Statement by Iranian Artists, Scholars, Critics, Art Historians, and Curators in Support of Art Students’ Protests in the Country 

As a global organization dedicated to defending art and artists, AICA believes that freedom of expression is a fundamental human right. The Committee on Censorship and Freedom of Expression would, therefore, like to share the following statement in support of protests by art students in Iran, which was published recently online (https://statementiranianartists.wordpress.com) and signed by a long list of Iranian artists, scholars, critics, art historians and curators. AICA International adds its voice to theirs in solidarity. The persecution, arbitrary punishment and incarceration of people for having a different opinion should cease immediately and actions be taken to restore the human rights of Iranian citizens.

Statement by Iranian Artists, Scholars, Critics, Art Historians, and Curators in Support of Art Students’ Protests in the Country 

For more than four weeks, the Iranian art students’ support for the “Woman, Life, Liberty” movement has been on full display on university campuses across the country. They have exerted their right to civil disobedience, and organized strikes, sit-ins, vigils, and other acts of collective remembrance to protest against wide-ranging human rights violations in Iran. 

In their aspirations, the Iranian art students are echoing the demands of Iranian society in its entirety. 

These protests, however, are continuing in a climate where the Ministry of Higher Education, in well-documented and systemic collusion with the Islamic Republic of Iran’s Intelligence Services are cracking down on students through arbitrary arrests, detentions, expulsions, confiscation of student identification cards, class cancellations, and even total closure of campuses. 

Such atrocities are often conducted by campus security forces and some of their regime-backed enablers among administrators and professors. 

Despite the threats and violence, students are insisting on their rights to assemble and to express themselves freely and through collective statements, they have demanded change: “We will reclaim our right to decide for ourselves, and we will fight tyrants and reactionaries.” 

Hereby, we, a group of Iranian artists, scholars, critics, art historians, and curators, declare our solidarity with Iranian art students in their struggle for equality, life, and freedom. With all of our cultural and social power, we stand firmly with them. 

We condemn, in the strongest terms, all forms of arrest, intimidation, and suppression by the regime, and we demand the immediate and unconditional release of all students who have been detained. 

We believe that the Ministry of Education and its co-conspirator institutions are totally incapable of making any fair decisions regarding the fate of the students. The ominous shadow of the Iranian regime’s security forces and their constant threats must be eradicated completely from the university campuses and all aspects of students’ lives. 

Art students in Iran are now leading the way to re-imagine Iranian art universities. 

In solidarity,
Iranian artists, scholars, critics, art historians, and curators.
October 2022 

SEMINAR - Ruptured Histories: Critical Exchanges on Issues of Decolonisation

Nov 5 & 6, 2022

This seminar aims to achieve a deeper understanding of the complex history and legacy of colonisation from the unique perspective of art critics and art thinkers both from the former colonies and colonising nations.The presenters will examine models that treat history as a dynamic inclusive discipline that is open to reconfiguring knowledge bases and the canon.

The two-day hybrid seminar during the Karachi Biennale will map the decolonisation process
though art, curatorial and discursive interventions with a special focus on South Asia. Speakers from Japan and France will speak on how artists are complicating the official narrative within the former colonial powers.

All presentations will be around 45 minutes and followed by 15 minutes of Q&A. The seminar will be live streamed via Facebook and Youtube.

This is a part of a series of forums proposed by Aica Int. as an FFC Project. The Seminar at Karachi Biennale is in collaboration with Aica Pakistan, Aica Germany and Aica Japan.

Seminar Program

Please reach out to kb22publicprogramming@gmail.com with any queries.

The Future of Critique

18 – 19 November: Bundeskunsthalle, Bonn
24 – 26 November: Akademie der Künste, Berlin

Everyone is a critic today. But where is critique? We are all experts evaluating each other. But what do we base our criteria on? Today, every theatre, every museum, every scientific institute is expected to mediate and promote its work– while independent mediation, contextualization, and evaluation are disappearing with the general media. But without criticism, there is no public. Without the public, no arts. Without the arts, no democracy.

Just when the monopolies of criticism have been broken and individual perspectives are finally being given broader scope, criticism is experiencing its greatest crisis. This crisis serves as a lens for the congress ‘The Future of Critique’ to focus on fundamental changes in the public sphere, institutions, and society. 90 international guests from the fields of theatre, music, literature, film, architecture, visual arts, and the media will discuss the future of the public sphere at the Akademie der Künste, Berlin and the Bundeskunsthalle in Bonn.

