AICA Censorship Committee: Shahidul Alam Detained - Call for his release

article from https://princeclausfund.org

Dear friends,

Our long-time partner, advisor and friend Shahidul Alam was arrested in Bangladesh earlier this week and is still in custody.

Shahidul has never shied away from what is right. His dedication to his community, to the youth of Bangladesh, to the art of photography, and to journalistic principles has not wavered, in spite of great risk to himself.

This is not the first time he has been in danger, but the severity of the current situation compels us to request your help. Please consider sharing on social media, signing a petition or contacting the Bangladesh High Commission and the Ministry of Foreign Affairs.

We are proud to have partnered with Shahidul since 2002. His knowledge, insights, and warmth have guided our work and remain an inspiration to us. Shahidul embodies what we as an organisation stand for. Please find our statement below, signed together with his fellow Network Partners.

Thank you for taking the time to learn about his work and support him.

Kindly yours,

Joumana El Zein Khoury, Director Prince Claus Fund

DR. SHAHIDUL ALAM DETAINED - APPEAL FOR HIS RELEASE.png

DR. SHAHIDUL ALAM DETAINED - APPEAL FOR HIS RELEASE

#FreeShahidulAlam

Dr. Shahidul Alam, internationally renowned photographer, activist, founder and Managing Director of the Bangladesh multimedia company, Drik, founder of Chobi Mela International Photography Festival and Pathshala South Asian Media Institute, was forcibly abducted from his home on the night of 5 August.

The next day he appeared in court, apparently so badly beaten that he was unable to walk on his own. Sources say Shahidul is being charged under Bangladesh’s ICT law for his reports on Facebook of ongoing student protests and for an interview he gave to Al Jazeera about the protests.

Shahidul has been a close friend and inspiring partner of the Prince Claus Fund for many years. He is a tireless advocate of values that we share:  that all people should have the right to freedom of cultural expression. Through his reporting and photography he has discovered and shared hidden human stories not only in Bangladesh but of the many other cultures encountered on his travels. 

The Prince Claus Fund and its Network Partners deplore the extreme violence and intimidation exercised in Shahidul’s arrest

We call for his immediate and unconditional release. 
On behalf of the Prince Claus Fund, Joumana El Zein Khoury, Director
 

Network Partners of the Prince Claus Fund:
Alliance des Editeurs Independants – IAIP, international
Alta Tecnologia Andina, Peru
Arab Image Foundation, Lebanon
Archi Africa, Ghana + Africa
Arthub Asia
Associación Pro Arte y Cultura (APAC), Bolivia
BizArt Art Center, China
Caribbean Contemporary Art (CCA)
Cinematheque de Tanger, Marocco
Compagnie Falinga, Burkina Faso
Creating Independent and Artistic Networks, Argentina (CRIA)
Despina Non-Profit Cultural Association, Brazil
Dokufest – International Documentary and Short Film Festival, Kosovo
Dox Box, Syria
Drik Picture Library Ltd., Bangladesh
Hri Institute, Nepal
Jant-Bi, Senegal
Kibii Foundation, Surinam
Land Art Mongolia
Mathare Youth Sports Association (MYSA), Kenya
Museo d Antioquia, Colombia
Tirana Institute of Contemporary Art (T.I.C.A.), Albania
Redsea Cultural Foundation, Somaliland
Reyum Institute of Arts and Culture, Cambodia
San Art, Vietnam
Studios Kabako, Democratic Republic of Congo
Supersudaca, Latin America
Triangle Arts Trust (TAT), UK
University Centre for Arts and Drama, Ingoma Nshya, Rwanda
Utan Kayu Network, Indonesia
VideoBrazil, Brazil
Visual Culture Research Centre – VCRC, Ukraine
Zanzibar International Film Festival (ZIF), Tanzania
Zoe Butt, Vietnam

Prince Claus Fund
Herengracht 603
1017 CE Amsterdam
+31.0.20.3449.160
info@princeclausfund.nl 
princeclausfund.org

AICA Newsletter: Summer 2018

*|MC:SUBJECT|*
Dear Member,
We are pleased to send you our 2018 Summer Newsletter.

LETTER FROM THE PRESIDENT

AICA’s summer Newsletter gives information about significant AICA events over the last few months, as well as conveying a warm invitation to AICA’s 51st International Congress, to be held from 14-21 November in Taiwan. The topical theme is “Art Criticism in the Age of Virtuality and Democracy”.
Congress gives AICA members and others opportunity to reflect on these issues with colleagues from different countries across the globe, besides getting to know the important cultural venues of this beautiful land. We hope to see you in Taipei.
 Enjoy reading!
 
