Enfilade

Objects in Motion in the Early Modern World
The Getty Center, Los Angeles, 10-11 May 2013

Mounted Vase, Chinese porcelain ca. 1662–1722, French mounts, ca. 1745–49. J. Paul Getty Museum (79.DI.121.1)

The Getty Research Institute and the USC-Huntington Early Modern Studies Institute are co-sponsoring a two-day conference, “Objects in Motion in the Early Modern World,” on Friday, May 10 and Saturday, May 11, 2013, at the Getty Center in Los Angeles, California.

An international group of scholars will examine the circulation of objects across regions and cultures in the early modern period (1500-1800), addressing the ways in which mobility led to new meanings, uses, and interpretations. Break-out sessions will invite the audience to consider these questions as we examine objects from the Getty’s collections. A closing roundtable will provide an opportunity to discuss the methodological and theoretical potential of this line of inquiry for the study and teaching of art history. The symposium is organized by Daniela Bleichmar (University of Southern California), Meredith Martin (Wellesley College), and Joanne Pillsbury (Getty Research Institute).

Vallard Atlas (detail), 1547. Courtesy of the Huntington Library (HM29.f12)

Admission to this event is free. Reservations are required and can be made online when the website goes live in early March. Graduate students writing dissertations on related subjects can apply for a limited number of travel grants to defray the cost of travel to the conference. To request an application, email emsi@usc.edu. Applications will be due March 1, 2013.

The flyer (as a PDF) is available here»

Note (added 6 March) — Confirmed speakers include:

Gauvin Alexander Bailey, Queen’s University, Ontario
Daniela Bleichmar, University of Southern California
Zirwat Chowdhury, University of California, Los Angeles
Chanchal Dadlani, Wake Forest University
Jessica Keating, University of Southern California
Dana Leibsohn, Smith College
Meredith Martin, Wellesley College
Sandy Prita Meier, University of Illinois at Urbana-Champaign
Avinoam Shalem, Institut für Kunstgeschichte, Munich
Mary Sheriff, University of North Carolina, Chapel Hill
Claudia Swan, Northwestern University
Nancy Um, Binghamton University
Gerhard Wolf, Kunsthistorisches Institut, Florence

The third Herrenhausen Symposium addresses caricature within the context of Anglo-Hanoverian relations (with plenty more such observances on the way next year) . . .

Loyal Subversion: Caricatures from the Personal Union between England and Hanover, 1714-1837
Herrenhausen Palace, Hanover, 21-23 February 2013

The political constellation of the personal union between England and Hanover with the figure of a foreign king as a mediator between separate states became a determining factor and was in itself a historical condition for the emergence and the development of caricatures in England after the Glorious Revolution. As a political weapon of the opposition and as a manifestation of public opinion, the caricatures affected the establishment: one the one hand, their visual potential was a threat to the sovereign, on the other hand they helped to stabilize his leadership. What contents do they show? Does the artistic become political? Is there something like an institutionalized form of political perception? Or is this visual criticism nothing else but a loyal subversion of their subjects?

The Herrenhäuser Symposium Loyal Subversion: Caricatures from the Personal Union between England and Hanover 1714-1837 is organized by the Volkswagen Foundation and the Wilhelm Busch – Deutsches Museum für
Karikatur und Zeichenkunst. Please register online at caricature@volkswagenstiftung.de.

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T H U R S D A Y ,  2 1  F E B R U A R Y ,  2 0 1 3

Wilhelm Busch — Deutsches Museum für Karikatur und Zeichenkunst

7:00  Gisela Vetter-Liebenow (Director, Wilhelm Busch – Deutsches Museum für Karikatur und Zeichenkunst) and Wilhelm Krull (Secretary General, Volkswagen Foundation), Opening Addresses

7:20  Werner Busch (Department of Art History, Free University of Berlin), Keynote Lecture

