Archives de catégorie : Journée d’études

Colloque « QUELLE PLACE POUR LES AUTRES ARTS ? » le 28 janvier à La Maison des Métallos

Lien: http://www.maisondesmetallos.paris/2016/12/15/quelles-place-pour-les-autres-arts

QUELLE PLACE POUR LES AUTRES ARTS ?

 

COLLOQUE

À l’initiative de Bintou Dembélé

© Marco Castro

 

Une autre histoire des arts est-elle possible ? Une histoire alternative à celle officielle et enseignée? Cette journée vise à mettre en lumière des arts de résistance(s), souvent qualifiés de « sous-culture » ou d’« arts populaires » considérés comme mineurs. Il s’agira à la fois de réfléchir aux trajectoires historiques singulières de ces arts, aux dialogues possibles entre eux et à leurs devenirs, entre « invisibilisation », institutionnalisation et recherche d’autonomie. Ces questions soulèvent également celle de l’assignation d’artistes à des statuts subalternes.

 

La journée a été conçue par Bintou Dembélé, chorégraphe et danseuse hip hop au sein de la compagnie Rualité – elle a présenté récemment S/T/R/A/T/E/S – Quartet aux Métallos – avec l’aide d’Amélie Le Renard, sociologue au Cnrs.

 

  • 10h → Accueil et introduction

    10h30 → Table ronde
    Des trajectoires historiques complexes, des histoires invisibilisées ?
    Comment les artistes construisent-ils / elles leur propre mémoire des arts et affirment des généalogies alternatives ?
    avec Bintou Dembélé, chorégraphe, Yure Romão, musicien, compositeur, comédien et auteur, membre du collectif Makasa, Leïla Cukierman, ancienne directrice de théâtre à la retraite, Elsa Wolliaston, chorégraphe, Isaac Lartey, capoeiriste
    modérée par Amélie Le Renard, sociologue

     

    12h30 → Performance
    Futur oublié, Eli et Silex

    Ce duo de slam et basse raconte des histoires d’individuEs, d’intimités, de luttes, d’identités et de parcours. La parole scandée dit à la fois les urgences et la nécessaire tendresse, liée à l’acte de se construire.

     

    13h → Déjeuner commun (sur réservation)

     

    14h30 → Table ronde
    Entre invisibilité, institutionnalisation et recherche d’autonomie

    Comment les artistes développent-ils / elles leurs espaces d’expression ? Quelles trajectoires et quelles économies pour leurs productions ?
    avec Eli de Futur oublié, Keïra Maameri, réalisatrice de documentaires, Jean-Baptiste Phou, comédien, dramaturge, metteur en scène et chanteur, Philippe Mourrat, directeur de la Maison des métallos
    modérée par Bintou Dembélé, chorégraphe

     

    17h → Projection-rencontre
    Nos plumes, documentaire de Keïra Maameri

    Nos plumes est un film sur une littérature contemporaine. On la dit urbaine pour définir sa modernité, sa langue traficotée à partir d’une oralité née dans les banlieues. La projection est suivie d’une rencontre avec la réalisatrice et Faïza Guène, romancière.

Colloque des ARCL (Archives Recherches Cultures Lesbiennes) à Paris le 21 et 22 octobre sur le thème: « Mémoires et transmission des archives lesbiennes et féministes »

Objectifs de ce colloque

Le collectif des ARCL s’interroge aujourd’hui sur la manière de transmettre la mémoire des luttes lesbiennes et féministes et se soucie de faire connaître la richesse de son fond. Cette réflexion ouvre une série de questions, notamment celle du lieu de conservation et de documentation ainsi que de l’accessibilité de ces ressources, enjeux indispensables dans le processus de valorisation de la recherche et de la diffusion des mémoires. Le besoin de diffusion et d’accessibilité conduit également à repenser les politiques d’archivage au vue de la diversité du fonds (archives d’associations, de mouvements, affiches, vidéos, essais…) et à l’intégration des nouvelles technologies (numérisation, création d’une plateforme numérique, archivages des productions électroniques…) qui permettrait de dynamiser la recherche autant universitaire que militante et autodidacte, élargir la portée des ressources et attirer un public habitué à ces nouvelles formes de communication.

La situation politique actuelle et l’importance des changement technologiques nous amènent donc  à nous interroger ensemble sur le recensement des lieux où se trouvent les fonds lesbiens, leur visibilité et valorisation, leur interaction avec d’autres fonds et leur accessibilité. Les intervenantes et animatrices  sont invitées à parler de leur expérience, soit en tant que productrices d’archives, soit en tant qu’utilisatrices ou conservatrices de ces fonds.

Les conférences, ateliers, animations, table-ronde se veulent être des espaces d’information tout public et d’échanges, des espaces de rencontre entre des expériences professionnelles et militantes. Nous souhaitons qu’ils aboutissent à la mise en place de projets collectifs.

Parmi les interventions, Nicole Fernandez Ferrer du Centre Audiovisuel Simone de Beauvoir participera à la conférence plénière le 21 octobre avec Christine Bard, présidente d’Archives du Féminisme pour un débat de 21h à 22h sur le thème « Les Archives et les fonds lesbiens en France ».

Pour le programme complet: http://archiveslesbiennes.wixsite.com/colloque2016/programme

« Now You Can Go seminar » sur l’art féministe et les héritages italiens – le 12 décembre à Londres, en présence notamment de Giovanna Zapperi, Fulvia Carnevale, Francesco Ventrella, Helena Reckitt

Now You Can Go Seminar

A number of Bursary tickets are available for those unable to pay. These are limited to two events per person, so please list your preference in order. Bursary tickets are issued on a first-come, first-served basis. To apply email: va301dg@gold.ac.uk

Day-and-evening-long seminar exploring feminist art, thinking and activism, especially in relation to legacies of Italian feminisms.
11.30am Registration and Introduction by curator Helena Reckitt

12pm-1.30pm
Don’t Think You Have Any Rights: The Challenges of Italian Feminisms
Talks by Fulvia Carnevale of Claire Fontaine; art theorist Marina Vishmidt (by Skype), and art theorist and Carla Lonzi specialist Giovanna Zapperi.

2.30pm – 4.00pm
The Challenges of Italian Feminisms Panel Discussion: keynote speakers Fulvia Carnevale of Claire Fontaine and Giovanna Zapperi are joined in discussion by artist Zach Blas and feminist legal theorist Maria Drakopoulou. Chaired by art historian Francesco Ventrella. Including a screening of Alex Martinis Roe’s film A story from Circolo della rosa, 2014, about the Milan Women’s Bookstore Collective.

 

4.30pm – 6pm
In or Out?: On Leaving the Art World and Other Systems, Part 1
First in two-part series of brief presentations on tactics and politics of refusal, withdrawal, and exit. Artist Carla Cruz; artist Andrea Francke; and pedestrian and environmental activist Caroline Russell. Chaired by art historian Catherine Grant.

