Murray Seminar: ‘Debating Sainthood: Didactic Images and the Construction of Colette of Corbie c.1470-75’ with Marisa Michaud, 3 March 2026, Birkbeck and online, 17:00—18:30 (GMT)

3 March 2026 – 17:00 — 18:30 GMT

Birkbeck, 43 Gordon Square, Keynes Library and Online

After Colette of Corbie’s (1381-1447) death, members of her community sought ways to ensure the success of her reformed monastic order and the longevity of her burgeoning saint’s cult. This paper will take a new look at an early illuminated manuscript copy of Colette’s hagiography, la vie de Colette (Ghent, Bisschoppelijk Archief van het Bisdom, Monasterium Bethlehem MS 8), examining the complexities of its rich miniature cycle. Though the creation of these miniatures has often been oversimplified as one in which text informs image, this manuscript contains the most extensive pictorial cycle of Colette’s hagiography and begins to develop an iconography where none had previously existed. This would have been a challenging task for the manuscript’s creators, who had to consider the manuscript’s patron, Valois Burgundian Duchess Margaret of York (1446-1503), as well as the state of Colette’s saint’s cult as it had evolved from the text’s creation around 1449. Therefore, this talk will focus on the function of these images as learning tools which aid the manuscript’s patron in understanding and accessing the complex issues surrounding the creation of a ‘new’ saint in the 1470s. In doing so, it will reveal a focus on early demonological and eschatological debates in Colette’s early saint’s cult, an interest which goes beyond the manuscript and can be further located in Margaret of York’s networks.

Dr Marisa Michaud is a Wellcome Trust IFRC Research Fellow at Birkbeck, University of London, where she previously held a fixed-term lectureship. She holds a PhD in Medieval Studies from the University of York and is currently a Humanities Research Centre Postdoctoral Research Fellow there. 

Please Book Here for the In-Person Seminar

Please Book Here for the Livestream

CFP: ‘The Purple and the Book: Precious Manuscripts from Late Antiquity to Renaissance’ (Turin, 18-20 November 2026), deadline 28 February 2026

Purple manuscripts represent a distinctive genre in Western bookmaking production, holding significant artistic and cultural value. Known since Late Antiquity, the purple colour imparts a high symbolic worth: a mark of imperial authority, it later became, with the advent of Christianity, a symbol of the blood of Christ, of martyrs, and of the authority of the Church. After a revival during the Carolingian era, which influenced Ottonian and Romanesque illumination, these manuscripts experienced renewed prominence during the Humanist and Renaissance periods.

This international conference, as the concluding event of the PURple Parchment LEgacy project (PRIN 2020; https://purpleproject.it), brings together scholars from various fields, time periods, and traditions of book decoration. The aim of the meeting is to offer a comprehensive and multidisciplinary overview of purple manuscripts and the use of purple in manuscript decoration. In addition to invited keynote talks, there will be an open session dedicated to more focused themes and case studies.

Proposals are invited for papers (maximum 15 minutes) addressing, but not limited to, the following research areas, covering periods from Late Antiquity to the Renaissance:

  • case studies on single works or small groups of manuscripts, with a particular focus on their historical-artistic context
  • in-depth studies of techniques and materials (dyes, writing supports, bindings, etc.)
  • research on written sources that contribute to the reconstruction of historical-artistic, documentary, and technical aspects
  • the history of purple manuscripts, with attention to their provenance and collecting histories

Submissions from PhD students, postdoctoral researchers, and early-career scholars are especially encouraged, as well as presentations of ongoing research or projects.

Proposals should be submitted in a single document (Word or PDF format) by 28 February 2026 to: convegno.purple@unito.it. Submissions should include:

  • Full name, email address, and current affiliation
  • Paper title
  • Abstract (maximum 2,000 characters, including spaces)
  • Short CV (maximum 1,000 characters, including spaces)

Proposals may be submitted in Italian, French, English, or German, and will be reviewed by the organizing committee. The outcome of the selection process will be communicated by March 2026.

The conference will take place in person in Turin. Accommodation expenses will be covered by the organization (travel expenses will be the responsibility of the participants). The conference proceedings will be published following a peer-review process

New Publication: ‘Fragments: Medieval Makers, Modern Responses’, eds. Catherine A. Fernandez and Pamela A. Patton

Co-published with The Index of Medieval Art at Princeton University

Fragments are central to the work of medievalists. Whether caused by destruction, decay, or the loss of context, fragmentation shapes how scholars reconstruct and interpret the Middle Ages. In the study of medieval visual culture especially, fragments evoke lost monuments, damaged manuscripts, and vanished rituals—yet their evidentiary role is often overlooked or assumed rather than critically examined.