9:00  Reception

F R I D A Y ,  2 2  F E B R U A R Y  2 0 1 3

Herrenhausen Palace

9:30  Images and Caricatures of Kingship

• Ian Haywood (University of Roehampton, London), Milton’s Monsters: Monarchy and Iconoclasm

• Sheila O’Connell (Assistant Keeper, British Prints before 1880, British Museum), Attacks on the Guelph Dynasty: From the Jacobite Caricatures to the London Radicals and Cruikshank

11:00  Coffee

11:30  Images and Caricatures of Kingship, continued

• Christina Oberstebrink (Berlin), James Gillray

• Brian Maidment (John Moores University, Liverpool), The Satirical Image, Politics, and Periodicals, 1830–37

1:00  Lunch

2:30  Royal Representation, Court Culture, and Bourgeois Public

• Sune Schlitte (University of Göttingen), Politics Beyond Caricature: Practices of the Artistic Field in the Long Eighteenth Century

• James Baker (The Paul Mellon Centre for Studies in British Art), The Royal Brat: Making Fun of George Augustus Frederick

4:00  Coffee

4:30  Counterparts

• Karl Janke (Curator, Hamburg), The Republic and the Sovereignty of the People as Antithesis, Anathema, Frightful Vision

• Temi Odumosu (Marie Curie Postdoctoral Fellow, The Natural History Museum, University of Copenhagen), The Image of the Other: The ‘Non-English’ as Identification Marks in the Personal Union

7:00  Conference Dinner

S A T U R D A Y ,  2 3  F E B R U A R Y  2 0 1 3

Herrenhausen Palace

9:30  The Reception on the Continent

• Timothy Clayton (Worcester College Oxford), Transfer of Caricatures: The London Printing Trade and the Export of English Graphic Prints

10:30  Coffee Break

11:00  The Reception on the Continent, continued

• Thomas Schwark (Historical Museum Hanover), Johann Heinrich Ramberg (1763-1840): Painter, Borderliner, and
Contemporary with the Nascent Hanover Kingdom

• Christian Deuling (MA, University of Nottingham), The Reception of English and French Caricatures in the German Magazine London und Paris (1798-1815)

12:30  Wilhelm Krull (Secretary General, VolkswagenStiftung), Closing Remarks

12:40  Lunch

From Liverpool Hope University:

Inter-Culture 1400–1850: Art, Artists, and Migration
Liverpool Hope University, 5-6 April 2013

While major exhibitions, such as Migrations – Journeys into British Art (January – August 2012) at Tate Britain, address the impact of migration on the cultural heritage and artistic production in a particular country, the conference seeks to investigate further this exciting topic by discussing thematically the latest research of international scholars. Instead of focusing on the 20th and 21st centuries and the strong consequences migration caused in modern and postmodern societies, we intend to look back and explore the effects of migration on art and artists in Europe and beyond before, during and shortly after the Industrial Revolution.

Why have artists left their comfort zone, travelled to faraway places and adapted to new living conditions when only very few had a noteworthy impact on local artistic production, such as Hans Holbein the Younger at Henry VIII’s court or El Greco, who is the prime example for intercultural artistic exchange in early modern times? How important was national identity for the artists and also for the reception of their work? What are the differences and parallels between pre- and post-Industrial Revolution migration of artists?

If you would like to register for the conference, please find a registration form on the website www.hope.ac.uk/inter-culture/

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F R I D A Y ,  5  A P R I L  2 0 1 3

8.00  Registration/Refreshments

9.00  Welcome, Professor Kenneth Newport, Pro Vice-Chancellor (Liverpool Hope University)

9.30  Keynote Lecture, Professor Eberhard König (Free University Berlin)

10.15  Guest talk, Tim Batchelor (Tate Britain London, Co-curator of Migrations – Journeys into British Art)

11.00  Coffee Break

11.30  Section 1: Old versus New Society – Artists’ Perceptions

• Anette Schaffer (The Warburg Institute, London), El Greco: Reviewing the Question of Early Modern Artistic Eccentricity

• Stephanie Porras (Tulane University, New Orleans), The Real, Rejected and Virtual Travels of Marten de Vos

