C u r r e n t i s s u e s
Hybrid online and Auditorium, University of the Arts Bremen,
Am Speicher XI 8, 28217 Bremen
Dezember 11, 2024, 6 pm (CET)
Lecture is part of Migratory Lectures II
Prof. Dr. Angela Donini (Rio de Janeiro)
The Unconscious Beyond the Human: Dreamed Experiences
and Anti-Colonial Challenges
Moderation: Prof. Dr. Mona Schieren
This lecture seeks to problematize the unconscious formation centered around the human, which, among other effects, objectifies and minimizes presences beyond humans. Turning Donini's research to dreams brings substantial clues, where it's possible to identify the lack of engagement, detachment, panic and separation produced by the modern-colonial-capitalistic fracture that has imposed ways of life to override and make disappear cosmologies where relationships are interconnected and not human-hierarchical. However, these cosmologies have resisted for centuries, challenging us to think about humanity's place in the biosphere. These investigations have contributed to the creation of artistic-pedagogical-therapeutic processes.
Bio
Angela Donini is a Professor in the Philosophy Department at UNIRIO (Federal University of the State of Rio de Janeiro) and teaches there in the Postgraduate Programs and in Teaching Performing Arts. PhD in Clinical Psychology and post-doctoral internship in Contemporary Arts Studies.
Donini directed the short films "bodies that escape" (2015), "anchoring ships in space" (2016); "names that matter" (2017); "may my only scars be from skateboarding" (2023); "fight like a whore" (2024), and has been collaborating with activist collectives in audiovisual creation processes since 2013.
There will be a livestream of the lecture, made possible by the project We Dig It!
The lecture will be held in English. Discussion in English, German, Portuguese.
Hybride Vortragsreihe - WS 24/25
28.10.2024 - 27.1.2025
Migratory Lectures II
Hybrid lecture series of the working group on Art Production and Art Theory in the Age of Global Migration of the Ulmer Verein für Kunst- und Kulturwissenschaften e.V.
Migration as an internal movement and as an international process perforating the borders of nation states has been increasing worldwide since the 1980s and is not an exceptional phenomenon, but the norm. The working group, which was founded and established in Munich in 2013 under the umbrella of the Ulm Association for Art and Cultural Studies (Ulmer Verein für Kunst- und Kulturwissenschaften), has set itself the goal of investigating the entanglements of migration and globalization as a significant phenomenon of social transformation in the 20th and 21st centuries in its role for art studies research, curatorial theory and practice as well as artistic production.
The digital lecture series Migratory Lectures explores these global contexts by bringing together international scholars, artists, curators and institutions from different locations in dialog with each other.
The lectures will take place online via Zoom. Please follow the > Link.
https://studip.uni-osnabrueck.de/plugins.php/meetingplugin/room/index/8ca6816fc53e21c03d93510bce6e5b30/83505449459f4512e0dcfdc25358bcea?cancel_login=1
(Any changes will be announced in advance)
Hybrid lecture series - Summer term 2024
23
May - 8 July 2024
Migratory Lectures I
Hybrid lecture series of the working group on Art Production and Art Theory in the Age of Global Migration of the Ulmer Verein für Kunst- und Kulturwissenschaften e.V.
Migration as an internal movement and as an international process perforating the borders of nation states has been increasing worldwide since the 1980s and is not an exceptional phenomenon, but the norm. The working group, which was founded and established in Munich in 2013 under the umbrella of the Ulm Association for Art and Cultural Studies (Ulmer Verein für Kunst- und Kulturwissenschaften), has set itself the goal of investigating the entanglements of migration and globalization as a significant phenomenon of social transformation in the 20th and 21st centuries in its role for art studies research, curatorial theory and practice as well as artistic production.
The digital lecture series Migratory Lectures explores these global contexts by bringing together international scholars, artists, curators and institutions from different locations in dialog with each other.
The lectures take place at different locations and online Zoom.
The online version of the second lecture on the 5th of June takes place here.