This volume brings together seven essays that examine the risks and rewards of working with fragments in the study of medieval culture. Developed from a scholarly conference at the Index of Medieval Art, the chapters examine how incomplete material, pictorial, textual, ritual, and conceptual objects have been interpreted, reconstructed, or newly understood over time. Topics include the medieval reframing of earlier fragments, the politically motivated interpretation of fragments to rewrite a lost past or fabricate a new future, market-driven deceptions of the consumer, and the challenges of decoding how fragments of all kinds speak to those who view and study them today.

A valuable resource for scholars of medieval art, history, and material culture, this collection addresses the fundamental methodological challenges of studying the Middle Ages through incomplete evidence. Offering fresh insights into how fragments are perceived and repurposed across time, it encourages critical reflection on the fragment as both obstacle and opportunity in reconstructing medieval worlds.

In addition to the editors, the contributors include Patricia Blessing, William Diebold, Shirin Fozi, Silvia Gianolio, Gregor Kalas, Henry David Schilb, and Susanne Wittekind.

Find out more about the Pennsylvania State University Press website.

Two Postdoctoral Positions, History, Theory, and Heritage, EPFL Lausanne, deadline 2 March 2026

École Polytechnique Fédérale de Lausanne, September 01, 2026

Application deadline: March 2, 2026

Two fully funded postdoctoral positions are available to begin in the 2026-27 academic year, working primarily with Professor Cammy Brothers. It is a one year, renewable position.

Candidates must have a Ph.D. or be in their final year of their doctoral program with the expectation of a degree by October 1, 2026. The field is defined broadly as the art and architecture of the early modern Mediterranean world, 1100-1700, but the specific focus is open.

Applications should send the following in a single pdf by March 2, 2026: 

  • A letter of interest (1 page) indicating the candidate’s background and reason for pursuing a postdoctoral position
  • A description of the proposed research and writing project to be pursued during the fellowship year (2-4 pages, it can be distinct from the Ph.D. topic but it can also be a publication plan building on the doctoral dissertation)
  • A writing sample (between 20 and 40 pages), for example a dissertation chapter, a published article, or an essay under review for publication
  • An academic and/or professional c.v. (no more than three pages), including full educational background and language knowledge
  • Names and contact information of two references (reference letters themselves will be solicited later in the evaluation process).

Contact: Queries and applications should be addressed to: brotherslabepfl@gmail.com
Please name your file LASTNAME_POSTDOCEPFL.pdf.

Professor Cammy Brothers: https://actu.epfl.ch/news/appointment-of-epfl-professors-178/.

Salary: Postdoctoral funding is at standard EPFL rates: in 2026 it is 88,000 CHF (more details are here)

NB: Knowledge of French is not a criterion for evaluation, but successful candidates will be encouraged to learn French upon acceptance; courses are available at EPFL.

Conference: Courtauld Medieval Postgraduate Colloquium: ‘Memory and Medieval Material Culture’, Friday 6 March 2026

In our digital age, memory is both permanent and fleeting: forever enshrined on the internet, and yet easily forgotten amid the endless scroll of new information. In the Middle Ages, however, memory was more consciously articulated by medieval makers, patrons and viewers, and was appropriated to serve carefully crafted political, devotional and cultural agendas. Far from being passive repositories of remembrance, medieval artworks, buildings and objects played active roles in constructing, shaping and transmitting memory, whether personal, collective or institutional. This colloquium will explore the complex and dynamic relationship between memory and the material culture of the Middle Ages. It will consider how images from medieval Europe, Byzantium and the Islamic world engaged with the processes of remembering and forgetting, and how they mediated the relationship between the past and the present.

The colloquium will take place on Friday 6th March 2026 at the Courtauld Institute’s Vernon Square campus. The colloquium will be concluded with a drinks reception open to all ticket holders.

Organised by Courtauld PhD students Sophia Dumoulin, Leylim Erenel, Ricardo Mandelbaum Balla. This colloquium is generously supported by Sam Fogg.

Find out more and register here.