Lisbeth Rebollo Gonçalves 
President, AICA International

NEXT CONGRESS IN TAIWAN

We would like to cordially invite you to take part in the 51st AICA International Congress. The Congress is organized by AICA Taiwan and will be held 14-21 November 2018 in Taipei.

invitation and registration 
read more on AICA Taiwan website

INCENTIVE PRIZE FOR YOUNG CRITICS 2018

AICA Incentive Award for Young Art Critics recognizes emerging voices in art criticism around the world. In 2018, the International Association of Art Critics (AICA) and its Awards Committee, with the support of AICA Taiwan, launches the sixth edition of the AICA Incentive Award for Young Art Critics. The previous winners have been Franck Hermann Ekra (Ivory Coast), Alessandra Simões Paiva (Brazil), Sebastian Baden (Germany), Lee Sun Young (South Korea) and Victor Wang (Canada/UK).

This year, AICA invites young art critics from any country in the world to submit an article or a review on a subject (an exhibition, a biennale, a profile of an artist etc.),which deals with the subject of contemporary art produced in the Asia Pacific region or with the Asian Pacific art scene. The winner will be awarded a round trip to attend the forthcoming AICA Congress in Taipei, Taiwan and the Post Congress Trip to Taichung, Tainan and Kaohsiung scheduled to take place from 14 to 21 November 2018. The critics coming second and third in the competition will receive an honorary mention. AICA reserves the right to publish the text of the winner and the two runners-up on the AICA website. […]


read more

PUBLICATION: LEE YIL

Lee Yil, Dynamics of Expansion and Reduction – Selected Writings on Korean Contemporary Art
Published by AICA press and Les presses du réel

After a particularly exacting work of translation into English, the compilation of texts by the Korean critic Lee Yil was published in March 2018 by les presses du réel, under the title Dynamics of Expansion and Reduction. On the initiative of Marjorie Allthorpe-Guyton and Paul O´Kane,  a seminar was organized by AICA and SOAS in London, on March 23, with the participation of Bada Song (translator together with Paul O´Kane), Henry Meyric Hughes who edited the text in English, Jean-Marc Poinsot who coordinated the publication and Professor Youngsook Pak who contextualized Lee Yil’s texts in Korean modern art and criticism in the second part of the 20th Century. […]

read more
on sale online

Preface by Marek Bartelik.
Introduction by Jean-Marc Poinsot.
Text by Chung Yeon-shim.

INTERNATIONAL SEMINAR IN BRAZIL

Organised by the Brazilian Association of Art Critics, ABCA, the Brazilian chapter of AICA, the international seminar: Concrete Art and Constructive Dimensions: Theory, Criticism and History of Art and Technique, was held 26-30  June 2018 in partnership with the Conservation Science Laboratory of the Fine Arts School of the University of Minas Gerais – LACICOR. 
The seminar aimed to discuss and to give international recognition to the many approaches and  possibilities of  artistic production in Latin America.
[...]

read more

© Fernanda Granato | From left to right: Lisbeth Rebollo Gonçalves (President of Aica International); Yaci-Ara Froner (coordinator of the event); Luiz A.C.Souza (coordinator of LACICOR/UFMG); Maria Amélia Bulhões (President of ABCA/AICA Brazil); (representative of the UFMG post-graduation Provost ); Jeanne-Marie Teutonico (Associate Director of Programs- The Getty Conservation Institute)

A CONGRESS ON ART CRITICISM IN MADRID

The Spanish Association of Art Critics – AICA Spain, in collaboration with the Museu Nacional Centro de Arte Reina Sofia, held from 21-23 June 2018 the International Congress Art Criticism: crises and renewal, under the direction of Tomás Paredes, President of AECA. [...]

read more

Closing ceremony | From left to right: Blanca Garcia Vega, Julia Sáez-Angulo, Tomás Paredes and Brane Kovic.

DONATION FROM THE CANADIAN CULTURAL CENTRE, PARIS, TO THE ARCHIVES OF ART CRITICISM, RENNES

On May 18  at the inauguration of its new Exhibition Space on the 130, Rue du Faubourg Saint-Honoré, the Canadian Cultural Centre in Paris, under the direction of  the Canadian Embassy for Global Affairs, donated 25 years of its visual arts archives to the National Institute of Art History (INHA) to be part of the collections of the Archives of Art Criticism in Rennes. [...]

read more

©INHA

SOCIAL NETWORKS

We encourage you to send us your news (events, publications, etc.) so we share them on our social networks.

And we invite you to follow us!

Facebook
Instagram
Twitter

CRITIQUE D'ART — FREE SUBSCRIPTION FOR NEW MEMBERS

to the attention of new AICA members

Associated with AICA since their creation in 1989, the Archives de la critique d’art (www.archivesdelacritiquedart.org) aim to promote worldwide the writings and practice of art critics through publishing the magazine CRITIQUE D’ART.

As a welcome gift, the Archives de la critique d’art are pleased to offer you a free subscription to the digital magazine CRITIQUE D’ART: ACTUALITE INTERNATIONALE DE LA LITTERATURE CRITIQUE SUR L’ART CONTEMPORAIN / THE INTERNATIONAL REVIEW OF CONTEMPORARY ART CRITICISM, for a period of one year.