Admission free, with registration
for Bonn: buchung@bundeskunsthalle.de
for Berlin: kongress@adk.de

The Future of Criticism is a cooperation between Akademie der Künste, Berlin and the Art and Bundeskunsthalle, Bonn, in cooperation with the German section of the International Association of Art Critics AICA, the DFG graduate college "Cultures of Criticism" at the Leuphana University of Lüneburg and the Institute for Art and Visual Studies at the Humboldt University in Berlin

Funded by Bundeszentrale für politische Bildung

WEBINAR AICA SPAIN / AICA PORTUGAL

Madrid – Lisboa:
Nuevos espacios para el arte y la creación contemporánea (2001-2021)
Una revisión desde la crítica
.

El arte y la arquitectura han venido construyendo nuevos tejidos urbanos, nuevos acontecimientos, reveladores de ciertos valores demandados por una sociedad inestable. El proyecto Madrid-Río, la Banlieue parisina, el frente fluvial de Lisboa o la periferia de Roma Capital son buen testimonio. Estos nuevos espacios surgidos para el arte y la cultura en sus más amplias y diversas facetas requieren ya una revisión y reflexión crítica. Planteamos el debate desde las miradas cruzadas a dos grandes ciudades: Madrid y Lisboa, por parte de relevantes profesionales y críticos de arte. Durante estas dos décadas los ejemplos se han sucedido y complementado en ambas urbes. Matadero, Medialab, CaixaForum, Tabacalera, Casa Encendida, en Madrid. MAAT Museo de Arte, Arquitectura y Tecnología, LX Factory, Factoría Cultural Braço de Prata, Beato Living Lab Creative Hub, galería Zé dos Bois en Lisboa. Son sólo una pequeña relación de los muchos espacios surgidos en ambas capitales. Su presencia en la ciudad, sus actividades, sus éxitos y fracasos, la planificación cultural y las directrices que cada uno han desarrollado, la aceptación y el uso por parte de visitantes eventuales, turistas, ciudadanos, son aspectos que subrayan la infinidad de miradas y su necesaria reflexión.

Dirección:

MIGUEL ÁNGEL CHAVES. Presidente AICA Spain
ANA TOSTÕES. Presidenta AICA Portugal

Coordinación:

FERNANDO MORAL. Arquitecto. AICA Spain

PEDRO BAÍA. Arquitecto. AICA Portugal

Ponentes invitados:

LUIS ALEMANY (Las Palmas de Gran Canaria, 1977) es periodista. Estudió Ciencias de la Información en la Universidad Complutense de Madrid e Historia en la Universidad de Las Palmas de Gran Canaria. En 2002 empezó a trabajar en el diario El Mundo. Desde 2004 escribe en su sección de Cultura. Fue fundador del suplemento La Esfera de Papel. Ha colaborado con las revistas Descubrir el Arte, Telva y Arquitectura Viva, entre otras y con Radio Intereconomía. Ha sido ponente en La Noche de los Libros, Hay Festival, Festival Eñe y en las universidades CEU San Pablo y Camilo José Cela. Desde 2021 es patrono de la Fundación Arquitectura y Sociedad, de cuya memoria 'La ciudad que queremos' es coeditor y coautor.


SILVIA BENEDITO is a registered landscape architect and architect from Portugal. She has been teaching in the Department of Landscape Architecture at the Harvard Graduate School of Design since 2011. Benedito teaches graduate core design studios in landscape architecture and urbanism dedicated to vulnerable territories and communities subject to climatic degradation. In her methods for landscape architecture and urbanism the concept and space of atmosphere claim the body in multiple scopes and scales— from large ecological networks to smaller open space interventions; from urban neighborhoods to rural territories. Claiming that landscape is as much about air and atmosphere as it is about land and water offers a stimulating dimension to these disciplines, reconciling ecological imperatives with community delight and well- being. Her last book Atmosphere Anatomies: On Design, Weather, and Sensation (Lars Müller, 2021) examines weather as design substance at the disciplinary intersection of landscape, architecture, and planning. Here, she examines paradigmatic design examples and corresponding thermodynamic phenomena operating at micro and macro scales for thermal delight and energy optimization. This book received the inaugural Book Prize for Architectural innovation and Sustainability by the Portuguese League of Architects and the Minister for the Environment and Climate Action.

