The fifth EAM congress invites scholars to consider the coupling of the notions of quest and investigation in works of art or movements of the avant-garde or neo-avant-garde, or of the various forms of modernism, even though modernism and the avant-garde seem often to have been constructed in opposition to the spiritual or scientific heritage suggested by these two terms. The notion of quest suggests a metaphysical beyond informed by mysticism, implying the absence of an end or of a conclusion, whereas the notion of investigation implies a totally rational conception of reality and a process likely to bring a definite result and reach a conclusion. Coupling the two notions, quest/investigation, is therefore an invitation to overcome an initial paradox: the endlessness of the quest as opposed to the fixed scope of the investigation. The co-articulation of the two notions may shed some light on marginal or neglected works. It may also question the dialectical relationship between modern and anti-modern, between avant-garde and rear-guard, between insistent innovations and archaisms, acknowledged or disguised.
Whether dialectical or dynamic, the approach we suggest applies to all the fields or domains of research in the Arts, literature, aesthetics, cinema, photography, drama, T.V. or digital media, architecture, music, design...
As a guide to researchers, we suggest four possible approaches:
1 A genetic approach: this would deal with the process of creation itself as quest or investigation (artistic protocols, the work as investigation, models or projects designed as research, studies, excavations, exploration, etc.)
2 A formal approach: to identify the motifs, terms, or forms of the quest or investigation in works of art, fiction and/or documentary (e.g: works of mystical inspiration, the reintroduction of the sacred; or the schematic models for a project, the presence of user manuals, guidelines, etc.)
3 An approach in terms of reception: the place or the role of the spectator or reader confronted by an open/closed work, the state of completion or incompletion of the work (is the finitude or completeness of the work put into question by new technologies? do these technologies enable a new appropriation of the work?)
4 An epistemological or meta-discursive approach: dealing with historiography and historicity, new modes of research, new technologies (restoration of paintings, collaborative creations, databases, etc.). This approach considers the way in which the quest/investigation of the researcher and the artistic quest or investigation itself mutually inform or act on each other.
The submissions should explicitly mention which of the four approaches is primarily involved.
The scientific committee invites proposals for panels of three or four speakers, or for double panels of up to eight speakers. Individual proposals are also accepted. Panels may not consist only of graduate students. All submissions must contain a title (for each paper and for the panel), a 300-word abstract (of the individual paper or of all the papers of the proposed panel), the name and qualifications of the author(s), the language in which the paper(s) will be read (English, French, German, Spanish). Proposals must be submitted in a Word, Times New Roman 12 format (no PDF) before September 1, 2015 to the following address:
Answers will be sent by October 15th 2015.
Appel à communications pour le 5e Congrès bi-annuel d’EAM (European Network for Avant-Garde and Modernism Studies), Université Rennes 2, France, 1-2-3 juin 2016
Ce 5e congrès de l’EAM (European Network for Avant-Garde and ModernismStudies) invite à penser l’association du couple quête/enquête dans les œuvres ou mouvements se réclamant d'une « avant-garde » et des diverses formes de modernisme. Ces dernières semblent pourtant s’être construites en rupture avec les héritages spiritualistes ou bien scientistes évoqués par les deux notions proposées. Si la quête renvoie à l’idée d’un arrière plan ou d’un arrière monde tendu de mystique et impliquant l’absence de terme ou de conclusion, l’enquête en revanche pose d’emblée la conception d’une réalité entièrement rationnelle et d’une démarche susceptible d’aboutir à un résultat précis et concluant. Ce couple, quête et enquête, invite donc à dépasser un paradoxe initial. Il est problématique : la quête suppose une durée sans terme, l’enquête un temps fini. Pourtant, il se pourrait que l’articulation entre quête et enquête puisse permettre aussi bien de mettre en lumière des œuvres complexes, marginales ou négligées, que de poser le problème fondamental de la dialectique entre moderne et anti-moderne, entre avant et arrière garde, entre les novations affirmées et les archaïsmes dissimulés ou au contraire revendiqués.
La démarche dialectique ou dynamique que nous proposons intéresse tous les champs ou domaines de recherche en art, littérature, esthétique, cinéma, photographie, théâtre, médias télévisuels ou numériques, architecture, musique, design…
Afin de permettre aux chercheurs qui répondront à cet appel de mieux cerner les registres ou démarches possibles, nous leur proposons quatre entrées :
1. Une approche génétique : elle s’intéressera aux processus de création (les protocoles, les expérimentations, les investigations, les maquettes ou projets conçus comme recherche, étude, fouille, exploration, etc.)
2. Une approche formelle : quels sont les motifs, termes, formes de la quête et de l’enquête dans les œuvres, de fiction et/ou documentaires (ex. : Les œuvres d’inspiration mystiques, la réintroduction du sacré, ou bien les maquettes d’un projet, la présence dans l’œuvre de modes d’emploi, d’instructions, etc.)
3. Une approche en termes de réception : quels sont la place ou le rôle du lecteur ou spectateur face à l’œuvre close/ouverte, les modalités de son achèvement ou son inachèvement (est-ce que la finitude ou la finition de l’œuvre sont remis en question par les nouvelles technologies ? comment elles permettent des réappropriation d’œuvres, etc.)
4. Une approche méta-discursive ou épistémologique : elle s’intéressera à l’historiographie et l’historicité, aux nouvelles modalités de la recherche, aux nouvelles technologies (restauration de tableaux, créations collaboratives, bases de données, etc.), envisagera quête et enquête comme modalités de réflexion sur la quête et l’enquête elles-mêmes, circulairement.
Les organisateurs du Congrès souhaitent vivement que les propositions qui leur seront envoyées indiquent explicitement dans lequel de ces 4 Entrées elles se positionnent prioritairement.
Le comité scientifique attend des propositions de panels comportant au plus 3 à 4 participants, mais l’on pourra proposer des doubles panels (8 participants au maximum). Il examinera aussi les propositions individuelles. Il n’est pas souhaitable de proposer des panels exclusivement composés de doctorants. Toutes les propositions devront comporter un titre (pour l’ensemble du panel et chacune des communications), un abstract (300 mots maximum, pour chacune des interventions ou pour le panel dans son ensemble), les noms et qualités des intervenants, et signaler la langue utilisée lors du congrès (anglais, allemand, français, espagnol). Les propositions devront parvenir sous format Word, en Times new roman 12 (pas de PDF) avant le 1er septembre 2015 à l’adresse suivante :
Les réponses parviendront avant le 1er octobre 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.
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.
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 August 10, 2015. Abstracts should be sent to email@example.com. 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, firstname.lastname@example.org
Camilla Skovbjerg Paldam, Aarhus University, email@example.com
Laura Luise Schultz, University of Copenhagen, firstname.lastname@example.org
Tania Ørum, University of Copenhagen, email@example.com
And the conference secretary Marianne Ølholm, firstname.lastname@example.org
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.
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.
Full review in .pdf format: Download file
David Ayers 10:01am Jul 13Utopia: 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 .
Please send proposals to email@example.com
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.
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.
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.