 

7pm – 8.30pm
In or Out?: On Leaving the Art World and Other Systems, Part 2
Second in two-part series of brief presentations on tactics and politics of refusal, withdrawal, and exit by curator and archivist Karen Di Franco; artist Karolin Meunier; artist Raju Rage; and Utopia Arts Artistic Director Frances Rifkin. Chaired by writer and curator Gabrielle Moser.

 

‘In or Out? On Leaving the Artworld and Other Systems’ is supported by the Women’s Art Library at Goldsmiths, University of London
Gabrielle Moser’s participation is supported by the Canada Council for the Arts.


8.30pm – 9.30pm
A Feminist Chorus for Feminist Revolt
A spoken distillation of the monthly discussions and readings of Italian feminist texts made by the Feminist Duration Reading Group, and gathered into a score by Lucy Reynolds.

 

This is part of Now You Can Go, a programme of events considering feminist thinking, art and activism, taking place across The Showroom, the ICA, Space Studios and Raven Row (1–13 December 2015).

 

Childcare
Childcare is available for daytime events on 12 and 13 December for children between 6 months and 5 years, organised onsite by Little Kunst. Child minders are trusted by the organisers and DBS certified. Children and their minders will remain on site for the duration of the programme. Places must be reserved by December 1 at the latest. Recommended donation £5 or pay what you can. Please email: littlekunst@gmail.com.

 

http://theshowroom.staging.withassociates.com/events/now-you-can-go

http://nowyoucango.tumblr.com/

Appel à communications et contributions visuelles: « Visualità e (anti) razzismo / Visuality and (anti) racism » (InteRGRace, Université de Padoue)

Lien: http://www.intergrace.it/?page_id=420

Keynote speakers

Monica Moreno Figueroa – University of Cambridge

Anna Scacchi – University of Padova

The second symposium of InteRGRace – Interdisciplinary/Intersectional Research Group on Race and Racisms (FISPPA, University of Padua) focuses on the relationship between visuality and ‘race’, visibility and (anti)racism: it intends to explore the importance of visualisation e of counter-visuality (Mirzoeff 2011) both in the practices that constitute, assign and incorporate race and whiteness, and in those by racialized subjects resisting the hegemonic and racist aesthetic codes.

Leading from what Shawn Michelle Smith has said about the relationship between Visual Studies and Critical Race Studies, the symposium aims to think about ‘race’ as a visual cultural dynamics: not as the object of the gaze, but as the subjective status generated by the performance of the same gaze. In this sense, race and gaze correspond to those social and cultural dynamics which produce both the objects of a racialized vision and the subject of such a vision.

The symposium will maintain Italy at the core of its reflections, but this geographical focus will be positioned in the context of the transnational trajectories in which the materials that substantiate the (visual) regimes that produce and signify race are built.

The angle will thus be that of a reading of the historical, social and cultural specificity of the Italian case, keeping an eye on the common dynamics and on the geographical and historical fractures around the discourse of race.

Following an intersectional perspective that positions the gaze, the subject that sees, the one assigned with race, and the one who embodies and/or resist it, along gender, class, colour and sexuality lines, the symposium aims to encourage a multifaceted and interdisciplinary approach, able to understand genealogies, meanings and material consequences of racialised visual codings. Historically, the ‘regimes of truth’ (see Judith Butler 1993) representing the colonial Self and its Others, where the latter corespond to the monstrous, were established through visuality and the repetition of models of visual representations in which ‘what you see corresponds to the truth’ (see for example the studies for the Pacific and India by Tracy Banivanua Mar and Radhika Mohanram respectively, and Sòrgoni for the translation in Italy of the image of the Hottentot Venus).

At the beginning of the twentieth century African-American intellectual W.E.B. Du Bois critically explored the link between the gaze that disciplines and naturalises monstrosity and double consciousness. Fifty years later Franz Fanon devoted to the issue one of the most important chapters of his Black skin, white masks (1952).

Soon after, the emancipatory and anticolonial movements of the second half of the twentieth century focused on the issue of visibility as an instrument of opposition to a cultural hegemony which assigns inferiorising meanings to a certain ‘appearance’. Twenty years later, from the late Eighties, Fanon’s reflections on the visual construction ‘of the black man’ [the fact of blackness] are taken up by black and postcolonial feminists: their critique goes on to examine the many orientalisms present in colonial aesthetics and white hegemony.

Since then a variety of racialized representations coded in imperial drawings and paintings, ‘ethnographic’ photographs, cinema, advertising, sport and fashion magazines, all become research materials (see for example the work of Stuart Hall, Shirley Tate, Monica Moreno Figueroa, Diana Poole, James R. Ryan and, with regards to Italy, the work, among others, by InteRGRace, Liliana Ellena, Anna Scacchi, and Leonardo de Franceschi).

Today the relationship between visuality, visibility and race is at the centre of many of the reflections of black and postcolonial feminists, engaged in both a close analysis of (racialised) cultural hegemony, and its counter- (aesthetic/visual) discourse (see the significant academic production within the field of Beauty Studies, popular especially in the United States and United Kingdom, but with important examples also in Australia and Asia. For Italy see, for example, the work of Annalisa Frisina).

The legacy of these studies – in terms of approaches and methods – will guide us in mapping the relationship between visuality, visibility and the intersectional constructions of race and whiteness. This mapping will bring together all disciplinary fields, in the Humanities, Social Sciences and so-called hard sciences.

The common approach will be that of leading from an idea of race as a social construction and sematic field which is never foreclosed once and for all, resulting from the sedimentation over time of racialized images and imaginations both locally and transnationally.

***

The symposium opens the second and third sessions – out of the four that form it – to external contributions.

The second section (21 January afternoon) will be built through a call for papers. The selected papers, which can be presented either in English or in Italian, will compose one or two consecutive panels, for a total number of 6-8 papers of 15 minutes each plus discussion.

The third section (22 January morning) will be built through a call for visual contributions in Italian and English carried out by artist and scholar activists. The productions can be either in the field of visual arts or of performative arts.

Abstract – of a maximum length of 200 words preferably in Italian or English – need to be submitted to intergraceitaly@gmail.com by 15/11/2015.

—–

Relazioni plenarie

Monica Moreno Figueroa – Università di Cambridge

Anna Scacchi – Università di Padova

Il secondo simposio di InteRGRace – Interdisciplinary/Intersectional research group on Race and Racisms (FISPPA, Università di Padova) si concentra sul rapporto tra visualità e ‘razza’, visibilità e (anti)razzismo: esso si propone di esplorare l’importanza della visualizzazione e della controvisualità (Mirzoeff 2011) nelle pratiche sia di costituzione, assegnazione ed incorporamento della ‘razza’ e della bianchezza,sia di resistenza ai codici estetici egemonici e razzisti da parte dei soggetti razzializzati.

