Concursos
Post-doc: History of Architecture & Urbanism | Delft University of Technology (TU Delft) | Data limite: 02 de Março
The research will take place in the context of the interdisciplinary digital humanities project ArchiMediaL, focused on enriching and linking historical architectural and urban image collections. The post-doctoral researcher in architectural and urban history will collaborate closely with members of the Chair of History of Architecture and Urban Planning at the TU Delft and with computer scientists researching Deep Learning for Image Analysis (TU Delft) and Semantic Web and Knowledge Representation (VU Amsterdam).
The postdoctoral researcher will provide the intellectual and hermeneutic framework for the development of new tools for automatic building recognition of architectures and their parts as available in inherently diverse digital media (plans, photos, models, etc.) and on the web. He/she will facilitate the development and linking of metadata and image content and reflect on the relevance of available data and further research for comparative investigation of contemporary and historic built form. The collaboration of historians of architecture and urban form with computer scientists will allow us to close gaps in existing data fields and allow us to gain better understanding of understudied areas.
The project will cover three specific case studies: the open access repository of colonial architecture located at the TU Delft, photographs, postcards and other illustrations of Japan from the late 19th and the early 20th century, and digital imagery of waterfronts and port cities. It will develop new guidelines and methods for the meaningful analysis of architectural and urban history and the use of diverse and large digital (or to be digitised) datasets in three development cycles.
The post-doctoral researcher will Collaborate with computer scientists in regard to digital media as a historical artifact. Prevent the de-contextualisation of the images, their reduction to pure datasets. Identify search themes to be used by the computer post-doc. Question the workings of the computer code to avoid the reproduction of biases and to specify the informational needs of potential users. Guide the parameters for the analysis of three specific use repositories. Write scientific publications and reports. Participate in workshops and conferences. Support the research group with administration and teaching. Write follow-up grants. The applicant will hold a PhD in a related field and have excellent English skills. Note: There is a preference for a German passport holder.
Delft University of Technology (TU Delft) is a multifaceted institution offering education and carrying out research in the technical sciences at an internationally recognised level. Education, research and design are strongly oriented towards applicability. TU Delft develops technologies for future generations, focusing on sustainability, safety and economic vitality. At TU Delft you will work in an environment where technical sciences and society converge. TU Delft comprises eight faculties, unique laboratories, research institutes and schools. The Department of Architecture at the TU Delft provides high-quality educational programmes and conducts advanced academic research at an internationally competitive level of excellence in the field of architecture, with a strong focus on the social and cultural relevance of architectural knowledge and architectural design. The Department attracts an important number of international and Dutch students, academics and practitioners, thus holding a key position among the five departments that make up the Faculty of Architecture of the TU Delft. This postdoctoral position is embedded in the Chair of History of Architecture and Urban Planning at the TU Delft. We are looking for a motivated and skilled post-doctoral researcher to conduct cutting-edge research in architectural and urban history within the context of the digital humanities project “ArchiMediaL” funded by a Volkswagen Foundation Grant. This research is designed in collaboration with a second post-doctoral researcher working on Deep Learning for Image Analysis with Semantic Web and Knowledge Representation.
+info/fonte: www.academictransfer.com/38313
Postdoctoral Nomis Fellowships | Eikones – Center for the Theory and History of the Image at the University of Basel | Data limite: 10 de Abril
The center invites applications from postdoctoral researchers and assistant professors in the humanities, social sciences, and natural sciences for three one-year Nomis Fellowships beginning 1 September 2017. Since 2005, eikones has served as a center for graduate and postgraduate research on images. The center is dedicated to the interdisciplinary study of images as instruments of human knowledge and cultural practices. It investigates the functions and effects of images throughout history and in our contemporary society from analytical and systematic perspectives.
The Nomis Postdoctoral Fellowship Program supports groundbreaking research projects related to how images act as models or paradigms in scientific and aesthetic contexts. We are interested in the fundamental ways images serve as instruments for making complex structures visible and accessible to interpretation. In both aesthetic and experimental settings, images often assume an exemplary character, aiding epistemic and learning processes. They fulfill evidential, didactic, and symbolic functions, and thereby produce different forms of knowledge. Relevant topics of research might consider, for example, the history and theory of imaging techniques in the natural sciences; the ideals and stereotypes that shape social contexts and political discussions; or the formation and dissolution of canons, iconographies, character types, and styles in the arts. On the methodological side, the projects should be rooted in a specific research field, and reflect on the relation between their individual discipline and image studies.
The fellowships will allow outstanding young scholars and scientists to pursue their research free from teaching and administrative obligations. They provide a generous salary, travel funds, and access to excellent academic infrastructure. Applications will be selected based on scholarly achievement and relevance to the topic of images as models. Fellows are expected to be in residence at eikones in Basel and to participate in select institutional events.
+info/fonte: www.h-net.org/jobs/job_display.php?id=54563

Calls
History of Design in France | Data limite: 03 de Março
International conference, Institut national d’histoire de l’art, University of Pantheon-Sorbonne, June 21, 2017.
The history of design in France presents a great richness but paradoxically no state of the question has been really carried out. Inventions multiplied during the industrial revolution and the first attempts to industrialize an aesthetic object with modern forms were undertaken at the beginning of the twentieth century. While some of the Art Nouveau decorators made the first proposals, the style motivated some entrepreneurs, who saw an opportunity to diversify their catalogues of items. Art Déco was more successful in popularizing the modern object within a commercial approach although it remained based on craftsmanship. On the eve of the Second World War, there was a rapprochement between engineers, industrialists and creators. It was incarnated by the Union of Modern Artists (UAM) and presented at the Exhibition of Arts and Techniques of 1937.
The impulse came mainly after the Second World War with the influence of the American model of “industrial design”. It was imported in France under the translation of “esthétique industrielle” thanks to figures like Jacques Viénot and Raymond Loewy, who respectively founded Technès and the Compagnie d’esthétique industrielle (CEI). Thereafter was developed an enthusiastic research on plastics through a derision of forms. It was illustrated by the Pop movement in the Sixties and Seventies, with designers like Olivier Mourgue, Roger Tallon and Pierre Paulin. It was largely on the initiative of French graphic designers such as Paul Colin, that the International Graphic Alliance was founded, and the one of Viénot that the International Council of Industrial Design Companies (ICSID, now World Design Organization) was created. Aware of the importance in artistic practices of this new field, which is demonstrated by the success of a star designer like Philippe Starck, some public institutions decided to support the movement. Thus were created the Centre de Création industrielle in Paris in 1969 or the Cité du design in Saint-Etienne more recently. Recent research and publications on the subject, will help to update and adress the question.
+info/fonte: https://arthist.net/archive/14823

