Tag Archives: networks

Conference: Mobility and conflict in the Mediterranean, UNED, Madrid, October 26, 2018

Image result for portolano mediterraneoINTERNATIONAL WORKSHOP

Mobility and conflict in the Mediterranean: sociability networks and artistic creation in the Late Medieval and Early Modern periods
UNED, Madrid 26 de octubre de 2018.

9.30. Presentación
SESIÓN 1: Alteridades móviles: La visión del otro en la literatura y el arte
Modera: Juan Carlos Ruiz Souza (UCM)
10:00-10:20: Representando al otro: tejidos y vestidos en los espacios de sociabilidad en el siglo XV castellano. Elena Paulino Montero (UNED)
10:20-10:40: The Fifth Column: rethinking the Morisco’s visual representation. Borja Franco Llopis (UNED).
10:40-11:00: La visión del cristiano como “otro”. Alteridad en el Mediterráneo Otomano. Miguel Ángel de Bunes Ibarra (CSIC).
11:00-11:30: DEBATE
11:30-12:00: PAUSA-CAFÉ

Sesión 2: Redes de saber, redes de poder: Objetos y conocimientos en circulación
Modera: Consuelo Gómez López (UNED)
12:00-12:20: Movilidad, circulación, interacción. La formación de un grupo de presión belicista en la monarquía policéntrica de los Habsburgo (Génova, Madrid, País Vasco – siglo XVI) Bastien Carpentier (Université Littoral Côte d’Opale)
12:20-12:40: No solo inventarios. Bibliotecas en movimiento en el Mediterráneo. Margarita Vázquez Manassero (UNED)
12:40-13:00: Un mar en papeles para los ojos de Felipe II: la ciencia y el dibujo del ingeniero. Alicia Cámara Muñoz (UNED)
13:00-13:30: DEBATE
13:30-15:30: COMIDA

Sesión 3: El Mediterráneo: espacio de conflicto, espacio de intercambio.
Modera: Fernando Rodríguez Mediano (CSIC-CORPI)
15.30-15:50: Los espías del rey. La inteligencia hispano-imperial contra el turco (siglo XVI) Gennaro Varriale (Università degli Studi di Napoli “Federico II”)
15:50-16:10 Caravaggio in Malta and his connection to the Ottoman Art. Filiz Çakir Phillip (Aga Khan Museum Toronto).
16:10-16:30: Between objects and subjects: slaves and religious artifacts in the 17th Mediterranean. Daniel Hershenzon (University of Connecticut)
16:30-17:00 DEBATE
17:00-17:30: PAUSA CAFÉ

Sesión 4: Un Mediterráneo global. Dinámicas transoceánicas  del siglo XVI
Modera: Elena Paulino Montero (UNED)
17:30-17:50 Lepanto in the Americas: Global Storytelling and Mediterranean History. Stefan Hanß (University of Manchester)
17:50-18:10: American objects at the beginning of the sixteenth century Antonio Urquízar Herrera (UNED).
18:10-18:30: DEBATE

18.30 CONCLUSIONES Y CLAUSURA

Evento patrocinado por la Facultad de Geografía e Historia y el Departamento de Historia del Arte de la UNED y organizado dentro del proyecto: HAR2016-80354-P. IMPI. Antes del orientalismo: Las “imágenes” del musulmán en la Península Ibérica (siglos XV-XVII) y sus conexiones mediterráneas (Ministerio de Ciencia, Tecnología y Universidades- Fondos FEDER).
Actividad del Grupo de Investigación: Arte y Pensamiento en la Edad Moderna y Contemporánea

Dirección científica: Elena Paulino Montero
Coordinación científica: Borja Franco Llopis

Click here for more information

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CFP: Regionalism in Medieval Art and Architecture (ICMA Student Committee Session), International Congress on Medieval Studies, Kalamazoo, 10-13 May, 2018

800px-arte_islamica2c_ippogrifo2c_xi_sec_01CFP: Regionalism in Medieval Art and Architecture, International Congress on Medieval Studies, Kalamazoo, 10-13 May, 2018.
Deadline: 10 September 2017

Sponsored by the International Center of Medieval Art (ICMA) Student Committee
Organized by Mark H. Summers (University of Wisconsin, Madison) and Andrew Sears (University of California, Berkeley/University of Bern)

In 2001, Eva Hoffman introduced the concept of portability, suggesting a style that transcended traditional geographic, cultural, and religious boundaries. Since then, studies of traveling objects, trade networks, and pluralistic communities have created a veritable new field of the “Global Middle Ages,” which has helped us to better understand the interconnected medieval past as well as its role in shaping our sense of place today.

