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[1] Recipes, secrets, lexicons: the contribution of linguistics to the knowledge of artistic skills
From: Julia Castiglione
Date: July 8th, 2023

Stemming from a complex tradition of copying, reusing and assembling, recipe books are open texts, that collect ingredients and instructions of heterogeneous content and language. Testimonies of material culture and practices, these collections therefore require a multidisciplinary approach to be highlighted and valued, both from the point of view of texts and of knowledge of artistic practices.
The first Latin recipe books circulated in Europe from the 8th century: they were often disorganized compilations of technical processes from different fields (medicine, cosmetics, cooking, painting, alchemy). They could collect ancient technical knowledge (such as Vitruvius and Pliny) and update it by reporting on modern materials and techniques. They thus transmit a legacy of knowledge that reflects the cultural, social and economic system of medieval Europe.

At the same time, they constitute complex enigmas to decipher, because 1. the words are often the result of copying errors or lack concrete referents; 2. the difficulty of ascertaining the tradition of the text; 3. the processes are not always correctly described.

With regard to the circulation of texts, studies are multiplying on the subject of the wide space of the Middle East and Mediterranean Africa, but also on Roman and Germanic Europe (in particular England, France, Spain and Portugal), while the elaboration of the lexical repertoire, both in Italy and in the other European vernaculars, has not yet received much attention.

Beyond the recent undertakings of publishing recipe books, establishing glossaries or compiling sources in databases, this panel intends to specifically examine the contributions of linguistic research to the knowledge of materials and art techniques. By highlighting research on language and the lexicon of the arts in recipes, this panel aims to investigate the way in which technical knowledge, materials and their nomenclature circulate between the workshops.

Different levels can be taken in account to analyze these circulations: from urban artisanal transmissions, to global phenomena of spreading of materials terminology. The analysis of recipes lexicon thus makes it possible to identify transmissions of knowledge both from Antiquity to medieval and modern Europe, but also between the East and the West: the phenomena of translations and transfers from Latin and Arabic to European vernaculars allow to explore the itineraries of the words of materiality.

Presentations will last 20 minutes. They can concern all periods and geographical areas.

Please submit your proposal (350-500 words) and your CV (500 characters):
https://livebyglevents.key4register.com/key4register/AbstractList.aspx?e=148

The submission is due 15 September 2023.

For further information please contact::
julia.castiglionesorbonne-nouvelle.fr

More information about "How to submit a paper proposal":
https://www.cihalyon2024.fr/images/pdf/Modalites_appel_a_communications_VFINALE.pdf

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[2] Photomechanical Prints and the Material Agency of Images
From: Fedora Parkmann
Date: July 10th, 2023

Chairs: Hana Buddeus, Katarína Mašterová, Fedora Parkmann (Czech Academy of Sciences)

Photomechanical prints are rarely considered objects of their own. They tend to be confined to the role of invisible intermediaries that provide access to various types of photographic images, whether artistic or informational. Previous research on the history of photomechanical printing technologies has revealed how crucial these inventions were in establishing photography as the main means of visual communication in the 20th century. Moreover, the recent material turn in photography studies has shifted the focus from the aesthetics and subject matter of photographs to their materiality, from art historical interpretation to the study of the uses, circulation, and social context of photographic objects.

This panel aims to expand the knowledge on photomechanical prints, challenging their perceived transparency by exploring their material appearances and social agency. To what extent did the materiality of photomechanical prints influence their social uses? How did the dissemination of photomechanical prints in various formats – books, journals, postcards, or decorative objects – serve art, culture, commerce, or science? These questions are all the more topical today because many such documents are now available in digital form, crucially changing the way we perceive and study them.

The social impact of photomechanical prints will be studied from the first inventions to the boom of the halftone and other processes used in the 20th century.
We especially welcome interdisciplinary and cross-cultural contributions that investigate photomechanical prints in relation to regions and topics previously regarded as marginal in art history.
Possible papers will be organized around the following aspects of photomechanical prints:
1) materials and formats
2) transregional communication
3) their role in shaping knowledge
4) the construction of identities.