Schedule for the day

9.30 – 10.00: Registration Opens

Courtauld Institute, Vernon Square Campus

10.00 – 10.10: Welcome and introduction to the day

10.10 – 11.30: Panel 1 – Layers of Memory

  • Marina Forte Cutillas, PhD, Complutense University Madrid, Building Memory on Sacred Ground in San Pelay of GavĂ­n (AragĂłn, Spain): Cemetery Continuity and Monastic Space in Medieval Iberian Peninsula
  • Giulia di Pierro, PhD, Universitat Rovira I Virgili, Traces of Destruction: Erasure, Visual Response and the Paradox of Forgetting in Medieval Manuscripts
  • Catherine McNally, PhD, Massachusetts Institute of Technology, The Merits of a Sanctity Contested: Fada’il al-Quds and the Commemoration of the Temple Mount in Late Antique Jerusalem

11.30 – 12.00: Refreshment break

12.00 – 13.20: Panel 2 – Illustrating Memory

  • Emma Bruckner, PhD, Courtauld Institute, “Return to the courts of the ancients”: Memorialising the Anachronistic Image in Jean Colombe’s RomulĂŠon
  • Helena GraciĂ , MA, University of Barcelona, Tracing Memory: Moral Diagrams and the Visual Logic of Pastoral Education
  • Mathilde Mioche, PhD, Courtauld Institute, What’s in a Game? Memento Mori Imagery in Renaissance Tarot

13.20 – 14.20: Lunch

Provided for speakers only

  • 14.20 – 15.40: Panel 3 – Urban Memory

    Gabriel Christys, PhD, Courtauld Institute, Staging the Past, Shaping the Future: Triumphs, Memory and Power in Middle Byzantine Constantinople, 950-1050
  • Bruna Bianco, PhD, Scuola Normale Superiore Pisa, Reshaping Collective Memory in Perugia: The Political Use of Images by the Comune di Popolo between the 13th and 14th Centuries
  • Nina Uelpenich, PhD, Ghent University, Visualizing the Past, Negotiating the Present. The Maiden of Ghent as an Urban Symbol during the Nineteenth- and Twentieth-Century Medieval Revival and Nationalism

15.40 – 16.10: Refreshment break

16.10 – 17.50: Panel 4 – Medieval Afterlives

  • Emma Iadanza, PhD, Courtauld Institute, Memory of the Crusades in the Pazzi Chapel
  • Abigail Glickman, MPhil, University of Cambridge, Clothing a Cairene Synagogue: Origins and Afterlives
  • Anja Frisch, PhD, Germanisches Nationalmuseum Nuremberg, Reinterpreting English Alabasters across Continental Europe

17.50 – 18.00: Closing remarks

18.00: Drinks Reception

Open to all

Lecture: ‘The Fabrication of Borders: Tailoring and Cartography in Early Modern Europe’, with Emanuele Lugli, Schoenberg Institute for Manuscript Studies, 12 February 2026 (5:15 – 6:30 pm EST)

  • Thursday, February 12, 2026, 5:15 – 6:30 pm EST
  • Online and Kislak Center, Class of 1978 Orrery Pavilion, Van Pelt-Dietrich Library Center, 6th Floor

Find out more about the lecture and register on the Schoenberg Institute for Manuscript Studies website.

Emanuele Lugli, Stanford University & the 2025-2026 Schoenberg Institute for Manuscript Studies and the Center for Italian Studies Fellow in Italian Manuscript Studies

In early modern Europe, fashion and cartography shared far more common ground than is usually acknowledged. Popular costume books, much like geographical atlases, helped shape emerging ideas of nationhood, while maps disseminated notions of local dress across the world. Yet despite these shared aims, the connection between the two fields has gone largely unnoticed. This talk argues that this overlooked convergence is precisely where fashion, as we understand it, first took shape. Fashion is not simply the expression of the self through clothing, nor merely the perpetual recycling and trivializing of cuts; it is a specific mode of engaging with dress—one deeply shaped by early forms of nationalism.

The talk develops this argument by tracing the origins of both practices, showing how tailoring and cartography alike grew out of geometria practica, the practical application of geometry to represent three-dimensional forms on flat surfaces. It then follows the long afterlife of this relationship, demonstrating its continued force into the twentieth century, most visibly in the designs of Christian Dior.

