Dagana 13. – 16. maí 2015 verður haldin alþjóðleg ráðstefna í Reykjavík á sviði listfræðarannsókna. Yfirskrift ráðstefnunnar er Mapping Uncharted territories (Kortlagning ókannaðra svæða). Á ráðstefnunni er fjallað um alþjóðlegar rannsóknir og verkefni á sviði norrænnar lista- og hönnunarsögu og sérstaklega horft til jaðarsvæða, en sífellt færist meiri þungi listfræðarannsókna til staða sem liggja utan miðju stórborga eða kerfisbundinna miðstöðva menningarlífsins, sem hingað til hefur gjarnan verið viðmið alls.
Ráðstefnan er haldin í húsakynnum Háskóla Íslands og í Norræna húsinu og er fjöldi þátttakenda um 200-220 manns. Fjallað er um fjölbreytt rannsóknarefni í 39 málstofum en þrjú til fjögur erindi eru í hverri málstofu. Þrír gestir hafa þegið boð um að halda meginerindi, það eru þau Gavin Jantjes myndlistarmaður og sýningarstjóri, Terry Smith prófessor við Háskólann í Pittsburg og Charlotte Bydler lektor í listasögu við Södertörn háskólann í Svíþjóð. Skoða má nánar dagskrá ráðstefnunnar og upplýsingar um skráningu á heimasíðu NORDIK — norrænu listfræðinefndarinnar: http://nordicarthistory.org/
Ráðstefnan er haldin af Norrænu listfræðanefndinni en í henni eiga sæti fulltrúar frá öllum Norðurlöndunum. Ráðstefnan er sú ellefta í röðinni en rúm 30 ár eru frá því að fyrsta NORDIK listfræðaráðstefnan var haldin. Þetta er í fyrsta skipti sem Íslendingar bjóða til ráðstefnunnar. Auk Norrænu listfræðanefndarinnar standa Háskóli Íslands, Listaháskóli Íslands og Listfræðafélag Ísland að ráðstefnunni í samvinnu við Listasafn Íslands, Hönnunarsafn Íslands, Listasafn Reykjavíkur, Listahátíð í Reykjavík og Norræna húsið.
Frekari upplýsingar um ráðstefnuna veitir Hlynur Helgason, formaður Listfræðafélags Íslands, lektor í listfræði Háskóla Íslands.
Gsm: 661 8723
International conference on Art History May 13-16 2015
An international conference on art historical research will be held in Reykjavík May 13–16 2015. The theme of the conference is Mapping Uncharted territories. Under this theme it will introduce a selection of international research, as well as projects dealing with art and design studies within the Nordic sector, with special reference to marginal territories and marginal issues. The theme demonstrates the increased emphasis on resarch dealing with issues that customarily have been considered outside of urban and structural epicenters of art and culture, commonly considered a common measure of art historical research.
The conference will convene in the University of Iceland as well as in the Nordic House in Reykjavík, with an expected participation of 200 to 220 people in all. All in all the conference will include 39 separate sessions and around 140 presentations dealing with a wide variety of research in the field of art and design history. We are delighted to be able to present three internationally acclaimed researchers as our keynote speakers. They are Gavin Jantjes, artist and curator, Dr. Terry Smith, professor at the University of Pittsburg in Pensylvania and Charlotte Bydler lecturer in Art history at Södertörn University in Sweden. To see the details of the program, please refer to the Nordic Art History website: http://nordicarthistory.org/
The conference is organized on behalf of the Nordic Committee of Art History, a body with representatives from all the Nordic countries. The NORDIK conferences have been held triannually over a span of more than thirty years in one of the Nordic countries, Denmark Sweden, Norway, or Finland. This is, however, the first time it is held in Iceland. The conference NORDIK 2015 – mapping uncharted territories is organized by University of Iceland, Iceland Academy of the Arts and the Icelandic Association for Art History and Aesthetics in collaboration with the National Gallery of Iceland, Museum of Design and Applied Art, Reykjavík Art Museum, Reykjavík Arts Festival and the Nordic House.
For further information please contact Hlynur Helgason Assistant Professor in Art Theory, University of Iceland.