For additional information, please contact:
masterovaudu.cas.cz

Proposals are due by September 15, 2023. They should include an abstract of 350 to 500 words in English or French, and a biography of 500 characters max.
The submission of your proposals is only possible on the submission platform: https://www.cihalyon2024.fr/en/call-for-papers

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AAC en Français
Les reproductions photomécaniques et l'agentivité matérielle des images

Chairs: Hana Buddeus, Katarína Mašterová, Fedora Parkmann (Académie des Sciences de République tchèque)

Encore trop rarement considérées comme des objets à part entière, les reproductions photomécaniques restent souvent cantonnées au rôle d’intermédiaire invisible donnant à voir différentes images photographiques, qu’elles soient artistiques ou informationnelles. Les recherches conduites à ce jour ont pourtant révélé le rôle moteur de ces inventions dans l’affirmation de la photographie en tant que principal moyen de communication visuelle du XXe siècle. À cela s’ajoute le tournant matériel apparu récemment dans les études photographiques, qui a contribué à détourner l’attention de l’esthétique et du sujet des photographies et de leur interprétation à l’aune de l’histoire de l’art, pour la recentrer sur la matérialité des objets photographiques, leurs usages, leurs circulations et leur contexte social.

Cette session vise à approfondir notre connaissance de la reproduction photomécanique en explorant ses différents supports matériels et son agentivité sociale, de façon à remettre en question la transparence supposée des images. Dans quelle mesure les propriétés matérielles des reproductions photomécaniques déterminent-elles leurs usages sociaux ? Quel furent les retombées des photographies reproduites dans les livres, journaux, cartes postales ou sur des objets décoratifs dans les domaines de l’art, de la culture, du commerce ou de la science ? Ces questions sont d’autant plus actuelles qu’un grand nombre de ces documents sont désormais disponibles sous forme numérique, modifiant ainsi la manière dont nous les percevons.

La fonction et les usages sociaux des reproductions photomécaniques seront étudiés depuis les premières inventions jusqu’à l’essor de la similigravure et des autres procédés employés au vingtième siècle.
Nous invitons tout particulièrement les propositions de communications transdisciplinaires et transculturelles, qui mettent les reproductions photomécaniques en lien avec des aires géographiques et des thématiques restées jusque-là marginales en histoire de l’art.
Les communications seront organisées autour des aspects suivants de la reproduction photomécanique:
1) matériaux et supports, 2) communication transnationale et trans-régionale, 3) rôle dans la formation des savoirs, 4) dans la construction des identités.

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[3] Photographic materialities
From: Fedora Parkmann
Date: July 10th, 2023

Chairs: Marie Auger (Université Gustave Eiffel), Colette Morel (Université de Franche-Comté)

The theme of materiality, first considered from a technical standpoint, became truly fundamental to photographic studies when the "material turn" of the 1980s affected historical and theoretical reflection on the photographic image. With the generalization of digital techniques, a retrospective interpretation of the analogical period begins, with numerous methodological axes (art history, visual studies, media theory, anthropology, sociology, conservation, and restoration). Should we interpret it as expressing apprehension about the "dematerialization" of the digital?

The (im)materiality of photography brings together researchers, curators, restorers, and artists around the distinction between image and object, emulsion, and support. The increasing scarcity of silver-based media thus prompts an examination of the industrial and post-industrial history of photography while focusing on its production modes. The processes and know-how threatened by a sector’s structural evolution are the subject of new reflections.

Far from constituting yet another milestone towards "post-photography", the angle of materiality today requires an ecology of media. On the one hand, a history of the materials, which are frequently dangerous and toxic, is needed to evaluate the ecological footprint of photography. On the other hand, existing research that advocates an archaeology of networks takes into account the financial burden and environmental cost of the creation, distribution, and storage of digital images.

The plurality of these recent contributions invites us to rethink the materiality of photography from a material and processual perspective. What are the materials, the gestures, and the know-how of photography? What economic, industrial, scientific, aesthetic, and philosophical history should be invoked to comprehend its significance?