Partendo da ciò che ha affermato Shawn Michelle Smith a proposito del rapporto tra Visual Studies e Critical Race Studies, il simposio vuole pensare alla ‘razza’ come visual cultural dynamics: non come l’oggetto dello‘sguardo’, ma come status soggettivo generato dalla performance di quello stesso sguardo. In tal senso, ‘razza’ e sguardo corrispondono a quelle dinamiche sociali e culturali che producono sia gli oggetti di una visione razzializzata sia i soggetti di tale visione.

Pur restando, l’Italia, al centro delle riflessioni, quest’ultima verrà collocata nell’orizzonte delle traiettorie transnazionali in cui vengono costituiti i materiali che sostanziano i regimi (visuali) che producono e significano la ‘razza’.

La prospettiva sarà dunque quella di una lettura della specificità storica, sociale e culturale italiana con uno sguardo a dinamiche comuni e alle fratture storiche e geografiche del discorso sulla ‘razza’.

Muovendoci nel solco di una prospettiva intersezionale che posiziona il genere, la classe, il colore e la sessualità di chi parla la ‘razza’ e di chi è detto/a incarnarla, il simposio vuole stimolare uno sguardo multiprospettico ed interdisciplinare, in grado di cogliere genealogie, significati e effetti materiali dello sguardo.

Storicamente, è mediante la visualità e la reiterazione di modelli di rappresentazioni visive in cui ‘ciò che si vede corrisponde al vero’, che sono stati costruiti quei ‘regimi di verità’ (si veda Judith Butler 1993) che hanno diviso il mondo coloniale nelle due sfere del Sé e degli Altri e assegnato al secondo lo status del mostruoso (si vedano, ad esempio, gli studi per il Pacifico e l’India rispettivamente di Tracy Banivanua Mar e Radhika Mohanram e Sòrgoni per la traduzione in Italia dell’immagine della Venere ottentotta).

All’inizio del Ventesimo secolo fu l’intellettuale afroamericano W.E.B. Du Bois ad esplorare criticamente la connessione tra sguardo che disciplina e naturalizza, mostruosità e doppia coscienza, questione a cui Frantz Fanon, cinquant’anni dopo, dedicherà uno dei capitoli più significativi del suo Pelle nera, maschere bianche (1952). Poco più tardi, saranno i movimenti emancipazionisti e anticoloniali della seconda metà del Ventesimo secolo a porre al centro la questione della visibilità come strumento di contrasto all’egemonia culturale che assegna significati inferiorizzanti ad una determinata ‘apparenza’. Vent’anni dopo, a partire dalla fine degli anni Ottanta, sarà il recupero della riflessione fanoniana sulla costruzione (anche) visuale ‘dell’uomo nero’ [the fact of blackness] a stimolare l’esame dell’orientalismo all’interno dell’estetica coloniale e dell’egemonia bianca da parte della critica femminista nera e postcoloniale.

Materiali di ricerca sono allora divenute le rappresentazioni razzializzate nei disegni e nei dipinti imperiali, nelle fotografie ‘etnografiche’ così come nel cinema, nell’industria pubblicitaria e nelle immagini di copertina di giornali sportivi e riviste di moda (si vedano, ad esempio, i lavori di Stuart Hall, Shirley Tate, Monica Moreno Figueroa, Diana Poole, James R. Ryan e, per l’Italia, i lavori, tra gli altri, di InteRGRace e di Liliana Ellena, Anna Scacchi e Leonardo de Franceschi).

Oggi il rapporto tra visualità, visibilità e ‘razza’ è al centro di molta riflessione del femminismo postcoloniale e nero, impegnato nella decostruzione del pensiero egemonico da un lato, e nel fare emergere l’agency femminile nella costruzione di codici estetici differenti (si veda la cospicua produzione accademica all’interno dei Beauty Studies, diffusi soprattutto negli Stati Uniti e in Gran Bretagna, ma con importanti esempi anche in Australia e in Asia. Per l’Italia si veda, ad esempio, il lavoro di Annalisa Frisina).

Il lascito di questi studi – in termini di approcci e metodi – ci guiderà in una mappatura della relazione tra visualità, visibilità e costruzioni intersezionali della ‘razza’ e della bianchezza in grado di far dialogare tutti gli ambiti disciplinari, sia all’interno delle scienze umane, sia delle scienze sociali e delle cosiddette scienze dure.

La prospettiva comune sarà quella che parte da un’idea della ‘razza’ come costruzione sociale e come campo semantico mai conchiuso una volta per tutte, risultato della sedimentazione nel tempo di immagini e immaginari razziali locali e transnazionali.

***

Il simposio apre la seconda e la terza – delle 4 di cui si compone – a contributi esterni.

La seconda sezione (pomeriggio del 21 gennaio) verrà costruita mediante call for papers. I papers selezionati, che possono essere presentati sia in inglese sia in italiano, andranno a comporre 1 o 2panel consecutivi per un numero complessivo di 6-8 papers di 15 minuti ciascuno e discussione.

La terza sezione (mattina del 22 gennaio) verrà costruita attraverso la call for visual contributions in italiano e in inglese realizzati da artisti e ricercatori attivisti. Le produzioni potranno essere sia nell’ambito delle arti visuali sia in quello delle arti performative.

Termine per l’invio all’indirizzo intergraceitaly@gmail.com degli abstract preferibilmente in italiano o in inglese, di massimo 1500 caratteri spazi inclusi: 15/11/2015.

Journée d’études « Genre et images dans le monde ibéro-latino-américain » le 10 octobre (Paris)

genre-et-images

 

 

Journée d’études coordonnée par Alberto Da Silva (MC Paris-Sorbonne CRIMIC), avec Mercedes Alvarez San Román, David Jurado etFrancisco Montaña (doctorants Paris-Sorbonne CRITIC), en collaboration avec Daniela Novelli (Post-doctorante de l’Instituto de Estudos de Gênero – UFSC) et Bernadete Brasiliense (Doctorante en sociologie à l’Université de Brasília).

