’ and that we see ‘modernist works as events whose implications demand continued investigation.’

Modernism Now! will explore these issues in two distinct ways:

  •  The conference aims to represent and reflect on the diversity of modernist studies today, and calls for papers assessing modernist writers, artists, texts and performances from a variety of disciplinary backgrounds, methodological standpoints, and theoretical perspectives.
  •  Modernism Now! also wishes to explore the ongoing use of ‘modernism’ as a cultural, philosophical, and artistic category, analysing how and where modernism functions as a continuing aesthetic in the twenty-first century, across multiple disciplines, geographies, and traditions.

Topics might include (but are not restricted to):

  • The idea of a contemporary modernism
  • Modernist futures and legacies
  • Past and previous modernisms
  • Modernism as a continuing event
  • Current debates in world literature and global modernist studies that stretch the historical/geographical framework of modernism
  • The ‘nowness’ (Jetztzeit) of modernism; the new and the now
  • Assessments of individual writers, artists, performers, texts, works of art that explore their status and relevance today
  • Historical assessments of the term ‘modernism’
  • New trends in modernist studies e.g. periodical studies
  • Anachronism
  • Disciplinary borders and boundaries around modernism today
  • ‘Early’ and ‘late’ modernisms; periodising modernism
  • Current theorisations of modernism as a social/cultural/philosophical/political category
  • How modernism informs the practice of contemporary artists/writers/performers
  • Modernism and the tradition of the avant-garde
  • Singular and plural modernism(s)

Proposals are welcomed for 20min papers, panels of 3-4 speakers, and focused round-tables on particular topics. Proposals should be no longer than 250 words per individual paper and should include a short biography for each speaker, including contact details.

Delegates must be members of BAMS in order to register. To become a member, go to

Proposals should be emailed to by January 31st 2014.

Conference Organising Committee
Dr Suzanne Hobson (Queen Mary, University of London)
Chris Mourant (King’s College London)
Dr Cathryn Setz (University of Oxford)
Professor Andrew Thacker (Nottingham Trent University)

Avantgardenetværkets kalender


 7-8 October 2010, University of Tampere, Finland

Keynote speakers of the conference include: *Kevin Hart* (Edwin B. Kyle Professor of Christian Studies, University of Virginia) and *Shira Wolosky* (Professor of American Studies and English Literature, The Hebrew University of Jerusalem)

In the wake of the “immanent turns” in philosophy and cultural studies in the 1970s and 1980s transcendence was deemed a relic and a hierarchical concept that established false authority and even spiritual tyranny. In recent years thinkers in diverse fields have turned to transcendence again: not in order to rehabilitate but to rearticulate ‘transcendence’ as a concept for epistemological, literary and aesthetic criticism. It seems that philosophies of all-inclusive immanence repeat the same hegemonic mistakes for which thinkers of transcendence were previously criticised. Hence immanence needs to be radically revised and cracked open—not in order to establish other worlds or any deeper realities with their paramount Others, but so as to reveal ontological and epistemological blind spots unattainable by means of ordinary language and thought.


EAM - High and Low

The next EAM conference High and Low will be held at Adam Mickiewicz University, Poznan in Poland from 9-11 September 2010. Visit the conference website


Organisé par l’université de Rennes 2 Haute Bretagne en collaboration avec l’université de Paris I – Panthéon-Sorbonne

À Rennes, les 18, 19 et 20 mars 2010

Le livre d’artiste est une forme récente de la création où l’artiste utilise le support du livre pour produire une œuvre à part entière. Sous l’apparence inoffensive d’un livre ordinaire, souvent modeste, il cherche à intervenir dans le champ des idées et des concepts plutôt qu’à exhiber le raffinement de sa forme graphique et éditoriale.