Talk
Decolonial Mourning: On Resisting the Coloniality of Migration and Political Grief Work
Encarnación Gutiérrez Rodriguez
Goethe-Universität Frankfurt
Date 23.05.24
Time 16:00 – 18:00
Location Hosted by Alexandra Karentzos & Rhea Dehn Tutosaus
Technical University of Darmstadt, Karolinenplatz 5, S101/A04.
This talk will deal with mourning as communal affective labour. It will do so by considering the political work and affective bonds created by collectives subjected to the violence of the coloniality of migration. It will engage with the forms of resistance organized by intersectional anti-racist collectives.
Encarnación Gutiérrez Rodríguez is a Professor in Sociology with a focus on Culture and Migration at the Goethe University, Frankfurt am Main.
Previously to this position, she was Professor in General Sociology at the Justus-Liebig-University Giessen. Moreover, she is a Adjunct Professor in Sociology at the University of Alberta, Canada, and a Visiting Professor at Nelson Mandela University, South Africa.
She has published widely on gender, migration, and care work. Among her publications is the book Migration, Domestic Work and Affect, published by Routledge (2010). More recently she has published Decolonial Mourning and the Caring Commons. Migration-Coloniality Necropolitics and Conviviality Infrastructure, and with Shirley Anne Tate the Palgrave Handbook in Critical Race and Gender and with Rhoda Reddock Decolonial Perspectives on Entangled Inequalities: Europe and the Caribbean as well with Pınar Tuzcu Migrantischer Feminismus in der Deutschen Frauenbewegung, 1985-2000.
Her work engages with affective labor, materialities, institutional racism, racial capitalism and the coloniality of migration.
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On Fashion's Transnational Inequalities: Reflections on exploitative industry
and the biases of scholarship
Anna-Mari Almila
Sapenzia University of Rome
Date 05.06.24
Time 16:00 – 18:00
Location Hosted by Elke Gaugele and Sarah Held
Akademie der bildenden Künste Wien, Karl-Schweighofer-Gasse 3, 1070 Wien, 1.06.
Scholars of fashion in the 2020s face two pressing and intertwined issues: environmental crisis and decolonising. When talking of the inequalities inherent in fashion systems, we cannot avoid either. The various decolonising projects ongoing in the field of fashion studies are made all the more pressing by fashion production’s extremely heavy environmental cost, the socially and geographically stratified consequences of climate change, and ongoing exploitation of vulnerable workforce in textile and garment production.
Further issues exist, too. We might ask where fashion scholarship and education are located, both in terms of global geography and in terms of subject-specific versus general educational institutions. Where are various fashion knowledges located? Where lie fashion’s value production and garment production respectively, and why are they so very differently rewarded?
Not that any of these divisions and factors are geographically fully stable. Around the world people travel, goods travel, thoughts travel, money travels. These movements are never based upon equality, either, but are ridden with many sorts of privileges, hindrances, and vulnerabilities. Some humans are forced to move, or forced to stay, while others (including many fashion scholars based in high-status institutions in places considered fashion capitals) move freely in a highly privileged manner.
The movement of fashion commodities is likewise either restricted or facilitated by international laws, contracts, and trade agreements. Ideas and images of fashion, and about fashion, move differently from physical objects and human bodies, but at the same time they reflect the global and local inequalities and injustices inherent in fashion systems.
Based on the recently published book Fashion’s Transnational Inequalities, edited by Anna-Mari Almila and Serkan Delice, this talk traces some of these disparities, arguing that a wide understanding of fashion’s multiple inequalities is necessary, in order to challenge even some of these.
Anna-Mari Almila is Senior Researcher in Cultural Sociology at the Sapienza University of Rome. She is a sociologist of fashion, wine, and other apparent trivialities.
She writes in the fields of cultural, political, global, and historical sociology, and her topics include the materiality of dressed bodies and their environments; fashion globalization and the history of fashion studies; the historical/political construction of urban spaces; fashion and religion; dress in later life; and wine and gender.