Télécharger programme

Télécharger l’appel à communication

 

Programme

 

9h00 – Ouverture de la journée par Nancy Berthier (Paris Sorbonne – Paris IV)

9h15 – 10h45 – Conférence inaugurale de Geneviève Sellier (Université Michel de Montaigne Bordeaux 3) – présentée par Alberto da Silva (Paris Sorbonne – Paris IV)

 

11h00 – Table Genre et Identités sexuelles, modérée par Nancy Berthier (Paris Sorbonne – Paris IV)

Véronique Pugibet (Paris Sorbonne – Paris IV) – « Identité et genre: Morir de pie et Pelo malo »

Fernando Curopos (Paris Sorbonne – Paris IV) – « Les portugays Belle-Époque : de la ‘panela’ au ‘paneleiro’ »

Geoffroy Huard (Université du Havre) – « Genres et représentations des “invertis” à Barcelone sous Franco »

 

 

14h00 – Table Genre et corps, modérée par Maria Araújo (Paris Sorbonne – Paris IV)

Daniela Novelli (Instituto de Estudos de Gênero – UFSC/ Brésil) – « Le Brésil brûlant de Vogue Paris »

David Castaner (Paris Sorbonne – Paris IV) – « Entre Yemaya et Ochun, quelles images pour les corps des femmes afrocubaines? »

Mercedes Alvarez San Román (Paris Sorbonne – Paris IV / Universidad de Oviedo) – «Cybercorps de l’animation espagnole : la construction du genre»

Bernadete Brasiliense (Universidade de Brasília / Brésil) – « O olhar masculino existe ? Uma comparação entre o cinema francês e brasileiro »

 

 

16h05 – Table Genre, médias et industries culturelles, modérée parJulie Amiot-Guillouet (Paris Sorbonne – Paris IV)

David Jurado (Paris Sorbonne – Paris IV) – « Le cinéma à l’épreuve du militantisme féminin. Les Mères de la Place de Mai et le « star system » »

Raylane Navarro (Universidade Tiradentes – Brésil) – « O bem e o mal emMalévola »

Évelyne Coutel  (Paris Sorbonne – Paris IV) – « Bujarras, maricones etmujeres sexuales : un regard sur la question du genre dans la série télévisée espagnole Aída (2005-2014) »

 

 

20h – Le LUSOFOLIE’S – 57, avenue Daumesnil – 75012 Paris

Présentation de l’ouvrage collectif Kaléidoscopes : au croisement entre images, genres, éducations et histoires  (En présence des coordinateurs : Alberto da Silva, Fabrícia Teixeira Borges et Raylane Andreza Dias Navarro Barreto)

Projection de courts-métrages

Da Janela Réalisation : Giovana Zimermann et Sebastião Braga Scénario : Giovana Zimermann Pays : Brésil Durée: 15 min. Technique : Animation Langue originale : portugais, sous-titres en français

The Day I Killed My Best Friend (2012) Réalisation : Antonio Jesús Busto Scénario : Antonio Jesús Busto et Blanca Font Pays : Royaume Uni Durée : 6:10 min Technique : Animation Langue originale : anglais, sous-titres en espagnol

Minerita (2013) Réalisation et scénario: Raúl de la Fuente Pays : Espagne Durée : 27 min Genre : Documentaire Langue originale : espagnol, sous-titres en français

Guida (2014) Réalisation : Rosana Urbes Scénario : Rosana Urbes, Thiago Minamisawa, Bruno H. Castro Pays : Brésil Durée : 11:20 min Technique : Animation Langue originale : portugais, sous-titres en français

 

 

Maison de la recherche de Paris-Sorbonne, salle 035

28 rue Serpente

75 006 Paris

Colloque international: « Se réorienter dans la pensée : femmes, philosophie et arts, autour de Michèle Le Dœuff » – 18 et 19 septembre à Paris

Qu’est-ce que « se réorienter dans la pensée », se demande Michèle Le Doeuff dans L’Étude et le Rouet ? C’est « s’apercevoir qu’on est en train de se promener quelque part avec une carte qui n’est pas la bonne parce qu’on n’a pas pris en compte où l’on était ». Si s’orienter suppose un principe subjectif pratique et universalisable (distinguer sa droite et sa gauche afin de se situer dans l’espace), se réorienter implique à la fois une intention et une décision plus fondamentales afin, par le trajet fixé, de faire surgir l’espace de référence que l’on se donne. L’Étude et le Rouet est le récit d’un tel geste, à savoir reconnaître qu’en dépréciant les femmes, en les condamnant à n’être qu’un simple objet de réflexion, voire en les excluant, la philosophie « échoue à tenir sa promesse fondamentale de constituer une rationalité-en-commun ». Or s’être malgré tout voulue philosophe, plus encore, avoir fait de cette position marginale l’un des principaux objets de sa pensée, telle fut la réorientation décisive entreprise par Michèle Le Dœuff. À l’heure où la réflexion sur la sexualité et le genre se trouve parasitée par les polémiques nées lors des débats sur le « Mariage pour tous », il est essentiel de revenir sur certaines des étapes qui ont scandé l’histoire de la pensée féministe en France ces trente dernières années. L’œuvre de Michèle Le Dœuff constitue l’une de ces étapes. Son réexamen s’inscrit dans la possible généalogie d’une voie française vers les études sur les sexualités et le genre : une voie française issue des cadres de pensée (la philosophie) et des institutions (l’ENS de Fontenay) les plus traditionnels, mais qui a ensuite emprunté quelques chemins de traverse, hors université et outre-atlantique. C’est donc à s’interroger sur la singularité d’un parcours de chercheuse et sur les objets qui furent les siens que ce colloque invite, afin de participer à une histoire du féminisme à la française, en particulier de son versant philosophique, encore à construire.

 

Informations pratiques : Institut protestant de théologie, 83 Boulevard Arago, 75014 Paris.

Métro Denfert-Rochereau ou Saint-Jacques.

Entrée dans la limite des places disponibles.              

 

Colloque international et interdisciplinaire, organisé par Jean-Louis Jeannelle (Université de Rouen-IUF) et Audrey Lasserre (Université Sorbonne Nouvelle – Paris 3)

 

Vendredi 18 septembre 2015

13h30 : Accueil des participant.es

 

14h00 : Ouverture du colloque par Esteban Buch, directeur du CRAL (EHESS)

14h10 : Introduction du colloque par Jean-Louis Jeannelle (Université de Rouen-IUF) et Audrey Lasserre (Université Sorbonne Nouvelle – Paris 3, THALIM)

 

Session 1 : Le Genre des savoirs

Modération : Christine Planté (Université Lumière Lyon 2, LIRE)

14h30 : Christine Detrez (Ens de Lyon), « Les femmes peuvent-elles être de Grands Hommes ? Le Sexe du savoir, aujourd’hui »

15h00 : Thérèse Courau (Université Toulouse Jean Jaurès, IRIEC/ARPEGE), « Le Sexe du savoir : un programme pour le renouvellement de la pensée du genre en littérature »

15h30 : André Duhamel (Université de Sherbrooke), « Se réorienter dans la pensée et la pédagogie en philosophie »

16h00 : Discussion

 

16h15 : Pause

 

Session 2 : Lectures féministes

Modération : Christine Bard (Université d’Angers, GEDI, Archives du féminisme)

16h30 : Adrienne Estrada (Ens de Lyon), « “Douce lectrice et gracieux lecteur, c’est pour votre fille que j’écris” : penser l’initiation militante à travers l’expérience de lecture chez Michèle Le Dœuff »

17h00 : Audrey Lasserre (Université Sorbonne Nouvelle – Paris 3, THALIM), «  Michèle Le Dœuff  et la critique féministe »

17h30 : Discussion

 

17h45 : Pause

 

18h00-19h00 : Lecture de Léa Fagnou, dirigée par Raphaëlle Doyon (Université Paris 8)

 

 

Samedi 19 septembre 2015

9h00 : Accueil des participant.es

 

Session 3 : Chemins de traverse de la liberté

Modération : Elizabeth Claire (CNRS, EHESS, CRH/CRAL)

09h15 : Judith Still (University of Nottingham), « Des Lumières – aux droits – de l’homme : hommage à Michèle Le Dœuff »

09h45 : Eva von Redecker (New School, New York), « The Engendering of Female Philosophical Freedom »

10h15 : Pamela Anderson (Oxford University), « Reorienting ourselves in Bergsonian freedom, friendship and feminism »

10h45 : Discussion

 

11h00 : Pause

 

Session 4 : De l’écriture, de la philosophie, etc.