• Gitta Ho (Centre Allemand d’Histoire de l’Art, Paris), German Art Pupils in Paris, 1793-1843

1.00  Lunch

2.00  Section 2: New Environments and Influences on Artistic Practices

• Silvia Ferreira (University of Lisbon), From Stone to Wood: Claude Laprade and His Journey from Provence to Portugal

• Clemence Matthieu (Clare Hall, Cambridge), Cultures of Exchange: The Architecture of the Low Countries and Southern England in the 16th century

• Matej Klemencic (University of Ljubljana), Venetian Sculptors of the 18th Century in Habsburg Lands: Francesco Robba, Antonio Corradini and Giovanni Marchiori

3.30  Coffee

4.00  Section 3: Cultural Confrontations

• Natasha Eaton (University City of London), Subaltern Colour? Between the Global and the Local in Britain and India

• Jessica David (Yale Center for British Art, New Haven), Johan Zoffany’s Painting Practice in Kolkata and Lucknow: The Technical Exploration of an ad hoc Studio

• Katelyn Crawford (Smithsonian American Art Museum, Washington), John Greenwood, Portraiture, and Mobility in the British Atlantic, 1752-72

6.30  Conference Dinner

S A T U R D A Y ,  6  A P R I L  2 0 1 3

9.00  Keynote Lecture, Professor Fintan Cullen (University of Nottingham), Migrating Objects: Ireland and Empire

10.00  Section 4: Forced Migration and Its Resistance

• Julia Crispin (University of Münster), French Manuscript Illumination between Propaganda and Pragmatism: The Talbot Workshop in Rouen and Its Patrons during the Last Stages of the Hundred Years’ War

• Frederica Van Dam (Ghent University), Tableau Poetique: A Recently Discovered Manuscript by the Flemish Migrant Painter-Poet Lucas de Heere (1534-84)

• Gerrit Walczak (Technical University Berlin), Mutual Irritations: Migrant Artists in London during the French Revolution

12.00  Visit the Walker Art Gallery

1.00  Lunch

2.30  Section 5: The Returned Artist

• Kathrin Wagner (Liverpool Hope University), Malversation, Escape, Return: The Sculptor Hans Hesse from Luebeck and His Temporary Migration to Dalarna, Sweden, 1457-58

• Fiona V. Salvesen Murrell (University of Aberdeen), The Returned Artist: American Lessons Learned: Shaping the New Scottish Academy from 1826

• Laura MacCulloch (Royal Holloway, University of London), Revaluating the Outsider: Ford Madox Brown and Cultural Dialogues in mid-19th-century Europe

3.30  Coffee

4.00  Final Remarks

2013 American Society for Eighteenth-Century Studies Conference
Cleveland, 3-6 April 2013

The 2013 ASECS conference takes place in Cleveland, April 3-6, at the Marriott’s Renaissance Cleveland Hotel. This year’s annual HECAA luncheon and business meeting will be held on Friday at The Greenhouse Tavern. In terms of sessions, HECAA will be represented by two panels, just before lunch, chaired by Christopher Johns and Heather McPherson. In addition to these, a selection of sessions are also included below (of the 201 panels scheduled, many others will, of course, interest HECAA members). For the full program, see the ASECS website.

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H E C A A  S E S S I O N S

Anne Schroder New Scholar’s Session
Friday, 5 April 2013, 9:45-11:15, Van Aken
Chair: Christopher M. S. JOHNS, Vanderbilt University
1. Katherine MCHALE, Independent Scholar, “The Madonnas of Settecento Venice: A Tradition Renewed”
2. Ji YOU, University of North Carolina, Chapel Hill, “Sèvres Porcelain during the French Revolution”
3. Lindsay DUNN, University of North Carolina, Chapel Hill, “Constructing an Imperial Identity: Marie-Louise, House of Habsburg-Lorraine and Dynastic Capital”
4. Karissa BUSHMAN, Augustana College, “Memorializing Fear and Abuse: Goya’s Depiction of the Inquisition in Los Caprichos”

