APHA – Divulgação (16.XII.2016)

Concursos
Bolsas de Curta Duração da Fundação Oriente | Data limite: 31 de Dezembro
As bolsas destinam-se a apoiar a realização de cursos, estágios ou visitas de estudo, por nacionais de países do Extremo Oriente a Portugal ou, inversamente, por cidadãos portugueses a países do Extremo Oriente. As bolsas têm uma duração mínima de 30 dias e máxima de 90 dias.
A Fundação Oriente concede, preferencialmente, bolsas nas seguintes áreas: Artes Plásticas, História, História da Arte, Design, Fotografia, Arquitetura, Museologia e Conservação e Restauro e Antropologia.
+info/fonte: www.foriente.pt/45/bolsas-de-curta-duracao.htm#.WFPwAqKLRE4
Bolsas Fulbright para Professores e Investigadores Doutorados | Data limite: 31 de Dezembro
Está aberto o prazo de candidaturas para as Bolsas Fulbright para Professores e Investigadores Doutorados com o apoio da FCT, para o ano académico 2017/2018. Estas bolsas, com a duração de 3 a 12 meses (a bolsa não pode ter início antes de agosto de 2017), destinam-se a bolseiros de licença sabática financiados diretamente pela FCT que pretendam realizar atividades de investigação em universidades ou centros de investigação nos EUA em todas as áreas de estudo. A duração da bolsa, que deverá corresponder a uma estadia consecutiva, pode variar entre um mínimo de três meses e um máximo de doze meses.
Requisitos: Doutoramento já concluído no momento do concurso à bolsa; Ser detentor de uma Bolsa de Licença Sabática diretamente financiada pela FCT; Bons conhecimentos de Inglês; Prova de concordância com o projeto por parte da instituição norte-americana; Prova de concordância com o projeto por parte da instituição portuguesa a que estão ligados.
+info/fonte: http://plataforma9.com/financiamento/bolsas-fulbright-para-professores-e-investigadores-doutorados-2.htm?envbol=35&sus=14b54fd0e4c4bfc86f67a8f5dcc4c3c4
Calls
AA Women and Architecture in Context 1917-2017 | Data limite: 02 de Janeiro
AA XX 100 is the project to commemorate the centenary of women’s admission to the Architectural Association School of Architecture in London in 1917. To date it has comprised a raft of complementary enterprises including an annual lecture series and an ongoing programme to conduct filmed interviews with AA alumnae. The project culminates in autumn 2017 with an exhibition (October – December 2017), a book (Breaking the Mould: AA Women in Architecture 1917-2017) and an international conference (AA Women and Architecture in Context 1917-2017) run in partnership with the Paul Mellon Centre for Studies in British Art. We now announce the Call for Papers for the conference, which will take place between 2nd and 4th November 2017 at the AA and the Paul Mellon Centre in Bedford Square, London, W.C.1.
We invite academics, architects and other practitioners to submit proposals for 20-minute papers in response to the themes listed below. Submissions are encouraged from researchers at all stages of their careers, and papers should be understood as not confined purely to the AA as a subject matter but equally to the wider context of women and architecture across the centenary period.
Themes: i) Collaborations, Collectives, Couples: Historically and in the present, what communal forms of practice have women graduates of architecture taken? What are the motivations for this? How do practices operating in this format compare to those with a single, and often starchitect, figurehead? ii) Education & Educators: How is the history of architectural education interwoven with women’s entry to the profession? Were there particular schools (in addition to the AA) that facilitated women’s training? Are there particular educators of influence on women’s education or women tutors whose work should be discussed and analysed? How do education and strong role models have an impact on a woman’s trajectory beyond education into the world of practice? How does an academic career compare to working in practice for women in architecture? iii) Difference, Diversity, Discrimination: According to a recent government report, the profession in the UK is still largely white, middle-class and male (89% white; 97.5% from more advantaged backgrounds; 65.6% male); has this always been the case? Are there are countries where a different scenario prevails? How might practice and history be re-worked to disrupt this ‘norm’? How can we encourage and empower marginalised groups within the profession? iv) The future of gender: Are there new models for practice developing in the 21st century? How do emerging ideas such as the non-binary, gender fluid understanding of identity relate to practice today and into the future? What is the change that we would like to see in the profession going forward in terms of equality, new forms of practice and identity? v) People, Projects, Places: Are there particular practitioners whose work is worthy of reappraisal? Are there particularly significant projects, which are directed by women practitioners? Or commissioned by significant women as clients? Were and are there particular arena which have facilitated women’s practice as architects, historians (or related fields).