For the latest issue please contact us at sylvie.mokhtari@univ-rennes2.fr and confirm your interest in receiving a free annual subscription to CRITIQUE D’ART. Sylvie Mokhtari, editorial manager, will send you a username and a password which will give you access to the entire website http://critiquedart.revues.org until 31 December 2018.

GENERAL DATA PROTECTION REGULATION

You will have heard about the new General Data Protection Regulation ("GDPR"), which  came into effect May 25, 2018. If you wish to continue to receive our information, no action is required.
If you would like to unsubscribe or update your subscription preferences, please update your subscription settings.

Update Settings

HAVE A GREAT SUMMER!

Facebook
Instagram
Twitter
Website
Email

AICA Congress 2018: Invitation & Registration

51st AICA Congress in Taipei, Taiwan:
Art Criticism in the Age of  Virtuality and Democracy

We would like to cordially invite you to take part in this year’s 51st AICA International Congress. The Congress is organized by the Taiwan section of AICA (International Association of Art Critics) and will be held on 14-21 November, 2018 in Taiwan.

The Congress Theme Art Criticism in the age of Virtuality and Democracy addresses some key issues concerning the role of art criticism from the perspectives of:

1. Art criticism in the age of virtuality
2. Art discourse facing challenged democracy

PROGRAMME

Nov. 14-15 | AICA Committees, Board Meeting and General Assembly (in Taipei)
Nov. 16-18 | Symposium (in Taipei)
Nov. 19-21 | Post-Congress Trip (in Tainan, Kaohsiung and Taichung)

REGISTRATION FEE

• Registration Fee for the Symposium on Nov. 16-18
2200 NTD (≒ 60 EURO, 72 USD)
1800 NTD (≒ 50 EURO, 59 USD) for the Early Bird Price (before Aug. 26, 2018)
All the Speakers/Presenters, The Secretariat, AICA International (ie President, Secretary-General, Treasurer, Administrative Assistant) and Chairs of AICA Committees are exempt from the fee for symposium.
• Travel Fee* for the Post-Congress Trip on Nov. 19-21
9000 NTD (≒ 250 EURO, 294 USD)
*It is a package tour. Transportation, accommodation, dining and tours are all inclusive)
• Early Bird Price (before Aug .26, 2018) for the Symposium + the Post-Congress Trip
9000 NTD (≒ 250 EURO, 294 USD)

REGISTRATION GUIDELINES

1. Please fill out the Registration Form: https://goo.gl/forms/dXvvEh686fgSChv12 (Registration deadline: Oct 21, 2018)
2. Once we have received your form, we will send you an Online Payment Link in 2 days.
3. Secure the payment online by credit card (via the encrypted third-party payment).
4. After the checking process, you will receive the Confirmation Letter.

HOTELS

If you are attending the Symposium days from Nov.16 to 18, we suggest to book through us for discounted price, please check the registration form (No deposit, pay at the hotel desk.)
HOWARD CIVIL SERVICE INTERNATIONAL HOUSE, Taipei (http://www.howard-hotels.com.tw/en/civil-service/home/)
TEL: +886-2-77122323 | Address: No.30, Sec. 3, Sinsheng S. Rd., Da’an Dist., Taipei City
Discounted price for AICA Congress participants | Single Room 1950 NTD (≒ 55 EURO) per night *
Other options:
• SONNIEN HOTEL, Taipei (http://www.sonnien-hotel.com/en/)
TEL: +886-2-2707-0101#1701、1702 | Address: No.8, Sec. 3, Ren’ai Rd., Da’an Dist., Taipei City 106, Taiwan (R.O.C.)
Price per single room: around 3800 NTD (*contact us for a discount)
• OR via http://www.booking.com, searching for “Daan” district in Taipei, metros and buses connect with hotels and our venues.
• Accommodation in Tainan (Nov.19-21):
The PLACE Tainan (https://rsv.ec-hotel.net/webhotel/0315?locale=en)
TEL: +886-6-2361680 | Address: No.368, Sec. 1, Zhonghua E. Rd., East Dist., Tainan City 701
*The price is included in the post-congress trip fee.

For more details, please check: https://aicatw-eng.blogspot.com/
For any inquiries please feel free to contact
aicacongress2018@gmail.com, thank you and we expect for your participation.

download pdf
download doc
download registration form pdf

AICA Spain: International Congress "Art Criticism: crises and renewal"

A Congress on Art Criticism in Madrid

The Spanish Association of Art Critics – AICA Spain, in collaboration with the Museu Nacional Centro de Arte Reina Sofia, held from 21-23 June , an International Congress “Art Criticism: crises and renewal”, under the direction of Tomás Paredes, President of AECA.