She loves social theory and (sociology of) wine. She is the author of Veiling in Fashion: Space and the Hijab in Minority Communities (2018). Her edited books include Fashion’s Transnational Inequalities (2023), The Globalization of Wine (2019), The Routledge International Handbook to Veils and Veiling Practices (2017) and The Sage Handbook of Cultural Sociology (2016).
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Worlding Public Cultures: The Arts and Social Innovation (tbc)
Paul Goodwin
University of the Arts London
Date 12.06.24
Time 10:30 – 12:00
Location Hosted by Franziska Koch, Heinrich-Heine-Universität Düsseldorf, Universitätsstraße I, 0-Hörsaal/ 2201 HS 2AI.
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Digitale Creatorinnen mit Hijab – Eine Diskursethnographie über muslimische Modekörper in Deutschland
Laura Haddad
Georg-August-Universität Göttingen
Date 08.07.24
Time 11:40 – 13:20
Location Hosted by Alexandra Karentzos & Rhea Dehn Tutosaus
Technical University of Darmstadt, Karolinenplatz 5, S101/A04.
In meiner Forschung widme ich mich der Produktion und Rezeption muslimischer Modebilder in digitalen und anderen Medien und erforsche ethnographisch, wie Digital Creatorinnen mit Hijab ihrem modischen und mediatisierten Handeln – gesellschaftspolitisch und subjektiv – Sinn geben.
Muslimische Modebilder waren bis weit in die 2010er Jahre in der deutschen Öffentlichkeit kaum sichtbar und allenfalls Gegenstand kontroverser gesellschaftspolitischer Debatten. Durch den Einfluss sozialer Medien wandelt sich ihre Sichtbarkeit neuerdings: junge muslimische Akteurinnen nutzen Instagram, TikTok und weitere Plattformen zur Selbstdarstellung, als Einkommensquelle und zur Beteiligung an öffentlichen Diskursen. Modebilder sind untrennbar verbunden mit der dominanten visuellen Kultur, den Blickregimen, der sie umgebenden sozialen Welt(en) und mit den Körpern, die sie ausführen (vgl. Craik 2005: 289).
Sie fungieren dabei als Medien der Identitätsaushandlung, der kulturellen Distinktion und der verkörperten Praxis des Influencer-Marketings. Digital Creator:innen, die eine größere Reichweite haben und/oder mit ihrem Content Geld verdienen, werden unter dem Begriff „Influencer“ häufig kritisch rezipiert und auf ihre Funktion als Werbekörper reduziert (vgl. Nymoen und Schmitt 2021). Insbesondere Hijabi Creatorinnen sehen sich einer doppelten Problematisierung ausgesetzt: als sichtbar muslimische Frauen stehen sie im Fokus islamkritischer westlicher Debatten sowie konservativer islamischer Werte.
Als Influencerinnen wird ihnen die Kapitalisierung des eigenen Körpers und digitale Selbstausbeutung vorgeworfen. Die soziale Welt der (muslimischen) Mode ist eingebettet in gesellschaftspolitische und damit normative Debatten, die in sich jeweils klare Deutungsangebote machen: muslimische Modebilder werden durch konkurrierende gazes strukturiert, die die Akteurinnen situativen Anrufungen (als muslimische Frauen, als Werbefiguren, als „Kopftuchmädchen“, als Selbstständige u.v.m.) aussetzen.
Um dieser Gemengelage empirisch zu begegnen, stützt sich meine Forschung sowohl auf eine digitale Ethnographie als auch auf physisch co-präsente Interviews mit Creatorinnen, Talent Scouts/Casting Directors, Designer:innen, Stylist:innen und anderen Personen aus dem Feld. Damit ist eine in-situ Erforschung medialer Praktiken gewährleistet, die sowohl die Produktion als auch Rezeption der Modebilder einordnet und die Nutzung sozialer Medien in den Alltag der Akteur:innen einbettet (vgl. Bender und Zillinger 2015: XXIV).