In addition, proposals are invited for posters which will be displayed at the Paul Mellon Centre for the duration of the conference and online after the event. The theme for these is ‘solutions.’ What solutions do you propose that could enhance the future of women in architecture (be that as practitioners, theoreticians or historians).
+info/fonte: www.paul-mellon-centre.ac.uk/whats-on/forthcoming/aa-women-and-architecture-in-context-1917-2017
Les Lieux du Rêve. Architectures Fantastiques dans la Littérature: Textes et Images | 08 de Janeiro
Après « La Magie de l’art, l’art dans la Magie », le prochain colloque qui se tiendra les 6, 7 & 8 avril 2017 (Univ. Firenze & Institut français Firenze), propose de mettre en perspective commune le rêve et l’architecture. Unis, opposés, croisés, ces deux thèmes peuvent se décliner sous plusieurs aspects : l’architecture du rêve, les rêves d’architectures, la ville rêvée, les constructions projetées, l’imaginaire de l’architecture dans les rêves, les constructions oniriques des romans médiévaux, les visions merveilleuses de la Jérusalem céleste …
Ce vaste champ de recherche a été, certes, déjà bien investi par les chercheurs, ce que prouvent les nombreuses études sur les villes idéales et l’architecture utopique, les traités d’architecture (qui ouvrent une fenêtre sur les rêves de l’architecte), l’écriture des hommes de l’art (de Vitruve et Villard de Honnecourt à Alberti ou Filarète …), les constructions de l’imaginaire dans les récits de rêve ou de songe …
C’est pourquoi le colloque 2017 s’est fixé pour objectif de recentrer ses travaux soit sur des éclairages novateurs de cette thématique double, soit sur des cas d’études originaux, avec une approche spécifique croisant architecture et imaginaire. La thématique inclut le sacré et le profane. Parallèlement, il s’attachera à favoriser l’interdisciplinarité dans l’analyse du rapport entre textes et images. Les périodes ciblées s’échelonnent de l’Antiquité au Baroque.
Plusieurs axes de réflexion sont possibles pour ceux qui souhaitent présenter une communication : 1 – La littérature transmet des récits imaginaires décrivant des architectures et des « lieux » (entendus au sens large) : *édifices fantastiques qui ont un caractère étonnant ou admirable en raison de leur architecture, des méthodes de construction ou des matériaux employés ; *édifices ou parties d’édifices issus du réel que le récit rend exceptionnels et inscrit dans le merveilleux ; *édifices qui s’inspirent d’un imaginaire – rêve ou vision- raconté. Les choix de narration, de description et de mise en image, ainsi que le recours à la vision, au rêve ou à des effets spéciaux seront des paramètres d’étude significatifs. L’étude portera aussi sur la mise en image de ces lieux dans les arts, lorsqu’elle existe, en parallèle du texte. 2 – Les sources écrites et l’archéologie témoignent de pratiques anciennes exécutées dans des lieux rituels précis, édifices ou aménagements sacrés, où peut opérer le processus onirique. En tant qu’ « architectures du rêve », ils matérialisent ainsi dans le réel une ouverture vers un espace merveilleux et surnaturel : *édifices sacrés de l’Antiquité (temples grecs, etc…) où le rêveur « voit » le rêve ; les divinités se manifestent ainsi au rêveur passif (cas de guérison, rêve prémonitoire, voyage de l’âme…) ; *édifices religieux du Moyen Âge où les pratiques antiques sont répétées ; le rêveur attend de rentrer en contact avec une divinité pour recevoir une vérité supérieure.
Les axes de réflexion cités ne sont pas exhaustifs et le comité scientifique se réservera la possibilité d’insérer des sujets novateurs, pour enrichir la réflexion et développer les échanges. L’angle d’étude a été choisi en considérant avec attention l’actualité de la recherche à la fois française et italienne, pour continuer d’apporter des pistes de réflexion nouvelles dans les disciplines impliquées, tout en espérant également susciter l’intérêt de chercheurs internationaux.
Les interventions seront en italien et en français (sans traduction simultanée), et donneront lieu à publication.
+info/fonte: http://blog.apahau.org/appel-a-communication-les-lieux-du-reve-architectures-fantastiques-dans-la-litterature-textes-et-images-florence-6-7-8-avril-2017/
The Museum Reader: What Practices Should 21st Century Museums Pursue, How and Why? | Data limite: 13 de Janeiro
International Conference, 09-10 March 2017, Museu Nacional de Arte Contemporânea – Museu do Chiado, Lisbon.
