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Daily Archives: March 12th, 2012

Aesthetics

SOCIALIST REALIST ART: PRODUCTION, CONSUMPTION, AESTHETICS

An International Conference, sponsored by the Center for Baltic and East European Studies, Södertörn University, Stockholm, in collaboration with the Museum of Modern Art, Stockholm
Stockholm, 19-20 October 2012

Since the early 1990s, there has been a striking growth of interest in the legacy of Soviet Socialist Realist art, which has reshaped our understanding of it in fundamental ways. A substantial body of research has demonstrated that the method of Socialist Realism was a highly creative and diversified cultural arena that was both heterogeneous in its pictorial strategies and often conflicted and ambivalent in its representations of the social and political messages of the day. Yet the label ‘totalitarian’ continues to influence the ways in which Soviet art is interpreted and contextualised, limiting our understanding of Socialist Realism and obstructing its integration into a broader narrative of twentieth-century art.

In the proposed conference we seek to examine the interests and influences which contributed to the development of Socialist Realism as a diverse and contested field of art from the 1930s to the 1980s. Participants will be invited to focus on aspects of Socialist Realist fine art production, evaluation and consumption in order to consider the ways in which artistic conventions of pictorial representation were established, adapted and transformed to reflect the changing nature of the Soviet project. This approach will facilitate a shift away from the tendency to draw conclusions about Socialist Realism based on a limited number of canonical works of art and acclaimed artists, and will encourage a reappraisal of the diversity and originality of creative output in its formal, stylistic and geographical variations.

Proposed topics may include (but should not be restricted to) the following:

· How did Socialist Realist art develop over time and according to changing sociopolitical contexts? On what basis should specific periods can be identified, for example “Stalinist” or “post-Stalinist” art?
· What were the variations in Socialist Realist art beyond Moscow and Leningrad: across the different parts of the RSRSR and the other SSRs? How did the centre-periphery relationship function in the Soviet art world?
· Who were the audiences for Socialist Realist art and how was fine art consumed in the Soviet Union?
· What was the role of the art critic in the definition of artistic merit? How was value and significance ascribed to works of art in the absence of an art market?
· What was the role of the state in the definition of Socialist Realist art and how was the interface between artists and art world authorities managed?
· What was the status of minor genres within the canon of Socialist Realist art (e.g. landscape, still life, personal portraiture) and what new and hybrid genres emerged?
· How did artists seek to manipulate the development of Socialist Realism according to their own aesthetic preferences and agendas?
· How did Socialist Realist art in the USSR relate to broader international narratives of Realism in the visual arts of the twentieth century?
· How did Soviet Socialist Realism relate to the art sponsored by other authoritarian regimes, in the inter-war period and after? Is “totalitarian art” a viable concept?
· How did the ideas and methods of Socialist Realist art relate to developments in other fields of cultural production in the USSR and vice versa? Was Socialist Realism a uniform canon, or did it vary across the fields of art, literature, music, film, architecture and so on?

Proposals for Papers
We invite proposals dealing with these or related themes. Proposals should include your name, institutional affiliation, email address, proposed paper title, 150-word abstract and short curriculum vitae. Post-graduate students are encouraged to apply. Successful applicants will be asked to submit a conference paper of around 3000 words for pre-circulation before the conference.

Participants will be asked to cover their own travel expenses. We are currently exploring possibilities for support for accommodation expenses. The submission deadline for proposals is 20 April 2012. Applicants will be informed about acceptance by around 1 May 2012.

Contacts For general questions and further information, please contact Mark Bassin (mark.bassin@sh.se). Please submit proposals via email to Oliver Johnson (o.johnson@sheffield.ac.uk)

**END**

‘Human Herbs’ – a new remix and new video by Cold Hands & Quarter Moon: http://www.youtube.com/watch?v=Au-vyMtfDAs

‘Stagnant’ – a new remix and new video by Cold Hands & Quarter Moon: http://www.youtube.com/watch?v=YkP_Mi5ideo  

‘Cheerful Sin’ – a song by Victor Rikowski: http://www.youtube.com/watch?v=tIbX5aKUjO8

Posted here by Glenn Rikowski

The Flow of Ideas: http://www.flowideas.co.uk

Rikowski Point: http://rikowskipoint.blogspot.com

Volumizer: http://glennrikowski.blogspot.com

Online Publications at: http://www.flowideas.co.uk/?page=pub&sub=Online%20Publications%20Glenn%20Rikowski

Situationism

GUY DEBORD EXHIBITION & CONFERENCE AT THE BIBLIOTHÈQUE NATIONALE DE FRANCE

The conference will be held during the Guy Debord exhibition at the Bibliothèque nationale de France (BnF) in Spring 2013.