Delegates were art critics, cultural managers, collectors and professors from several universities and included  Juan Manuel Bonet, Director of the Instituto Cervantes; Pablo Jiménez, cultural Director of La Fundación Mpfre; Javier Martin, José María Juarranz , who presented a new interpretation of “El Guernica”; Maria João Fernandes, Pilar Aumente, Maite Méndez Baiges, Blanca Garcia Vega, Brane Kovic, Carlos Pérez Reyes, Manuel Parralo, Antonio Domínguez Rey, Miguel Ángel Chávez Martín, Julia Sáez-Angulo.  30 papers were presented by professors and critics from Spain, Colombia, Brazil, Italy Portugal, Japan and UAE and United Kingdom.
Congress sessions took place at the Sabatini Auditorium in the Reina Sofia Museum which was represented by the Deputy Director Joao Fernandes. There were also three round tables focused on the influence of criticism on the formation of  public and private collections and on the perpetual necessity of the renewal of art criticism.

 Closing ceremony | From left to right: Blanca Garcia Vega, Julia Sáez-Angulo, Tomás Paredes and Brane Kovic.

Closing ceremony | From left to right: Blanca Garcia Vega, Julia Sáez-Angulo, Tomás Paredes and Brane Kovic.

Among the conclusions were the place of criticism in the context of crisis and  social and globalized turmoil, the necessity of permanent renewal and of the defence of the art critic as a mediator between the public and the artist’s work of art. The critic must demand continuous validation in order to compete in new processes of creative reflection and to participate in the new cultural ecology.  And a maxim: the only way for art criticism to have a future is to strengthen its present thinking.

The programme also had visits to the exhibitions of the Reina Sofia and to adjacent art galleries. The Congress closed with a performance “The word, the music and the voice”, in which Tomás Paredes, Romeral, the concretist flamenco guitar player Paulo Garcia Palomo  and the singer Eloy Cortés took the floor, highlighting that art is ennobled by the interaction of different modes of expression.

(original text in Spanish by Tomas Paredes)

AICA Brazil/ ABCA: ARTE CONCRETA E VERTENTES CONSTRUTIVAS

An International Seminar in Brazil

From 26-30 June 2018, the Brazilian Association of Art Critics, ABCA, the Brazilian chapter of AICA, held an international seminar: Concrete Art and Constructive Dimensions: Theory, Criticism and History of Art and Technique, in partnership with the Conservation Science Laboratory of the Fine Arts School of the University of Minas Gerais – LACICOR.
This  event aimed to discuss and to bring international recognition to the many singular approaches and possibilities in artistic production in Latin America in the context of modern art in the 20th Century.

We began from the belief that by articulating these histories in one single event we can form a transdisciplinary view that enriches and problematizes  our approach.

The Seminar had the support of the Federal  University Of Minas Gerais, CAPES and the Getty Foundation and gathered researchers from different  regions of Brazil, Argentina, Chile and United States. The coordinators of the event were Luiz A. C. Souza, Yacy-Ara Froner e Alessandra Rosado from LACICOR and Maria Amelia Bulhões, Marilia Andrés Ribeiro and Claudia Fazzolari from ABCA.

Those present included the International President of AICA, Lisbeth Rebollo Gonçalves, Jeanne-Marie Teutonico, Associate Director of the Getty Conservation Institute –GCI, Andrew Perchuk, Deputy Director of the Getty Research Institute – GRI, Cory Rogge from the Houston Museum of Fine Arts, Aleca Le Blanc, from the University of California Riverside, Ana Morales and Fernando Marte, both from the National University of San Martin, Argentina, as well as such  important Brazilian researchers as Aracy Amaral, Anna Maria Belluzzo, Luiz Camilo Osório, Maria Lucia Kern, Marilia Andrés Ribeiro, Tadeu Chiarelli, Yacy-Ara Froner, Luiz Souza, among others.

 ©Fernanda Granato | From left to right:  Lisbeth Rebollo Gonçalves (President of Aica International); Yaci-Ara Froner (coordinator of the event); Luiz A.C.Souza (coordinator of LACICOR/UFMG); Maria Amélia Bulhões (President of ABCA/AICA Brazil);  (representative of the UFMG post-graduation Provost); Jeanne-Marie Teutonico (Associate Director of Programs- The Getty Conservation Institute)

©Fernanda Granato | From left to right:  Lisbeth Rebollo Gonçalves (President of Aica International); Yaci-Ara Froner (coordinator of the event); Luiz A.C.Souza (coordinator of LACICOR/UFMG); Maria Amélia Bulhões (President of ABCA/AICA Brazil);  (representative of the UFMG post-graduation Provost); Jeanne-Marie Teutonico (Associate Director of Programs- The Getty Conservation Institute)

The conference was opened by Mari Carmen Ramirez, curator of Latin American Art and Director of the International Center for the Arts of Americas, at the Houston Museum of Fine Arts. The texts of the conferences and papers are available on ABCA website (abca.art.br/httpdoc/ebooks-abca), as an e-book published by ABCA, registered with the National System of Libraries.

