This international conference considers the challenges, opportunities and critical issues faced in the building of new – and the further development of existing – programmes and platforms for 3rd cycle (doctoral) education and research for the creative arts.

For more information, see:

http://www.elia-artschools.org/Activities/share/share2-london-conference

The Festival of Art as Research (FAR) is dedicated ot explore the phenomenon of TRANSLATION.

See the call for artists on http://art-as-research.org/

Application date: April 15^th, 2012.

The next annual conference of the German dramaturgical society in 2012 takes place from 26th to 29th of April, 2012 during the PAZZ festival at Oldenburg state theatre and will address various discussions about “Theatre and Research”.

More Information:

[For English, please scroll down]

ART ET RECHERCHE
La recherche en art et dans l’enseignement supérieur artistique

Forum des écoles supérieures d’art et
Colloque international sur la recherche en art

À l’initiative de la Direction Générale de la Création Artistique du
Ministère de la Culture et de la Communication et
Organisé par l’École nationale supérieure d’arts de Paris-Cergy.

ARGUMENT

Les réformes de l’enseignement supérieur, les évolutions que connaît le
milieu de l’art et la perspective du développement d’une recherche en
art conduisent les acteurs de l’art contemporain – écoles, artistes,
centres d’art – à s’inscrire dans des activités autres que la
production et la diffusion, en dialogue avec les champs déjà constitués
du savoir. Au rebours de ce que l’on pouvait craindre, cette évolution
n’a pas réduit les ambitions de l’art d’incarner une dimension de
résistance à l’univocité du sens.

Tandis que la recherche accompagnait à l’université une spécialisation
des disciplines, la recherche en art intervient quant à elle à un
moment où la notion de discipline, en tant que champ de pensée et de
pratiques homogènes développées entre des spécialistes, entre en crise
: leurs spécificités et leurs territoires ne disparaissent pas mais se
trouvent soumis à des pratiques d’hybridation, d’ouverture, de
débordement critique. Comment se situer dans ce territoire en mutation
? Par la manière dont elle n’exclut aucune question, aucun objet, aucun
matériau, on peut imaginer que l’indiscipline intrinsèque à la logique
artistique soit à même d’accompagner la réflexion critique que les
disciplines scientifiques conduisent sur elles-mêmes. Autrement dit, la
recherche en art ne serait pas tant recherche de l’art sur lui-même
qu’une exploration et une traversée des autres savoirs, de leurs
objets, leurs objectifs et leurs méthodes.

D’où un certain nombre de questions. Dans quelle mesure et de quelle
manière les expérimentations élaborées à cette occasion
permettent-elles de déployer de nouveaux liens entre discours et
images, pensée et sensation, expérimentation et réalisation ? Dans
quelle mesure la recherche en art, en valorisant la possibilité d’une
connaissance sensible et non verbale, proche en certains points d’une
anthropologie visuelle mais ne se confondant pas avec elle, peut-elle
devenir un terrain dans lequel développer une nouvelle forme de savoir
? Dans quelle mesure la recherche en art renouvelle ou revisite-t-elle
les outils de la recherche – matériaux, méthodes, archives, documents ?
Comment affirmer une modernité de la recherche en art qui ne fasse pas
fi de la forte histoire de cette ambition dans les arts du passé, mais
la ressaisisse au contraire dans le mouvement même où elle revendique
son originalité et sa spécificité actuelles ? Quels sont, au plan
national et international, les cadres et les structures institutionnels
les mieux à même de former les leviers de cette recherche en art ?
L’ambition de ce colloque qui, sous des formes multiples, sollicitera
les arts visuels et les autres arts, est donc de faire le point, au
sens optique et intellectuel du terme, sur le nouveau paysage de la
recherche artistique tel qu’il se dessine en France et à l’étranger.
Loin de chercher à imposer une vision normative ou un modèle à suivre,
il s’agit de donner une visibilité à une multitude de pratiques, de
collaborations, d’initiatives portées par les acteurs autant que par
les structures, selon des dispositifs à chaque fois différents.
On souhaiterait que l’aperçu diversifié ainsi déployé permette à chacun
de se doter d’outils et d’idées nouvelles pour dessiner les contours
singuliers de ce champ de la recherche en art.