Benedito’s design work and research has been recognized by various institutions, including the Graham Foundation for Advanced Studies, MacDowell Colony for the Arts, Foundation of Science and Technology, Calouste Gulbenkian Foundation, and the Portuguese League of Architects with the Fernando Távora Prize. Benedito Benedito was a Guest Professor at the Technische Universität München, in the Department of Landscape Architecture (Fakultät für Architektur). She also held a Guest Professorship at the Technische Universität Graz, at the Institute of Architecture and Landscape, and, more recently, she was the Distinguished Visiting Scholar at the University of Waterloo, Canada.


JOÃO LUÍS CARRILHO DA GRAÇA, architect, graduated from esbal (lisbon higher-education school of fine arts) in 1977, the year he initiated his professional activity. Lectured at the faculty of architecture of the technical university of lisbon between 1977 and 1992. Professor at the autonomous university of lisbon from 2001 to 2010 and at the university of évora since 2005. Headed the architecture department at both institutions until 2010. Invited professor at the higher technical school of architecture of the university of navarra in 2007 and 2010. invited lecture in seminars and conferences at several international universities and institutions. Awards given to joão luís carrilho da graça include: the title of “chevalier des arts et des lettres” by the french republic in 2010; the “pessoa award” in 2008, the “luzboa-schréder” award in 2004 at lisbon’s first international light art biennal, the order for merit of the portuguese republic in 1999 and the “international art critics association” award in 1992. Distinguished with the “piranesi prix de rome” prize in 2010 for the archeological museum of “castelo de são jorge”, the “fad” prize in 1999 and the “valmor” prize in 1998 for the knowledge of the seas pavilion at lisbon expo ’98; the “secil” prize in 1994 for the school of media of the i.p.l (lisbon polytechnic institute), and the nomination for the “mies van der rohe” european architecture award in 1990, 1992, 1994, 2009, 2010 and 2011, this year for the pedestrian bridge over the carpinteira stream and the archeological museum of “castelo de são jorge”.


Ma ÁNGELES LAYUNO es licenciada en Geografía e Historia por la Universidad Complutense de Madrid y doctora en Historia del Arte (1997) por la Universidad Nacional de Educación a Distancia (Madrid). Profesora Titular de Teoría e Historia de la Arquitectura en la Escuela de Arquitectura de la Universidad de Alcalá, y coordinadora del grupo de investigación “Arquitectura, Historia, Ciudad y Paisaje” (UAH-Escuela de Arquitectura). Ha desarrollado estancias de investigación e impartido docencia en la Academia de España en Roma, Bauhaus Universität Weimar, Università degli studi Chieti-Pescara (Italia), Universidade de Lisboa, Politecnico di Milano, Universidad Autónoma de Aguascalientes (México), ENSA Paris-La Villete, entre otras. Sus líneas de investigación fundamentales son la arquitectura museística, arquitectura y paisajes industriales, y teoría e historia de la ciudad y de la arquitectura. Miembro del Comité Científico de la red internacional de Escuelas de Arquitectura Designing Heritage Tourism Landscapes (IUAV- Venezia). Autora y/o editora de las publicaciones Richard Serra (2010), Museos de Arte Contemporáneo en España. Del “palacio de las artes” a la Arquitectura como Arte (2004), Patrimonio Industrial en las Periferias Urbanas (UAH, 2016), La Ciudad del Turismo. Arquitectura, patrimonio urbano y espacio público (2020), y Aproximaciones Contemporáneas al Paisaje Urbano (2021). Actualmente es investigadora principal del proyecto “La imagen del Instituto Nacional de Industria en el Territorio: Cartografía y Paisaje de la Industria” (Proyectos I+D Generación de Conocimiento).