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Interiors as Space and Image
Friday, 5 April 2013, 11:30-1:00, Halle
Chair: Heather MCPHERSON, University of Alabama, Birmingham
1. Elizabeth F. JUDGE, University of Ottawa, “Eighteenth-Century Court Interiors and the Architecture of Credibility”
2. Edward HOULE, McGill University, “Discriminating Dining: Louis XV’s Salles à manger at Versailles”
3. Sally GRANT, University of Sydney, “Questioning Interiority/Exteriority in the Decorative Design of Giandomenico Tiepolo’s ‘Room of the Carnival Scenes’ at the Villa Valmarana ‘ai Nani’”
4. Esther GABEL, University of Cambridge, “The Portego: Spaces of Presentation and Performance in Eighteenth-Century Venice”

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O T H E R  S E S S I O N S  R E L A T E D  T O  T H E  V I S U A L  A R T S (more…)

NYC from the Millennium UN Plaza Hotel, 2 September 2007
(Photo by AngMoKio, Wikimedia Commons)

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The 2013 College Art Association conference takes place in New York, February 13-16. HECAA will be represented by two panels on Friday, chaired by Hector Reyes and Amelia Rauser. Other sessions that may be of interest for dixhuitièmistes are also listed. A full schedule of panels is available here»

H E C A A  S E S S I O N S

Art in the Age of Philosophy?
Friday, February 15, 9:30-12:00, Nassau Suite
Chair: Hector Reyes (University of California, Los Angeles)

1. Anne Betty Weinshenker (Montclair State University), The Allegorical Tomb of Locke, Boyle, and Sydenham: A Celebration of Empiricism
2. Stephanie O’Rourke (Columbia University), Faithful Impressions: Fuseli, Lavater, and the Physiognomic Pursuit of Knowledge
3. Ryan Whyte (Ontario College of Art and Design University), Happy Fathers and Other New Ideas in French Art: Genre, Masculinity, and Philosophy in the Final Decades of the Old Regime
4. Lauren Cannady (Institute of Fine Arts, New York University), Aesthetic Discourse in Science: The Rococo and the Natural World
5. Johanna Fassl (Franklin College Switzerland), Radical Thought: Connecting Guardi, Newton, Vico, and Damasio

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New Scholars Session: International Artists Working in Eighteenth-Century Great Britain
Friday, February 15, 12:30-2:00, Rendezvous Trianon
Chair: Amelia Rauser (Franklin and Marshall College)

1. Francesca Whitlum-Cooper (Courtauld Institute of Art), Quacks, Peddlers, and Pastellists: Jean-Etienne Liotard (1702–89) and Jean-Baptiste Perronneau (1715–83) in London
2. Katherine McHale (Hunter College, City University of New York), The Bel Composto: The Role of Inset Paintings in Robert Adam’s Interiors
3. Abram Fox (University of Maryland), Family, Students, and Legacy: Benjamin West’s Workshop and the Shaping of an American School of Art

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O T H E R  S E S S I O N S  R E L A T E D  T O  T H E  1 8 T H  C E N T U R Y (more…)

Recently on a number of list-servers, the following conference was categorized under ‘call for papers’. In fact, the organizers are not soliciting proposals. It does, however, look really interesting. For more information, see the conference website.

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Entangled Landscapes: Re-thinking the Landscape Exchange between China and Europe
Institute of Art History, University of Zurich, Switzerland, 10-12 May 2013