Modération : Audrey Lasserre (Université Sorbonne Nouvelle – Paris 3, THALIM)

11h15 : Marion Carel (EHESS, CRAL), « Dire digressif et digression dite dans l’œuvre de Michèle Le Dœuff »

11h45 : Jean-Louis Jeannelle (Université de Rouen, CÉRÉdI), « L’implication philosophique »

12h15 : Discussion

 

12h30-14h30 Déjeuner

 

Session 5 : In/différence

Modération : Nicole Mosconi  (Paris X – Nanterre)

14h30 : Thierry Hoquet (Université Jean Moulin Lyon 3, IUF), « Le cas “Leucippe” : ou comment le sexe d’état-civil oriente la lecture »

15h00 : Florence Lotterie (Université Paris Diderot Paris 7, CERILAC), « Imaginer la différence des sexes : l’apport de Michèle Le Dœuff aux études littéraires à l’âge classique sur le genre »

15h30 : Discussion

 

15h45 : Pause

 

16h00-17h30 : Table ronde « Recherches actuelles en philosophie féministe », animée par Anne Simon (CNRS, EHESS, CRAL) : Sylvia Duverger (Université Paris 8-Saint Denis), Stefania Ferrando (IEP Strasbourg, EHESS, LIER), Vanina Mozziconacci (Ens de Lyon, ESPE LNF), Mara Montanaro (Université Paris 8-Saint Denis, LEGS), Eva von Redecker (New School, New York)

 

17h30 : clôture du colloque

 

 

Informations pratiques :

Institut protestant de théologie, 83 Boulevard Arago, 75014 Paris. Métro Denfert-Rochereau ou Saint-Jacques.

Entrée dans la limite des places disponibles.

Contact : audrey.lasserre@univ-paris3.fr et jeannelle@fabula.org

 

 

Comité scientifique : Christine Bard (Université d’Angers, France), Penelope Deutscher (Northwestern University, États-Unis d’Amérique), Michel Kail (Paris, France), Liliane Kandel (Les Temps modernes, Prix Simone de Beauvoir, France), Marguerite La Caze (The University of Queensland, Australie), Francine Markovits (Université Paris Ouest Nanterre La Défense, France), Nicole Mosconi (Université Paris Ouest Nanterre La Défense, France), André Pessel (IGEN honoraire, France), Anne Simon (CNRS / EHESS, France).

 

 

Ce colloque a reçu le soutien de l’Institut Universitaire de France, de l’Université de Rouen, du CRAL (EHESS) et des Archives du féminisme (Angers).

 

 

Programme: http://recherche.univ-rouen.fr/medias/fichier/programme-se-reorienter-dans-la-pensee_1441780620393-pdf

 

Appel à contributions – International Conference: « Untying the Mother Tongue On Language, Affect, and the Unconscious », ICI (Berlin)

Deadline: 15 September 2015

The term we still use to designate someone’s attachment to a particular language, her potentially flawless competence, or the very “place” for her thoughts to emerge in coherent form, is “mother tongue”. We take it to be a natural condition of language acquisition, equally valid for every individual speaker, and thus forget that it is a mere metaphorical reference to the “first” language, spoken by what is referred to, with an even more misleading metaphor, a “native” speaker. Throughout history, the use and connotations of the expression “mother tongue” have undergone several changes. In the Middle Ages and Early Modern period, the Latin “lingua materna” referred to the vernaculars in opposition to the learned Latin. In the eighteenth century, “mother tongue” became an emotionally charged term: establishing a more intimate, allegedly natural and privileged relationship between the speaker and her primary language, it lent authority to the Romantic aesthetics of originality and authenticity. The new emphasis on the “maternal” element in the metaphor inscribed the speaker into broader networks of relationships, from kin to nation. Carrying gendered and political meanings, the term “mother tongue” thus links its fortune to a “monolingual paradigm” coeval with the historical constellation of the emerging nation-states.

 

The conference intends to re-think affective and cognitive attachments to language by deconstructing their metaphysical, capitalist, and colonialist presuppositions. If traditional conceptions of the monolingual, pure “mother tongue” reveal the ideology of the European nation-state, then today’s celebration of multilingual competencies simply reflects the rise of global capitalism and its demand for transnational labor markets.

 

French poststructuralist thought has problematized the notion of a “mother tongue” by dividing it into two discrete elements—the “maternal” and the “linguistic”—and by exposing their metaphysical and colonialist presuppositions. Thus, Derrida has exposed the metaphysical implications of the dream of a “mother tongue”: a desire for origin, purity, and identity. In his Monolingualism of the Other—permeated with reflections about his affective relation to French—, Derrida has maintained that “the language called maternal is never purely natural, nor proper, nor inhabitable”. Julia Kristeva, on the other hand, has addressed the relationship between “maternal” and “language” in her elaborations on Plato’s concept of chora—a sort of pre-ontological condition of reality. While the Platonic chora is a formless matrix of space, in Kristeva it becomes “a non-expressive totality”: that is, paradoxically, both a generative principle through which meaning constitutes itself and a force subverting any established linguistic or epistemological system.

 

The conference asks what can be salvaged of the notion of a mother tongue: what are the remains, traces, or vestiges of a language no longer directly tied to the mother yet resounding with a maternal echo and at the same time manifesting itself as a primary idiom with respect to its affective and aesthetic dimensions. This “residual notion” of a mother tongue supposes that language is indeed a basic human need (like food, shelter, or clothing), since it provides an indispensible access to a symbolic dimension shaping affectivity and knowledge.

 

Keynotes by Daniel Boyarin and Hélène Cixous
11-12 May 2016
In English

 

Please send an abstract of no more than 250 words and a short bio to
mothertongue(at)ici-berlin.org

 

Deadline for abstracts: 15 September 2015

 

For further details please see PDF



Organized by Federico Dal Bo and Antonio Castore

Lien: https://www.ici-berlin.org/news/687/

 

« Weak Resistance. Everyday Struggles and the Politics of Failure »: vidéos en ligne de la journée d’étude à l’ICI (Berlin)

L’Institute for Cultural Inquiry (ICI) de Berlin met en ligne l’intégralité des interventions de la journée d’étude intitulée « Weak Resistance. Everyday Struggles and the Politics of Failure », qui a eu lieu le 27 mai 2015.