The Role of Religious Confraternities in Medieval and Early Modern Art | Data limite: 10 de Março
International conference, Ljubljana, France Stele Institute of Art History ZRC SAZU, May 11 – 13, 2017.
Researching religious confraternities is a great challenge not only in the fields of general and church history but also in art history, as the activities of confraternities reflect strongly in fine arts. Confraternities connected European religious, cultural and artistic space in a way similar to monastic orders. Therefore, only a comprehensive understanding of their activities and role in fine arts can yield complex findings and new evaluation of these themes in a wider context. With this conference, we wish to provide an opportunity to present new research findings and to discuss the significance of the artistic activities of confraternities in the Middle Ages and Early Modern Period, especially in the countries of Central Europe. Confraternities were one of the fundamental and the most dynamic expressions of piety in the Western world. As the indispensable part of the late medieval religious and social life, they left a significant mark in the fine arts. While in the time of Protestantism the confraternities were in decline, they reached a new heyday in the period of the Post-Tridentine recatholisation, especially in the 17th and the first half of the 18th century. Numerous early modern confraternities originated in the Middle Ages (the medieval confraternities were often related with guilds), and were, in accordance with the new religious tendencies, after the Council of Trent reformed as to emphasise their specific religious character. With the 1783 decree of Emperor Joseph II., the religious confraternities were abolished. This not only inflicted a loss in the pastoral activities of the Church, but also affected the artistic patrimonium. While the focus of the conference is the territory of the formal Habsburg hereditary lands, we also invite papers discussing the role of confraternities in the territories belonging to the Venetian Republic, where this form of religious life was supressed under the French occupation in 1806.
Our interest is the role of the confraternities in fine arts, as they were significant  commissioners of artworks. They erected altars, chapels and churches, supervised their maintenance and decorating. They sponsored and participated in construction, renovation, furnishing and embellishing of churches, in which they worshipped their cults. They commissioned paintings, sculptures, prints, liturgical equipment and objects used in processions and celebrations. Some of confraternities had their own buildings or halls for meetings.
While we are open also for other themes that provide insight into artistic activities of confraternities, the main research questions we would like to discuss on the conference are: i) Confraternities as commissioners of artworks. ii) The function of artworks: visualisation, religious cult and festive staging, manifestation of the social role of confraternities etc. iii) The role of confraternities in introducing and dispersing new iconographic themes and types. iv) Reception and modification of iconographic types or themes selected by archconfraternities. v) Material bases of confraternities and their influence on the artistic activities of confraternities. vi) The main members and patrons or confraternities and their influence on art. vii) Artists commissioned by confraternities and artists as members of confraternities. viii) Confraternity patron saints and their role to the social needs in the specific historical, social and regional contexts. ix) Art of confraternities who worked under auspices of monastic orders.
Since 2013, the project The Role and Significance of the Religious Confraternities in the Early Modern Art in Slovenian Lands has been conducted at the France Stele Institute of Art History ZRC SAZU with the financial support of the Slovenian Research Agency. The aim of the conference, which will take place in Ljubljana between 11 and 13 May 2017, is to discuss the complex and poorly researched theme of confraternities and fine art in the international context. With a wider insight into the phenomenon of the religious confraternities and their significance in the history of art, the conference will contribute to more comprehensive understanding of artworks and their religious and social role. We invite art historians as well as historians, literary historians, church historians and researches in other similar disciplines to submit the proposals for 30-minute papers. The conference languages are English and German. The organizing institute will subsidise travel expenses and accommodation costs of the speakers (maximum for 3 nights).
+info/fonte: http://uifs.zrc-sazu.si/en/novice/the-role-of-religious-confraternities-in-medieval-and-early-modern-art-call-for-paper#v

Art, History and the Making of European Identity | Data limite: 15 de Março
Panel at 7th Euroacademia International Conference: Europe Inside-Out: Europe and Europeanness Exposed to Plural Observers, Porto, Portugal, April 28 – 29, 2017.
Identities are socially attributed imaginary significations. They are part of the dynamic projects of individual and social autonomy (C. Castoriadis). Nothing shapes, represents or reflects better the imaginary constructions of particular societies than arts. The artistic perception and practice are often identity making processes while the object of art can be a direct or indirect embodiment of experienced identities. At the outcome line of the process of artistic creation, the perception of the objects of art as oeuvre is an identification with cultural claims for specific aesthetic standards.
Art has a tremendous impact in indicating or shaping various dimensions of multilayered identities. Trough time art represented or influenced human visions of life and death, natural or supra-natural, meanings of life and daily practices, beliefs and their expression, history and change, places and differences. Art is simultaneously a process of building contextual cultural identifications and an instrument for cross-cultural dialogue. Arts supported the symbolic legitimating of various political orders and had an essential role in the creation of national identities. Arts shaped cultural aspirations and credos as an effective element of cultural innovation, change and openness to new.
Through imaginary representations, art inserted divisions and differences among cultures and self-perceptions of people yet also opened the path of curiosity for the other and the emergence of trans-cultural dialogue. As artistic visions touched upon the most intimate identitarian representations of individuals and societies, they exercise a fundamental role in the developments and dynamics of identity making processes. Arts deeply touched on social and self-representation through sculpture and portraiture, on civic identities through defining social spaces in architecture or quotidian perceptions through design, on social or political allegiances through symbols, iconic objects and cultural diplomacy, on acting identities through theater, literature or performance arts, on the formation of transnational and global symbols. They exercised an essential impact on the formation of social memories or in addressing inclusion and exclusion nexuses for the marginalized or oppressed. Art is as well one of the important modes for asserting identities. This panel addresses explicitly and invites the theoretical or applied studies that relate artistic manifestations with identity making processes. As the universe of reflection and research on the topics involved are virtually unlimited and impossible to anticipate in full diversity, we welcome contributions that add value or challenges to the discussion of the topic.
Some suggested topics for the panel are: i) European Art and identity: a bidirectional influence; ii) Arts and the formation of social imaginary in Europe; iii) Art as search for self-expression and identity; iv) History, memory, art and identity in Europe: from literature to visual and performing arts; v) Renaissance and humanism influence on modern identity; vi) Art and the creation of national identities in Europe; vii) Modern art and novelty as a value; viii) Portraiture and identity: from painting to sculpture and photography; ix) Performing identities: identity and performance in literature, theater and the performing arts; x) The body in art; xi) Art and expressions of gender identity; xii) Photography and identity making: from single images to serial portraits; Identity and migration or displacement in art; xiii) Alberto Giacometti and Constantin Brancusi: the human and the absolute; xiv) Picasso and Modigliani: images of a deeper self; xv) Cindy Sherman: the nature of representation and construction of identity; xvi) Architecture and urban vision: from civic identities to globalization; xvii) Contemporary design and the visions of life and the self; xviii) Displaying allegiance: from ideological art to political symbols; xix) Fashion and social staging of personal identity; xx) Cinematography and identitarian representations; xxi) Art and cross-cultural dialogue; xxii) Art and post-colonialism; xxiii) Repressed identities and arts; xxiv) Art and search for recognition: expressing cultural heritage; xxv) Art, infinite reproduction and the global village; xxvi Kitsch and identity; xxvii) Museums, galleries and exhibitions: displaying identities
+info/fonte: http://euroacademia.eu/conference/7th-eio-conference/