Research areas:
- Materials for the production and diffusion of photographs (economic, industrial and ecological considerations)
- Light as a photographic material
- Gestures and know-how
- Materiality of supports (aging, detour, hybridization, reuse, experimentation, displays)
- Materiality of the photographic archive (processing, storage, distribution, restoration, and conservation issues)
- Photography as image and object

For additional information, please contact:
augermarieagmail.com or colette.jeanne.morelgmail.com

Proposals are due by September 15, 2023. They should include an abstract of 350 to 500 words in English or French, and a biography of 500 characters max.

The submission of your proposals is only possible on the submission platform: https://www.cihalyon2024.fr/en/call-for-papers

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AAC en Français
Les matérialités de la photographie

Co-présidentes de session: Marie Auger (Université Gustave Eiffel), Colette Morel (Université de Franche-Comté)

Le thème de la matérialité, d’abord envisagé sous l’angle techniciste, devient véritablement central dans les études photographiques lorsque le “tournant matériel” des années 1980 affecte la réflexion historique et théorique sur l’image photographique. Avec la généralisation des techniques numériques s’engage une lecture rétrospective de la période analogique, autour de multiples axes méthodologiques (histoire de l’art, études visuelles, théorie des médias, anthropologie, sociologique, conservation et restauration). Faut-il y lire une réponse inquiète face à la «dématérialisation» du numérique ?

L’(im)matérialité de la photographie réunit chercheurs, conservateurs, restaurateurs et artistes autour de la distinction entre image et objet, émulsion et support. La raréfaction des supports argentiques invite ensuite à une histoire industrielle et post-industrielle de la photographie, attentive à ses modes de production. Les processus et savoir-faire menacés par l’évolution structurelle d’un secteur font, enfin, l’objet de nouvelles réflexions.

Loin de constituer un énième jalon vers la «post-photography», l’angle de la matérialité appelle aujourd’hui une écologie des médias. D’un côté, l’évaluation de l’empreinte écologique de la photographie nécessite une histoire des matériaux, souvent polluant et nocifs, qui la constituent. De l’autre, le poids économique et le tribut environnemental de la production, de la circulation et du stockage des images numériques transparait dans les recherches proposant une archéologie des réseaux.

La pluralité de ces contributions récentes invite à repenser les matérialités de la photographie sous un angle matériologique et processuel. Quels sont les matériaux, les gestes, les savoir-faire de la photographie ? Quelles histoires économiques, industrielles, scientifiques, esthétiques et philosophiques méritent d’être convoquées pour en comprendre la portée ?

Axes :
- Matériaux de la production et de la diffusion des photographies (considérations économiques, industrielles, écologiques)
- La lumière comme matériau
- Gestes et savoir-faire
- Matérialité des supports (vieillissement, détournement, hybridation, réemploi, expérimentation, monstration)
- Matérialité de l’archive photographique (traitement, stockage, diffusion, enjeux de restauration et de conservation)
- La photographie comme image et objet

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[4] Miniature Painting and its Recipes in the Early Modern Period (1500-1800): the Transmission of Technical Knowledge in the East and West
From: Matthieu Lett
Date: July 11th, 2023

Chairs of the Session:
Prof. Dr. Mandana Barkeshli (Conservation Scientist, Head of Research & Postgraduate Studies, De Institute of Creative Arts and Design, UCSI University, Kuala Lumpur, Malaysia),
Dr. Matthieu Lett (Assistant Professor of Early Modern Art History, University of Burgundy/LIR3S, Dijon, France)