 

As a practice, failure recognizes that alternatives
are embedded already in the dominant and that power
is never total or consistent; indeed failure can exploit
the unpredictability of ideology and its indeterminate qualities.
J. J. Halberstam
Revolutionaries are everywhere,
but nowhere is there any real revolution.
Abdelkebir el-Khatibi

 

The word resistance usually evokes images of struggle, of opposition, but also of power, of domination, and oppression. In its concrete manifestations, however, resistance is more of a process of trial and error; it is often a story of failures intersecting, weaknesses combining and of building precarious solidarities in times of crisis. In this sense, revolution is never a simple story of “success”.

This one-day conference aimed at exploring resistances as a multiplicity, as practices and modes of thinking that challenge normative values of success and failure. Resistances act on the mechanisms of power in particular places, in concerted actions, as well as in daily routines of living, being, working, imagining, and organizing. They can manifest as coalitions of the weak and dispossessed but also as coagulations in that in-between, uncomfortable space of the semi-peripheral. The panels investigated resistances in the decolonial queer context, the cultural field at large, protest politics, and sex work, and involved researchers alongside activists and other agents.
Organized by Rosa Barotsi, Walid El-Houri, and Ewa Majewska

 

 

Programme:

 

10:30 Introduction: Rosa Barotsi and Walid El-Houri

11:00 – 12:30 Part I: Queer Resistances : A Conversation with Heather Love (University of Pennsylvania). Moderation and Response: Pearl Brilmyer, Zairong Xiang

12:30 – 14:00 Lunch break

14:00 – 15:30 Part II: Protest Politics Walid El-Houri (ICI Berlin) Margarita Tsomou (HBK Braunschweig) Moderation: James Burton

15:30 -16:00 Coffee break

16:00 – 17:00 Part III: Sex Work Politics Irene Peano (Bologna) Liad Kantorowicz (Berlin) Moderation: Ewa Majewska

17:00 – 17:30 Coffee break

17:30 – 19:00 Part IV: The Art of R esistance Rosa Barotsi (ICI Berlin) Ewa Majewska (ICI Berlin) Laboria Cuboniks (A Xenofeminist Collective). Moderation: Pearl Brilmyer

Evening Keynote

19:30 Introduction: Ewa Majewska

19:40 Jack Halberstam (University of Southern California) Zombie Humanism at the End of the World

 

La journée d’étude est entièrement retransmise en cliquant sur ce lien: https://www.ici-berlin.org/event/668/

Visualità e (anti) razzismo / Visuality and (anti) racism : Appel à contributions (date limite: 1er novembre)

Call for papers + Call for visual contributions

Secondo simposio di InteRGRace – Interdisciplinary Research Group on Race and Racisms (FISPPA, University of Padova)

intergraceitaly@gmail.com

www.intergrace.it

(English version follows)

Visualità e (anti) razzismo

21-22 gennaio2016

Università di Padova

Relazioni plenarie

Monica Moreno Figueroa – Università di Cambridge

Anna Scacchi – Università di Padova

Il secondo simposio di InteRGRace – Interdisciplinary/Intersectional research group on Race and Racisms (FISPPA, Università di Padova) si concentra sul rapporto tra visualità e ‘razza’, visibilità e (anti)razzismo: esso si propone di esplorare l’importanza della visualizzazione e della controvisualità (Mirzoeff 2011) nelle pratiche sia di costituzione, assegnazione ed incorporamento della ‘razza’ e della bianchezza,sia di resistenza ai codici estetici egemonici e razzisti da parte dei soggetti razzializzati.

Partendo da ciò che ha affermatoShawn Michelle Smith a proposito del rapporto tra Visual Studies e Critical Race Studies, il simposio vuole pensare alla ‘razza’ come visual cultural dynamic: non come l’oggetto dello‘sguardo’, ma come status soggettivo generato dalla performance di quellostesso sguardo. In tal senso, ‘razza’ e sguardo corrispondono a quelle dinamiche sociali e culturali che producono sia gli oggetti di una visione razzializzata sia i soggetti di tale visione.

Pur restando, l’Italia, al centro delle riflessioni, quest’ultima verrà collocata nell’orizzonte delle traiettorie transnazionali in cui vengono costituiti i materiali che sostanziano i regimi (visuali) che producono e significano la ‘razza’.

La prospettiva sarà dunque quella di una lettura della specificità storica, sociale e culturale italiana con uno sguardo a dinamiche comuni e alle fratture storiche e geografiche del discorso sulla ‘razza’.

Muovendoci nel solco di una prospettiva intersezionale che posiziona il genere, la classe, il colore e la sessualità di chi parla la ‘razza’ e di chi è detto/a incarnarla, il simposio vuole stimolare uno sguardo multiprospettico ed interdisciplinare, in grado di cogliere genealogie, significati e effetti materiali dello sguardo.

Storicamente, è mediante la visualità ela reiterazione di modelli di rappresentazioni visive in cui ‘ciò che si vede corrisponde al vero’, che sono stati costruiti quei ‘regimi di verità’ (si veda Judith Butler 1993) che hanno diviso il mondo coloniale nelle due sfere del Sé e degli Altri e assegnato al secondo lo status del mostruoso (si vedano, ad esempio, gli studi per il Pacifico e l’India rispettivamente di Tracy Banivanua Mar e Radhika Mohanram e Sòrgoni per la traduzione in Italia dell’immagine della Venere ottentotta).

All’inizio del Ventesimo secolo fu l’intellettuale afroamericano W.E.B. Du Bois ad esplorare criticamente la connessione tra sguardoche disciplina e naturalizza, mostruosità e doppia coscienza, questione a cui Frantz Fanon, cinquant’anni dopo, dedicherà uno dei capitoli più significativi del suo Pelle nera, maschere bianche(1952). Poco più tardi, saranno i movimenti emancipazionisti e anticoloniali della seconda metà del Ventesimo secolo a porre al centro la questione della visibilità come strumento di contrasto all’egemonia culturale che assegna significati inferiorizzanti ad una determinata ‘apparenza’. Vent’anni dopo, a partire dalla fine degli anni Ottanta, sarà il recupero della riflessione fanoniana sulla costruzione (anche) visuale ‘dell’uomo nero’ [the fact of blackness] a stimolarel’esame dell’orientalismo all’interno dell’estetica coloniale e dell’egemonia bianca da parte della critica femminista nera e postcoloniale.

Materiali di ricerca sono allora divenute le rappresentazioni razzializzate nei disegni e nei dipinti imperiali, nelle fotografie‘etnografiche’ così come nel cinema, nell’industria pubblicitaria e nelle immagini di copertina di giornali sportivi e riviste di moda (si vedano, ad esempio, i lavori di Stuart Hall, Shirley Tate, Monica Moreno Figueroa, Diana Poole, James R. Ryan e, per l’Italia, i lavori, tra gli altri, di InteRGRace, Liliana Ellena, Anna Scacchi e Leonardo de Franceschi).