CFP: ‘Material Memory and the Provenances of Medieval Artefacts’ (Berlin, 3-4 September 2026), deadline 15 March 2026

Institut fßr Kunstwissenschaft und Historische Urbanistik, Technische Universität Berlin, 3-4, September 2026

Objects record their material pasts: A medieval manuscript’s parchment pages, for instance, retain traces of animal bodies and thus reflect their physical source. Similarly, varying states of silver corrosion and shades of gold could have reminded its readers that metallic colours were produced from differently sourced and alloyed metals (Herbert 2022; Degler/Wenderholm 2016). Illuminations with rare pigments, such as lapis-lazuli, could transport connotations of precious foreignness and geographical expanse (Dunlop 2014), while a so-called toadstone placed on a book cover may have evoked a legendary origin, such as described in the Hortus sanitatis.

Medieval patrons, craftsmen, sellers, and users were highly attentive to the material qualities of artefacts and to their components’ encapsulated memories of provenance. For example, Book III of Theophilus’ twelfth-century Schedula diversarum artium describes various types of gold, including “gold of the land of Havilah”, “Arabian gold”, “Spanish gold” and “sand gold”, which is said to be found on the banks of the Rhine (Dodwell 1998, pp. 96-98). The author mentions their colour and properties, as well as elaborating on their – often legendary – circumstances of extraction.

The conditions of an object or a raw material’s acquisition could also be assessed on ethical grounds, as shown by the fourteenth-century Rawḍ al-Qirṭās, a royal chronicle and history of Fez. Here, provenance is examined through a golden bracelet endowed to the Qarawiyyin mosque by the Marinid ruler Abū Yaʿqūb Yūsuf (r. 1286–1307). According to the chronicle, the bracelet was made from booty taken in a war against Christians in al-Andalus and inherited by the ruler from his mother (Roudh el-Kartas 1860, p. 88). Its verifiably “pure” (ḥalāl) circumstances of acquisition and ownership chain made this piece of jewellery an appropriate resource to finance construction works in a religious edifice.

This conference aims to discuss how medieval objects and materials “remember” their origins (Plate 2025; Schlunke 2013; Jones 2007). Taking inspiration from the methods of modern-day provenance research, which traces the circumstances of acquisition and ownership chains, as well as embracing multiple perspectives on resource extraction and variable object narratives (Hagström-Molin 2022; Binter et al. 2021; Feigenbaum/Reist 2013), we propose to investigate how the prehistories of an object’s components continue to reverberate within the artefact: What role does the memory of a sometimes extraordinary or mythic origin play in endowing things with particular significance? And extending the scope of provenance research to material narratives: To what extent does matter participate in processes of remembering and commemoration – and, conversely, also in forgetting or actively covering up – provenance? Does matter-based memory rather emerge as a “side-effect” from a substance’s properties, or could it also be actively anticipated through techniques of manufacture?

At stake in these questions is whether and how recollection can meaningfully be attributed to the materiality of medieval things. Although one may argue that artefacts “do not ‘have’ a memory of their own”, but merely trigger a viewer’s memory (Assmann 2008, p. 111), recent scholarship increasingly challenges strictly anthropocentric memory models by foregrounding interdependencies and entanglements among humans, animals, plants, and environments (e.g. Crane 2021; Steel 2022). This can be illustrated, for instance, by how materials register time through reactive and alterable qualities such as ageing, deformation, or corrosion, which could be understood as temporal inscriptions shaping how objects contribute to processes of remembering over time.

As a working hypothesis, we propose that these aspects of materiality constitute a form of non-human participation in knowledge production, whereby matter does not merely receive meaning retrospectively but actively influences how material memory is perceived, recalled, or obscured. The conference hence conceives objects as having agency within their own biographies, examining how material features prompt and preserve histories and memories – parchment reflecting animal bodies, recycled metals retaining traces of earlier uses, or textile smells evoking sensory connections to their origins.

We invite submissions that explore how materials store, absorb, or generate memories, and how reshaped objects prompt remembrance over time through the agencies of materials and the temporal narratives embedded within them. Case studies may address the multilayered provenances of objects by including also the imaginaries surrounding them as well as how myth, craft knowledge, and natural philosophy (like Pliny’s Naturalis historia or Albertus Magnus’ De animalibus and De mineralibus) shaped understandings of material memory in the medieval period.