Doctor Arquitecto con mención internacional con Premio Extraordinario de Doctorado por la Universidad Politécnica de Madrid, EDUARDO PRIETO es también Licenciado en Filosofía y DEA en Estética y Teoría de las Artes y en Filosofía Moral y Política. Definidos por un enfoque multidisciplinar y cultural, sus trabajos se centran en las relaciones entre la filosofía, el arte, la ciencia y la arquitectura, orientándose en dos líneas de investigación: el papel de las metáforas procedentes de la ciencia (máquinas, organismos, clima) en la formación de la ideología de la arquitectura moderna, y la construcción de una estética vinculada a la energía.
Profesor de la Escuela Técnica Superior de Arquitectura de Madrid, ha sido Visiting Scholar en la Graduate School of Design de la Universidad de Harvard, y ha realizado estancias de investigación en la Universidad Torcuato di Tella y la Universidad Nacional del Litoral (Argentina), así como en la Akademie del Bildende Künste (Viena) y la TU Wien. Su trabajo se ha difundido mediante la participación en congresos y seminarios impartidos en universidades nacionales y extranjeras, y la publicación de más de treinta artículos aparecidos en revistas indexadas, y de libros como La vida de la materia (Asimétricas, 2017), La ley del reloj. Arquitectura, máquinas y cultura moderna (Cátedra, 2016) y La arquitectura de la ciudad global: redes, no-lugares, naturaleza (Biblioteca Nueva/Siglo XXI, 2011). Complementario al docente, ha sido su trabajo como crítico y redactor responsable de la revista Arquitectura Viva, así como colaborador de El País, miembro del comité científico de congresos internacionales y de revistas como Astrágalo y Reia, y revisor de otras publicaciones indexadas como Cuaderno de Notas, Zarch o VLC arquitectura.


Inscripción

Correo / e-mail a: aicainternational.webinar@gmail.com
Indicando nombre, apellidos y evento (Webinar Madrid-Lisboa) para recibir el enlace a la sesión.

ELECTIONS 2022 - CANDIDATES PRESENTATIONS

During our GENERAL ASSEMBLY on NOVEMBER 4th, we will elect:

  • 1 Secretary-General

  • 3 International Vice-Presidents

  • 10 International Members

Lors de notre ASSEMBLÉE GÉNÉRALE du 4 novembre, nous procéderons à des élections :

  • 1 Secrétaire-Général

  • 3 Vice-présidentes internationaux

  • 10 membres internationaux

Durante nuestra ASAMBLEA GENERAL del 4 de noviembre, elegiremos:

  • 1 Secretario General

  • 3 Vicepresidentes internacionales

  • 10 miembros internacionales


The candidates are | Les candidates sont | Los candidatos son

Secretary-General | Secrétaire-Général | Secretario General

  • MARC PARTOUCHE (AICA FRANCE)

International Vice-Presidents | Vice-présidentes Internationaux | Vicepresidentes internacionales

  • CHAUHSIN CHEN (AICA TAIWAN)

  • JUAN CARLOS FLORES ZÚÑIGA (AICA COSTA RICA)

  • SUSANA SULIC (AICA FRANCE)

International Board Members | Membres Internationaux | Miembros Internacionales

  • EVRIM ALTUG (AICA TURKEY)

  • MARÍA LUZ CÁRDENAS (AICA VENEZUELA)

  • SANDRA HITNER (AICA BRAZIL)

  • MIHAELA ION (AICA ROMANIA)

  • TUGÇE KAPROL (AICA TURKEY)

  • DR ROULA MATAR-PERRET (AICA FRANCE)

  • ROBERT-JAN MULLER (AICA NETHERLANDS)

  • ELISA RUSCA (AICA SWITZERLAND)

  • SUSANA SULIC (AICA FRANCE)

  • UTA M. REINDL (AICA GERMANY)

  • MARIA VITA (AICA ITALY)

  • ESRA YILDIZ (AICA TURKEY)

Their CVs and complete applications’ statements can be found in the MEMBER ACCESS, under ELECTION DOCUMENTS.

Leurs CVs et candidatures sont accessible dans la section MEMBER ACCESS, sous la rubrique ELECTION DOCUMENTS.

Sus CVs y candidaturas se encuentran en el MEMBER ACCESS, en ELECTION DOCUMENTS.


Remembering Dr. Luz Merino Acorta

Con gran tristeza recibimos la noticia del fallecimiento de la Dra Luz Merino Acorta, miembro de AICA Cuba. Nuestras condolencias a la familia y al capítulo cubano de AICA.

With deepest grief we received the news of the passing of Dr. Luz Merino Acorta, member of AICA Cuba. Our condolences to her family and the Cuban chapter of AICA.


La Habana, 4 de octubre de 2022

Dra. Lisbeth Rebollo Gonçalves
Presidenta
AICA internacional

Querida Lisbeth:

Recibe de antemano mi más cordial saludo. En nombre del Capítulo cubano de Aica lamento comunicarte del fallecimiento de una de nuestras más ilustres colegas, la Dra. Luz Merino Acosta, con el ruego de que sea informado al resto de los demas miembros de nuestra organización.