Oggi il rapporto tra visualità, visibilità e ‘razza’ è al centro di molta riflessionedel femminismo postcoloniale e nero, impegnato nella decostruzione del pensiero egemonico da un lato, e nel fare emergere l’agency femminile nella costruzione di codici estetici differenti (si veda la cospicua produzione accademica all’interno dei Beauty Studies, diffusi soprattutto negli Stati Uniti e in Gran Bretagna, ma con importanti esempi anche in Australia e in Asia. Per l’Italia si veda, ad esempio, il lavoro di Annalisa Frisina).

Il lascito di questi studi – in termini di approcci e metodi – ci guiderà in una mappatura della relazione tra visualità, visibilità e costruzioni intersezionali della ‘razza’ e della bianchezza in grado di far dialogare tutti gli ambiti disciplinari, sia all’interno delle scienze umane, sia delle scienze sociali e delle cosiddette scienze dure.

La prospettiva comune sarà quella che parte da un’idea della ‘razza’ come costruzione sociale e come campo semantico mai conchiuso una volta per tutte, risultato della sedimentazione nel tempo di immagini e immaginari razziali locali e transnazionali.

***

Il simposio apre la seconda e la terza – delle 4 di cui si compone – a contributi esterni.

La seconda sezione (pomeriggio del 21 gennaio) verrà costruita mediante call for papers. I papers selezionati, che possono essere presentati sia in inglese sia in italiano, andranno a comporre 1 o 2panel consecutivi per un numero complessivo di 6-8 papers di 15 minuti ciascuno e discussione.

La terza sezione (mattina del 22 gennaio) verrà costruita attraverso la call for visual contributions in italiano e in inglese realizzati da artisti e ricercatori attivisti. Le produzioni potranno essere sia nell’ambito delle arti visuali sia in quello delle arti performative.

Termine per l’invio all’indirizzo intergraceitaly@gmail.com degli abstract di massimo 1500 caratteri spazi inclusi: 1/11/2015.

————

English version

Second InteRGRace Symposium – Interdisciplinary Research Group on Race and Racisms

(FISPPA, University of Padova)

intergraceitaly@gmail.com

www.intergrace.it

Visuality and (anti) racism

21-22 January 2016

University of Padova, Italy

Keynote speakers

Monica Moreno Figueroa – Cambridge University

Anna Scacchi – University of Padova

The second symposium of InteRGRace – Interdisciplinary/Intersectional Research Group on Race and Racisms (FISPPA, University of Padova) focuses on the relationship between visuality and ‘race’, visibility and (anti)racism: it intends to explore the importance of visualisation e of counter-visuality (Mirzoeff 2011) both in the practices that constitute, assign and incorporate race and whiteness, and in those by racialized subjects resisting the hegemonic and racist aesthetic codes.

Leading from what Shawn Michelle Smith has said about the relationship between Visual Studies and Critical Race Studies, the symposium aims to think about ‘race’ as a visual cultural dynamic: not as the object of the gaze, but as the subjective status generated by the performance of the same gaze. In this sense, race and gaze correspond to those social and cultural dynamics which produce both the objects of a racialized vision and the subject of such a vision.

The symposium will maintain Italy at the core of its reflections, but this geographical focus will be positioned in the context of the transnational trajectories in which the materials that substantiate the (visual) regimes that produce and signify race are built.

The angle will thus be that of a reading of the historical, social and cultural specificity of the Italian case, keeping an eye on the common dynamics and on the geographical and historical fractures around the discourse of race.

Following an intersectional perspective that positions the gaze, the subject that sees, the one assigned with race, and the one who embodies and/or resist it, along gender, class, colour and sexuality lines, the symposium aims to encourage a multifaceted and interdisciplinary approach, able to understand genealogies, meanings and material consequences of racialised visual codings.

Historically, the ‘regimes of truth’ (see Judith Butler 1993) representing the colonial Self and its Others, where the latter corespond to the monstrous, were established through visuality and the repetition of models of visual representations in which ‘what you see corresponds to the truth’ (see for example the studies for the Pacific and India by Tracy Banivanua Mar and Radhika Mohanram respectively, and Sòrgoni for the translation in Italy of the image of the Hottentot Venus).

At the beginning of the twentieth century African-American intellectual W.E.B. Du Bois critically explored the link between the gaze that disciplines and naturalises monstrosity and double consciousness. Fifty years later Franz Fanon devoted to the issue one of the most important chapters of his Black skin, white masks (1952). Soon after, the emancipatory and anticolonial movements of the second half of the twentieth century focused on the issue of visibility as an instrument of opposition to a cultural hegemony which assigns inferiorising meanings to a certain ‘appearance’. Twenty years later, from the late Eighties, Fanon’s reflections on the visual construction ‘of the black man’ [the fact of blackness] are taken up by black and postcolonial feminists: their critique goes on to examine the many orientalisms present in colonial aesthetics and white hegemony.

Since then a variety of racialized representations coded in imperial drawings and paintings, ‘ethnographic’ photographs, cinema, advertising, sport and fashion magazines, all become research materials (see for example the work of Stuart Hall, Shirley Tate, Monica Moreno Figueroa, Diana Poole, James R. Ryan and, with regards to Italy, the work, among others, by InteRGRace, Liliana Ellena, Anna Scacchi and Leonardo de Franceschi).

Today the relationship between visuality, visibility and race is at the centre of many of the reflections of black and postcolonial feminists, engaged in both a close analysis of (racialised) cultural hegemony, and its counter- (aesthetic/visual) discourse (see the significant academic production within the field of Beauty Studies, popular especially in the United States and United Kingdom, but with important examples also in Australia and Asia. For Italy see, for example, the work of Annalisa Frisina).

The legacy of these studies – in terms of approaches and methods – will guide us in mapping the relationship between visuality, visibility and the intersectional constructions of race and whiteness. This mapping will bring together all disciplinary fields, in the Humanities, Social Sciences and so-called hard sciences.

The common approach will be that of leading from an idea of race as a social construction and sematic field which is never foreclosed once and for all, resulting from the sedimentation over time of racialized images and imaginations both locally and transnationally.

***

The symposium opens the second and third sessions – out of the four that form it – to external contributions.

The second section (21 January afternoon) will be built through a call for papers. The selected papers, which can be presented either in English or in Italian, will compose one or two consecutive panels, for a total number of 6-8 papers of 15 minutes each plus discussion.

The third section (22 January morning) will be built through a call for visual contributions in Italian and English carried out by artist and scholar activists. The productions can be either in the field of visual arts or of performative arts.

Abstract – of a maximum length of 200 words – need to be submitted to intergraceitaly@gmail.com by 1/11/2015.