Mob: +354 661 8723
Diversity and empowerment
Keynote speaker: Gavin Jantjes
When apartheid was replaced by an elected government, everything changed in South Africa. Rethinking history writing became a vital project within the reformulation of a new national identity. It underlined Paul Ricoeur’s statement that: “When we discover that there are several cultures instead of just one and consequently at the time that we acknowledge the end of a sort of cultural monopoly, be it illusory or real, we are threatened with the destruction of our own discovery. Suddenly it becomes possible that there are just others, that we ourselves are an ‘other’ among others.” The election also brought home the fact that cultural diversity was about the reformulation of cultural narratives and the sharing of power with those once denied access to it. How to support the writing of history under these conditions is the challenge for contemporary historians, politicians and artists.
Gavin Jantjes is an artist and curator. His work has been acquired by Tate, the V&A and the Arts Council Collections in the U.K. and the Smithsonian in Washington DC. He served as a trustee of the Tate, Whitechapel and Serpentine Galleries in the U.K. He was a member of the finding commission for Documenta 12 and was appointed the artistic director of the Henie-Onstad Art Centre in Oslo. He studied at the Michaelis school of Fine Art, University of Cape Town and the Hochschule für Bildende Kunste in Hamburg. He is the initiator of the Visual Century Project and author of Visual Century: South African Art in Context 1907–2007 volumes I–IV, published by Wits University Press in 2011. It is the first democratic and historical survey of one hundred years of South African contemporary art.
Remodernism: Modernities since contemporary art
Keynote speaker: Terry Smith
The advent of contemporary art, and the world condition of which it is a significant part, has posed searching challenges to those interested in understanding what shapes the history of the visual arts. While these challenges extend through time and space, right back to the first consciously made images, and are unlimited in their geographic reach, they most strikingly confront modern art and the modernity from which it came. Drawing on a book in progress, this lecture will address these questions. How have interpretations of contemporary art impacted on the ways we see the history of mainstream modernism? How are we to understand the contemporary continuations of older modernist modes, those that have become passé in their general character yet evidently retain aspects that seem alive, inventive, and open to future development? How does the “multiple modernities/polycentric modernisms” picture of modern art evolving differentially at various art-producing sites around the world during the twentieth century relate to the most viable historical perspectives on contemporary art?
Terry Smith, Andrew W. Mellon professor of contemporary art history and theory, University of Pittsburgh, is the author of many books on modern and contemporary art and curating, including Making the Modern (1993), What is Contemporary Art? (2009), Contemporary Art: World Currents (2010), and Thinking Contemporary Curating (2012).
Intimate Strangers and Insider Art
Keynote Speaker: Charlotte Bydler
Today, art’s history seems to invite a cosmopolitan mindset. The Swedish Nationalmuseum branch 700
km north of Stockholm in Jämtland county, or in other terms, southern Sápmi, signals a new recognition of audiences. This satellite is the initiative of the regional museum Jamtli. It is a timely opportunity to redeem the forced separation of ethnic poetics. So far however the aesthetic-administrative separation of art and ethnography – museums of art history and of minoritarian cultural history – seemingly lingers over how this project may be imagined. Sámi art will surely be represented in this Swedish art pantheonette, but cultural self-governance bodies are (at present) not privy to planning. The side-effects of professionalised culture like untouchable expert value canons – contemporary art, Baroque art, Sámi art, Conceptual art, etcetera – ground increasing institutional establishment, while governance measures give them a life of their own. Value may be discussed but not refuted, as a fact established by markets and audience figures. What is at stake is the possibility to access and actualise art history as a Commons for the recognition of margins and people. ‘The contemporary’ is exactly such an actualisation of historical poetics and publics that must be vindicated.
Charlotte Bydler is Lecturer in Art history, Södertörn University, Sweden. Her current research is focused on contemporary Sámi art and poetics, and its framing in colonial practices and art history in Sweden. Another project is to develop ecological poetics and criticism and cultural commons within post- or decolonial art history in a direction of a more inclusive view of institutional and curatorial work. Publications include the anthology Regionality/Mondiality:Perspectives on Art, Aesthetics and Globalization (2014), coedited with Cecilia Sjöholm, and The Global Art World, Inc. On the Globalization of Contemporary Art (2004).
Með kveðju / Best regards
Listasafn Íslands / National Gallery of Iceland
Laufásvegi 12, Reykjavík, Iceland
Tel: +354 515 9608 / Fax: + 354 515 9601
email@example.com / www.listasafn.is