In art history, the practice of miniature painting raises problems of definition. This is partly due to its material hybridity, both in terms of supports and pictorial layers (pigments, binders), but also in terms of size and types of objects. The miniature is indeed likely to indicate a wide variety of techniques ranging from painting on vellum or ivory to enamel through illumination. In the West as in the East, the early modern period constitutes a key moment in the technical experimentation carried out in parallel with the development of professional and amateur miniature practices. In both areas, miniature painting was practiced by professionals, but also by high-ranking personalities such as Shah Tamasp I or the Spanish queen Marie Louise d’Orléans. The fact that the colors used did not stain and were odorless compared to oil painting but also the possibility of being able to easily copy compositions could have encouraged this appropriation by the courts. The appearance of several practical treatises simultaneously in both areas – for example the Qanun us-Suvar by Sadiqi Bek (ca. 1570-1600) or the Treatise Concerning the Arte of Limning by Nicholas Hilliard (ca. 1600) – is linked to this phenomenon. They offered recipes for mixing colors or advice on how to represent certain motifs or prepare different types of support. These texts constitute a major renewal of the modes of transmission of the practice of miniature painting. If they could not completely replace the teaching of a master, some of these books allowed students to learn the rudiments on their own. This was particularly suitable for women, who were becoming more and more numerous in Europe to take up miniature painting from the second half of the 17th century onwards. But in professional circles, the technical learning was done in the context of the workshop and the secrets of manufacture could be kept.

By studying for the first time in a comparative way the East and the West various technical recipes of the miniature and their modalities of transmission, this session will aim at putting into perspective its material hybridity and shed a new light on the conditions in which the works were produced.
Academics, museum and library professionals in charge of eastern or western miniature collections as well as conservation scientists specialized in materials analysis are invited to submit papers about the following – but not restrictive – themes:

1. The materials used (supports, paper colors, sizings, dyes, pigments, inks, bindings mediums).
2. Rediscovery information or knowledge behind the use of certain materials and techniques based on historical recipes and/or scientific analysis.
3. The conditions of transmission through oral traditions and/or written sources, in particular the recipes themselves.
4. The context of transmission in its social (workshops, courts) and/or gendered dimension.
5. The terminology used in historical manuals and recipes; challenges in translation and in understanding the context of historical recipes through modern chemistry.

Comparative approaches are particularly welcome. Depending on the proposals, round tables between several speakers as well as individual communications of about 15 to 20 minutes may be scheduled. A time slot will be devoted to the discussion. A peer-reviewed publication is planned.

Please submit your proposal by 15 September 2023 via this link: https://livebyglevents.key4register.com/key4register/AbstractList.aspx?e=148

- Title of the proposed paper (concise and reflecting the contents of the paper).
- Paper Proposal: An abstract of 350 to 500 words, in English or French, including 4 to 6 key words and a possible short bibliography.
- CV of 500 characters with first name, last name, title, status, institution of affiliation and the link to the personal or professional page.

More information on this page: https://www.cihalyon2024.fr/en/call-for-papers

Funding:
Applicants are responsible to secure their own funding. Please consult this page regularly: https://www.cihalyon2024.fr/en/call-for-grants

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AAC en Français
La peinture en miniature et ses recettes à l’époque moderne (1500-1800): la transmission des savoirs techniques en orient et en occident

Organisateurs de la session:
Prof. Dr. Mandana Barkeshli (Conservation Scientist, Head of Research & Postgraduate Studies, De Institute of Creative Arts and Design, UCSI University, Kuala Lumpur, Malaisie),
Dr. Matthieu Lett (Maître de conférences en histoire de l’art de la période moderne, Université de Bourgogne/LIR3S, Dijon, France)

En histoire de l’art, la pratique de la miniature pose des problèmes de définition. Cela s’explique en partie par son hybridité matérielle, à la fois en termes de supports, de couche picturale (pigments, liants), de taille et de types d’objets. La miniature est en effet susceptible de désigner une grande variété de techniques allant de la peinture sur vélin ou ivoire à l’émail en passant par l’enluminure. En occident comme en orient, l’époque moderne constitue un moment clé dans les expérimentations techniques menées parallèlement au développement des pratiques professionnelles et amateures. Dans les deux zones, la peinture en miniature était pratiquée par des professionnels, mais aussi par des personnages de très haut rang comme le Chah Tamasp Ier ou la reine d’Espagne Marie Louise d’Orléans. Le fait que les couleurs utilisées ne tachent pas et soient inodores par rapport à la peinture à l’huile, mais aussi la possibilité de pouvoir copier facilement les compositions a pu favoriser cette appropriation par les cours. L’apparition simultanée dans les deux zones de plusieurs traités pratiques – le Qanun us-Suvar de Sadiqi Bek (ca. 1570-1600) ou le Treatise Concerning the Arte of Limning de Nicholas Hilliard (ca. 1600) – est lié à ce phénomène. Ceux-ci proposaient des recettes pour mélanger les couleurs ou des conseils sur les manières de représenter certains motifs ou de préparer différents types de support. Ces textes constituent un renouvellement majeur des modes de transmission de la pratique de la miniature. S’ils ne pouvaient se substituer complètement à l’enseignement d’un maître, certains ouvrages permettaient d’en apprendre seul les rudiments. Cela était particulièrement convenable pour les femmes, de plus en plus nombreuses en Europe à s’adonner à la miniature à partir de la deuxième moitié du XVIIe siècle. Mais dans les milieux professionnels, l’apprentissage technique se faisait dans le contexte de l’atelier et les secrets de fabrication pouvaient être gardés.