European Urban Transformations, Transition and Change in European Urban Image Construction | Data limite: 15 de Março
Panel at 7th Euroacademia International Conference: Europe Inside-Out: Europe and Europeanness Exposed to Plural Observers, Porto, Portugal, April 28 – 29, 2017.
Urban image construction is a reflection, expression and constitutive factor of local identity formation and dynamics. Cities simultaneously localize identities and connect them with wider global signs of utility, function and symbolic order. Elasticity of the label identity accommodates everything that surrounds us as presence or absence, persistence or change. As a theatrical scenery, cities change after each act, sometimes with discrete adaptations, sometimes with radical interventions. If the scenery is composed of streets, parks, roads, museums, monuments, shopping malls and buildings connected through the intricate network of the perpetual and cumulative actions of its inhabitants, every adaptation and intervention affects its multi-dimensional identities. Changes in urban visual identities unfold as a form of public art feeding from the immense potential of social imaginary significations accommodated by a time’s perception of stability, structure and continuity. Urban change is itself a production of meaning, interpretation and identity making practices.
As the chaotic canvases of cities are being stretched over a framework of identity, its further exploration seems more than appropriate. Amidst the incredibly rapid urban growth crowding more than half of the world population in towns and cities, the questions are only going to keep multiplying. How are city identities made and re-made, used and abused, imagined and narrated, politicised and communicated, expressed and projected, imposed and marketed? And above all, how do they thrive within the dynamic interpolation of the nexus of local-global, centre-periphery, urban – suburban, old and new. As out-dated as these dichotomies may sound, in many places their daily life is far from over. As old cities became new capitals and new capitals struggle for more capital, the challenges of maintaining public-driven collective identities in the face of cultural fragmentation and diversification, coupled with consumer-attractiveness is turning them into urban palimpsests. Urban environments reflect the human needs and values. In an increasingly globalized world, the human beings are becoming more citizens of the world than citizens of the cities. The increasing mobility of the new pilgrims of globalization creates more of the same in the logic of universalized urban functionality. Within this logic, the cities are now in the position to re-evaluate their impact on the world and shape their future in a manner that assumes a wider responsibility that evades a localized mentality. Urban local identities are becoming increasingly thin and rely strongly on negotiating a local specificity with universalized functionality and global responsibility. An increasing need for uniqueness and distinctiveness foster site-specificity aimed at placing a particular urban identity within a global economic hierarchy. Public art became essential for affirming distinctive local urban identities in a universe of serialization and commodification.
As the research on cultural identities of the city is becoming more abundant, this panel aims at adopting a wide-lens inter-disciplinary approach, while focusing on various processes affecting identities in the urban context in its global-regional-national-local interplay.
Some example of topics may include (but are not limited to): i) Collective Memory, Identity and Urban Image Construction; ii) Appropriation, Instrumentalisation and Functualisation of Public Spaces; iii) Contemporary Nomadism and the City as a Common Denominator for Collective Identities iv) Architecture as ‘Politics with Bricks and Mortar’; v) History, Heritage and Urban Change; vi) Urban Regeneration Projects, Landmark Buildings and ‘Starchitects’; vii) Non-Places and (Non)Identity; viii) Immigrants and the Cultural Identity of Cities: ix) City Marketing and City Branding; x) Cities and Public Goods; xi) European Capitals of Culture and European Identity; xii) Cities and Sites of Memorialisation; xiii) Identity Creation and the Cultural Offer of the City; xiv) Urban Cultural Heritage as Identity-Anchor; xv) Minor Places: Dominant Culture and Site-Specific Urban Identities; xvi) Creative Changes of the Cities; xvii) Art and Industry in Urban Development; xviii) Urban Aesthetics; xix) Urban Installations; xx) Critical Architecture; xxi) Urbanism and Social Intervention: Inclusion of the Marginalized; xxii) Centre/Periphery Nexuses in Contemporary Urban Development; xiii) Cities and the Quality of Life; xxiv) Urban Landscapes and Sustainable Cities; xxv) Contemporary Cities and Environmental Responsibility; xxvi) Ugliness, Kitsch and Value in Shaping Contemporary Urban Spaces; xxvii) Urban Sites of Identification; xxviii) Temporary Urban Interventions; xxix) Architecture as Public Art.
+info/fonte: http://euroacademia.eu/conference/7th-eio-conference/
Conceptualism – Intersectional Readings, International Framings: Black Artists and Modernism in Europe after 1968 | Data limite: 31 de Março
The Black Artists & Modernism research project is pleased to announce the forthcoming conference, Conceptualism – Intersectional Readings, International Framings, in collaboration with Van Abbemuseum. The conference will take place from Friday 8th December to Saturday 9th December 2017 at the Van Abbemuseum, Eindhoven.
Across continental Europe, the term ‘Black’ has not coalesced in the way that it has operated in Britain: belonging to a range of post-colonial identities; without a specific artistic style; nor an agreed space within modernism. ‘Black artists (descendants of post-colonial or migrational communities – i.e. how the term black might be applied in a continental European context), and their aesthetic choices have tended to be excluded from canonical art history within high modernism because their work is typically framed within the conditions of production and reception’. The Conceptualism – Intersectional Readings, International Framings conference seeks to address this with a focus on Conceptualism, which is all too often associated with resisting identity politics. Intersectionalism, however, is associated with a feminist approach (Combahee River Collective, 1978) that acknowledges differences between ‘universalist’ feminism developed within the context of the USA (Kimberle W. Crenshaw – 1989, Patricia Hill Collins – 1990), and the British context in which numerous individuals have been quick to debate the inter-relation between race, class, gender and sexuality, understanding power differentials as co-constituted and co-constitutive (Lutz, Vivar and Supik, 2014). Feminist art historians (Pollock, Robinson, Deepwell, Kokoli, Tawadros and Cheddie) have also been negotiating these situated positions within the UK since the mid-1980s, through links to New Art History, Cultural Studies and Black feminism.
This conference will open up new understandings of Conceptualism produced in Europe after the political and social upheavals of 1968, especially across the Netherlands, France, Germany, Belgium, the UK, Spain and Portugal to question how artworks can be read beyond biographical and sociological context of the artist, and instead return to the materiality of the work, its conditions of display, interpretation and consumption. The focus on Conceptualism in Europe after 1968 aims to highlight the limits of discourses on ‘Blackness’ and ‘Conceptualism’, through a shift in perspective beyond British and transatlantic frames. To that end, the conference adopts Luis Camnitzer’s definition of ‘Conceptualism’ as a “wide array of works and practices which, in radically reducing the role of the art object, reimagined the possibilities vis-à-vis the social, political, and economic realities within which it was being made” (1999). In the ground-breaking exhibition, Global Conceptualism: Points of Origins 1950-1980s (1999), Camnitzer, Rachel Weiss and Jane Farver established a new framework for thinking about the development and mobilisation of an international consciousness that gave rise to specific artistic practices around the world between two periods, from 1950 to 1973, and from the mid-1970s to the end of the 1980s.
Looking particularly to the Netherlands, France, Germany, Belgium, Spain, and Portugal, the conference objectives are two-fold. Firstly, to open up debates around intersectional readings of artists’ practices and artworks that shift the interpretative paradigm from the question of how they represent identity politics, to how they arguably produce identity politics. Secondly, by acknowledging the way that art history has been revised and become contingent on diverse perspectives (see Iris Dressler and Hans D. Christ (2009) or Helen Molesworth (2012), the conference seeks to question how we might begin to differently situate Conceptual artistic practices in Europe in terms of intersectionality.
The Conceptualism – Intersectional Readings, International Framings conference will be preceded by a series of closed seminars focused on specific artworks in public collections that have been developed in partnership with various museums and organisations in the UK (Iniva), France (Frac Lorraine, Mac Val) and the Netherlands (Stedelijk). The seminars will inform commissioned case studies, comprising close-readings of artworks by artists including Nil Yalter, Stanley Brouwn and David Medalla, and reflections on their curatorial and museological framings within European collections. These case studies will be presented at the conference as key focus points.
We invite proposals from artists, academics and curators that focus on a specific artwork or artistic practice, to address the indicative themes and questions: How do artists like Nil Yalter, David Medalla, and Stanley Brouwn, amongst others, approach and engage with Conceptualism? How are formations of race, class, gender and sexuality addressed through Conceptualist art practices in Europe after 1968 and among emerging contemporary artists such as Mathieu Kleyebe Abonnenc? How can Conceptualism be understood anew through intersectional readings and international framings? How have public collections contested mainstream white male-dominated definitions of Conceptualism in Europe? How does the term ‘Black’ resonate, if at all, within discourses of Conceptualism and modernism across specific European regions and contexts?
+info/fonte: www.blackartistsmodernism.co.uk/