Plus qu’un champ, peut-être s’agira-t-il au final de faire apparaître
l’image d’une recherche en archipel, originale dans ses agencements et
sa capacité à trouver sa place dans les nouvelles structures de la
recherche académique.

Jehanne Dautrey,
Philosophe, coordinatrice scientifique du colloque

INTERVENANTS INVITÉS
Mara Ambroži, Éléonore Bak, Nelly Ben Hayoun,Thierry Besch, Frédéric
Beuvry, Francesco Binfaré, Léonore Bonaccini, Sally Bonn, Philippe
Brandeis, François Brument, Claude Cadoz, Marie-Haude Caraës, Grégory
Castéra, Carole Collet, Christian Dautel, Jehanne Dautrey, Christophe
Dessaux, Dominique Ducassou, Marie-José Mondzain, Sylvie Faucheux,
Dominique Figarella, Sylvie Fortin, Frédéric Gaffiot, Geneviève Gallot,
Andrew Gerszo, Anne Gonon, Pierre Gosselin, Bernard Guelton, Jérôme
Joy, Jan Kaila, Christoph Keller, Silvia Kolbowski, Joris Lacoste,
Mathieu Lehanneur, Franck Leibovici, Arnauld Leservot, Patrice Loraux,
Annie Luciani, Olaf Metzel, Morad Montazami, Yann Orlarey, Catherine
Perret, Valérie Pihet, Alain Poirier, Bernhard Rüdiger, Claudia
Triozzi, Hugues Vinet, Giovanna Zapperi

Contact
Mathilde Villeneuve
École nationale supérieure d’arts de Paris-Cergy
mathilde.villeneuve@ensapc.fr
01 30 30 54 44

Informations et inscriptions
Ioana Tomsa
06 08 62 53 45

PROGRAMME COMPLET À:
www.culturecommunication.gouv.fr/Disciplines-et-secteurs/Arts-plastiques/Art-et-recherche

—

ART & RESEARCH
Research in Art and in Artistic Higher Education

On the initiative of the Ministry of Culture and Communication
(the General Direction for Artistic Creation)
Organised by the Paris-Cergy Academy of Arts

MANIFESTO
Reforms to higher education, the evolution of the art world and the
prospects of development for artistic research have led the agents of
the art scene—artists, art schools, art centres—to adopt new practices,
other than production and distribution by entering into dialogue with
existing fields of knowledge. However, in spite of what one might have
feared, this evolution has not reduced art’s ambition to be a dimension
of resistance to the certainty of meaning.

In the academic sphere, research went hand in hand with the increasing
specialization of disciplines; conversely, artistic research appears to
be at a moment when the concept of discipline itself is in crisis.
First imagined as precise fields of homogeneous practices and theories
elaborated by expert agents, disciplines nowadays are not disappearing,
but instead, find themselves increasingly transformed by an overflow of
hybrid, open, critical practices. Where does artistic research stand on
this evolving territory? The way artistic research doesn’t reject any
question, object or medium allows one to consider that the inherent
insubordination of artistic practice is fully able to follow and
support the critical self-assessment approach applied within other
scientific disciplines. In other words, artistic research is not so
much seen as a self-reflecting study of art through art, as an
exploration and overlapping of other fields of knowledge, their
subjects, objectives and methods.

Hence, a number of questions arise: how and to what extent do the many
experiments conducted in art research on this occasion provide new
links between discourse and image, thought and perception, experiment
and creation? To what extent can artistic research become a ground for
the development of a new kind of knowledge, by encouraging its
potential for intuitive, non-verbal understanding and thus approach a
visual practice of anthropology? To what extent does artistic research
renew or revisit the tools of the established forms of research—the
body of work, methods, archives, documents? How can artistic research
claim its modernity while remaining true to the historical ambition it
shares with the arts of the past, by asserting its actual originality
and specificity and taking back its history at the same time? What are
the best prepared institutional structures and frameworks to support
artistic research, both nationally and internationally?

What this symposium hopes to do, by addressing visual arts and other
artistic fields from a wide range of perspectives, is to literally and
intellectually review the new landscape of this research in art, in
France and around the world. There is no intention to impose norms or
recommend models to be followed, far from it; the point will be to
showcase the many practices, collaborations and projects being
conducted by the agents and structures of the art world alike and
adapting to ever changing layouts. Our hope is that entailing such a
diverse survey (of art and research) will allow everyone to come away
with new tools and ideas to define the specific outline of the field of
artistic research.