En étudiant pour la première fois de manière comparative entre l’Orient et l’Occident les différentes recettes techniques de la miniature et leurs modalités de transmission, cette session visera à mettre en perspective son hybridité matérielle et à donner un éclairage nouveau sur les conditions de production des œuvres.
Les universitaires, les professionnels des musées et des bibliothèques en charge de collections de miniatures orientales ou occidentales, ainsi que les restaurateurs spécialisés dans l’analyse des matériaux sont invités à soumettre des articles sur les thèmes suivants, qui ne sont pas limitatifs:

1. Les matériaux utilisés (supports, couleurs de papier, liants, teintures, pigments, encres, médiums de reliure).
2. Redécouverte des informations ou des connaissances à l’origine de l’utilisation de certains matériaux et techniques à partir de recettes historiques et/ou d’analyses scientifiques.
3. Les conditions de transmission par les traditions orales et/ou les sources écrites, en particulier les recettes elles-mêmes.
4. Le contexte de la transmission dans sa dimension sociale (ateliers, cours) et/ou genrée.
5. La terminologie utilisée dans les manuels et les recettes historiques; les défis de la traduction et de la compréhension du contexte des recettes historiques à travers la chimie moderne.

Les approches comparatives sont particulièrement bienvenues. Selon les propositions, des tables rondes entre plusieurs intervenants ainsi que des communications individuelles d’environ 15 à 20 minutes pourront être programmées. Un temps sera consacré à la discussion. Une publication évaluée par des pairs est prévue.

Veuillez soumettre votre proposition avant le 15 septembre 2023 via ce lien :
https://livebyglevents.key4register.com/key4register/AbstractList.aspx?e=148

- Titre de l’article proposé (concis et reflétant le contenu de l'article).
- Proposition de communication : un résumé de 350 à 500 mots, en anglais ou en français, comprenant 4 à 6 mots-clés et une éventuelle courte bibliographie.
- CV de 500 caractères avec prénom, nom, titre, statut, institution d’affiliation et le lien vers la page personnelle ou professionnelle.

Plus d’informations sur cette page : https://www.cihalyon2024.fr/en/call-for-papers

Financement :
Les postulants sont responsables de l’obtention de leur propre financement. Veuillez consulter régulièrement cette page : https://www.cihalyon2024.fr/en/call-for-grants

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[5] Materiality and History: Problems in Methods
From: Elin Manker
Date: July 12th, 2023

Art’s materiality is a stubbornly contemporary aspect of it. We encounter that materiality in our own moment, accessing it through our senses situated in a specific contemporary time and place. Therefore, our knowledge of materiality is rooted firmly in our experience of the present. Whether that knowledge can then lead to the historical understanding of art is a question. This panel seeks papers that discuss how closer attention to materiality challenges simplistic conceptions of the past in the methodology of art history – simplistic in the sense that writing about works of art, especially works of art from the remote past, automatically creates historical knowledge. Put in the terms offered recently by the literary theorist Hans Ulrich Gumbrecht, there is a tension between history and presence in the experience of art. For Gumbrecht, presence challenges the metaphysical orientation of much academic work, which foregrounds interpretation as its goal, and has undervalued other modes of engaging works of art that are based in sensory reactions.