Esoteric Traditions and Their Impact on Early Modern Art | Data limite: 31 de Março
Ephyrus Scholarly Publications, LLC is seeking papers for an upcoming anthology on the impact of esotericism on the art produced during the Renaissance and Baroque eras, though papers on slightly earlier or later works will also be considered. Subjects may include but are not limited to Hermeticism, Neoplatonism, Kabbalah, Prophetism, Rosicrucianism, Freemasonry, Alchemy, magic, and the occult.
+info/fonte: http://zephyruspubl.com/


O Fio da Memória. As Artes Decorativas no Palácio Fronteira e em Palácios Seiscentistas da Região de Lisboa | Data limite: 02 de Abril
Dando continuidade ao projecto de investigação “A Casa Senhorial em Lisboa e no Rio de Janeiro. Anatomia dos Interiores”, o Instituto de História da Arte da Faculdade de Ciências Sociais e Humanas da Universidade Nova de Lisboa, em parceria com a Fundação das Casas de Fronteira e Alorna e a Associação dos Amigos das Casas de Fronteira e Alorna, promove, no dia 7 de Novembro de 2017, o segundo encontro “O Fio da Memória” dedicado à actualização de conhecimentos sobre o Palácio Fronteira. Neste II Encontro, pretende-se continuar a atribuir especial destaque à área das artes decorativas, mas lançam-se dois novos desafios aos investigadores interessados em participar: o alargamento das pesquisas aos espaços envolventes do Palácio Fronteira, e o desafio de procurar uma leitura integrada e comparada de elementos artísticos e programas iconográficos em outras casas senhoriais da região de Lisboa do mesmo período (séculos XVII) e suas reconfigurações posteriores. Assim, convidam-se os investigadores interessados a apresentar propostas de comunicação nas seguintes áreas temáticas: i) Decoração aplicada (pintura e estuques decorativos, azulejos, embrechados, escultura, etc.); ii) Objectos (mobiliário, livros, ourivesaria, relojoaria, porcelanas, faianças, vidros, metais e tecidos); iii) Inventários de bens e outros documentos relacionados com as artes decorativas em palácios da região de Lisboa.
Organização: Hélder Carita (IHA / NOVA), Isabel Mendonça (IHA / NOVA), Vanda Anastácio (FL-UL).
Comissão Científica: Ana Pessoa (FCRB), Gonçalo de Vasconcelos e Sousa (UCP), Hélder Carita (IHA / NOVA), Isabel Mendonça (IHA / NOVA), Pedro Flor (IHA / NOVA), Vanda Anastácio (FLUL).
+info/fonte: https://drive.google.com/file/d/0B9g9n1EC2s-eTzl5dExmdllkZE51bDFzZ19nNEE0eTVYa05F/view?usp=sharing
Studies in Japonisme | Data limite: 07 de Abril
The Society for the Study of Japonisme is now accepting submissions of articles and other texts to be published in its peer-reviewed annual publication Studies in Japonisme (Vol. 37, 2017). Studies in Japonisme is a bilingual journal in Japanese and English. Original texts in English are published in English and translated Japanese, and original texts in Japanese are published in Japanese and translated English. The language of manuscript submission can be Japanese or English.
The Society for the Study of Japonisme (Japonisumu gakkai) is a leading academic association based in Tokyo and is committed to understanding the international impact of Japanese art and culture since the nineteenth century. Since its establishment in 1980, the Society has served the scholarly and museum community in and outside Japan through its publications, lectures, workshops, and international symposia.
+info/fonte: https://japonisme-studies.jp/en/