Possible themes include, but are not limited to:

  • Objects as material archives that contain origins and histories of their components
  • Intersections of material memory and provenance (e.g. metals recast from ancient treasures)
  • Legendary material origins (mythical genealogies, dragon-guarded substances, saintly or demonic origins etc.)
  • Materials bearing traces of their extraction or ecological memory (e.g. the growth rings of timber, dentin structure revealing its origin in elephant or narwhal)
  • Altered or “re-membered” objects storing, losing or projecting memories through decay, reuse, restoration, reintegration into new material cycles or forms (e.g. palimpsests, repurposed precious stones or ivories)
  • Reactive, ageing, or “shape-shifting” materialities as mnemonic agents and carriers of memory (e.g. wax, parchment, bark, caoutchouc, asbestos)
  • Conservational and theoretical approaches to material memory, addressing human-animal-nature-object relations

Contributions that focus on aspects of the perception, and/or artistic interactions with material memory in non-European contexts are explicitly encouraged.

Please send your paper title, an abstract (max. 300 words), and a short biographical notice (approx. 150 words) as a single file to i.dolezalek@tu-berlin.de and marie.hartmann@tu-berlin.de by 15 March 2026. A publication of selected papers is planned.

This conference is organised by Prof. Isabelle Dolezalek and Marie Hartmann, postdoctoral researcher in the project “Premodern Provenance. Tracing, Telling and Imagining the Origins of Objects and Materials in the Medieval Mediterranean“ (2025–2027).

There will be some funding to support travel and accommodation costs for those without institutional support. Professional childcare can be provided upon request for the duration of the conference.

Bibliography

  • Assmann, Jan, “Communicative and Cultural Memory”. In: Astrid Erll and Ansgar NĂźnning (eds.), Cultural Memory Studies: An International and Interdisciplinary Handbook. Berlin/Boston 2008.
  • Binter, Julia et al. (eds.), em II power II relations: A booklet on postcolonial provenance research in the permanent exhibitions of the Ethnologisches Museum and the Museum fĂźr Asiatische Kunst at the Humboldt Forum. Staatliche Museen zu Berlin. Berlin 2021.
  • Crane, Susan, “An Ontological Turn for the Medieval Books of Beasts: Environmental Theory from Premodern to Postmodern”. In: Susan McHugh, Robert McKay, and John Miller (eds.), The Palgrave Handbook of Animals and Literature. London 2021, pp. 111-126.
  • Degler, Anna and Iris Wenderholm, “Der Wert des Goldes – der Wert der Golde. Eine Einleitung”. Zeitschrift fĂźr Kunstgeschichte 79 (2016): pp. 443-460.
  • Dodwell, Ch. R. (ed. and transl.), Theophilus, De diversis artibus – The Various Arts. London 1961 (reprint Oxford 1986, 1998).
  • Dunlop, Anne, “On the origins of European painting materials, real and imagined”. In: Christy Anderson, Anne Dunlop, and Pamela H. Smith (eds.), The Matter of Art: Materials, Practices, Cultural Logics, c. 1250–1750. Manchester 2014, pp. 67-96.
  • Feigenbaum, Gail and Inge Reist (eds.), Provenance: An Alternate History of Art. Los Angeles 2013.
  • HagstrĂśm-Molin, Emma, Provenance in nineteenth-century Europe: Research practice and concept. Nordic Museology 2-3 (2021): pp. 96-104.
  • Herbert, Lynley Anne, “A Curator’s Note: The Tarnished Reception of Remarkable Manuscripts”. In: Joseph S. Ackley and Shannon L. Wearing (eds.), Illuminating Metalwork: Metal, Object, and Image in Medieval Manuscripts. Berlin/Boston 2022, pp. 443-462.
  • Hortus sanitatis, print. by Jacob Meydenbach. Mainz 1491. Bayerische Staatsbibliothek, digitized 24 Nov. 2008, urn:nbn:de:bvb:12-bsb00027846-3.
  • Jones, Andrew, Memory and Material Culture. Cambridge 2007.
  • MunteĂĄn, LĂĄszlĂł, Liedeke Plate, and Anneke Smelik (eds.), Things to Remember: Introduction to Materializing Memory in Art and Popular Culture. New York 2016.
  • Plate, Liedeke, “Remembering Things: The Materiality of Memory and the Memory of Materials”. In: Astrid Erll, Susanne Knittel and Jenny WĂźstenberg (eds.), Dynamics, Mediation, Mobilization: Doing Memory Studies With Ann Rigney. Berlin/Boston 2025, pp. 245-250.
  • Roudh el-Kartas, Histoire des souverains du Maghreb (Espagne et Maroc) et annales de la ville de Fès, trans. by Auguste Beaumier. Paris 1860.
  • Schlunke, Katrina, Memory and Materiality. Memory Studies 6.3 (2013): pp. 253-261.
  • Steel, Karl, “Human/Animal”. In: Raluca Radulescu and Sif Rikhardsdottir (eds.), The Routledge Companion to Medieval English Literature. New York 2022, pp. 436-444.