Our panel seeks to consider how local identity was shaped by such global networks. Potential questions include: Are artistic or architectural styles connected to specific places for specific reasons? Were medieval artists conscious about their own regional styles and the social, political, and religious impact they had? How was art positioned to both create communities and delineate boundaries? What about the rise of the “International Gothic” towards the end of the Middle Ages? Our concerns are also temporal, such as how the use of historicizing motifs and spolia helped medieval artists to communicate something about the here and now.

We welcome submissions for 20-minute papers from graduate student ICMA members. To propose a paper, please send a title, abstract of 300 words, CV, and completed Congress Information form to Mark H. Summers (mhsummers@wisc.edu) and Andrew Sears (asears@berkeley.edu) by 10 September 2017.

The Student Committee of the International Center for Medieval Art involves and advocates for all members of the ICMA with student status and facilitates communication and mentorship between student and non-student members.

ANN: Knotenpunkte und Netzwerke Neapels (Rom, 16-22 Oct 17)

Creche-Tavern-5_480.jpgRom, Bibliotheca Hertziana, 16. – 22.10.2017
Deadline: May 31, 2017

Knotenpunkte und Netzwerke Neapels.Tiefenbohrungen in einer porösen
Stadt

Studienkurs der Bibliotheca Hertziana – Max-Planck-Institut für Kunstgeschichte
Leitung: Prof. Dr. Tanja Michalsky, Dr. Elisabetta Scirocco

Walter Benjamin schrieb am 19.8.1925 in der Frankfurter Zeitung zu Neapel:

»Niemand orientiert sich an Hausnummern. Läden, Brunnen und Kirchen geben die Anhaltspunkte. Und nicht immer einfache. Denn die übliche Neapolitaner Kirche prunkt nicht auf einem Riesenplatze, weithin sichtbar, mit Quergebäuden, Chor und Kuppel. Sie liegt versteckt, eingebaut; hohe Kuppeln sind oft nur von wenigen Orten zu sehen, auch dann ist es nicht leicht, zu ihnen zu finden; unmöglich die Masse der Kirche aus der der nächsten Profanbauten zu sondern. Der Fremde geht an ihr vorüber. […] Porosität begegnet sich nicht allein mit der Indolenz des südlichen Handwerkers, sondern vor allem mit der Leidenschaft für das Improvisieren. Dem muß Raum und Gelegenheit auf alle Fälle gewahrt bleiben. Bauten werden als Volksbühne benutzt.«

Die von Benjamin gewählte Qualität des ›Porösen‹ ist ambivalent, denn sie bezeichnet ebenso das dichte Nebeneinander von (Hohl-)Räumen als auch die gleichsam natürlich gewachsene Formation eines lebendigen Organismus. Insbesondere die prekäre Seite dieser Beschreibung spiegelt sich in der Kunstgeschichtsschreibung, denn Neapel hat dort nicht zuletzt aufgrund der benannten Eigenschaften noch immer einen schlechten Stand. Auch wenn allgemein bekannt ist, welche Schätze sie birgt, so wurden doch bis heute nur wenige von ihnen gehoben. Zerstörungen und Überschreibungen in einem dichten Geflecht lassen die Stadt als besonders chaotisch erscheinen und die lokalen Forschungsbedingungen sind schwieriger als in anderen Städten. Der Umstand, dass die Kunstgeschichte Neapels noch immer in Abhängigkeit von anderen Städten wie Florenz und Rom konzipiert wird, ist jedoch eher den eingefahrenen Spuren der italienischen Kunstgeschichtsschreibung geschuldet. Größere Bekanntheit erlangt haben letztlich nur die Epoche des französischen Königsgeschlechts Anjou (13.–14. Jh.), sowie die Malerei und die prunkvollen Ausstattungen im Barock wobei in beiden Fällen gerne von Sonderfällen gesprochen wird. Die neapolitanische Renaissance unter dem Königshaus Aragon scheint auf wenige herausragende Monumente beschränkt, die selten als genuine Produkte sondern eher als Importe bewertet werden. Ziel des Studienkurses ist es, diese Forschungssituation zu reflektieren und einen Versuch zu unternehmen, die neapolitanische Kunst aus den spezifischen historischen und sozialen Bedingungen heraus zu verstehen. Gestalt und Gestaltung Neapels sollen daher anhand ausgewählter Beispiele von der Antike bis in die Gegenwart verfolgt werden. Konkret gemeint sind damit antike Stätten wie das Forum, frühchristliche wie die Katakomben, über Kirchen, Paläste und Platzanlagen vom Spätmittelalter bis zum Barock, Sanierungsmaßnahmen des 19. Jahrhunderts bis hin zu den jüngsten Ausstattungen der Metro-Stationen. Das Programm ist so gestaltet, dass an einzelnen Orten die Stratifikationen der Stadt ebenso wie die Nachbarschaften von Monumenten in den Blick rücken, die einzelnen Werke dadurch als Teile der historischen und urbanen Netzwerke und zugleich als Produkte sozialer und politischer Kontexte gelesen werden können.