Cidade (In)Defesa, Revista de História da Arte IHA-FCHS/NOVA | Data limite: 30 de Abril
cidade define-se, por princípio, como alteridade, como diferença. É a obra humana por excelência que se destaca da natureza, que dela se isola. A suposição da defesa é inerente à própria ideia do urbano. A ritualização do nascimento da cidade implica antes de tudo marcar o recinto da sua defesa simbólica a que se deve seguir a construção efectiva dos seus muros. Na Idade Média, a própria definição da cidade exige a muralha. Mas é na modernidade que a especulação sobre a defesa das cidades atinge o seu ápice. A defesa é teorizada nos tratados e testada nas fortificações. Ao longo da Idade Moderna a guerra vai-se convertendo num exercício de defesa extrema, de resistência aos cercos. Mas chega o momento da absoluta inoperância das cercas de qualquer espécie. A cidade contemporânea afirma-se literalmente fuori mura. Mas a urbanidade cosmopolita, supostamente aberta, é também em potência fechada.
Ao questionar a cidade e a sua defesa, queremos potencializar abordagens que assumam quer a complementaridade intrínseca, quer a tensão latente, entre cidade e fortificação. A intenção da proposta é convocar leituras que observem a cidade en garde, com ou (eventualmente) contra a sua fortificação. Interessa-nos identificar metodologias que assumam a interdisciplinaridade intrínseca do tema e ultrapassem as análises demasiado formalistas ou monográficas. São bem-vindos os estudos comparativos e com novas abordagens dos ciclos cronológicos da fortificação, assim como das relações entre o imaginário de fragilidade e força do urbano nas suas diversas expressões.
Coordenação científica: Margarida Tavares da Conceição (IHA/FCSH-NOVA) Renata Araujo (CHAM/FCSH-NOVA, UALG).
+info/fonte: https://institutodehistoriadaarte.files.wordpress.com/2017/02/cfp_cidadeindefesa_defenselesscity_2_logos.pdf

 
Décor and Architecture: Between Adherence and Autonomy (16th and 17th Centuries) | Data limite: 30 de Abril
During the Early Modern Period, décor was considered to be one of the most fundamental elements of architecture. Thanks to décor, architecture could elevate itself beyond simple masonry and claim a superior status. Décor was thus defined as a necessary prerequisite for architecture, rather than a marginal component. History of art, however, has often separated décor-related studies from architecture-related ones, suggesting a de facto rupture between these fields and potentially biasing our understanding of the artistic production by reducing its scope.
The University of Lausanne organizes two international conferences questioning how the relations between décor and architecture were defined and implemented in Early Modern Europe. The first session concentrated on the end of the 17th and on the 18th centuries (24th-25th November 2016); the forthcoming one (16th-17th November 2017) will be devoted to the 16th and 17th centuries. The results of these two sessions will be published in a peer-reviewed proceedings volume.
The conditions to which the invention of a décor was subjected varied greatly from one case to another. Indeed, the architects’ prerogatives differed according to the circumstances and constraints imposed on them: while some were largely involved in the invention of the décor, others delegated its conception to artists or workmen. The conference will focus on individual original case studies, but also on more general and thematic approaches. The following questions may be used as a framework for the presentations: How were notions such as décor and architecture defined in relation to each other? Who was in charge of the invention of a décor and what consequences could a possible sharing of tasks have on the architectural project? What consequences could technical constraints linked to architectural practice have on a décor? To what extent could theoretical, economical, religious, political and social issues affect the relations between décor and architecture?
The scientific board will pay particular attention to paper proposals which draw upon unpublished primary sources. Proposals concerning the 15th century may be taken into account, if they shed pertinent light on the questions raised in the conference.
+info/fonte: https://arthist.net/archive/14846

Encontros
Conferência “O Que É Uma Cópia e O Que É Uma Ilustração? As Respostas de Amadeo na Sua Légende de Saint Julien l’Hospitalier” | Oradora: Filomena Molder | 25 de Fevereiro | Museu Nacional de Arte Contemporânea do Chiado | Lisboa
Sessão do ciclo de conferências no âmbito da exposição Amadeo de Souza-Cardoso / Porto Lisboa / 2016 – 1916. A moderação estará a cargo de João Oliveira Duarte.
+info/fonte: www.museuartecontemporanea.pt/pt/programacao/1804

Passeio Temático “Um Jardim e os Seus Azulejos: O Jardim do Palácio Fronteira” | Orientação: Ana Paula Rebelo Correia | Início: 25 de Fevereiro | Palácio Fronteira | Lisboa
Fundação das Casas de Fronteira e Alorna organizou para o dia 25 de Fevereiro, 2 passeios temáticos aos Jardins do Palácio Fronteira (em português e francês) “Um jardim e os seus azulejos: o jardim do Palácio Fronteira”, em Lisboa, às 10h30 e às 12h00. Estes passeios serão guiados pela investigadora ANA PAULA REBELO CORREIA, especialista reconhecida na matéria, de acordo com o programa que junto enviamos.
+info/fonte: www.facebook.com/events/1248539695233385/

Conferência “A Paisagem na Pintura Contemporânea” | Oradores: Luís Silveirinha e Miguel Rama | 02 de Março | Casa-Museu Dr. Anastácio Gonçalves | Lisboa
Sessão do ciclo “Conversas na Paisagem”. Entrada livre.
+info/fonte: http://blogdacmag.blogspot.pt/