Throughout five intense and productive days, it was possible to confirm our initial conviction about the importance of these interlocutions, with all the participants expressing how enriching and high level the debate was, because of this more complex approach, in line with contemporary thinking.

The Brazilian chapter of AICA has assumed an important role in national academic debate, holding events which address relevant themes that attract the participation of highly regarded scholars in the visual arts in the country. The international coverage and plurality of approaches of this seminar has raised the bar of these activities.

(Original text in Portuguese by Maria Amélia Bulhões)

aica press: Lee Yil's writing

Lee Yil's writing published in the AICA Series Art Critics of the World

After a particularly exacting work of translation into English, the compilation of texts by the Korean critic Lee Yil was published in March 2018 by les presses du réel, under the title Dynamics of Expansion and Reduction – Selected Writings on Korean Contemporary Art. On the initiative of Marjorie Allthorpe-Guyton and Paul O´Kane, a seminar was organized by AICA and SOAS in London, on March, 23rd, with the participation of Bada Song (translator together with Paul 0'Kane), Henry Meyric Hughes who edited the text in English, Jean-Marc Poinsot who coordinated the publication and Professor Youngsook Pak who contextualized Lee Yil’s texts in Korean modern art and criticism in the second part of the 20th Century.

Lee-yil-500.jpg

This Seminar was followed by a reception kindly hosted by the Korean Cultural Centre in London which introduced the book to a wider audience.
On April 20, on the occasion of the festivities of AICA-France’s 2018 Art Criticism Award, whose jury included many members of the International AICA Board, there was a brief presentation of Lee Yil’s book by the Series Editor Jean- Marc Poinsot and by Franck Gautherot who contextualized the critic and the artists whom he defended in the turbulent post-war period.
Soo-Young Leam, a PhD student at the Courtauld Institute of Art, London and present at the seminar in March, is reviewing Lee Yil’s publication for the Critique d’Art magazine.

on sale online

The Archives of Art Criticism: donation

Donation from the Canadian Cultural Centre of Paris to the Archives of Art Criticism

On May 18, to mark the inauguration of its new Exhibition Space on the 130, Rue du Faubourg Saint-Honoré, the Canadian Cultural Centre in Paris, under the direction of the Canadian Embassy for Global Affairs, donated 25 years of its visual arts archive to the National Institute of Art History (INHA) to be part of the collections of the Archives of Art Criticism in Rennes. This was a unique donation, combining cultural diplomacy with a view of Canadian Contemporary Art.

The programme of exhibitions and artistic practice reflected by the archive, was pursued in partnership with French cultural institutions and with the history of art criticism in France.  The archive is a register of the period from 1993 to 2017. The archive also gathers documents regarding the history of the Centre since its foundation in 1970. Its methodological consistency, the diversity of its contents and its cultural sphere constitute an inestimable resource for national and international research. The exchange with artists, curators, critics, authors at the core of this collection preserves, not only a profile of institutional relationships, but of human connections which led to countless projects of great significance in France, under the direction of Catherine Bédard, Associate Director of the Canadian Cultural Centre and member of AICA France.

 © INHA

The first part of the archives was donated last March and is already available for research in Rennes. The second will be at the Archives’ disposal in autumn 2018. The partnership anticipates that transfers will continue, preserving and enhancing the history and the activities of the Canadian Cultural Centre at its new venue in Paris.

The Archives of Art Criticism were greatly enriched by this donation, which will enhance and give new meaning to the individual art critics, galleries and institutional archives already present in the collections.

(original text in French by Nathalie Boulough)

AICA Congress 2018: CALL FOR PAPERS FOR THE 51ST AICA INTERNATIONAL CONGRESS IN TAIWAN

14-21 November 2018

We would like to cordially invite you to take part in the 51st AICA International Congress. The Congress is organized by the Taiwan section of AICA (International Association of Art Critics) and will be held on 14-21 November, 2018 in Taiwan, the draft program as follows:

Nov. 14  Committees (in Taipei)
Nov. 15  General Assembly & Board Meeting (in Taipei)
Nov. 16-18  Symposium (in Taipei)
Nov. 19-21 Post-Congress Trip (in Taichung, Tainan, Kaohsiung)

The Congress Theme Art Criticism in the age of  Virtuality and Democracy addresses some key issues concerning the role of art criticism related to the new tendencies. The congress theme has two sub-themes:

  1. Art criticism in the age of virtuality
  2. Art discourse facing challenged democracy

(A detailed description of the congress theme is given below. *)

The symposium will be held mainly in English, and the papers should be presented in English only. Keynote speakers, covering broad aspects of the main theme will be followed by short papers and working sessions with the participants.

The AICA Congress Committee invites members, as well as non members, of AICA to submit a short text of 15-20 lines (maximum one page) in English, outlining their proposed approach to the themes of the Congress.
Deadline
Please submit your application online at aicacongress2018@gmail.com together with a short biography (max. 200 words) by 31 May 2018. Proposals will be selected by the AICA committee.