Grant: Call for Proposals, AVISTA START Grant, deadline 15 March 2026

The Association Villard de Honnecourt for the Interdisciplinary Study of Medieval Technology, Science, and Art (AVISTA) START (Science, Technology, and Art Research/Teaching) Grant is a new award that provides up to $3,000 USD in seed funding for the initial stages of a long-term scholarly project. It is sponsored by Robert E. Jamison, Professor Emeritus of Mathematics at Clemson University, in collaboration with AVISTA (the Association Villard de Honnecourt for the Interdisciplinary Study of Medieval Technology, Science, and Art).

APPLICATIONS DUE: March 15, 2026

The grant is open to any Ph.D.-holding researcher (full-time faculty, part-time faculty, or independent scholar). Eligible projects must engage the intersection of science, technology, and art or architecture in the medieval world—with a preference for initiatives that feature a public—facing component. Examples include, but are not limited to, publications, exhibitions, symposia, conferences, public demonstrations, research resources, and teaching resources.

The submission deadline is Sunday, March 15, 2026. Complete applications will be reviewed by AVISTA’s Grants and Awards Committee. The winning recipient will be notified in mid-April and announced at AVISTA-sponsored events at the International Congress on Medieval Studies in Kalamazoo, Michigan, in mid-May.

All questions and applications should be sent to: Sarah Thompson at: avistatreasurer@gmail.com

For full application instructions and to learn more, see the AVISTA website.

Lecture: ‘Eastern Europe in Focus: Medieval Art, Cultural Heritage, and Global Conflicts’ with Alice Isabella Sullivan, Temple University and Zoom, 6 February 2026, 16:30-18:00 (EST)

This lecture explores aspects of the history and art of Eastern Europe, which developed at the intersection of competing traditions and worldviews for much of the Middle Ages. Byzantium played a key role in shaping local artistic developments in regions of the Balkan Peninsula, the Carpathian Mountains, and further north, as did contacts with Western and Central Europe. Key objects and monuments reflect aspects of local negotiations among competing traditions, and the shifting meanings and functions of cultural heritage during moments of change, crisis, and conflict. Examples from regions of modern Ukraine, Romania, and North Macedonia, among others, underscore the importance of putting Eastern Europe in focus temporally, geographically, methodologically, and theoretically within the study of medieval, Byzantine, post-Byzantine, and early modern art history.

Alice Isabella Sullivan, PhD, is Assistant Professor and Director of Graduate Studies in the Department of the History of Art and Architecture at Tufts University. She specializes in the artistic production of Eastern Europe and the Byzantine-Slavic cultural spheres in the period between the 14th and 16th centuries.

The Jackson Lecture in Byzantine Art is generously sponsored by Lynn Jackson, with additional support from Temple University’s General Activities Fund (GAF).

Advance registration required for Zoom participation. Register here.

Conference: ‘When Materials Meet: Intermateriality in the Middle Ages and the Early Modern Period’, Krems an der Donau, Austria, 2-4 March 2026

Haus der Regionen, Krems an der Donau, Austria | 2–4 March 2026

The Institute for Medieval and Early Modern Material Culture Studies (IMAREAL, University of Salzburg), announces the international conference “When Materials Meet. Intermaterialität in Mittelalter und FrĂźher Neuzeit”, to be held from 2 to 4 March 2026 at the Haus der Regionen, Steiner Donaulände 56, 3500 Krems an der Donau, Austria.

Held within the framework of IMAREAL’s research focus on Intermateriality, the conference examines the interactions and entanglements of two or more different materials. Materials rarely appear as isolated entities; rather, natural and artificial substances typically occur in conjunction with others. Artefacts are frequently composed of multiple materials, and within processes of social evaluation and semiosis, materials are brought into relational configurations with one another.

Intermateriality is understood as a conceptual framework for these diverse material relationships. The event seeks to bring together perspectives from different disciplines in order to contribute to the further development of this framework and to provide an initial impetus for the establishment of an interdisciplinary research network.

Further information, including the conference programme and practical details, is available via the IMAREAL website.