Im Forschungsprozess beobachte ich meine eigene sich (stets) wandelnde Haltung selbstkritisch und spüre den verschiedenen Diskurspositionen nach, um mich immer wieder neu auszurichten und den bisweilen ambivalenten Perspektiven der Akteurinnen Raum zu geben.
Als Ethnographin ist es meine Aufgabe, den Positionen im Feld eine kritische und distanziertere Analyse anzubieten, die sich von feldeigenen Perspektiven absetzt und sich gleichzeitig von externen Diskurspositionen freimacht, die das Feld bereits vorverurteilt zu haben scheinen.
Ich begreife meine Forschung als einen wissenschaftlichen Diskursbeitrag, der ebenso wie alle anderen kommunikativen Handlungen die Wirklichkeit mitgestaltet. Damit stellt sich die Aufgabe, verschiedene, mitunter polarisierende Wissensbestände zu integrieren, die aus einer nicht nur singulären Perspektivendifferenz resultieren.
Anniversary
Art and Migration - Revisiting the Future:
10 years Research Group Art Production and Art Theory in the Age of Global Migration
Munich
30. 11. - 01.12.2023
> see more
Conference
Borders.
Borders and Border Regions in Contemporary Art Production and Art Theory
Universität der Künste, Berlin
24./25. November 2022
Workshops DFG Research Network (2019-2022)
Entangled Histories of Art and Migration: Forms, Visibilities, Agents
Workshop 6 - 9/2022 (Vienna)
Architekturen und Räume der Migration
(Burcu Dogramaci, Elke Gaugele, Kerstin Pinther, Mona Schieren)
Akademie der Bildenden Künste, Vienna
Apéro Talks with artists, curators and scholars - 2021
Borders.
Borders and Border Regions in Contemporary Art Production and Art Theory
Borders and migration are inseparably intertwined. Border regions are defined, shaped and formed by migration as such. At the same time, contemporary arts address the conflictual migratory spaces in a variety of ways and question their semantics. ... > more
The talks (usually about 60 minutes) take place online and are moderated by members of the Research group "Art Production and Art Theory in the Era of Global Migration". The respective artists, curators and scholars will be present.
Please registrate here: contact@ag-kunst-migration.de
Talk #6: Mittwoch, 26.01.2022, 17:00–18.00
Borders. Grenzen und Grenzregionen in der Kunstproduktion
und Kunsttheorie der Gegenwart
6_ Kurzfilme "Border Diaries" (2013); "Connected Walls: #Mujeres" (2014); "#Love
(2014)"
Gespräch mit der Filmregisseurin Irene Gutiérrez Torres über ihre Kurzfilme zur europäischen Außengrenze an der Meerenge von Gibraltar.
Anmeldung bitte unter: contact@ag-kunst-migration.de
Talk 5: Montag, 28.6.21, 17:00–18.00
Borders. Grenzen und Grenzregionen in der Kunstproduktion
und Kunsttheorie der Gegenwart
5_ „Say Shibboleth! On Visible and Invisible Borders“ (2021)
Kuratorinnengespräch mit Boaz Levin über die von ihm kuratierten Ausstellung „Say Shibboleth! On Visible and Invisible Borders“ (u.a. Jüdisches Museum München 2019).
Anmeldung bitte unter: contact@ag-kunst-migration.de
Talk 4: Mittwoch 19.5.21, 17:00–17:45
Borders. Grenzen und Grenzregionen in der Kunstproduktion
und Kunsttheorie der Gegenwart
3_ „Beyond States“ (2021)
Kuratorinnengespräch und virtueller Ausstellungsbesuch mit Ina Neddermeyer (Zeppelinmuseum Friedrichshafen) über die aktuelle Ausstellung „Beyond States“.
Anmeldung bitte unter: contact@ag-kunst-migration.de
Talk 3: May 19, 2021
Borders.