Deadline for final papers will be 15 August 2018.

Visuals
There will be video/audio equipment available for lectures, we invite all speakers to support their presentation by visuals.

Translation
Speakers’ final papers must be submitted by the deadline in English. These papers will be translated by the organizers into Traditional Chinese, if the budget allows, and distributed at the time of the Congress.

Publication
The Collection of Papers is estimated to be published by AICA Taiwan in 2019.

Website
You will find all necessary information at https://aicataiwan.blogspot.tw

Contact Person
Tien-Han Chang
aicacongress2018@gmail.com

Crucial Reminder

Main Theme: Art Criticism in the age of  Virtuality and Democracy
Sub-Themes: a. Art criticism in the age of virtuality
                        b. Art discourse facing challenged democracy

Deadline for call for papers (Abstract): 31 May 2018
Deadline for final papers of selected speakers: 15 August 2018

For any inquiries please feel free to contact us, thank you and we expect for your participation.

aica-taiwan-congress_visual.png

_____________________________________________________________

51st AICA International Congress in Taiwan,
14-21 November 2018
AICA Taiwan

AICA Congress Taiwan November 2018
Congress theme for Call for Papers:
Art Criticism in the age of  Virtuality and Democracy
Based on observations of important tendencies in the actual world, we would like to address some key issues concerning the role of art criticism related to these new developments.

Firstly, the virtual is not the opposite of reality but rather an increasing part of our reality. Presently, communities, social relations, everyday life, the body, and even biological life are in the processes of mass virtualization. Life itself has been supposed as an algorithm, AI as a brain without body, while space-time’s relationship is virtualized in VR technology. A virtual enterprise need no longer convene its employees onsite, but rather can delegate work to be done remotely, thus re-articulating the time-space relationship of its workers.

Secondly, if we make an observation of a longer duration, there seems to be an unquestionable expansion of democracy which can be confirmed by the democratic transitions beginning in the mid-1970s, which span from Latin America to Taiwan and South Korea, through the end of the cold war, and to following transitions in Eastern Europe, the Color Revolution and the Umbrella Movement in Hong-Kong in the fall of 2014. Nevertheless in more recent years, the phenomenon of the retreat of democracy can also be observed in the uprising of the populism worldwide.

Moreover, these two tendencies may be related. The Congress Theme “Art Criticism in the age of Virtuality and Democracy” has two sub-themes:

  1. Art criticism in the age of virtuality
  2. Art discourse facing challenged democracy

1.“Art criticism in the age of virtuality” will address the situation in which the rapid pace of development in computer and media technologies is creating new working environments and new possibilities for art, each with their own particular problematics. How does this process affect the description, interpretation and evaluation of contemporary art? More precisely, does art criticism develop new methodology and new languages concerning its analysis and new problematics in its debates? What does it mean for art and art criticism that new media reaches crowds of new readers around the world, often “for free”?

2. “Art discourse facing challenged democracy” will discuss the following questions: how is art discourse constitutive of the collective representations and imaginary of democracy? In the situation of democracy under challenge, how are these social-political phenomena reflected in new developments of censorship and self-censorship, or post-truth? For new problems brought out by transitional justice, what kind of function can art discourse play?

Proposals of papers which could articulate the problems within these two sub-themes will also be welcome.

Download Call for paper
Download the programme

AICA USA: Trip to Washington DC May 8 & 9

Special addition to the itinerary (see below):

AICA-USA member John Elderfield and his colleague Mary Morton will lead members through their exhibition Cézanne Portraitswhich they co-curated at the National Gallery of Art.

Please RSVP by Friday April 20 to Jamie Keesling (jamiekeesling@gmail.com) to be included in this special group.

DAY ONE: Tuesday, May 8
Amtrak from Penn station
Meet at Penn at 6:45amTrip: 7:05 am – 10:32am
Purchase tickets through Amtrak.com

11:30am: meet at National Museum of the American Indian for special visit with curator Paul Chaat Smith
Lunch at the museum’s Mitsitam cafe.
2:30pm meet at the National Gallery

DAY TWO: Wednesday, May 9
11:00am: Meet at National Museum of African American History and Culture
VIP entry passes for 10

Amtrak from Union Station
Meet at station at 3:30pm
Trip: 3:55 pm – 7:23 pm
Purchase tickets through Amtrak.com

aica press: Book review, Lee Yil – Dynamics of Expansion and Reduction

article from: https://londonkoreanlinks.net
Book review: Lee Yil – Dynamics of Expansion and Reduction

by PHILIP GOWMAN on 25 APRIL, 2018
in ART HISTORY | BOOK REVIEWS | BOOKS ON ART | EVENT REPORTS AND REVIEWS

Lee-yil_1.jpg

Lee Yil: Dynamics of Expansion and Reduction
Selected Writings on Korean Contemporary Art, 1970 – 1996
Initial draft translations: Chung Yeon-shim, Park Eun-ah, Park Sung-ji
Final translations: Paul O’Kane, Song Bada
Published by AICA (International Association of Art Critics) /
Les Presses du Réel, Dijon, France, 2018, 212pp