Die Bibliotheca Hertziana – Max-Planck-Institut für Kunstgeschichte übernimmt die nachgewiesenen Fahrtkosten bis zu einer Obergrenze von 300 € sowie die Kosten der Unterbringung. Ferner erhalten die Teilnehmer/innen ein pauschales Tagegeld von insgesamt 196 €. Diese Ausschreibung ist auch im Internet zu finden unter:
www.biblhertz.it/institut/forschungs-und-nachwuchsfoerderung/roemischer-studienkurs/
Die Bewerbung ist mit CV, einem Empfehlungsschreiben eines/er Hochschullehrers/in und einem Motivationsschreiben bis zum 31.5. 2017 an Raffaele Rossi (rossi@biblhertz.it) zu richten. Die Bewerber/innen erhalten Ende Juni Bescheid über die Auswahl und die Vergabe von Referatsthemen.

CFP: 4th INTERNATIONAL CONFERENCE THE MIDDLE AGES: A GLOBAL CONTEXT?, 13-15 DECEMBER, 2017, PORTUGAL, LISBON (MEDIEVAL EUROPE IN MOTION RESEARCH GROUP)

025e8b1a81204117a2e5930a561cabe8CFP: 4th INTERNATIONAL CONFERENCE THE MIDDLE AGES: A GLOBAL CONTEXT?, 13-15 DECEMBER, 2017, PORTUGAL, LISBON (MEDIEVAL EUROPE IN MOTION RESEARCH GROUP)
How to Apply: Proposals for either 3-paper sessions or individual papers will be equally welcome. Individual papers should be 20 minutes in length. Please submit an abstract of no more that 250 words and a brief CV to mem2017@fcsh.unl.pt
Deadline: 15 June 2017.

NB: Conference Registration Fees:
Participation with Paper: 75€ (Registration fee includes documentation and coffee-breaks);
• Attendance: 30€ for the general public and 25€ for students;
• Gala Dinner: 35€.

In December, as the third year of its six-year Strategic Project draws to a close, the Institute for Medieval Studies – whose research groups have been working around our main theme, “People and Knowledge in Motion: Medieval Portugal in Trans-European Networks” – is hosting a Conference aimed at bringing together scholars from around the world in order to discuss and reassess the research undertaken in the Institute and in the wider academic world on mobility, the circulation of models, and phenomena of a global nature during the Middle Ages. In the course of the last three years, researchers specialising in the areas of History, History of Art, Archaeology and Literature, have developed their research with a strong emphasis on the question of the circulation of men and women, ideas, models and artefacts as mirrors of a medieval reality in which
mental, symbolic and physical mobility seems to correspond less and less to the ancient perceptions and stereotypes of Medieval Men and Society as characterized by stillness and immutability. Furthermore, work in the Institute has raised additional questions and problems intimately connected with the topics being studied, but also very much in line with current historiographical trends. For this reason, the organizers of the 4th International Conference on Medieval Europe in Motion deemed it appropriate to take our principal concern a step further and propose as its main subject the question whether or not it is possible to speak of a Global Middle Ages.
The Conference will seek to provide a forum for scholars from all disciplines who are willing to examine this topic. We invite participation from graduate students, early-career researchers and senior scholars. Papers are warmly welcome whether in English, Portuguese, Spanish, French or Italian.
The three sections of the Conference will be:
1. Debating the Global Middle Ages: Theoretical and Historiographical Approaches;
2. Texts, Images and Representations;
3. Territories and Powers: a “Glocal” Perspective.
Possible topics may include, but are by no means restricted to, the following:
• approaches to sub-global, semi-global and pan-global concepts and the discussion of contact,
exchange, interaction, circulation, integration and exclusion;
• analysis of concepts and case studies concerning diffusion, outreach, dispersal and expansion;
• approaches to concepts of impact, reception, acceptance, transformation and reform.
Selected proceedings will be edited by the Institute of Medieval Studies, as a peer-reviewed e-book, during the course of 2018.