Borders and Border Regions in Contemporary Art Production and Art Theory
3_ „Beyond States“ (2021)
Ina Neddermeyer (curator of the exhibition "Beyond States." On the Boundaries of Statehood at the Zeppelin Museum Friedrichshafen) - digital exhibition visit with talk.
Please registrate here: contact@ag-kunst-migration.de
Talk 2: May 9, 2021
Borders.
Borders and Border Regions in Contemporary Art Production and Art Theory
2_ "Wüstungen“ (2014)
Artist talk with Göran Gnaudschun about the project „Wüstungen“ (2014)
Please registrate here: contact@ag-kunst-migration.de
Talk 1: April 21, 2021, 5:00–5:45 pm
Borders.
Borders and Border Regions in Contemporary Art Production and Art Theory
1_ "Seeds for Future Memories“
with Angelika Stepken, Director of the Villa Romana Florenz, about the project "Seeds for Future Memories. Voicing the two ends of migration.“ A cooperation between the artist residencies of Thread in Sinthian, Senegal, and Villa Romana in Florence, Italy (moderated by Alma-Elisa Kittner).
Please registrate here: contact@ag-kunst-migration.de
Workshops DFG Research Network (2019-2022)
Entangled Histories of Art and Migration: Forms, Visibilities, Agents
Fourth Workshop (Mai 6, 2021, 4 to 6 pm, online)
Migration and Agency in the Art Field
(Alexandra Karentzos, TU Darmstadt / Mona Schieren, Hochschule für Künste Bremen)
1/Sourcing Traces, 10.12.2020
Address books/London: Julia Eichenberg
Art dealers/Paris: Maddalena Alvi
Artist lecture by Judith Raum
2/Placemaking/ Belonging, 14.01.2021
Photography/Cape Town: Jessica R. Williams
Visual history/Mexico City: Valeria Sánchez Michel
Artist lecture by Omar Berakdar
3/Mapping/ Spatializing Sites, 21.01.2021
Mapping/Shanghai: Katya Knyazeva
City concepts/Istanbul: Seza Sinanlar Uslu and Merve Köksal
Artist lecture by Michaela Melián
Please register by sending an e-mail to mareike.schwarz@kunstgeschichte.uni-muenchen.de
For further information see > Cooperative Workshops/ Conferences.
On current occasion
Science criticism from uncalled side.
On an alleged scandal concerning one of the most important representatives
of postcolonial theory
by Angela Stercken und Gabriele Genge
Actually, it can hardly be in the interest of those sciences that deal with global cultural theoretical, historical and philosophical questions to quickly give a statement on a current "dispute" that has been initiated apart from academic debates, has meanwhile found a lively press response and thus developed a fatal momentum of its own. In fact, there are many arguments against taking this step. The interests are too different, too diverse are the instruments and forms with which topics are taken up and negotiated in politics, culture and science, too divergent the objectives as well as the level of knowledge, and the skills.
However, the bottomless accusations against Achille Mbembe, which have now become a "causa", are currently causing great damage – to the detriment of the global scientific community and the world-wide operating expert committees, the bilateral research associations and projects, not to mention the consequences for cultural and cultural policy actors and institutions in Germany. ... > read more
International Conference
Art/Histories: Migrations, Transculturality & The Idea of Latin America
University of Zurich (UZH), Latin American Center Zurich
March 6-7, 2020
Recently, migration in a Latin American context has drawn a lot of international attention. Central American “transmigrants” on their way up north are often confronted with drug cartels, human traffickers, and corrupt police forces immobilizing them at what frequently becomes a tragic turning point on their voyage – the Mexico-United States border. The pictures conveyed by the media coverage of their struggles are contrasted and broadened by an increasing number of artistic modes of expression addressing the subject both north and south of the “political equator” (Teddy Cruz). The ‘border’ has become emblematic of contemporary migrant movements, and a source of both real politics and artistic positions concerning the inclusion or exclusion of Latin-/America. > read more
96th KSK "Kunsthistorischer Studierendenkongress"
Travel and Migration
University of Duisburg-Essen & Folkwang University
July 4-7, 2019
Opening KSK
Thursday, July 4, 2019, 7 p.m.