The exchange of landscape culture between China and Europe in the 16th-18th centuries has received considerable attention in terms of its cultural qualities and significance. The expression of this cultural exchange includes art (e.g. drawings, prints, architecture, landscape architecture, and sculptures), literature (e.g. letters, travelogues, and novels) and material culture (e.g. porcelain and furniture). Traditional scholarship examines these objects as static and fixed in their narrow disciplinary specialty rather than considering them within a multidisciplinary contextual matrix. Some emerging conceptions and understandings of culture and landscape shed new light on the exchange of landscape culture. ‘Entangled histories’, for example, does not consider cultures as separated entities with fixed boundaries, but rather cultures as being constituted by intertwined processes of interaction, translation and hybridization within interconnected societies. Meanwhile, landscape is increasingly being understood as not a mere pictorial representation, but ‘an instrument of cultural power,’ a cultural practice ‘by which social and subjective identities are formed.’ In both Chinese and European traditions, landscape has complex relations with notions such as nature and land – territory, nation, and state. Both landscape traditions have been investigated within multidisciplinary (social, cultural, economic and political) perspectives.

Against this background, the symposium proposes to re-think the landscape exchange between China and Europe during the 16th-18th centuries within an ‘entangled landscapes’ approach. By using this term, we do not understand the cross-cultural Chinese-European landscape representations as a mere artistic exchange between two isolated ‘islands’. Rather, we consider these landscape representations being used to manifest and perform interactions among different cultures, religions, and powers within their cultural, social and political contexts. The ‘entanglement’ of these cross-cultural landscapes is traceable in aspects such as the appropriation of representational methods, the hybridization of landscape styles, and the negotiation of aesthetic concepts. The main goal of the symposium is to achieve a deeper understanding of Chinese-European landscape exchange through examination of these three often complex aspects.

Landscape exchange has taken place between China and Europe on occasions provided by trade, Christian missions and diplomacy (ceremonials), which are inseparable from their backgrounds such as economic expansion, the circulation of knowledge, the transfer of technologies (e.g. scientific technologies and technologies of governance), and the negotiation of ideologies and power structures. We are interested in analyzing these landscape entanglements (appropriation of representational methods, transplantation of styles, and negotiation of concepts) in relation to the above backgrounds, as well as face-toface interaction and dynamics between the discourse of arts and social, economic and political practices. As examples, ‘linear perspective’ as a landscape representational method was adopted by early Qing court artists to promote the Manchu emperor’s statecraft (in terms of morality, science and epistemology); ‘the Chinese style of gardening’ was advocated by the English/British elite in the late seventeenth and eighteenth century to promote the physiocrats’ economy and enlightened polity; and concepts like ‘the grotesque’ were indicative of the nature, as well as the results, of crises, conflicts and cultural clashes.

By addressing such topics, our objectives are to understand: 1. how different perceptions of landscape, nature, and land by the people of China and Europe constructed the representations of cross-cultural landscapes; and conversely, how the representation of cross-cultural landscapes influenced Chinese and European perceptions of landscape, nature and land. 2. how different national, social and individual identities were formed through the appropriation, transplantation and negotiation of landscape representations; and conversely, how transcultural landscapes were influenced by these different identities.

Through this symposium, we hope to explore and discuss different theoretical, empirical and methodological perspectives of landscape representation between Europe and China across disciplines and national boundaries. In summary, we seek not only a more thorough understanding of the exchange of landscape culture, but also a deeper understanding of the formation of cultural identities in China and Europe, and the relation between China and Europe during the 16th-18th centuries.

Conference program (PDF) from the Centre Chastel:

Ornements et décor : du modèle à l’objet
Institut national d’histoire de l’art, Paris, 15 January — 30  April 2013

Demi-journées d’études organisées par Jérémie Cerman (Université Paris-Sorbonne, Centre Chastel) et Julie Ramos (INHA), avec la collaboration de Dominique Morelon et Lucie Fléjou (Bibliothèque de l’INHA), Michael Decrossas, Elli Doulkaridou et Céline Ventura-Teixeira (INHA).