The international conference The Museum Reader, organised by the Art History Institute of the Faculty of Social and Human Sciences of the Universidade Nova de Lisboa and the National Museum of Contemporary Art – Museu do Chiado, aims to propose thematic lines and noteworthy points to stimulate thought, reflection and debate of new realities, practices and working conditions identified in museums in the 21st century. Its purpose is to analyse and systematise new methods and paradigms, trends and different practices and ways of imagining the role of art institutions in the context of the present-day art scene.
There will be particular emphasis on the following themes: i) Museums in the transition from the 20th to the 21st century; ii) The museum and the neoliberal concept of culture; iii) The paradigmatic transformations of art institutions in the context of the current social, economic and political order; iv) Institutional critique as investigation of the framework and functioning of art institutions; v) The museum as a place of negotiation and conflict; vi) The potential of institutions and the new institutional sphere: new Institutionalism, radical museology, critical museology; vii) Critique and experimentation in art institutions; viii) Institutional and non-institutional practices within the museum; ix) Challenges for museums and art institutions inside new art practices; x) The future identity of art institutions.
+info/fonte: http://themuseumreaderconference.weebly.com/
Conflict, Healing, and the Arts in the Long Nineteenth Century | Data limite: 31 de Janeiro
Durham University, May 27, 2017. Keynote Address: John Morgan O’Connell (Cardiff University).
The ‘long nineteenth century’—from Hobsbawm’s ‘Age of Revolution’ beginning in 1774, through the ‘Age of Empire’ and end of the First World War in 1918—witnessed a multitude of military conflicts and wars that shaped and reshaped identities, communities, nations, and empires. While individuals’ and nations’ artistic responses to these wars have been well documented by those working in art history, musicology, ethnomusicology, and literature, such work tends to operate exclusive of each other. Often it focuses on the specifics of artistic activities and outputs of individuals and groups rather than seeking out theoretical principles by which to conceptualise artistic practices, responses, and discourses during war. As this conference seeks to explore, healing is one such conceptual model for arts and conflict which can bridge regional and disciplinary foci within the arts and humanities, while simultaneously engaging with medical humanities, social science, and the history of medicine.
This conference will investigate the ways in which the arts—materially, sonically, and aesthetically—promoted, transformed, and negated experiences of healing for soldiers, civilians, and communities between 1774 and 1918 across European Empires, the Americas, Asia, and Africa. We consider ‘healing’ in a broad sense, including both physical and psychological healing, occurring at personal and inter- and intra-cultural levels. Participants from a range of disciplinary and interdisciplinary perspectives are welcome.
Suggested topics related to the healing role of the arts during conflict and war, 1774-1918: i) Written word: letters, diary-keeping, memoirs, fiction, poetry, hospital and battalion magazines. ii) Oral cultures: storytelling, preaching, singing. iii) Performance cultures: theatre, film, musical performance, musical composition, musical improvisation, dance. iv) Visual arts: painting, sketching, trench art, photography, sheet music covers, propaganda posters. v) Memory-keeping and commemoration: gardens, memorials, architecture, religious services, scrapbooking, collecting, musical composition and performance. vi) The origins of the disciplines of art and music therapies. vii) Application of arts therapy models (psychoanalytic, social-art, person-centred, group-interactive, feminist, Gestalt, social art therapy, etc.) to past artistic practices, discourses, and processes during conflict and war. viii) Artistic practices, discourses, products, and processes in spaces of healing, training, and combat. ix) The role of the arts in fostering, reifying, and negating healing practices and rituals in communities, ethnic and religious groups, and nations.
+info/fonte: www.dur.ac.uk/cncs/conferences/conflicthealingarts
Digital Heritage and the Immersive City | Data limite: 01 de Fevereiro
3rd Immersive Learning Research Network Conference (iLRN2017), June 26th– 29, 2017, Coimbra, Portugal. Special Track 3: Digital Heritage and the Immersive City; special track Chairs: Alexandra Gago da Câmara (Universidade Aberta / CHAIA – Universidade de Évora; Helena Murteira (CHAIA – Universidade de Évora); Maria Leonor Botelho (CITCEM – Universidade do Porto).