How often do you read the learned essay that accompanies a new art exhibition and find yourself not understanding a word of it? For me, more often than I would like. I am never sure how to tell whether the essay is unclear because the writer is being deliberately obscure (to cover up the fact that he does not understand the artwork himself); or simply doesn’t know how to write clearly; or because I’m not clever enough to understand what he is saying. Then there are the instances where the essay seems to say absolutely nothing: a less than competent writer has been paid to fill a side of A4 and pens a few paragraphs of empty fluff.

If someone has decided to publish a collection of essays by a single critic, there must be a general consensus among the experts that he knows what he is talking about – he must be a significant figure in the art-historical world, and worth taking seriously. And fortunately, this collection of essays and criticism by prominent Korean art critic Lee Yil (1932-1997), are, amazingly, clear and for the most part comprehensible – clear to the extent that even where you’re not sure what it is he is trying to say you think it’s your fault for not being familiar enough with the subject matter or with the concepts involved, rather than the writer’s fault for being deliberately obscure. You are left with the feeling that, if you come back to the essay again in the future, you will understand it better. And that it will be actually worth the effort to do so.

What is even more amazing is that all the essays and articles in this collection are translations from the original Korean. I cannot imagine what a difficult exercise that must have been (though the fact that the task required as many as five translators is indicative that the task was herculean). But Paul O’Kane and Bada Song, who were responsible for the final drafts, have produced results that read as if the articles were (a) originally written in English by (b) someone who is trying to communicate with a broader audience than just other art critics. That is quite an achievement.

 Paul O’Kane talks at the launch of Lee Yil’s selected writings at the KCC, 23 March 2018. Jean-Marc Poinsot, series editor, looks on.

Paul O’Kane talks at the launch of Lee Yil’s selected writings at the KCC, 23 March 2018. Jean-Marc Poinsot, series editor, looks on.

The book is a selection from a two-volume publication (in Korean) of all of Lee Yil’s writings. The selection is divided into two parts: a dozen or so essays on art-historical trends or trying to place in context the works in a particular group show; and over twenty, usually briefer, pieces focusing on the work of individual artists. In both cases it is fascinating to read, a few decades after the event, a contemporary take on trends in art history or on the importance of a particular artist.

Yes, there are articles I don’t understand too well. The 1970 article, Dynamics of Expansion and Reduction, that gave this collection its title is a case in point. There is a general consensus that post-war Korean art history included an “Art Informel” phase and a “Dansaekhwa” phase – in both of which Park Seo-bo was a leading light. But there were other things going on as well. Does it make sense to talk of a single “phase” in between those two major trends mentioned above ? Lee Yil’s solution is to posit a phase of “expansion and reduction” – which I’m not sure I fully understand – and which would be made clearer by the presence of images to illustrate key exemplars in this phase. But, to be honest, I think I might not understand Lee’s concept because maybe there wasn’t really a leading trend that held primacy in between informel and monochrome – and that seems to be what is suggested by a graphical timeline of Korean art history that I happened to photograph last year when I was browsing round SeMA (Seoul Museum of Art, near the Deoksugung).

 Timeline of Korean art history in the 60s and 70s, on display at SeMA

Timeline of Korean art history in the 60s and 70s, on display at SeMA

It must have been tough to select which pieces to translate. One can choose to grumble about what the collection could have been: it would have been nice, as noted above, to have many more illustrations (which of course would have increased the cost and timeline); it would have been nice to have had the two essays Lee Yil wrote as introductions to the Korean entries to the Paris Biennale in 1963 and 65 – perhaps ruled out for being in French rather than Korean. And among the many artists featured in the book are some big names (Park Seo-bo, Kim Whan-ki, Yun Hyong-keun) and some lesser known ones. One big name is notable by his absence: one is dying to know whether Lee ever wrote about Nam June Paik, and if so what he had to say about him.

But these grumbles are more a compliment than criticism: I simply want more of it, and I would rather celebrate that the collection has happened at all. It would certainly be vain to hope for a follow-up book with the remaining essays. In the real world, this volume probably has a limited readership, no matter how much that readership might appreciate its value; and AICA must move on to the third volume in their Art Critics of the World series.

Finally, there is one feature of Lee Yil’s writing that is totally endearing and which makes you trust that he isn’t consciously trying to befuddle you when you don’t immediately grasp his argument: he is disarmingly open when he himself doesn’t understand a particular artist. “To be honest, Kim Ki-rin’s painting still remains a mystery to me,” he confesses (p 134)1; and “Lee Dong-youb’s painting is not easy to grasp.” (p169). If only all critics were that frank.