For art history, presence is closely linked to materiality. How should art historians configure material knowledge in relation to history? Is it possible to integrate materiality into established art-historical methodologies (iconography, the social history of art, gender studies approaches, etc.), or does materiality offer a point of rupture, breaking through ideological systems to insist on something outside of knowledge systems? Are there ways of formulating art-historical practice so that history and materiality remain in balance? Does materiality ask us to imagine a new kind of history through art? These questions require thinking about materiality as a methodological problem. We welcome papers that approach this topic either through theoretical investigations or interpretations of specific cases.

Co-Chairs: Elin Manker, Umeå University; Marlen Schneider, Université Grenoble Alpes; Michael Yonan, University of California, Davis

Submit your proposal at the CIHA congress webpage, follow link https://www.cihalyon2024.fr/en/call-for-papers for instructions. The session is included in theme: Thinking about Matter (1).

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[6] Printing surfaces / Surfaces d’impression
From: Ilaria Andreoli
Date: July 13th, 2023

Organizers: Ilaria Andreoli (INHA, Paris); Elizabeth Savage (University of London); Femke Speelberg (Metropolitan Museum, New York)

In all art history fields based on printed material, research conventionally focuses on the images, and other information that was printed. The objects used to produce that information (including cut woodblocks, engraved metal plates, and lithographic stones) have been neglected. Many hundreds of thousands of these historical printing surfaces survive today in the East as in the West.
As relics of historical crafts and industry, they fall outside the modern disciplines, and the vast majority are even inaccessible to researchers because they are uncatalogued and often considered ‘uncatalogue-able’. However, as individual objects and as an untapped category of cultural heritage, these artefacts of printing offer a great deal of information that the finished prints, books, fabrics, and other printed materials do not.
The proposed panel will respond to the need for a multidisciplinary introduction to what in image-based fields are called ‘print matrices’ – ‘printing surfaces’ in text-based fields.

Following from the conference Blocks Plates Stones (London, 2017) the monographic issue of
Memofonte journal (2017) and the volume Printing things (2023), the first facilitated discussion of the use of such objects in research, this panel will represent the state of research in this new and developing field. It will bring together object-based research, collection-level surveys, historical printing practices, ethical considerations of their storage and use (or nonuse) today, methods for multiplying the originals (eg dabs, stereos, electros), and methodological studies.

By doing so, it will facilitate their introduction into historical research across the disciplines.
Contributions are sought from art historians and researchers in other fields based on historical printed material; curators, cataloguers, and printing museum managers who care for these objects; and digital humanities specialists who are creating a new generation of tools for culling information from these objects. The panel will focus on hand-press work the world over.

In addition to object- and collection-based case studies, theoretical perspectives might include:
- What can print matrices/printing surfaces teach us that printed materials cannot, and viceversa?
- How should they be regarded: as artists’ tools; intermediary states of works of art; or works
of art in themselves? What does not appear in the work: organization of the workshop,
collaborations, specializations, delegation of the manufacture, logistics
- Organization of the production and market materials
- What lies behind the sudden and recent increase in interest in these objects, and how can
these objects inform those emerging research trends?
- Does the recent turn to object-centered cultural criticism (‘thing theory’) provide useful
paradigms for their study?
- What are the ethical and critical issues around bringing them back into use as printing
surfaces?
- What is their place within the systems of digital remediation and knowledge within which art and book history is increasingly practiced?

We welcome proposals (350-500 words) from professionals, independent researchers, doctoral students, junior researchers, senior researchers in art history or related disciplines, from all over the world.

Candidates should send the following information:
- Title of the paper
- Paper proposal: an abstract of 350 to 500 words, in English or French, including 4 to 6 key words and a possible bibliography.
- CV of 500 characters: First name, last name, title, position, institution, with a link to the personal or professional page if applicable.