Contacts : julie.ramos@inha.fr ou jeremie.cerman@paris-sorbonne.fr

Le catalogage et la numérisation du fonds de recueils d’ornements de la bibliothèque de l’INHA-collections Jacques Doucet, riche d’environ 650 volumes pour une période allant du XVIe siècle au début du XIXe siècle, constitue l’axe central du programme Histoire de l’ornement. Dans ce cadre, l’Institut national d’histoire de l’art a choisi de faire porter sa réflexion sur les relations entre les modèles et les objets. De janvier à avril 2013, quatre demi-journées d’études thématiques, organisées en partenariat avec le Centre Chastel, proposeront ainsi des échanges que l’intérêt actuellement suscité par l’ornement et les arts décoratifs rend propice. Dans une perspective chronologique et disciplinaire étendue, elles s’attacheront à considérer les modèles d’ornements sur le plan de leur circulation et de leurs usages pratiques ; elles envisageront les recueils en tant qu’objets de collection mais aussi comme sources d’inspiration pour les artistes, les artisans et les industriels. Sans se limiter au domaine des arts décoratifs, l’ornement sera également envisagé dans ses relations aux autres champs de la création, de l’architecture à la sculpture en passant par la photographie. Enfin, sa propension à stimuler l’imaginaire, tant chez le créateur que chez le spectateur ou l’usager, sera interrogée.

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15 janvier 2013, 14h-18h | Modèles d’ornements et collectionnisme
Modérateur : Rossella Froissart (Université de Provence)

• Lucie Fléjou (Bibliothèque de l’INHA) : Edmond Foulc (1828 -1916), collectionneur d’estampes d’ornements

• Jean-François Bédard (Syracuse University, New York) : Entre collection et décoration : ornement et construction de soi à l’âge des Lumières

• Sylvain Cordier (Université Paris-Sorbonne) : Percier, Jacob, Bellangé: autour de quelques recueils de dessins d’ornements et d’ameublement de l’époque Empire conservés aux États-Unis

• Wilfried Zeisler (Université Paris-Sorbonne) : Des collections de recueils et de modèles dans les ateliers de création et de leur usage

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12 février 2013, 14h-18h | De l’ornement à l’objet : imitation, inspiration, réinterprétation
Modérateur : Agnès Callu (Musée des arts décoratifs, Paris)

• Céline Ventura-Teixeira (Université Paris-Sorbonne / INHA) : De la parure au motif : la pointe de diamant. Entre diffusion et adaptation d’un modèle ornemental au XVIIe siècle

• Anne Perrin-Khelissa (Université catholique de l’Ouest, Angers) : «D’excellens modèles » pour des objets d’arts « dans tous les genres ». Les Collections de culs de lampes et fleurons de Jean-Jacques Bachelier, extraites des Fables de La Fontaine illustrées par Jean-Baptise Oudry

• Odile Nouvel (Musée des arts décoratifs, Paris) : De l’élaboration à la réutilisation des modèles : quelques réflexions autour des fonds Odiot et Biennais du Musée des Arts décoratifs

• Audrey Millet (Universités Paris 8 et Neuchâtel) : La fabrique de l’ornement. De l’imitation à l’invention, l’art de dessiner des indiennes dans les grands centres européens (XVIIIe-XIXe siècles)

• Valérie Nègre (École nationale supérieure d’architecture Paris-La Villette) : Du dessin à l’objet. Quelques remarques sur les usages des recueils d’ornements commerciaux au XIXe siècle

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26 mars 2013, 14h-18h | L’ornement et les arts
Modérateur : Jean-Paul Midant (École nationale supérieure d’architecture Paris-Belleville)

• Michaël Decrossas (INHA) : Jean Lemoine de Paris (1638 – 1709), peintre et ornemaniste

• Sébastien Quéquet (INHA) : L’artiste peintre et la manufacture : la régénération de la céramique par les beaux-arts

• Sébastien Bontemps (Université de Provence) : Polarité du programme architectural et de son serviteur, l’ornement : les travaux des sanctuaires parisiens de Saint-Germain-l’Auxerrois et de Saint-Merry au milieu du XVIIIe siècle

• Hélène Bocard (INHA) : « Des modèles pour les artisans » : la collection d’arts décoratifs du baron Alexander von Minutoli (1806-1887) et sa diffusion par la photographie