More than a field of research, artistic research may appear in the end
as an archipelago of research studies, with an original organisation
and an inspired capacity to find itself a place within the new
structures of academic research.

Jehanne Dautrey
Philosopher, Scientific Coordinator

KEYNOTE SPEAKERS:
Mara Ambroži, Éléonore Bak, Nelly Ben Hayoun,Thierry Besch, Frédéric
Beuvry, Francesco Binfaré, Léonore Bonaccini, Sally Bonn, Philippe
Brandeis, François Brument, Claude Cadoz, Marie-Haude Caraës, Grégory
Castéra, Carole Collet, Christian Dautel, Jehanne Dautrey, Christophe
Dessaux, Dominique Ducassou, Marie-José Mondzain, Sylvie Faucheux,
Dominique Figarella, Sylvie Fortin, Frédéric Gaffiot, Geneviève Gallot,
Andrew Gerszo, Anne Gonon, Pierre Gosselin, Bernard Guelton, Jérôme
Joy, Jan Kaila, Silvia Kolbowski, Joris Lacoste, Mathieu Lehanneur,
Franck Leibovici, Arnauld Leservot, Patrice Loraux, Annie Luciani, Olaf
Metzel, Morad Montazami, Yann Orlarey, Catherine Perret, Valérie Pihet,
Alain Poirier, Bernhard Rüdiger, Claudia Triozzi, Hugues Vinet,
Giovanna Zapperi

FULL PROGRAMME AT
www.culturecommunication.gouv.fr/Disciplines-et-secteurs/Arts-plastiques/Art-et-recherche

Contact
Mathilde Villeneuve
Ecole nationale supérieure d’arts de Paris-Cergy
mathilde.villeneuve@ensapc.fr
+33 (0)1 30 30 54 44

Information and Registration
Ioana Tomsa
+33 (0)6 08 62 53 45

The programme consists of lectures by established artist-researches, students’ presentations, profound discussions and individual tutoring as well as sauna, swimming and wandering in the countryside.

Doctoral students in academic institutions pursuing practice-based research are invited to submit applications and proposals to the Summer Academy. The deadline for applications is February 29th, 2012.

For more information on the Summer Academy and the application procedure, check the attached Call for proposals or visit the website: http://www.teak.fi/Summer_AcademyYou can also direct your inquiries to summer.academy@teak.fi.

Welcoming contributions to our second issue:

Journal for Artistic Research – JAR 2

http://www.jar-online.net

JAR is a free online journal that focuses on artistic practice as research, re-negotiates art’s relationship to academia and couples the multi-media and social capabilities of the web with peer-reviewing and scholarly rigour.

We invite original submissions from artists with or without academic affiliation who wish to contribute to the ongoing debate about research in the arts, and reflect on artistic practice, processes and research in exchange with a group of engaged peers.

Whether you see yourself as an artist, a designer, a musician or a performer, who works outside traditional academic research environments or an academic working on arts related research, we invite you to explore the possibilities of adopting alternative, experimental and more artistic modes of presenting research than a classic journal format may support.

With the aim of displaying and documenting practice in a manner that respects artists’ modes of presentation, JAR provides its contributors with a free to use online writing space, a dynamic online canvas where text can be woven together with image, audio and video material. The result is a journal that promotes experimental approaches to ‘writing’ and provides a unique ‘reading’ experience, while carefully fulfilling the expectations of scholarly dissemination.

We embrace research practices across and between disciplines, and the rich-media writing space actively encourages collaboration, allowing multiple authors to work on the same document simultaneously.

JAR is guided by an editorial board that works with a large panel of international editors and peer reviewers from the field of artistic research. Check out our first peer-reviewed issue JAR 1 at http://www.jar-online.net and join the discussion about the contributions published there.

Deadlines for JAR 2:

If you are interested in publishing a contribution in JAR please get in touch with us. We will give you advice on how to register for an account, get started with the writing space and develop a submission for one of the coming issues. Submissions to JAR can be made anytime. For the next issue, JAR2, we invite submissions between now and mid-March.

The Journal of Artistic Research is published twice a year.

Send your correspondence to:
Michael Schwab
Editor in Chief, Journal for Artistic Research (JAR)
michael.schwab@jar-online.net

JAR is published by the Society for Artistic Research.