Submissions should be made through the conference website: https://www.cihalyon2024.fr/fr/appel-a-communications

If you have questions, please do not hesitate to reach out to any of the session organizers:
Ilaria Andreoli, INHA, Paris (ilaria.andreoliinha.fr),
Elizabeth Savage, University of London (elizabeth.savagesaf.ac.uk)
Femke Speelberg, Metropolitan Museum, New York (femke.speelbergmetmuseum.org)

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AAC en Français
Surfaces d’impression

Organisateurs de la session: Ilaria Andreoli (INHA, Paris); Elizabeth Savage (University of London); Femke Speelberg (Metropolitan Museum, New York)

Dans tous les domaines de l’histoire de l’art où sont étudiés des matériaux imprimés la recherche se concentre traditionnellement sur les images elles-mêmes et, plus généralement, sur l’information imprimée en négligeant les objets qui ont servi à produire cette information (blocs de bois, plaques de métal gravées, et pierres lithographiques). Aujourd’hui, en Occident comme en Orient, nous conservons des centaines de milliers de ces surfaces d’impression qui, parce qu’il s‘agit de sous-produits d’artisanats et d’industries disparus, ont été ignorés par les disciplines savantes. La grande majorité d’entre eux est même inaccessible aux chercheurs car ils ne sont pas catalogués, voire sont considérés comme « incatalogables ». Pourtant, qu’on les étudie individuellement ou qu’on les aborde en tant que catégorie inexploitée du patrimoine culturel, ces matériels d’impression offrent une quantité d’informations beaucoup plus importante que les estampes, les étoffes, ou les livres imprimés.

La table-ronde proposée entend offrir une introduction pluridisciplinaire à ce que les disciplines de l’image appellent des matrices d’impression, et les disciplines du texte des surfaces d’impression. A la suite du colloque Blocks Plates Stones (Londres, 2017) du numéro spécial de la revue Memofonte
(2017) et du volume collectif Printing things (2023), premier essai de présentation d’ensemble de la recherche sur ces objets, la table-ronde dressera l’état de l’art d’un domaine nouveau et en pleine expansion. On y évoquera aussi bien des travaux portant sur des objets particuliers que sur des collections ou les pratiques des ateliers typographiques, sans négliger les questions éthiques que posent leur conservation et leur usage (ou leur absence d’usage) de nos jours, les modalités de production d’originaux multiples (dabs, stereos, electros), et les questions de méthode. Ainsi les surfaces d’impression pourront-elles devenir objets d’histoire pour diverses disciplines.

Notre appel à contributions s’adresse aux historiens de l’art et plus généralement à tous les chercheurs qui travaillent sur les imprimés d’autrefois : bibliothécaires, catalogueurs conservateurs des musées de l’imprimerie qui conservent ces objets, et spécialistes des humanités numériques qui créent une nouvelle génération d’instruments propres à conserver l’information qu’ils fournissent.
La table-ronde sera principalement consacrée aux presses artisanales dans le monde entier.
Au-delà d’études de cas sur des objets ou des collections particulières les questions théoriques suivantes pourraient être abordées :

- Que peuvent nous apprendre les matrices d’impression/surfaces d’impression par rapport aux imprimés, et vice versa ?
- Comment doit-on les considérer : comme des outils à l’usage des artistes ; comme des états intermédiaires des œuvres d’art; comme des œuvres d’art elles-mêmes ?
- Qu’est-ce qui n’apparait pas sur les surfaces d’impression elles-mêmes : l’organisation de l’atelier ; sa spécialisation ; les collaborations ; les délégations de production ; la logistique ; l’organisation de la production, la publicité ?
- Comment interpréter le soudain et récent regain d’intérêt pour ces objets, et comment l’étude de ceux-ci peut-elle répondre aux nouvelles directions de recherche ?
- Le passage à la “thing theory”, c’est à dire le récent engouement pour une histoire culturelle centrée sur l’objet, fournit-elle des paradigmes pertinents pour leur analyse ?
- Quels problèmes éthiques et critiques pose leur réutilisation ?
- Quelle place occupent-elles dans les systèmes de remédiation numérique qui déterminent de plus en plus la façon dont on pratique l’histoire de l’art et celle du livre ?