Conferência “Património e as Políticas de Reconhecimento/Heritage and the Politics of Recognition” | Oradora: Laurajane Smith | 02 de Março | Colégio de S. Jerónimo – Universidade de Coimbra
Laurajane Smith é professora na School of Archaeology and Anthropology, da qual também é diretora, bem como do Centre for Heritage and Museum Studies, na Australian National University, em Camberra. Nascida na Austrália, trabalhou durante nove anos na University of York, em Inglaterra, na qual dirigiu o curso de Mestrado em Gestão de Património Cultural. As suas publicações incluem Uses of Heritage (2006, Routledge), e as co-organizações de Heritage, Labour and the Working Classes (2011) e Intangible Heritage (2009), encontrando-se a trabalhar na re-edição desta última. Encontra-se ainda a co-organizar Emotion, Affective Practices and the Past in the Present, que sairá em 2017, e a escrever um livro para a Routledge sobre a sua investigação com visitantes a museus e sítios patrimoniais. Foi fundadora da Association of Critical Heritage Studies, é co-editora principal da coleção da Routledge Key Issues in Cultural Heritage e editora do International Journal of Heritage Studies.
A comunicação de Laurajane Smith centra-se numa investigação em curso para um novo livro que, como questão central do seu argumento, explora a utilidade das teorizações em filosofia política sobre diversidade e redistribuição para a compreensão do poder e das consequências do património. As políticas do reconhecimento são uma tentativa tanto de interrogar como de explicar as formas de condicionar as transformações na paisagem política do período posterior aos anos sessenta, nomeadamente no que diz respeito à política das reivindicações identitárias. Defendo que as várias ideias e expressões de património, incluindo o modo como é exposto em museus, podem ser compreendidas, por um lado, como estando embebidas nas políticas do reconhecimento e, por outro, como contribuindo para o entendimento dos diversos graus das lutas para o reconhecimento e a redistribuição em contextos e circunstâncias pós-coloniais (e outras). Sugiro que um enfoque nas políticas do reconhecimento abre novas perspetivas de avaliação e interpretação do impacto político do património, o que exige, por outro lado, uma reapreciação das responsabilidades éticas e políticas dos profissionais do património e dos museus.
+info/fonte: www.patrimonios.pt/conferencia-laurajane-smith/
Workshop de Inventário do Património Cultural Móvel | Formadora: Teresa Campos | 02 e 03 de Março | Museu de Lamego
Divulgar princípios, metodologias e boas práticas para o estudo e inventário das coleções museológicas é um dos grandes objetivos desta ação dirigida a profissionais da área. Desenvolver competências profissionais no âmbito da gestão de coleções museológicas, contribuir para o desenvolvimento do inventário como sector estrutural e estruturante da atividade museológica e perceber a importância da inventariação na gestão e salvaguarda do Património Cultural são outros dos objetivos da formação, que traz ao Museu de Lamego a coordenadora e formadora do Curso de Inventário do Património Cultural Móvel da Rede Portuguesa de Museus desde 2014, Teresa Campos. Ao longo de dois dias, serão vários os tópicos a abordar desde o papel do inventário no contexto amplo das funções museológicas, constrangimentos e potencialidades, planeamento, gestão e controle de qualidade no processo de inventário, mormativos e standards, boas práticas, entre outras temáticas.
O Workshop de Inventário do Património Cultural Móvel é de acesso livre e destina-se a profissionais das áreas da museologia e património e está limitado a 20 inscrições. A inscrição é obrigatória.
+info/fonte: www.museudelamego.pt/workshop-de-inventario-do-patrimonio-cultural-movel/

Conferências “Dar a Ver” | Início: 03 de Março | Funchal
Este projeto cultural tem por base a ideia da divulgação do património artístico existente no arquipélago da Madeira e a sua relação com o panorama nacional. Para além dos trabalhos de investigação, classificação e conservação e restauro, é essencial proceder-se à divulgação e ao conhecimento de um vasto e diversificado conjunto de bens móveis e imóveis postos à guarda de todos os madeirenses, e que constituem uma essencial reserva de identidade cultural.Serão convidados ao longo do ano um conjunto de especialistas, locais e nacionais, que abordarão de forma mais específica ou generalista aspetos dessa imensa diversidade cultural conservada in situ, ou já transitada para museus. O essencial do programa será constituído por visitas guiadas e por conferências a realizar em vários locais.
Próximas conferências: Victor dos Reis, “O ecrã barroco: tetos pintados, máquinas celestiais e a moderna cultura visual”, 3 de Março; Vítor Serrão, “Pintura Maneirista Portuguesa-Reflexos Insulares”, 4 de Março; Anísio Franco, “Colecionismo e Emoção”, 25 de Março.
+info/fonte: www.facebook.com/museuspatrimonioculturalmadeira

Master Classes de Artes Decorativas & Conservação e Restauro sobre o Fogão de Sala da Maison Fourdinois | 03 de Março | Escola Superior de Artes Decorativas | Lisboa
Nas novas instalações da ESAD (Rua das Taipas, 1) a Master Classes de Artes Decorativas & Conservação e Restauro sobre o Fogão de Sala da MAISON FOURDINOIS do século XIX. “De Paris a Oeiras: o trajecto acidentado da lareira da Casa Fourdinois” por Isabel Mayer Godinho Mendonça. “Fogão de sala Fourdinois, percursos e desafios de uma intervenção emblemática de conservação e restauro” por Eulália Subtil.
A entrada é livre (sugerimos que confirme a presença).
+info/fonte: www.facebook.com/MuseuArtesDecorativasFress/photos/a.182462698547162.37042.181993845260714/1136608273132595/?type=3&theater


Palestra “Baudelaire e Courbet e a Crítica dos Salões de Arte” | Oradora: Ana Rocha | 03 de Março | Casa-Museu Dr. Anastácio Gonçalves | Lisboa
+info/fonte: http://blogdacmag.blogspot.pt/

Congresso “A Misericórdia do Fundão: 500 Anos de Solidariedade” | 03 e 04 de Março | Santa Casa da Misericórdia do Fundão
Santa Casa da Misericórdia do Fundão em colaboração com a Universidade da Beira Interior vai realizar nos dias 3 e 4 de março de 2017 o Congresso “A Misericórdia do Fundão, 500 anos de Solidariedade”. Os trabalhos terão lugar no auditório da Santa Casa da Misericórdia do Fundão. O encontro destina-se a historiadores, investigadores e estudantes de história e áreas afins e encerra as comemorações dos 500 anos da Santa Casa da Misericórdia do Fundão. O Congresso de formato misto – apresentação de comunicações e intervenção de especialistas – será orientado para a história da Misericórdia do Fundão e atualidade das Misericórdias enquanto instituições de solidariedade.
A comissão científica do congresso é composta por Manuela Mendonça, presidente da Academia Portuguesa da História; Vítor Serrão, historiador e professor catedrático na Faculdade de Letras da Universidade de Lisboa e António Santos Pereira professor na Universidade da Beira Interior e diretor do Museu de Lanifícios da Universidade da Beira Interior.
+info/fonte: http://congressoscmf.wixsite.com/500anos

Curso “A Arte dos Jardins em Portugal” | Formadores: Sónia Talhé Azambuja e Miguel Coelho de Sousa | 04 e 11 de Março | Museu Condes de Castro Guimarães | Cascais
Estão abertas as inscrições para o curso A Arte dos Jardins em Portugal. Este curso tem como objetivo oferecer uma perspetiva geral da História e das características tipológicas dos jardins portugueses. Um curso de nível introdutório, estando dividido em duas partes. A primeira interpreta a evolução da História da Arte nos Jardins Portugueses, desde a Idade Média até aos finais do século XX, bem como os princípios fundamentais da salvaguarda e da recuperação do património paisagístico. A segunda analisa o tema do jardim em Portugal de acordo com as vertentes: Caráter, ambiente, elementos, tipologias, soluções construtivas, espécies e potencial de integração no desenho contemporâneo. Orientadores: Sónia Talhé Azambuja – Professora Convidada de Arquitetura Paisagista da Universidade de Lisboa e da Universidade do Algarve; Miguel Coelho de Sousa – Arquiteto Paisagista.
+info/fonte: www.isa.ulisboa.pt/files/news/pub/CartazCursoArteJardins_Marco2017_WEB2.pdf