Nacida en La Habana en 1943, cursó la carrera de Historia del Arte en la Escuela de Letras y Arte de la Universidad de La Habana, donde recibió el grado de Dra. en Ciencias sobre Arte y se desempeñó como docente desde 1966 hasta la fecha. Profesora titular de dicho recinto académico desde 1989, fue también condecorada con el titulo de Profesora Emérita del alto centro de estudios de Cuba. Asimismo, recibió la Distinción por la Cultura Cubana y la Medalla Alejo Carpentier, que otorgan el Ministerio de Cultura de Cuba.

Durante su trayectoria profesional ocupó diversas responsabilidades, entre otras, en el departamento de arte de la Biblioteca Nacional José Martí, en la Facultad de Artes y Letras de la Universidad de La Habana, donde se desempeñó como Vicedecana de Investigación y Postgrado, y en el Museo Nacional de Bellas Artes, del que fue Subdirectora Técnica.

Autora de numerosos artículos, ensayos y libros de arte, se destacan particularmente los publicados bajo los titulos: Arte en Cuba 1902-1958 y La pintura y la ilustración: dos vías del arte moderno en Cuba, así como Jorge Mañach ¿crítico de arte? De su expertizaje conocieron numerosas insituciones internacionales en las que ofreció conferencias y ofreció asesorias.

Con su magisterio excepcional contribuyó a formar varias generaciones de estudiosos del arte cubano que hoy lamentan profundamente su desaparición.

Nuestro Capítulo desea compartir la tristeza de su colectivo por tan sensible ausencia, con el resto de los colegas de Aica, en los diferentes países miembros.

Agradeciendo tu apoyo de siempre, te envio mi mas calido saludo.

Llilian Llanes
Presidenta
Capítulo cubano de la AICA

Modernismo en la Cuenca del Caribe: SALIDAS Y LLEGADAS EN LA TRANSFORMACIÓN DE LAS ARTES VISUALES

 

Tres perspectivas críticas e históricas sobre cómo surgió y se desarrolló el modernismo en la Cuenca del Caribe en el contexto de la dictadura, la guerra civil, el malestar social y la descolonización convergen en las presentaciones de este webinario testimoniando cambios profundos en las realidades culturales, sociales, políticas y económicas de Centroamérica y el Caribe y su impacto en la crítica de arte actual.

Las ponencias que serán presentadas y discutidas por Allison Thompson de AICA Caribe Sur, Carlos Acero y Guadalupe Casasnovas de AICA República Dominicana y Juan Carlos Flores Zúñiga de AICA Costa Rica, respectivamente, son las siguientes: “Descolonización en el Caribe: raza, migración, diásporas, el estado nación y el proceso decolonial durante las décadas de 1940 y 1980 y su impacto en la cultura visual en el Caribe y la diáspora caribeña”; “Política, Artes Visuales y Convulsión Social en el Caribe (1940-1970)” y; “La ola de la abstracción modernista: cómo Centroamérica fue influenciada en su producción visual y crítica por México, Cuba y Venezuela (1940-1970)”.

Este segundo webinario organizado por AICA Latinoamérica y El Caribe tendrá lugar el jueves 13 de octubre a las 19:30 hora de Sao Paulo, Brasil por zoom.

REGISTRO: por correo electrónico: aicainternational.webinar@gmail.com    hasta el 11 de octubre al mediodía (hora de París)


Modernism in the Caribbean Basin: DEPARTURES AND ARRIVALS IN THE TRANSFORMATION OF THE VISUAL ARTS

Three critical and historical perspectives on how modernism arose and developed in the Caribbean Basin in the context of dictatorship, civil war, social unrest, and decolonization converge in the presentations of this webinar, witnessing profound changes in cultural realities, social, political, and economics of Central America and the Caribbean and its impact on current art criticism.

The papers that will be presented and discussed by Allison Thompson from AICA Southern Caribbean, Carlos Acero and Guadalupe Casasnovas from AICA Dominican Republic and Juan Carlos Flores Zúñiga from AICA Costa Rica, respectively, are the following: “Decolonization in the Caribbean: race, migration, diasporas, the nation state and the decolonial process during the 1940s and 1980s and its impact on visual culture in the Caribbean and the Caribbean diaspora”; “Politics, Visual Arts and Social Upheaval in the Caribbean (1940-1970)” and; “The wave of modernist abstraction: how Central America was influenced in its visual and critical production by Mexico, Cuba and Venezuela (1940-1970)”.