CALL FOR PAPERS

Sociology of the Arts – Artistic Practices

The Research Network Sociology of the Arts hereby announces its 7^th conference which will take place in Vienna from September 5^th to the 8^th, 2012. The organisation of the conference will be undertaken by the Institute for Music Sociology at the University of Music and Performing Arts Vienna.

The focus of the key conference lectures will be on artistic practices. The concept of practice differs from the classical concept of action. Concrete practices are located in communities of practice and therefore should be analysed on the basis of their embedding in social structures and cultural dynamics. This theoretical conception also transforms our understanding of other concepts such as knowledge, intention, meaning, institution, rule, structure, and power.

Artistic practices, as arrays of specific activities (including, in a narrow sense, the area of con­ception and production and in a broader sense the promotion, distribution, displaying and con­veying of arts understanding) assume theoretical knowledge as well as know-how. They assume connoisseurship but also practical abilities and skills. Artistic practices are developed practically and collectively in collaborative networks. They are pre-structured by conventions, institutions, regimes of competence, forms or alignments of power as well as technological and financial means, although practices themselves instigate the formation of these various structural parame­ters. Another seminal characteristic of practices is their partly tacit dimension, which is due to the inherent limits of language, of practical consciousness as well as to the habituation that takes place after familiarisation and implicit learning.

The invited four key speakers are: Karlheinz Essl (composer), Nathalie Heinich (sociologist), Theodore Schatzki (philosopher), Laurent Thévenot (sociologist).

The Call for Papers of this conference is also open for presentations to all core areas of arts socio­logy. We invite experienced and young scholars from various disciplines sensitive to social in­quiries into the arts to participate in the conference. Presentations can be related to following areas:

1. Sociology focussed on particular domains in arts including architecture, urban planning, applied arts, arts within the domain of popular culture (e.g. film, television, and popular music) as well as traditional ‘high’ arts (e.g. music, visual arts, literature, theatre, etc.).
2. The process of production, distribution, promotion and commercialisation of works of art inclu­ding the impact of technology, new means of production, forms of collaboration, the formation of art theory, the development of arts markets, process of valuation etc.
3. The process of presentation and mediation of arts including art criticism and publicity in all domains of the arts, museums, theatres, concerts, audience studies, attitudes towards the audience, educational programs, etc.
4. Professional development including amateurs and semi-amateurs, vocational education, art schools, professional differentiation, artistic income, artistic reputation, relation to arts management, etc.
5. Arts organisations (not only houses such as museums, theatres but also festivals and artists’ unions) – investigation of historical development, power relations, effects, program selection, processes within the organisations such as gate-keeping, leadership, etc.
6. Arts policy (especially the sociological aspects thereof) including legal issues, public and private funding, public discourse and debates (e.g. classification of art, arts and religious symbols, arts and sexuality, arts and racism), censorship, analysis of the impact of arts, sustainability, lobbying associations, cultural ministries or other government bodies.
7. Social and cognitive effects of the arts including:  arts and identity formation, arts and bodies, aesthetic experience, arts and ethics, coding and decoding, gender related practices, ethnographic aspects, art for social transformation, arts in communities and arts as a part of urban culture.
8. Arts from a macrosociological perspective including: (de-)institutionalisation, economisation, globalisation vs. localism, digitalisation, mediamorphosis, arts and social cohesion, arts and ethics, arts and hegemony and arts and power.
9. Theoretical development in arts sociology such as the production of culture approach, (post-) structuralism, field theory, system theory, praxeology as well as methodological issues.

Please note that there will be a conference fee to cover all catering services (lunch, drinks, etc.)

Instructions

•  The abstracts must be written in English, be approximately 400 words, and include 3-5 keywords. Please submit your abstract and full contact details as an electronic file not later than the 31^st of January 2012. Send the abstract to Tasos Zembylas (zembylas@mdw.ac.at) with cc. to Claudia Borovnjak (borovnjak@mdw.ac.at)
• The deadline for notification of acceptance of abstracts is 31^st of March 2012.

For further details on the conference please contact us at email zembylas@mdw.ac.at or Tel. +43-1-71155-3617.

is now published (world premiere: Academy of Arts Berlin, 10th December 2011):

http://danielkoetter.de/projekte/state-theatre-3-berlin

The call for the next colloquium, CARPA 3, in Februay 2013, will be out soon!

greetings, AA