Conferência: “Vergilio Corrêa (1888-1944) um Arqueólogo, Etnólogo, Historiador de Arte e Homem de Cultura Integral” | Orador: Vítor Serrão | 09 de Março | Museu Arqueológico do Carmo | Lisboa
Iniciativa da Secção de História da Associação dos Arqueólogos Portugueses.
+info/fonte: www.facebook.com/aap.historia

Conferência Internacional “The Museum Reader” | 09 e 10 de Março | Museu Nacional de Arte Contemporânea do Chiado | Lisboa
conferência internacional The Museum Reader, organizada pelo Instituto de História da Arte da Faculdade de Ciências Sociais e Humanas da Universidade Nova de Lisboa e pelo Museu Nacional de Arte Contemporânea – Museu do Chiado, tem por objetivo propor linhas temáticas e pontos notáveis para pensar, refletir e debater novas realidades, práticas e condições de trabalho detetadas nos museus deste século XXI. Pretende-se analisar e sistematizar novos modos e paradigmas, tendências e diferentes práticas e formas de pensar o papel das instituições artísticas no contexto do atual panorama artístico.
Em foco estarão os seguintes temas: Os museus na passagem do século XX para o século XXI; O museu e a conceção neoliberal de cultura; As transformações paradigmáticas das instituições artísticas no contexto da atual ordem social, económica e política; A crítica institucional enquanto investigação dos contornos e funcionamento das instituições de arte; O museu como lugar de negociação e conflito; O potencial das instituições e a nova esfera institucional: o novo Institucionalismo, a museologia radical, museologia crítica;  Crítica e experimentação nas instituições artísticas; Práticas institucionais e não institucionais no museu; Quais as exigências e desafios das práticas artísticas contemporâneas para os museus e instituições artísticas.
Comité de organização: Sandra Vieira Jürgens [IHA, FCSH, Universidade NOVA de Lisboa], Emília Tavares [Museu Nacional de Arte Contemporânea – Museu do Chiado]
+info/fonte: http://themuseumreaderconference.weebly.com/

Curso Livre “André Soares e a Arte do Minho no seu Tempo” | Formador: Eduardo Pires de Oliveira | Início: 09 de Março | Museu Alberto Sampaio | Guimarães
André Soares (Braga, 1720-1769) foi um criador de obras de arquitetura, talha, ferro, desenho e cartografia. A sua grande capacidade financeira permitiu-lhe não precisar de trabalhar. Como era corrente na época, as suas obras dividem-se por duas correntes artísticas: o rococó e o tardobarroco. O rococó chegou a Braga pela mão do arcebispo D. José de Bragança (1741-1756). André Soares beneficiou do seu apoio ao ser escolhido para desenhar o novo Paço Arquiepiscopal, em que oscilou entre o gosto joanino e os novos valores do rococó. Rapidamente, porém, mudou para o novo estilo, de que são exemplos a nova fachada da Capela de Santa Maria Madalena da Falperra e o Palácio do Raio. Mas também fez muito rapidamente uma nova invexão decisiva: as obras de arquitetura passaram a ter um desenho que se revê num tardobarroco desornamentado e as de talha mantiveram-se num rococó vibrante, ideias que manteve até ao final da sua vida. A sua obra está espalhada um pouco por todo o Norte de Portugal: Braga, Viana do Castelo, Ponte de Lima, Arcos de Valdevez, Vila Verde, Amares, Esposende, Guimarães, Vila Real e Vila Nova de Gaia (esta perdida).
+info/fonte: www.artis.letras.ulisboa.pt/noticias,12,984,detalhe.aspx

Workshop “State-Rooms of Royal and Princely Palaces in Europe (14th-16th c.): Spaces, Images, Rituals” | 15 a 17 de Março | Lisboa e Sintra
Entre os séculos XIV e XVI, as monarquias europeias desenvolveram uma gradual centralização do poder, acompanhada pela difusão de ideias políticas que contribuíram para a construção de uma nova imagem do príncipe e do seu poder soberano. As residências régias e principescas encontravam-se no centro desse fenómeno. Nestes espaços privilegiados, o soberano acomodava uma comitiva cada vaz mais numerosa e recebia hóspedes e mensageiros vindos de outras cortes. Foi portanto nestes edifícios que a sociedade de corte principiou. A presente iniciativa debruça-se sobre estes palácios, com especial ênfase no que respeita às relações entre a arquitectura, a decoração e os rituais do poder monárquico que decorriam nas suas salas de aparato desde o final da Idade Média até ao princípio da Idade Moderna.
O colóquio é organizado por Torsten Hiltmann (Universidade de Münster), Miguel Metelo de Seixas (Instituto de Estudos Medievais) e João Portugal (Instituto Português de Heráldica) no âmbito do projecto ‘In the Service of the Crown: The Use of Heraldry in Royal Political Communication in Late Medieval Portugal’ (Instituto de Estudos Medievais / Die Performanz der Wappen, Dilthey Fellowship), financiado pela Fundação Volkswagen. É apoiado pelas seguintes instituições: PSML/Palácio Nacional de Sintra; Associação dos Arqueólogos Portugueses; Instituto Português de Heráldica.
Entrada livre. Lugares limitados, necessário reserva.
+info/fonte: http://iem.fcsh.unl.pt/section.aspx?kind=noticia&id=1144