Lien: http://www.intergrace.it/?page_id=127

 

Colloque « House, work, artwork: feminism and art history’s new domesticities » – Université de Birmingham, le 3 et 4 juillet

3-4 July, 2015, University of Birmingham, UK

Organised by Jo Applin and Francesca Berry

Co-sponsored by the University of Birmingham, the University of York, and the Oxford Art Journal.

 

Keynote speakers  Mignon Nixon (Courtauld Institute of Art, London) and Julia Bryan-Wilson (University of California, Berkeley)

 

Speakers include: Sarah Blaylock (UC Santa Cruz), Amy Charlesworth (Open University), Agata Jakubowska (Adam Mickiewicz University), Teresa Kittler  (UCL), Alexandra Kokoli (Middlesex University), Megan Luke (University of Southern California), Barbara Mahlknecht (Academy of Fine Arts, Vienna), Alyce Mahon (University of Cambridge), Elizabeth Robles (University of Bristol), Harriet Riches (Kingston University), Giulia Smith (UCL), Catherine Spencer (University of St. Andrews), Amy Tobin (University of York).

 

This conference is motivated by the premise that it is appropriate for feminist art history to re-visit and newly configure theoretical, methodological and political debate around modernist, postmodernist and contemporary artistic practice in relation to the domestic. Having been a significant focus of 1980s feminist art-historical scholarship, domesticity has since been eclipsed in feminist analysis by focus on corporeality, subjectivity and globalisation, amongst other significant concepts. This conference seeks to evaluate the intellectual and political gains, and potentially losses, to be made from investing once again in existing feminist theoretical frameworks, including the materialist, the psychoanalytical and the postcolonial. It also invites contributions framed by alternative or more recent modes of feminist enquiry, including those constituted through the framework of artistic practice itself. The sexual politics of domestic, artistic, and scholarly labour, productive agency, and the obedient or disobedient domestic imaginary might constitute one focus. However, these are by no means the only or defining parameters of this conference’s aim to engage with a feminist politics and practice of home making and unmaking.

 

This conference is particularly timely in the light of art and art history’s ‘new’ domesticities. These include queer art history’s turn towards the domestic as a site for imagining, making and inhabiting space within or without the hetero-normative, and recent art-historical and curatorial projects focusing on modern and contemporary art practice and the home, but in which the question of feminism is downplayed in favour of more generalised concepts of subversion, labour and belonging. More broadly, the rise of the ‘new domesticity’ within popular culture continues to proliferate, such as the cult of the cupcake, knitting groups, home-baking television programmes and, more generally, 1950s ‘housewife’ design aesthetics. Contrast, for example, the discursive de-politicisation of today’s home-making in art and mass culture with the actively feminist domestic ambivalence of 1970s artistic practice, exemplified by Martha Rosler’s Semiotics of the Kitchen (1975) and Laurie Simmons’ Early Color Interiors(1978). Finally, we might remember that these new domesticities and today’s artistic and art-historical practices take place in spite of, and as a product of, ongoing global, domestic, social and economic inequalities, violence, and oppression, even in the so-called ‘post-feminist’ West.

 

 

 

Programme

House, Work, Artwork: Feminism and Art History’s New Domesticities

Programme – Friday 3 and Saturday 4 July 2015

Lecture Theatre, Barber Institute of Fine Arts, University of Birmingham

Friday 3 July 2015

11.30am – 12.00pm   Registration in foyer

12.00pm – 12.15pm   Welcome and Introduction – Francesca Berry (University of

Birmingham) and Jo Applin (University of York)

12.15pm – 1.15pm     Keynote

Magpie: Keeping House with Louise Nevelson – Julia Bryan-Wilson (University of California, Berkeley)

1.15pm – 2.00pm       Lunch (not provided)

Panel 1:                     Labour, Legacy and Domestic Methodology

2.00pm – 2.20pm       Attention! Maintenance: How Do You Keep Going? Domestic, Maintenance and Care Work in Art Informed by Feminism – Barbara Mahlknecht (Academy of Fine Arts Vienna)

2.20pm – 2.40pm       Unfinished Business: The Persistence of the Public-Private Relation in Feminist Art Practice Since the 1970s – Amy Charlesworth (The Open University)

2.40pm – 3.00pm       Fieldwork not Housework: Performing Feminist Sociology in the 1960s and 70s – Catherine Spencer (St. Andrews University)

3.00pm – 3.30pm       Discussion

3.30 – 4.00pm             Tea & Coffee

Panel 2:                      Housing, Techniques of Making and Unmaking

4.00pm – 4.20pm       Our Life Together: Collective Homemaking in the Films of Ella Bergmann-Michel – Megan Luke (University of Southern California)

4.20pm – 4.40pm       Alison Smithson’s Future Domesticities – Giulia Smith (University College London)

4.40pm – 5.00pm       Living Differently, Seeing Differently: Carla Accardi’s Temporary Structures (1965–1972) – Teresa Kittler (University College London)

5.00pm – 5.30pm       Discussion

Saturday 4 July 2015

10.00am – 10.30am   Registration in foyer

Panel 3:                    Photographic Domesticities, Compliance and Resistance

10.30am – 10.50am   Pix and Clicks: Photography, Femininity and the New Domesticity – Harriet Riches (Kingston University)

10.50am – 11.10am   Being the Woman They Thought She Was: Cornelia Schleime Performs her Stasi file – Sara Blaylock (University of California, Santa Cruz)

11.10am – 11.30am   Maxine Walker; Imaging the Homeplace – Elizabeth Robles

11.30am – 12.00pm   Discussion

12.00pm – 12.50pm  Lunch (not provided)

Panel 4:                   Domestic Objects, Intimate and Erotic

12.50pm – 1.10pm     The Domestic as Erotic Rite in the Art of Carolee Schneemann – Alyce Mahon (University of Cambridge)

1.10pm – 1.30pm       House. Work. Eroticism. The Case of Maria Pinińska-Bereś – Agata Jakubowska (Adam Mickiewicz University)

1.30pm – 1.50pm       Discussion

1.50pm – 2.00pm      Comfort Break

Panel 5:                     Inhabitations, Collective and Radical

2.00pm – 2.20pm       A Woman’s Place: Radical Domesticity and The Spaces of Second Wave Feminist Activism – Amy Tobin (University of York)

2.20pm – 2.40pm       Pre-emptive Mourning (or Melancholia)? The Home as Tomb in Art Informed by Feminism and Anti-Nuclear Activism – Alexandra M. Kokoli (Middlesex University)

2.40pm – 3.00pm       Discussion

3.00pm – 3.30pm       Tea & Coffee provided for all in foyer

3.30pm – 4.30pm       Keynote

Mary Kelly’s Mimus: Feminism’s Waves – Mignon Nixon (Courtauld Institute of Art)

4.30pm – 4.45pm       Closing Remarks – Jo Applin and Francesca Berry

5.00pm – 6.00pm       Wine Reception for all in foyer

 

 

 

Plus d’informations: https://feminismandarthistorysnewdomesticities.wordpress.com/


En collaboration avec