This second webinar organized by AICA Latin America and the Caribbean will take place on Thursday, October 13 at 7:30 p.m. Sao Paulo time, Brazil via zoom.

REGISTRATION by email: aicainternational.webinar@gmail.com  by October 11 at noon (Paris time).

International Research-to-Practice Conference

HISTORICAL AND THEORETICAL PROBLEMS OF KAZAKHSTAN’S SCHOOL OF ART HISTORY AND CRITICISM

21st of October 2022
10:00 a.m. to 6:00 p.m.
Kasteyev State Museum of Arts, Almaty, Kazakhstan

The conference will focus on contemporary art history and criticism and its related issues. Furthermore, it is held on the occasion of the 100th anniversary of the birth of Yelena Vandrovskaya, one of Kazakhstan’s first art critics, who made a significant contribution to the development of art history and criticism in the country.


OPEN CALL FOR PAPERS

The Conference invites papers and presentations about Yelena Vandrovskaya or the development of art history and criticism in the country in the 20th and 21st centuries.

The following topics will be covered:

-      Art History and Criticism in New Kazakhstan: Traditions and Innovations

-      Art Criticism, Theory and History in Kazakhstan. Historical Background

-      Art Criticism: Problems and Prospects

-      Museum Science in Kazakhstan: Experience and Prospects

-      Stages of the Development of Museum Science in Kazakhstan

The objective of the Conference is to present the history and theory of the academic school of art criticism and Kazakhstan’s art criticism as a holistic phenomenon, including its historical perspective and diverse aspects.

The languages of the Conference are Kazakh and Russian.

To register as a participant, please send the application form to kmukazhanova@mail.ru by 15 September 2022. The application form should include the topic of the presentation and an abstract (up to 1,000 characters), speaker’s full name, job title, academic degree, address, and telephone number.

Board meeting: 3 & 7 OCTOBER 2022

Dear Board Members,
Please note that the next Board meeting will be held online on Monday 3 and Friday 7 of October 2022 at 4pm (Paris Time).
RSVP - once you’ll confirm your attendance, you’ll be given the link to access the meeting : aica.office@gmail.com

Estimados miembros de la Junta Internacional,
Tenga en cuenta que la próxima reunión de la Junta Directiva se celebrará en línea el lunes 3 y el viernes 7 de octubre de 2022 a las 16:00 horas (hora de París).
Confirme su asistencia y se le dará el enlace para acceder a la reunión : aica.office@gmail.com

Chers membres du conseil d'administration,
Veuillez noter que les prochaines réunions du Conseil d'administration se tiendront en ligne lundi 3 et vendredi 7 octobre 2022 à partir de 16h (Heure de Paris). 
RSVP - une fois que vous aurez confirmé votre présence, vous recevrez le lien pour accéder à la réunion : aica.office@gmail.com

General Assembly: 4 & 19 NOVEMBER 2022

Dear Members

You are invited to the annual General Assembly on Friday 4 & Saturday 19 November 2022.
All paid-up members may attend the General Assembly and take part in the voting.

November 4: Online meeting at 4pm (Paris Time)
The first part of the General Assembly is organised online and dedicated to the points submitted for voting.

THANK YOU TO CONFIRM YOUR ATTENDANCE to the Office by sending a picture of your AICA Card: aica.office@gmail.com

November 19: Meeting in person in Buenos Aires at 3pm
The second part of the General Assembly is organised in person during the 54th AICA International Congress.
You are invited to a meeting at the Centro Cultural Kirchner in Buenos Aires (Argentina) at 3pm. This second part of the General Assembly is dedicated to any other businesses.