The study of the city, as multifaceted and complex as it is, has gained recently a new dimension. The digital has permeated the former and has brought new possibilities and challenges to the scientific and academic community. Virtual Reality (VR) and immersive environments have dramatically changed the scope of historical research and its display. Augmented/Mixed Reality (AR / MR) techniques can be used to provide an in situ, contextualized and consequently richer experience. Cities that are long gone or have suffered profound changes are now presented as visual models open to interaction with different research experts and wide audiences, often in real time. The way information is presented and citizens are able to interact and explore these immersive environments are crucial issues. Documental sources are being collected and tested at a growing rate enabling the swift construction of working hypothesis encompassing the different aspects of cities through time and space. Historical data is no longer restricted to the analogical sphere, it became also digital in nature and it is able to reproduce and expand itself very quickly. This reality has raised technological, methodological and epistemological issues, which need to be addressed. In this context, the place of cultural heritage in the contemporary city is also being reexamined. Its value as a museum and tourism asset is also being questioned and reevaluated urging the redefinition of concepts as theme parks and interpretation centres. The memory of the past is being revisited as an embodied experience in a contemporary social context. The past has never been so present and so inextricably linked to the future.
This panel seeks papers that examine these topics from a technological point of view and / or from a methodological and philosophical standpoint. With regard to the latter, we are particularly interested in the role of the digital in the widening of human conscience by allowing the sensorial fruition of dimensions of the past that up until now only belonged to the sphere of ideas.
We especially welcome papers that address (but are not necessarily limited to) the following topics: i) The historic city as an immersive digital representation. ii) VR, AR and MR in Cultural Heritage and Digital Heritage. iii) Virtual exploration of historic spaces: techniques, methods and case studies. iv) Digital heritage and the concept of the theme park. v) Digital Heritage and Tourism: challenges and impact. vi) Digital Heritage and City Museums. vii) Education for Cultural Heritage and Digital Heritage. viii) Digital Citizenship and the Knowledge City.
We invite scholars and experts in the fields of heritage studies, digital humanities, history, history of art and information technology to submit a paper on their work as a work-in-progress or/and research results.
+info/fonte: https://immersivelrn.org/ilrn2017/cfp/
Writing Impressionism Into and Out of Art History, 1874 to Today | Data limite: 01 de Fevereiro
London, The Courtauld Institute of Art, November 3 – 04, 2017.
Impressionism continues to be celebrated in blockbuster exhibitions worldwide: in the last few years alone, Impressionism, Fashion, Modernity (Art Institute of Chicago, Musée d’Orsay, and Metropolitan Museum of Art, 2013); Gustave Caillebotte: The Painter’s Eye (Kimbell Art Museum and National Gallery of Art, Washington, D.C., 2015-2016); and Inventing Impressionism: Paul Durand-Ruel and the Modern Art Market (Musée du Luxembourg, National Gallery, London, and the Philadelphia Museum of Art, 2015). Since 1878 when Théodore Duret published his Histoire des peintres impressionnistes, Impressionism has occupied a central place in the canon of art history. That place now seems to be called into question, however. New transnational approaches to nineteenth-century art history have troubled the perpetuation of Francocentric histories. As the field’s attention has increasingly turned to places outside France—Britain, the United States, Australia, and beyond—Impressionism has been pushed to the margins. Though Impressionism has long benefited from powerful and compelling narratives via the social history of art, these readings have been worked through so extensively that it warrants asking whether this area of art history may be exhausted for the moment.
The Courtauld Institute of Art has historically been a centre for both academic research and scholarly exhibitions on Impressionism. ‘Writing Impressionism Into and Out of Art History, 1874 to Today’ seeks to scrutinize Impressionism’s past historiography and trace its possible future in transnational art histories, with particular attention to new directions, approaches, and questions through which to interrogate Impressionism. Papers are invited that address such questions as: i) How did Impressionism come to be such an important area of research in the history of art? Aside from the familiar matrix of the marketplace, scandal at the Salon and rise of independent exhibitions, and dealer-critic systems, what other institutions supported the inclusion of Impressionism? ii) How did earlier models of writing art history in the nineteenth century adapt (or not) in order to include Impressionism? What alternative models for writing nineteenth-century art history proliferated in the late-nineteenth and early-twentieth centuries? How did those models come to be eclipsed? What were alternative ideas of modernism in the nineteenth century? iii) What is the history of the collecting and exhibiting Impressionism? What new work is being done on the technical history of Impressionism, which has served as such a productive area of study? How can the social history of art be reworked to raise new questions with regard to Impressionism? iv) What will be Impressionism’s place in future transnational art histories? How does a transnational approach enrich and expand current conceptions of Impressionism and reconceptualise the parameters of nineteenth-century (and modern) art as subfields? What does a transnational art history of Impressionism promise to answer? What pitfalls does it present? v) How was Impressionism taken up outside France? What is the history of American Impressionism, and how does it differ from the French original? While papers are solicited in particular that present new work on impressionist painting in the United States, we are also keen to see proposals on impressionism in Britain and elsewhere. What comes next? What remains to be written about Impressionism? What will be Impressionism’s place in future art histories?