PRESENTATION

In 2009, the archives of Guy Debord became a “national treasure”; a year later, they entered the collections of BnF’s manuscripts department. This has given researchers access to the sources of Guy Debord’s work as well as to many other documents from the Situationist movement. These extensive archives confirm a now well-established story, but they also give us new insights into texts, events, relationships, and gather numerous contextual elements from the period. They’re precious for what they reveal about Guy Debord’s intentions and circumstances. They show Guy Debord to be the author, protagonist and key witness of a story that he so often masterminded.

This conference invites researchers to take full advantage of the archives. We are encouraging researchers to use the new evidence to question every assumption and interpretation. Papers based on other sources than the Guy Debord Archives are also welcome.

CONTENT

This two-day conference will explore the four issues below. The questions and sources mentioned here are mere propositions. Participants are free to propose others, in accordance with the four main issues of the conference.

The author
This first part of the conference will examine the material and the making of Guy Debord’s writings. It will mostly present archive-based research that explores the author’s reading practices, his personal library or his intellectual education, as well as the genesis of his writing, the sources and workings of détournement, the author’s stylistic and rhetoric armoury, the wide range of literary genres he practiced, or the various strategies he invented to write the self and the world.

Available sources in the archive: various states of the texts, preliminary documents for the cinema, reading notes, library (as in 1994)

The material of the action
In this second part of the conference, we will further consider the means and ends of Guy Debord’s revolutionary project: how did Guy Debord practically promote the Situationist theory and praxis, supersede the arts, realize philosophy, fight against the spectacle, and occupy his positions within various fields (arts, Marxism, radical politics, etc.)? The main focus will be the action as considered through its documentation. We would like to study the material conditions of Guy Debord’s revolution of everyday life, his strategies to articulate theory and practice, along with the means and various consequences of their diffusion.

Available sources in the archive: Press gathered by Guy Debord all along his life, documentation on the International Situationist’s publications and organisation, documents on the publishing activities, correspondence.

Guy Debord and the others
The Situationist adventure was a collective one. This third part of the conference will examine Debord’s relations with his friends, enemies, or partners in revolution. The role of specific individuals or groups in Guy Debord’s life and projects shall here be developed – for instance: Joseph G. Wolman, Pinot Gallizio, Asger Jorn, Henri Lefebvre, Alexander Trocchi, Socialisme ou Barbarie, Jacqueline de Jong, SPUR, the Nashists of the Second S.I., Raoul Vaneigem, I.C.O., anarchists in France and abroad, Gérard Lebovici, Jean-Jacques Pauvert, etc.

Available sources in the archive: correspondence, received documentation, other archives.

Guy Debord and Us
The Situationist posterities and Guy Debord’s heritage are vast and perilous issues. We would like them to be addressed with the use of archival sources, field work, or interviews. The idea of this fourth part of the conference will be to determine how the Situationist and Debordian heritage has been travelling, passed on, recuperated or “détourné”, in many different fields, including of course the arts, literature, political theory or activism, etc. The current accuracy of Guy Debord’s thought shall also be examined, as well as the different aspects of its possible or impossible posterity in the contemporary world.

Available sources in the archive: Press gathered by Guy Debord, received documentation, correspondence, other archives, interview, field work.

Format: 20 minutes

Deadline for submissions: May, 15th 2012

All researchers, from every discipline or institution (as well as independent researchers) can submit a paper to this conference. Proposals shouldn’t exceed 500 words, and should be sent, along with a short presentation (or c.v.) to the following email addresses: laurence.le-bras@bnf.fr and emmanuel.guy@bnf.fr by May 15th, 2012.

These addresses should also be used for further questions on the archives or the conference.
The online inventory (in process) is available through the BnF manuscripts online catalogue at the following address: http://archivesetmanuscrits.bnf.fr/ead.html?id=FRBNFEAD000057433&c=FRBNFEAD000057433_e0000015&qid=sdx_q18

Host institution :
Bibliothèque nationale de France
http://www.bnf.fr

Organisation :
Laurence Le Bras and Emmanuel Guy
Curators of the Guy Debord exhibition
Bibliothèque nationale de France
Département des Manuscrits
5 rue Vivienne, 75002 Paris, France

**END**

‘Human Herbs’ – a new remix and new video by Cold Hands & Quarter Moon: http://www.youtube.com/watch?v=Au-vyMtfDAs

‘Stagnant’ – a new remix and new video by Cold Hands & Quarter Moon: http://www.youtube.com/watch?v=YkP_Mi5ideo  

‘Cheerful Sin’ – a song by Victor Rikowski: http://www.youtube.com/watch?v=tIbX5aKUjO8

Posted here by Glenn Rikowski

The Flow of Ideas: http://www.flowideas.co.uk

Rikowski Point: http://rikowskipoint.blogspot.com

Volumizer: http://glennrikowski.blogspot.com

Online Publications at: http://www.flowideas.co.uk/?page=pub&sub=Online%20Publications%20Glenn%20Rikowski