• Frédéric Dassas (Musée du Louvre) : L’histoire du meuble à l’épreuve des arts graphiques : le cas d’André-Charles Boulle (1642-1732)

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30 avril 2013, 14h-18h | L’objet imaginaire
Modérateur : Rémi Labrusse (Université Paris Ouest Nanterre La Défense)

• Elli Doulkaridou (Université Paris 1 Panthéon-Sorbonne / INHA) : Les jeux de l’ornement : réflexions autour de quelques manuscrits enluminés romains du XVIe siècle

• Nicolas Cordon (Université Paris 1 Panthéon-Sorbonne) : L’ornement de stuc comme lieu du simulacre

• Jean-Louis Gaillemin (Université Paris-Sorbonne) : Ornement et surréalisme

From Le Blog de l’ApAhAu:

Iconoclasme et révolutions, XVIIIe-XXIe siècle
Petit Palais (Auditorium), Paris, 13-14 December 2012

Statues déboulonnées, portraits déchirés ou brûlés, emblèmes grattés ou barbouillés : ces gestes iconoclastes semblent indissociables des processus révolutionnaires, des révolutions atlantiques du XVIIIe siècle aux révolutions arabes contemporaines. Que se joue-t-il derrière ces gestes apparemment dérisoires, souvent ravalés à du « vandalisme » ? Comment penser, à partir de l’iconoclasme, une histoire des relations entre des sujets et des signes de pouvoir (politique, religieux, social) ? Tel sera l’objet de ce colloque international et pluridisciplinaire, qui réunira au Petit Palais historiens, historiens de l’art, anthropologues, spécialistes d’aires culturelles et de périodes différentes, de la France à l’Afghanistan, de la Chine à l’Amérique latine, de la Russie à l’Espagne… La réflexion portera notamment sur les « pouvoirs de l’image » et du signe, sur le rapport au visible et au sensible en situation révolutionnaire et sur la puissance de transformation du social attribuée aux gestes iconoclastes. Les formes prises par cette violence symbolique, ses cibles privilégiées, ses acteurs individuels et collectifs, sa liesse ou ses silences, ses liens avec la violence physique, ses seuils de tolérance et ses compromis (entre conservation et destruction) seront interrogés. Le colloque permettra d’éclairer les intentions des iconoclastes en révolution, explicitées ou non par eux : effacer une mémoire devenue intolérable, expurger une croyance, exprimer une opinion à la face de tous, s’approprier une souveraineté devenue disponible – sans que ces interprétations soient exclusives l’une de l’autre. Ces intentions seront rapportées à la réception et aux effets – tels qu’on peut les mesurer – des gestes de destruction. Toutes ces questions seront envisagées en situation, dans des contextes et des espaces singuliers, où les cultures visuelles, les formes d’expression politique, le rapport au sacré varient profondément.

The program is available here»

Face to Face: The Transcendence of the Arts in China and Beyond
University of Lisbon, Portugal 3-5 April 2013

The Artistic Studies Research Centre of the Faculty of Fine Arts, University of Lisbon is proud to announce the organization of the international conference Face to Face: The Transcendence of the Arts in China and Beyond. The conference takes place 3-5 April 2013 at the auditorium of the Faculty of Fine Arts.

This academic event is an opportunity to promote the discussion between scholars affiliated to Research Units, Universities or Museums from Portugal, Spain, France, England, Scotland, Germany, Czech Republic, Slovenia, EUA, China, Macau, Hong Kong and Taiwan. In this conference scholars will present recent research that have been developed in the field of Chinese art and its cultural and artistic exchange with other civilizations across historical perspectives and contemporary approaches in artistic creativity.

The conference programme, paper abstracts and speakers academic background, as well as other useful informations are available at the conference website.

Invited Speaker: Shih-hua Chiu (National Palace Museum, Taipei)
Keynote Speaker: Cheng-hua Cheng (Institute of Modern History, Academia Sinica)

Working language: English (no translation will be provided)