+info/fonte: http://courtauld.ac.uk/event/writing-impressionism-into-and-out-of-art-history
A Hecatombe da Guerra. Impactos na Saúde, Demografia e Pensamento Contemporâneo (Séculos XIX-XXI) | Data limite: 15 de Fevereiro
FCSH/NOVA, 19 e 20 de Junho de 2017.
Este congresso tem por objectivo contribuir para uma reflexão aprofundada sobre as consequências das guerras na saúde das populações civis e militares e os efeitos demográficas daí decorrentes. Qual terá sido a evolução da mortalidade militar e civil, incluindo a mortalidade infantil, durante e após um conflito armado? Terá este causado desequilíbrios na distribuição sexos, na composição da estrutura etária da população ou até no aceleramento do envelhecimento demográfico? De que forma foi a fecundidade afectada? Alguns estudos mencionam, no pós-guerra, o aumento do número de divórcios e da separação de casais, enquanto outros insistem na rápida recuperação do mercado matrimonial. Então como reagem, por exemplo, as noivas que ficaram por casar ou as viúvas de guerra?
Comissão Organizadora: Helena da Silva (IHC-FCSH/ NOVA e GRIC-Université du Havre), Paulo Teodoro de Matos (CHAM-FCSH/ NOVA-UAc). Comité Científico: Ana Paula Pires (IHC-FCSH/NOVA e Stanford University), Antoinette Fauve-Chamoux (EHESS-CNRS), Diego Ramiro Fariñas (CSIC), Helena da Silva (IHC-FCSH/ NOVA e GRIC-Université du Havre), Ioan Bolovan (Babes-Bolyai University), Luís Andrade (CHAM-FCSH/ NOVA), Paulo Teodoro de Matos (CHAM-FCSH/ NOVA).
+info/fonte: https://warandhealth.wordpress.com
The Myth of the ‘Enemy’: The Mutable Faces of the Other and the Construction of European Identities | Data limite: 06 de Março
Bologna (Italy), June 8 – 09, 2017.
The conference’s main focus is on ‘Otherness and the construction of identities’ (be they geographical, ethnic, political, religious, cultural, or social), while the underlying theme requested of the papers is ‘the perception and representation of the enemy’. Contact with the Other, as well as the fear of difference, are highly topical subjects of reflection: the distorting visions they express have, for too long, greatly affected peoples’ civil life and their individual and collective imaginary. Three sessions are planned, in keeping with the conference’s multi-disciplinary approach: the first session encompasses the Histories of Art, Cinema and Photography; the second concerns History; the third Literature. The papers may be related to the Middle, Modern, or Contemporary ages. The aim of the conference is to investigate the origin, the circulation and the consolidation of cultural discourses that generated stereotypes and ideas concerning otherness – often aberrant and discriminatory ones – and thus we invite submissions of papers related to the analysis of figures who have been subjected to exclusion and depersonalisation, perceived as belonging to ‘Other Worlds’ to be denigrated, colonised, converted, and/or obliterated: Muslims, Jews, Protestants, Catholics, Eastern Christians, Dissenters, Turks, Blacks, savages, foreigners, ‘enemies’, ‘infidels’. Papers that may shed light on the perception of Europeans in texts and images produced by non-European cultures will also be accepted. Satire and the various forms of violence perpetrated at the expense of other and different cultures, express – as the obverse sides of the same coin – the anxiety but also the fascination and myths created regarding places and peoples that were/are unfamiliar or ‘remote’. Particular consideration will be given to contributions focusing on mutual influences and on different forms of contamination and hybridization: appropriations of stylistic features and models of the other within the cultures of origin, as well as the diffusion (or imposition) of values, paradigms of knowledge, practices of representation from the hegemonic cultural centre outwards. The conference also intends to investigate and deconstruct what is hidden behind the labels of ‘enemy’ or the Other, and encourages the adoption of innovative and cross-cultural research perspectives, privileging, when possible, less explored areas and connections.
Paper topics might include: i) America, Africa, Asia in the European imaginary and vice versa; ii) European identities, political contrasts and internal religious polemics; iii) Otherness as fascination; iv) Otherness as terror; v) Otherness as joke, caricature, satire; vi) Otherness and propaganda; vii) Otherness as falsification; viii) Contaminations of attributes; ix) Explorations, voyages and contacts – real or imaginary – with unfamiliar civilisations and other Worlds; x) Myth of the enemy: archetypes, poetics, pathosformeln; xi) Migrations of models; xii) Appropriation of foreign conceptions and types; xiii) Production of hybrid objects; xiv) Otherness and fiction; xv) Otherness and artistic/literary genres.