 

CFP: Bishops’ Identities, Careers and Networks, University of Aberdeen, 26 May and 27 May 2017

cropped-welwick-crosierCall for Papers: Conference: Bishops’ Identities, Careers and Networks
Centre for Scandinavian Studies, University of Aberdeen
26 May and 27 May 2017

Bishops were powerful individuals who had considerable spiritual, economic and political power. To be a bishop was to be a leader who might crown kings or foment rebellion. So who became bishops? What were their family backgrounds, educational attainment, social networks? What was the impact of international Church events such as the Great Schism or the Council of Basle on the types of bishop appointed in individual dioceses?

The aim of this two-day conference, funded by an AHRC Early Career Research Grant, is to stimulate discussion on how individuals achieved a bishopric in Europe, including Scandinavia and the British Isles. An edited volume is the planned outcome for the conference.

Topics for the conference include, but are by no means limited to:

  • Family origins
  • Education
  • Pre-episcopal careers
  • Social networks
  • Spiritual networks
  • Political networks
  • the centralisation of the Papacy
  • international Church events
  • Diocesan patrons
  • Election of bishops

We invite proposals between 250-300 words for individual 20 minute papers relating to the conference theme. Please send abstracts to bishopscareersnetworks@gmail.com.

Please send abstracts by Friday 27th January 2017.

Please direct any queries to Sarah Thomas and Michael Frost at bishopscareersnetworks@gmail.com.

 

 

CFP: In Search of Wisdom: Knowledge Spaces and Networks across the Mediterranean Sea  November 2nd, 3rd, and 4th 2016

Call_Diptico.pptxIn Search of Wisdom: Knowledge Spaces and Networks across the Mediterranean Sea

10th COMPLUTENSE CONFERENCE ON MEDIEVAL ART

NOVEMBER 2nd, 3rd, AND 4th  2016

RESEARCH PROJECT: “Al-Andalus, the Hispanic Kingdoms and Egypt: Art, Power and Knowledge in the Medieval Mediterranean. Exchange Networks and their impact on the Visual Culture”(HAR2013-45578-R)

The aim of this conference is to deepen into the various insights of the construction of spaces and the production of works of art linked to sciences and knowledge in the Middle Ages, throughout different geographical, cultural, and social realms within the Mediterranean area.

 CALL FOR PAPERS  

Paper proposals should include an abstract of the issue written in Spanish, English or French languages (a maximum of ca. 1,000 words), a bibliographical reference’s list on the subject (a maximum of 10 references), and a short Curriculum Vitae of the submitter (a maximum of ca. 500 words).  Proposals should be framed within one of the four indicated sessions by the submitter. Priority will be given to those innovative approaches, critical analyses or insights into the specific framework of the session topics, especially those linked to al-Andalus, Hispanic Kingdoms or Medieval Egypt. Proposals should be send to jcam@ucm.es before June, 15th 2016; once they have been selected by the scientific committee, their acceptance will be notified to authors before June, 30th 2016.

SESSIONS

  1. “Mirror of Princes: paideia, uirtus and adab” is focused on secular places of knowledge.
  2. “Science and its usages” deals with those spaces and networks where medieval science was developed.
  3. “Books and their spaces” is devoted to the production of Medieval manuscripts and the places for books.
  4. “Masters, sages, and patrons” analyzes the relationship between patrons, artisans, and knowledge producers, paying special attention to synergies of all those linked to scientific development.

 INVITED CONTRIBUTORS

Evelyne Berriot-Salvadore (Université Montpellier 3), Eduardo Carrero (UAB), Miquel Forcada (UB), Ángel Fuentes Domínguez (UAM), Emilio González Ferrín (Universidad de Sevilla), Alfonso Jiménez (Universidad de Sevilla), Miguel Marañón (Instituto Cervantes), Rafael Ramón Guerrero, María Jesús Viguera (UCM), Gerhard Wolf (Kuntshistorisches-Max Planck Institute, Florencia).