ELECTIONS 2022

CALL FOR CANDIDATES

During our GENERAL ASSEMBLY on NOVEMBER 4th, we will elect:

  • 1 Secretary-General

  • 10 International Members

  • 3 International Vice-Presidents

Please send us your candidatures complete with a CV and a letter of intent, by October 4.
More information here

 

APPEL A CANDIDATURE

Lors de notre ASSEMBLÉE GÉNÉRALE du 4 novembre, nous procéderons à des élections :

  • 1 Secrétaire-Général

  • 10 membres internationaux

  • 3 Vice-président.e.s internationaux

Veuillez nous envoyer vos candidatures, accompagnées d'un CV et d'une lettre d'intention, avant le 4 octobre.
Plus d'information ici

 

CONVOCATORIA DE CANDIDATOS

Durante nuestra ASAMBLEA GENERAL del 4 de noviembre, elegiremos:

  • 1 Secretario General

  • 10 miembros internacionales

  • 3 Vicepresidentes internacionales

Por favor, envíenos sus candidaturas completas con un CV y una carta de intención, antes del 4 de octubre.
Más información aquí

54TH INTERNATIONAL AICA CONGRESS, VALPARAISO / BUENOS AIRES 2022

The Asociación Argentina de Críticos de Arte (AACA – Argentinean Association of Art Critics, AICA Argentina) and the Asociación Internacional de Críticos de Chile (Chilean Association of Art Critics, AICA Chile) are jointly organizing the Congreso Internacional AICA. ¿De qué hablamos cuando hablamos de la crítica en el siglo XXI? (International AICA Congress. What Are We Talking About When We Talk About Art Criticism in the 21st Century?), which will be held this year in the cities of Valparaíso and Buenos Aires from November 13 to 19.


view the full Congress programme: ENGLISH | SPANISH


The registration to attend the Congress will open on September 1st 2022. Deadline to register: October 31st 2022.
The link to register will be published on AICA Int. website on September 1st, 2022.

IAAC 8 On-line Forum: The Evolution of Exhibition-Making and Art Criticism in Contemporary Discourse

Thursday 7th of July, 12.00-15.00pm UK and 19.00 – 22.00pm China


To attend, please register for this webinar: https://rca-ac.zoom.us/webinar/register/WN_aOQ15HasQAmqFHedhLglOQ

The International Awards for Art Criticism (IAAC Ltd.) will celebrate the launch of the 8th edition of their International Awards in collaboration with their new Partners, the School of Philosophy  (Department of the Philosophy of Art), Fudan University in an on-line public forum on 7 July. The event receives additional support from the Minsheng Art Foundation and the backing of the International Association of Art Critics (AICA), Paris. 
In this two-part webinar, the speakers from the Royal College of Art (RCA) in London and Edinburgh College of Art (ECA) at the University of Edinburgh will be as follows:

PART 1

What is an appropriate approach to writing criticism about international contemporary art today? How do the channels for contemporary art criticism support or encourage certain approaches to writing about it? And how can the art of criticism be entwined with the artwork without becoming subordinated to it?

Speakers:  

Ken Neil, Dean of the School of the Arts and Humanities at the Royal College of Art, London 
Jeremy Millar, artist and writer; Head of the Writing Programme at the RCA
John Slyce, writer and critic; Senior Tutor in the RCA’s Painting Programme

PART 2

The Role of Critical Writing and Reviews in the Archiving and Dissemination of Exhibitions

Speakers:                                                                                                                                                                                                                         
Juan Cruz, artist, Principal of Edinburgh College of Art (ECA) and a Director of the IAAC
Lucy Steeds, writer, teacher  and curator, ECA; Series Editor, Afterall’s ‘Exhibition Histories’
Christian Wellkop, Senior Lecturer in modern and Contemporary German Art, ECA

Host: Karolina Lebek, Special Projects Coordinator, School of Arts & Humanities, RCA

Moderators:      
Ling Min, a Director and Henry Meyric Hughes, Chair, IAAC Ltd.

54th International AICA Congress, Valparaiso / Buenos Aires 2022

What Are We Talking About When We Talk About Art Criticism in the 21st Century?

The AACA – Argentinean Association of Art Critics, AICA Argentina, and the Chilean Association of Art Critics, AICA Chile, with the cooperation of AICA International are jointly organizing the 54th AICA International Congress, which will be held in the cities of Valparaíso and Buenos Aires between 13 - 19 November. The Congress will be held in person with the option of online presentations for accepted papers.

The Congress, which will be held in Spanish and English with the theme “What Are We Talking About When We Talk About Art Criticism in the 21st Century?” is making an open call that will enable art writers, artists, and art critics to share their academic research at an international level.

Congress Topic - What Are We Talking About When We Talk About Art Criticism in the 21st Century?