Galeria Gublia (Kreuzeskrichstraße 3, 45127 Essen)
Exhibition: <<Me & Mr. Jones>>, Rebecca Racine Ramershoven
For program and schedule see also :
> more on the KSK website
Obituary
A Short Half Century against Blindness.
On the death of Okwui Enwezor (1963-2019)
17.3.2019
Okwui Enwezor, Lagos/ Nigeria, 2013, Photo: © Anne-Lena Michel
Despite the busy exhibition business, the past weekend at the Munich Haus der Kunst was very quiet. Footsteps in the large, empty central hall seemed almost like inappropriate noise. As the current editorial message on the website conveys, the team of the exhibition house mourns for his on last Friday deceased head Okwui Enwezor – and combines this with the expression of great gratitude for the "extension to our perspective" made possible by him, his new "guiding principle" of the exhibition house, but above all for "the conviction that the developmental lines of contemporary art are global and multi-layered and cannot be limited by geographic, conceptual and cultural boundaries." For the audience of the last weekend, the visit of Enwezors last great show to the work El-Anatsui as well seems to have been more in the sign of condolence.
as
Imprint, see kritische berichte, 2/2019
Obituary
In Memoriam Bisi Silva (1963-2019)
Bisi Silva, Lagos, Nigeria, 2013, Photo: © Anne-Lena Michel
On February 12, the Nigerian curator Bisi Silva died at the age of 56 years.
Members of our network got to know her under different circumstances and at different points in time as an energetic exhibition maker, scholar and author. Bisi Silva
pioneered cultural policy in particular in Nigeria by creating conditions for artists, curators and art historians in which they could work. Energetically, empathically and always visionary she
was able to initiate dialogues between different local positions, to incorporate international guests and to collaborate with colleagues from the Global South. Bisi took charge of the processing
of African contemporary art and was so firmly committed to the realization of exhibition projects that also promoted young positions in Nigeria and elsewhere, who first made important artistic
positions from Africa familiar to the art world. She researched artists from the history of Nigeria until the present and explorated the subject of diversity. > read more
km/ kp
Imprint, see kritische berichte, 3/2019
Upcoming
Workshop
Diasporic Imaginaries. Multiple Senses of Belonging
Deutsches Forum für Kunstgeschichte / Centre allemand d’histoire de l’art, Paris
April 4-5, 2019
Conceived and organized by Lena Bader, Birgit Mersmann, Mona Schieren
Migration in art and art history is primarily defined by the movement in both space and time of artists, curators, and critics, and their works, ideas, and memories
(Mathur 2011). It has engendered geographically dispersed artistic communities bound by shared diasporic experiences and has generated splintered temporalities of artistic relationalities that
negotiate between pastness, nowness, and futurity. The increasing diasporization of art and culture is a farreaching and profound shift resulting from global migration and its rapidly changing
nature. As a global transnational process, migration has produced global diasporas (Cohen 1997), including ethnic, cultural, religious, and national diasporas, which fuel the dissemination of
“diasporic imaginaries.” Beside the Jewish, Greek, Armenian, and Black diasporas — the most historically significant diasporic traditions — the Chinese,
Indian, Iranian, Lebanese, Palestinian diasporas have, among others, become clearly visible on the world map of diaspora cartographies (Brah 1996, Dufoix 2008).
> read more
The conference will be held in English.
Starting November 2018
DFG network "Entangled Histories of Art and Migration: Forms, Visibilities, Agents"
“Entangled Histories of Art and Migration” sets out to conduct research on the interrelationship of migration and globalization as an important phenomenon of social transformation in the 20th and 21st centuries and on its role for art historical research and artistic production. Over the next three years, it will enhance the research on migration with art-historical perspectives and methodologies. read more .... >