+info/fonte: http://arthist.net/archive/14354
2000 Ans Deja… Aspects de la Reception d’Ovide | Data limite: 30 de Abril
17, 2017… Il y aura bientôt deux mille ans que le poète Ovide a disparu. Mais, comme il le prophétise lui-même dans l’épilogue des Métamorphoses avec une assurance qui n’a pas été démentie, son œuvre lui a survécu et a inspiré de nombreux artistes, qui ont perpétué sa mémoire. C’est à cet aspect de la réception d’Ovide qu’est consacrée la journée d’étude du 10 octobre 2017, organisée par Cristina Noacco (maître de conférences en littérature médiévale à l’Université de Toulouse 2 Jean Jaurès) et préparatoires aux grandes écoles, lycée Saint-Sernin, Toulouse), dans le cadre des activités du laboratoire PLH/ELH de l’université Toulouse 2 Jean Jaurès.
Qu’est devenue l’œuvre du poète quand de nouveaux auteurs mais aussi des peintres, des sculpteurs, des graveurs, des musiciens, des réalisateurs s’en sont emparés pour en faire la matière première de leur œuvre ? Tel est le questionnement auquel la journée d’étude s’efforcera d’apporter des éléments de réponse.
En effet, si tel ou tel autre aspect de l’œuvre littéraire et de la fortune d’Ovide ont suscité de nombreuses études dans les domaines de la littérature latine (v. par ex. : Lectures d’Ovide, publiées à la mémoire de Jean-Pierre Néraudau, études réunies par E. Bury, avec la collaboration de M. Néraudau. Préface de P. Laurens, Paris, Les Belles Lettres, 2003) ou médiévale (par ex. : Ovide métamorphosé. Les lecteurs médiévaux d’Ovide, études réunies par L. Harf-Lancner, L. Mathey-Maille et M. Szkilnik, Paris, Presses Sorbonne nouvelle, 2009), des thèses (celle, par exemple, d’Hélène Vial, La métamorphose dans les Métamorphoses d’Ovide. Étude sur l’art de la variation, Paris, Les Belles Lettres, coll. « Études anciennes », 2010) et des colloques (par ex. Présence d’Ovide, éd. par Raymond Chevallier, Paris, Les Belles Lettres, 1982), cette journée d’études envisage de présenter quelques aspects de la réception de l’œuvre littéraire d’Ovide dans les différentes disciplines qui s’en sont enrichies.
Il s’agit d’ailleurs de rendre hommage non seulement à l’Ouidius maior, l’auteur des Métamorphoses, mais aussi à l’Ovide « mineur », poète de l’amour dans ses premières productions (Les amours, les Héroïdes, l’Art d’aimer et les Remèdes à l’amour), ainsi qu’au poète de l’exil, l’auteur des Tristes et des Pontiques rédigés sur le territoire de l’actuelle Roumanie, où l’avait relégué Auguste.
C’est dans une perspective résolument transdisciplinaire et diachronique que les spécialistes de littérature (latine, française etc.), de langue, de théâtre et de cinéma, tout comme les historiens de l’art, les musiciens, les photographes et les poètes sont invités à participer à ce projet, pour rendre hommage à Ovide et témoigner de ce qui, deux mille ans après sa mort, assure encore sa présence au sein de nos disciplines et dans notre environnement culturel.
+info/fonte: www.fabula.org/actualites/2000-ans-dej-aspects-de-la-reception-d-ovide_77160.php
Encontros
Do Ferro Velho Poético à Alquimia do Verbo – Pensar Amadeo, Leitor de Rimbaud, pelo viés de Cesariny | Oradora: Emília Pinto de Almeida | 17 de Dezembro | Museu Nacional Soares dos Reis | Porto
Última sessão do ciclo de conferências realizado no âmbito da Exposição Amadeo de Souza-Cardoso, Porto-Lisboa, 2016-1916.
+info/fonte: www.patrimoniocultural.pt/pt/agenda/meetings-and-conferences/ciclo-de-conferencias-no-ambito-da-exposicao-amadeo-de-souza-cardoso-porto-lisboa-2016-1916/
Visitas Guiadas à Exposição “Amadeo Souza Cardoso, Porto-Lisboa, 2016-1916” | 17 e 18 de Dezembro | Museu Nacional Soares dos Reis | Porto
A participação nas visitas requer inscrição prévia.