Nous accueillons les propositions (350-500 mots) de professionnels, chercheurs indépendants,
doctorants, jeunes chercheurs, chercheurs seniors en histoire de l’art ou disciplines connexes,
provenant de tous horizons géographiques.

Les candidats doivent envoyer les informations suivantes :
- Titre du papier
- Proposition de communication : un résumé de 350 à 500 mots, en anglais ou en français, dont 4 à 6 mots clés et une éventuelle bibliographie.
- CV de 500 caractères : prénom, nom, civilité, fonction, institution, avec un lien vers la page personnelle ou professionnelle le cas échéant.

Les soumissions doivent être faites via le site Web de la conférence: https://www.cihalyon2024.fr/fr/appel-a-communications

Si vous avez des questions, n'hésitez pas à contacter l’une des organisatrices de la session:
Ilaria Andreoli, INHA, Paris (ilaria.andreoliinha.fr),
Elizabeth Savage, University of London (elizabeth.savagesaf.ac.uk),
Femke Speelberg, Metropolitan Museum, New York (femke.speelbergmetmuseum.org)

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[7] The Last Plastics Show
From: Charlotte Matter
Date: July 15th, 2023

Organizers: Charlotte Matter (University of Zurich), Teresa Kittler (University Of York)

As the umbrella term for a whole range of products derived from hydrocarbons, plastics are a fairly recent addition to the history of art. They became widespread in the 1950s and have since then profoundly expanded the material culture of our modern world. Indeed, they appear synonymous with everything deemed “modern”– along with all the desirable and problematic associations of the term. While in recent years scholars have been engaging with plastics from the perspectives of cultural studies, environmental sciences, or conservation and restoration, much remains to be discussed from the point of view of art history. In this session for the CIHA 2024 congress, we want to explore the significance and the ambivalent implications that plastics have come to occupy in artistic practices and exhibitions after WWII. Exhibition making around plastics became something of a phenomenon in this period, inaugurating the heyday of plastics in the 1960s, or what some have called the “plastic age.” Their ubiquity in everyday life and break with visual arts’ traditions made them relevant to new audiences; this omnipresence, in turn, was parodied in an exhibition titled The Last Plastics Show (1972). Their subsequent drastic loss of popularity in the wake of the 1973 oil price crisis gave rise to another, more sombre term to describe the era: the “plasticene.” Despite growing awareness of their harmfulness for humans and the environment, plastics have endured, as evinced by a recent reiteration of that historical exhibition bearing the tongue-in-cheek title The Very Last Plastics Show (2014). As such, plastics in art present an opportunity to think about the broader cultural reach and the enduring legacy of these materials.

The session seeks to understand the elastic and sometimes highly contradictory meanings of plastics in art from the 1960s onwards. It also aims to reflect on the different temporalities and implications of their production and use as it has unfolded in diverse geographic contexts. By paying special attention to exhibitions that specifically addressed the question of materiality, ranging from large museum shows to smaller gallery or artists’ projects, we want to explore the way these materials have been conceptualised and presented to audiences, and the legacy of these early exhibitions in contemporary art making and curating.

How can we make sense of plastics in relation to the politics of gender, health and well-being, the interests of big industry and cold-war politics – that is, to topics that extend beyond the material itself? What has changed, but also, what continues to make plastics so compelling for our culture and its production? These are some of the questions we hope to tackle in this session.

We invite abstracts for presentations of 20 minutes that address these issues from the perspective of art history and curatorial practice. We are specifically interested in contributions discussing case studies beyond Western Europe and North America, for a global viewpoint, as well as contributions approaching the topic from the perspective of race, class, gender, health and environmental justice.

Contributions will be considered for a special issue of Sculpture Journal to appear in late 2024.

Please submit your proposal (350-500 words) and your CV (500 characters) via the following link: https://livebyglevents.key4register.com/key4register/abstract.aspx?e=148

The deadline for submissions is September 15th, 2023.

For further information please contact Charlotte Matter (charlotte.matter[at]uzh.ch) and Teresa Kittler (teresa.kittler[at]york.ac.uk)