Curso Livre “Compreender as Imagens Medievais – Personagens, Histórias e Mitos através da Arte” | Docentes: Carla Varela Fernandes, Alícia Miguélez Cavero | Início: 16 de Março | Faculdade de Ciências Sociais e Humanas da Universidade Nova de Lisboa
principal objectivo do curso é desenvolver conhecimentos e capacidades de análise para auxiliar na identificação, interpretação e descodificação das imagens e narrativas na arte medieval cristã. A Arte, para além de produzir objetos que suscitam emoções e fascínio visual, serviu funções devocionais (arte religiosa), e é também uma fonte histórica, um conjunto de documentos para serem lidos e interpretados a partir das formas e das opções de representação (a par da documentação escrita e dos achados arqueológicos). É, por isso, um precioso auxiliar para o entendimento da História do pensamento e das emoções da Humanidade. As imagens que aqui propomos analisar têm origem nos 10 séculos da designada Idade Média, e foi nesse tempo preciso que se forjaram, desenvolveram e fixaram as principais iconografias da arte ocidental e oriental, as quais tiveram continuidade e transformação nos séculos seguintes, até aos nossos dias. Pretende-se que os alunos tenham uma ampla panorâmica das principais representações que a arte medieval produziu (em Portugal e na restante Europa), focando a atenção nos temas mais representativos e mais disseminados, e respectivas variantes. Da mesma forma, promove-se a capacidade de observação e de estabelecer ligações entre o que as imagens e as narrativas visuais colocam em destaque e as fontes escritas (bíblicas e outras) e de como essas representações se alteraram ou se mantiveram estáveis ao longo dos séculos (do século V ao XV), de acordo com as mutações sociais, políticas, económicas e das mentalidades.
Decorrerá ao longo de treze sessões de duas horas, incluindo sessões em sala de aula e uma sessão num museu com relevante coleção de arte medieval. O curso destina-se principalmente a alunos ao nível da Licenciatura, Mestrado e Doutoramento, mas também a profissionais das áreas do Turismo (Guias-Interpretes) e da Conservação e Restauro, e encontra-se também aberto ao público em geral.
+info/fonte: http://iem.fcsh.unl.pt/section.aspx?kind=noticia&id=1123

International Conference “The Network of Cassinese Arts in Mediterranean Renaissance Italy” | 16 a 18 de Março | Kunsthistorisches Institut in Florenz – Max-Planck-Institut | Itália
From the late fifteenth to the mid sixteenth century, an impressive corpus of architecture, sculpture, and painting was created to embellish monastic sites affiliated with the Benedictine Cassinese Congregation of Italy. A religious order of humanistically trained monks whose mobility among the network of Cassinese monasteries was paramount to their spiritual reformed agenda, the Cassinese fruitfully engaged with the most eminent artists and architects of the early modern period, supporting the production of imagery and architecture that was often highly experimental in nature. The Cassinese Congregation constituted a spiritual infrastructure that spread across the northern, central and southern regions of Italy, through which not only monks but also works and models circulated, intersected, and interacted. The mobility and flow of artists, materials, and motifs tied together the reformed religious communities affiliated with the Cassinese Congregation and simultaneously connected an antique with a modern Christian artistic corpus. This system resulted in a virtual continuum linking works of architecture, sculpture, and painting, including the Byzantine church of San Vitale in Ravenna, the Norman cloister of Monreale (Palermo), and Raphael’s Sistine Madonna in Piacenza.
Scholarship has presented the Cassinese monks principally as learned patrons of ambitious but locally-inflected works created by credited Renaissance masters. But such an approach has obscured the fact that these modern instances of Cassinese Christian arts existed within a larger cultural network and coexisted with others of differing value, including the management of late antique buildings, the preservation of Byzantine mosaics, and the custody of poorly made votive images in popular shrines. Not only did these lesser-known episodes assure the survival of late antique arts, and artifacts of limited aesthetic appeal, but they also provided occasions for Renaissance masters active in Cassinese communities to confront alternative forms of antiquity in a dialogue among the arts for the reinvention of a modern Christianized art.
Organized by Alessandro Nova and Giancarla Periti.
+info/fonte: http://www.khi.fi.it/5538717/20170316

Toward a Geography of Architectural Criticism: Disciplinary Boundaries and Shared Territories / Mapping Architectural Criticism Third International Symposium | 03 e 04 de Abril | Paris | França
This international symposium is part of the ANR research project Mapping Architectural Criticism, which aims to develop a field of research on the history of architectural criticism, from the last decades of the 19th century to the present day. The symposium intends to debate two key questions related to the geographies of criticism: what are criticism’s disciplinary boundaries and which territories has criticism shared from the last decades of the 19th to the end of the 20th century with other disciplines.
In the first place, the symposium interrogates the overlapping of architectural criticism with different kinds of architectural writing, in particular those pertaining to architectural history and theory, but also those stemming from other disciplines.
The symposium is equally aimed at highlighting the relationships, the common terrains, and the conceptual tools that architectural criticism has in common with other genres of criticism, such as art criticism and literary criticism.
The term “territory” is used here to refer primarily to the various disciplinary fields on which criticism relies and from which it borrows its concepts and patterns of interpretation, as well as its intellectual tools. The term “boundary”, for its part, is used to denote the zones of exchange and confrontation between criticism, history, theory and other types of writing on architecture, as well as between architectural criticism and other forms of criticism. The main aim of the symposium is to map these territories and delineate these boundaries.
+info/fonte: http://mac.hypotheses.org/
Colóquio Internacional “Batalhas Fundacionais” | 25 a 27 de Maio | Batalha, Alcobaça, Porto de Mós
Na sequência dos trabalhos da Rede de Municípios com Batalhas Históricas, os dias 25 a 27 de Maio do corrente ano serão consagrados a um Colóquio internacional sobre Batalhas Fundacionais, organizado em colaboração com o Centro de História da Universidade de Lisboa. O evento terá lugar em Porto de Mós (25 de maio), na Batalha (26 de maio) e em Alcobaça (27 de Maio) e irá contar com a participação de historiadores portugueses e estrangeiros de reconhecido mérito científico.
Este evento pretende ser de grande qualidade científica, mas também plural e acessível a toda a comunidade, designadamente a docentes de história ou de outros departamentos disciplinares, alunos e todo e qualquer cidadão que se interesse por estas temáticas, com o objectivo de estabelecer pontes entre o mundo científico e as comunidades educativas e locais.
+info/fonte: www.centrodehistoria-flul.com/abertura/batalhas-fundacionais-coloquio-internacional

Society of Architectural Historians: 70th Annual International Conference | 07 a 11 de Junho | Glasgow | Escócia
This is the first time that SAH has met outside North America in over 40 years. Meeting in Scotland’s largest city, world renowned for its outstanding architectural heritage, reflects the increasingly international scope of the Society and its conference. Architectural historians, art historians, architects, museum professionals and preservationists from around the world will convene to share new research on the history of the built environment. The Glasgow conference will include 36 paper sessions, eight roundtables, an introductory address and plenary talk, architecture tours, the SAH Glasgow Seminar, and more.
+info/fonte: www.sah.org/conferences-and-programs/2017-conference-glasgow

Pesquisar no Site

Redes Sociais

Contactos

Morada

Museu Nacional de Arte Antiga
Rua das Janelas Verdes
1249-017 Lisboa

Telefone: 213 912 800

Fax: 213 973 703

E-mail: direccao@apha.pt