+info/fonte: www.patrimoniocultural.pt/pt/agenda/visitas-guiadas/visitas-guiadas-exposicaoamadeo-souza-cardoso-porto-lisboa-2016-1916/
XXth Symposium for the Study of Underdrawing and Technology in Painting “Imaging Utopia: New Perspectives on Northern Renaissance Art” | 11 a 13 de Janeiro | University of Leuven | Bélgica
Illuminare – Centre for the Study of Medieval Art is pleased to present the XXth symposium for the study of underdrawing and technology in painting. This symposium will take place in Mechelen and Leuven from 11 to 13 January 2017. The twentieth symposium of this distinguished conference series is entitled ‘Imaging Utopia: New perspectives on Northern Renaissance Art’. The conference aims to examine sixteenth-century Northern art from a variety of approaches, extending the original, more technical scope of the symposium to include art historical and iconological perspectives. After successful editions on Rogier van der Weyden and Jan van Eyck among others, this symposium will focus on the period in-between the ‘Flemish Primitives’ and Pieter Bruegel the Elder. The latter will be the topic of the XXIst edition hosted by KIK-IRPA (Brussels).
The partners of the XXth symposium are Illuminare – Centre for the Study of Medieval Art (University of Leuven), Erfgoed Mechelen (Museums & Heritage Mechelen) Université catholique de Louvain (UCL), KIK-IRPA (Brussels) and the Flemish Research Centre for the Arts in the Burgundian Netherlands (Musea Brugge).
+info/fonte: https://imagingutopia.wordpress.com/
Curso Livre “O Diálogo entre Literatura e Arte no Contexto dos Séculos XIX e XX” | Formadora: Paula Oleiro | Início: 12 de Janeiro | Casa-Museu Dr. Anastácio Gonçalves | Lisboa
Uma vez que a escrita é a arte da palavra e as artes da imagem são atravessadas pela Literatura, revela-se pertinente encetarmos uma viagem pelos caminhos da leitura comparada guiados por artistas portugueses da modernidade e da contemporaneidade que têm cultivado harmoniosamente as duas vertentes artísticas.
Ao longo das sessões, veremos como, através da literatura e da pintura, os artistas nos proporcionam o desvendamento do seu mundo interior e a compreensão da sua arte e do seu tempo. Pretende-se o aprofundamento do conhecimento da cena literária e pictórica, por um lado, e analisar algumas obras de artistas que ocupam uma posição importante na formação da modernidade literária e estética, por outro.
Pretende-se, ainda, promover a interdisciplinaridade, partilha de saberes e atividades de enriquecimento pessoal e profissional.
+info/fonte: www.patrimoniocultural.pt/pt/agenda/meetings-and-conferences/curso-livre-o-dialogo-entre-literatura-e-arte-no-contexto-dos-seculos-xix-e-xx/
International Conference “The Art of Law” | 16 a 18 de Janeiro | Bruges | Bélgica
Recent years have witnessed a clear rise in scholarship on law and the visual, mostly originating in the wider field of law and the humanities. The conference ‘The Art of Law: Artistic Representations and Iconography of Law & Justice in Context from the Middle Ages to the First World’ War wishes to contribute to this research by focusing on imagery in its legal and art historical contexts. The program brings together original and interdisciplinary scholarship that questions the role of art in the practice of law, jurisprudence and justice administration from the Late Middle Ages through the Nineteenth Century.
The conference will be held in the Groeningemuseum, Bruges on Monday 16, Tuesday 17 and Wednesday 18 January, 2017, during the exhibition ‘De Kunst van het Recht. Drie Eeuwen Gerechtigheid in Beeld’ (‘The Art of Law. Three Centuries of Justice Depicted’) (28 October, 2016 – 5 February, 2017). This art exhibition, curated by Vanessa Paumen and Tine Van Poucke, features about 130 artworks from over 30 national and international museums and libraries and will focus on themes related to justice as expressed in artworks of various media from about 1450 through 1750.
The Art of Law is the closing conference of the IAP Justice and Populations’s WP4: Long-term (Self-) Representations of Justice (LongTermJust).