SCIENTIFIC AND ORGANISING COMMITTEE

Alexandra Uscatescu e Irene González Hernando (coordinadoras), Susana Calvo Capilla, Juan Carlos Ruiz Souza, Azucena Hernández Pérez, Víctor Rabasco García, Pilar Martínez Taboada, Herbert González Zymla, Noelia Silva Santa-Cruz, Javier Martínez de Aguirre, Marta Poza Yagüe, Óscar Monterreal, Elena Paulino, Manuel Parada y Laura Molina.

 

Edinburgh College of Art Trecento seminar, Artist and Authorship (6 May 2016)

Scultore, Firenze, Museo Bardini3 (1)6th May 2016
10:00 – 17:00
Hunter Lecture Theatre, Edinburgh College of Art, 74, Lauriston Place , Edinburgh

Convened by Claudia Bolgia and Luca Palozzi from the School of History of Art

This one-day international research seminar on ‘Artist and Authorship’ is designed to take stock of the field, showcase award-winning, original research and discuss different methodologies, thus charting new avenues for future research. While the research seminar’s main focus of attention is the Italian Trecento, contributions reach well beyond it to investigate different geographical areas – both East and West (Portugal, France, Spain, Byzantium) – across a broader timespan, including contemporary perspectives on the topic.

FREE AND OPEN TO ALL.

BOOK YOUR FREE TICKET(S) HERE. LIMITED CAPACITY

Programme

10.00 – 10.15 Luca Palozzi (Edinburgh College of Art), Introduction

Session 1: Visual Networks and Artistic Flows

Chair: Luca Palozzi (Edinburgh College of Art)

10.15 – 10.40 Emanuele Lugli (University of York), ‘Inventing the Network: Linking Figures and Connecting Knowledge in Trecento Italy’

10.40 – 11.05 Carla Varela Fernandes (Universidade Nova de Lisboa, Portugal), ‘France-Catalonia-Portugal: artistic flows in the Trecento. Some examples from the Digital Index of Magistri Cataloniae’

11.05 – 11.20 Q&A

11.20 – 11.40 Coffee break

Session 2: Authorship and Self-Representation: East and West

Chair: Claudia Bolgia (Edinburgh College of Art)

11.40 – 12.05 Maria Lidova (British Museum, University of Oxford), ‘Manifestations of Authorship: Artists’ Signatures in Byzantium’

12.05 – 12.30 Giampaolo Ermini (Scuola Normale Superiore, Italy), ‘The Opere firmate nell’arte italiana / Medioevo Project : some notes on Sienese metalworkers’ signatures: goldsmiths, locksmiths, bell makers’

12.30 – 12.55 Donal Cooper (University of Cambridge), ‘The Authorship and Audience of the Meditations of the Life of Christ’

12.55 – 13.10 Q&A

13.10 – 14.00 Lunch

Session 3: Self-awareness and Reception

Chair: Claudia Bolgia (Edinburgh College of Art)

14.00 – 14.25 Luca Palozzi (Edinburgh College of Art), ‘Before the Paragone: Trecento Visual Intelligence and the Critical Misfortune of Sculptors’

14.25 – 14.50 Corin Sworn (Artist and Lecturer, Ruskin School of Art, Oxford), ‘The Mobile Screen and the Early Modern Stage: A contemporary artist’s take on borrowing from the past’

14.50 – 15.00 Q&A

15.00 – 15.20 Coffee break

Session 4: Postgraduate Research Showcase, Discussion and Conclusions

Chairs: Claudia Bolgia (Edinburgh College of Art), Robert Gibbs (University of Glasgow), John Richards (University of Glasgow), Luca Palozzi (Edinburgh College of Art)

15.20 – 15.50 Research Showcase with History of Art PhD candidates at the University of Edinburgh

Maria Gordusenko, ‘Magester Ursus and his self-representation in the church of Santi Pietro e Paolo in Ferentillo’
Amelia Hope-Jones, ‘The Elusive Artist: A Thirteenth-Century Tabernacle in the National Gallery of Scotland’
Fabian Bojkovsky, ‘A Jewish Convert as Artist: The Shrine of San Vicente, Sabina and Cristeta at the Intersection between Legend, Historicity and Propaganda’
15.50 – 16.20 Discussion

16.20 Claudia Bolgia (Edinburgh College of Art), Conclusions

For all enquiries, please email: luca.palozzi@ed.ac.uk.