As a symbolic expression of social concerns, today’s art calls for us to reflect on the times in which we live, which have been marked by the COVID-19 pandemic, raising questions not only in the domain of health, but everywhere in the world where it has wreaked havoc, by exacerbating existing inequalities and deep-seated problems affecting the most fragile societies. This combination of factors has cut off societies and thrown communities into isolation, creating a powerful impact on institutional agendas, starkly exposing the digital divide and provoking new challenges in the art world, while manifestations of discontent have spilled over into the street in some countries and have generated actions and public practices that have shifted towards the expressive/symbolic sphere usually reserved for art practice. The military conflict in Europe comes on top of the situation created by the pandemic. The Russian invasion of Ukraine on February 24 reactivates concerns over nuclear weapons and raises the spectre of a third world war. The horrors of warfare become visible, over and above the toll of death and destruction, in the drama of millions of refugees fleeing from the conflict zone.       

This context makes it indispensable for us to reflect, revise and discuss current problematics in the fields of criticism and curating. Multiple perspectives and a range of ambiguities open up in the fields of art and criticism. For example, feminist critique of the nature of relationships of power and knowledge has revealed different types of exclusion that persist in the art world, particularly in the areas of gender, ethnicity and class. In this sense, the contemporary arts have expanded and defied both theory and criticism, by proposing problematics linked, for example, to discrimination, invisibility and gender stereotypes. As a result, cultural theorists face the challenge of analyzing creations mediated by identity constructions that question the art system and the discourse that regulates it. The processes of de-naturalizing sexuality have broadened the boundaries of criticism and curating by being subjected to interrogation by queer and feminist works that aim to subvert established discourse. 

Subtopics:

  • Art institutions and museums in the new virtual panorama.

  • Educational curating: from the schoolroom experience to the screen.

  • Biennales and exhibitions. Reflections on the new, post-pandemic context.

  • New audiences and strategies for overcoming the digital divide.

  • Art critics in the face of differences. Ethnic-racial and gender discrimination.

  • Art and criticism in the face of historical traumas provoked by the health emergency and the context of war and migrations.

  • Memories of authoritarian processes, social conflicts and upheaval.

  • Art and activisms: art, politics and citizenship.


Abstract - Guideline for authors

TITLE OF PAPER

Name(s) and Surname(s) of the Author(s) 

Abstract

Abstracts should be written using the font “Times New Roman” without indentation. Page size should be A4, with margins 2.5 cm (right, top, bottom) and 3 cm (top). The entire abstract - excluding the title, name(s) and surname(s) of the author(s) -  should not exceed 300 words. Title of the abstract should be written in uppercase with a font size of 14pt, bold and left-aligned.

Name(s) and surname(s) of the author(s) should be written under the title, using capital letters (font size 12pt), right aligned with a footnote using an asterisk. The footnote (font size 10pt) should indicate the affiliations and e-mails of all authors. The presenting author should be written first.

The abstract should be written using the font size 12pt with single line spacing. The spacing should be 6pt after the paragraph and the alignment should be set to “justified”. 

Each abstract should clearly state the objectives, materials, method, findings and conclusions.

Statement

Each abstract should state ‘how’ it specifically relates to the concept of "What Are We Talking About When We Talk About Art Criticism in the 21st Century?", which is the subject of Congress in approximately one or two sentences. 50 words in total.

Keywords

The abstract paper should include minimum 3 and maximum 5 keywords. It should be written in lowercase with a font size of 12pt.

Short Bio

Abstract should include a paragraph of up to 150 words about the main biographical details of the presenting author. A short biography will be included in conference proceedings.


All abstracts must be submitted only in Word format (docx files) to the conference email at: congresoaica2022@gmail.com

The abstract submission deadline is August 1, 2022

Acceptance or rejection notifications will be sent by September 30th, 2022. If the proposal is accepted, full paper submission (20 minute contribution) must be submitted by October 28, 2022.

Papers can be presented live, in Valparaiso/Buenos Aires, or online.

*No possibility for accommodation or tickets available for live presentations.

Important Dates

Abstract Submission Deadline: August 1, 2022

Notification of Acceptance / Rejection: September 30, 2022

Full Paper Submission Deadline: October 28, 2022

Full Program Announcement: November 5, 2022

Pre Congress in Valparaiso: November 9-12, 2022

Congress in Valparaiso: November 13-16, 2022

Congress in Buenos Aires: November 17-19, 2022

Post-Congress in Buenos Aires: November 20-21, 2022

Post-Congress suggested trips within Argentina: November, 22-25, 2022

This call is also available in Spanish. Please download it here: Convocatoria Ponencias Congress AICA Int. 2022