+info/fonte: https://taolconference.wordpress.com/
International Colloquium “Flandes by Substitution. Copies of Flemish Masters in the Hispanic World (1500-1700)” | 09 e 10 de Fevereiro | Bruxelas | Bélgica
On 9 and 10 February 2017 an international conference will be held on the copies of paintings of Flemish masters during the sixteenth and the seventeenth centuries related to the Hispanic world. The event will take place at the Royal Institute for Cultural Heritage (KIK-IRPA) in Brussels and is organized in collaboration with the Spanish National Research Project COPIMONARCH. La copia pictórica en la Monarquía Hispánica, siglos XVI-XVIII (I+D HAR2014-52061-P) from the Universidad de Granada.
The artistic heritage of the regions that once formed part of the former Spanish Empire includes a large number of painted copies after Flemish masters made during the sixteenth and the seventeenth centuries. Most of these works have received little attention even though they constitute a valuable source for understanding the artistic influence of the Southern Netherlands on Spanish and Latin American art and society in this period. Indeed, the study of copies of Flemish masters sheds light on a number of art historical issues, including the means of diffusion of artistic models, stylistic trends and the dynamics of the art market and the world of collecting. These copies are a valuable testimony to the political, commercial and cultural ties that existed between the Hispanic territories and the Southern Netherlands.
The conference will focus on the phenomenon of the copy from a large variety of approaches, ranging from workshop practices to collecting, trade and patronage. Papers about studies on particular copies are welcomed, but special attention will be paid to the driving forces behind the export-driven market of copies, such as artists, patrons, collectors and merchants. By taking into account cultural, religious, political and socio-economic dynamics, this conference aims to shed new light on the multifaceted artistic impact of the Southern Netherlands on the Hispanic world during the sixteenth and seventeenth centuries.
+info/fonte: http://arthist.net/archive/14381
Tomar Summer School 2017 – O Convento de Cristo e a Cultura do Renascimento em Tomar | 10 a 21 de Julho | Convento de Cristo | Tomar
Este projeto contempla a observação crítica dos vários espaços materializados no Convento de Cristo ao longo de séculos mas cuja maior definição ocorre nos séculos XV e XVI. Através da análise das práticas pictóricas, escultóricas e dos registos implantados na consagração desta “cidade ideal”, como a igreja, os 8 claustros que ainda sobrevivem, os dormitórios, a surpreendente cloaca ou, depois, a grande enfermaria nova, os estudantes percepcionarão um programa político, cultural e estético que dá voz às pressões ideológicas que se exercem em Portugal num tempo dilatado.
Ao longo de quase duas semanas, os estudantes tomarão contacto físico com as estruturas do edificado, em permanente desafio de inteligibilidade, mas serão também chamados a uma planificação expositiva a partir do acervo escultórico guardado no Convento. A partir desta experiência, onde se incentiva a musealização das reservas do Convento, ganhará sentido uma outra consistência na abordagem às questões formais da escultura do Renascimento em Portugal. Constituir-se-á, assim, um laboratório de pesquisa formal em íntima relação de forças com a componente escultórica presente no Convento de Cristo.
Inscrições até 30 de junho.
+info/fonte: www.patrimoniocultural.pt/pt/agenda/courses/tomar-summer-school-2017-o-convento-de-cristo-e-cultura-do-renascimento-em-tomar/
Recursos Electrónicos
Cahiers de l’École du Louvre
Revue semestrielle en ligne, les Cahiers de l’École du Louvre ont été fondés en 2012. Destinée à accompagner la réorganisation et la restructuration du troisième cycle à l’École du Louvre, cette revue publie des articles issus des travaux des élèves en deuxième et troisième cycles, ainsi que des recherches des enseignants et chercheurs. Tous les domaines qui font l’objet d’un enseignement ou de la recherche à l’École du Louvre sont représentés dans les Cahiers : histoire de l’art, archéologie, épigraphie, histoire des civilisations, anthropologie et muséologie. Cette richesse disciplinaire, véritable reflet de l’esprit de l’École du Louvre, permet aux Cahiers de s’adresser à un public pluridisciplinaire. Publiés en français ou en anglais, les articles sont accompagnés d’un résumé et d’unecourte biographie de l’auteur.
Chaque numéro comporte une série de cinq à huit articles environ. Plusieurs types de textes se côtoient dans les Cahiers, les « articles » qui portent sur un sujet de recherche en relation avec les axes d’enseignement et de recherche de l’École, des « études », plus longues, qui permettent d’approfondir un sujet, enfin les « documents », articles plus courts qui mettent en valeur un document inédit.
Une rubrique « Actualité de la recherche à l’École » rend compte des journées d’études, colloques organisés par ou avec l’École, des parutions d’ouvrages.
+info/fonte: www.ecoledulouvre.fr/publications/cahiers-ecole-louvre