Highly recommended, as a supplement to general overviews of the period such as Charlotte Horlyck’s Korean Art from the 19th Century to the Present.

Critique d’art – Issue 49

Vient de paraître
Newly Released

CRITIQUEDART_49.jpg

Critique d’art
Numéro 49 – Automne/Hiver 2017
Issue 49 – Autumn/Winter 2017

323 notes bibliographiques et critiques sur http://critiquedart.revues.org
Périodicité semestrielle – 32 € l’abonnement (France) couplant revue imprimée + revue électronique
Abonnements et achats sur simple demande à aca-editions@univ-rennes2.fr

Print journal – 198 pages – Bilingual 16 €
323 reviews on books and catalogues at http://critiquedart.revues.org
Biannual frequency – 38 € the subscription (for Europe) combining the print and the electronic journals
If you’d like to subscribe or just buy this issue, please simply write at aca-editions@univ-rennes2.fr

 

Editorial / Editorial

Le Présent revisité

« Lorsque se prépare un numéro de Critique d’art, nous avons une idée encore assez floue de ce que nous allons retenir de l’actualité éditoriale, malgré nos anticipations et les suggestions formulées par les membres de nos comités. Ce à quoi nos lecteurs pourraient répondre que nous avons nos marottes. Une partie d’entre eux attendraient même que nous continuions à creuser les mêmes sillons. Ceci dit, nous essayons de garder la capacité de découverte ou de stimulation intellectuelle que suscite la présence des ouvrages arrivés en attente d’affectation à une rubrique ou à des rédacteurs. […] »

/

The Present Revisited

“When we are preparing a new issue of Critique d’art, we still have only quite a vague idea about which recent publications we shall be discussing, despite our own predictions and despite suggestions made by the members of our committees. To which our readers might well reply that we have our pet obsessions. Some of them might even be expecting us to carry on working the same loam. This said, we do try to retain a capacity for discovery and intellectual stimulation arising from the presence of books and essays waiting to be earmarked under a certain heading and looked at by editors. […]”

 

Articles / Articles

« L’Art et ses valeurs / Art and its Values »
Sophie Cras

« Artist-run Spaces / Artist-run Spaces »
Christian Besson

« Art contemporain et anthropologie : un partage d’expériences / Contemporary Art and Anthropology: Shared Experiences »
Baptiste Brun

« Penser avec les grandes manifestations périodiques : l’espace, l’histoire, l’art / Thinking with Large-scale Exhibitions about Space, History and Art »
Elitza Dulguerova

 

Portraits / Portraits

« Yve-Alain Bois » par Denis Riout

« Pierre Leguillon » par Christian Besson

 

Traduction / Translation

« Le Groupe des jeunes artistes plasticiens, une seconde fois », extrait de extrait de Antologia Krytiyki artystycznej z lat 1945-1954

Introduit par / Introduced by Mathilde Arnoux

 

Essai / Essay

« L’Art japonais après Fukushima : au prisme des festivals / Japonese Art after Fukushima through the Prism of Festivals »
Clélia Zernik

 

L’Histoire revisitée /
Revisiting History

« Pour une relecture fragmentaire du tournant des années 1960 en Europe / For a Fragmentary Rereading of the 1960s Turn in Europe » 
Camille Paulhan

« Quelle radicalité pour penser la couleur ? / Conceptualising Colour with Radicalness »
Elvan Zabunyan

« Remonter le temps : les contemporanéités vivantes des avant-gardes /

Turning Back Time: the living contemporaneity of Avant-gardes »
Laurence Corbel

« Le Contemporain retrouvé /Contemporary Regained »
Julie Portier

« 36 Short Stories / 36 Short Stories »
Véronique Goudinoux

« Penser le monde à venir, réarmer la pensée du collectif / Conceptualising the Coming World, Rearming Collective Thought »
Florian Gaité

 

Archives / Archives

« La Machine média : les archives Nam June Paik / The Media Machine: the Nam June Paik Archives »
Olivier Lussac

 

Notes de lecture / Reviews

Livres par auteur – Livres collectifs – Catalogues Monographiques – Catalogues Collectifs
Complétez votre lecture / Read more on http://critiquedart.revues.org

323 ouvrages francophones et internationaux repérés dans l’actualité éditoriale d’avril à septembre 2017. Livres, catalogues et créations de revues ont été confiés à des auteurs chargés d’évaluer la littérature sur l’art contemporain produite ces six derniers mois.
Toute la fabrique des notes de lecture en ligne sur http://critiquedart.revues.org

/

323 French-speaking and international publications spotted on the publishing scene from April to September 2017. Books, catalogues, and newly created reviews: a group of authors was commissioned to evaluate what has been written on contemporary art over the past six months.

Download the PDF

More information about Critique d’art

AICA AECA: Conference 2017

CONGRESO INTERNACIONAL
ARTE Y LIBERTAD DE EXPRESIÓN
Refutación y Defensa

Organiza: ASOCIACIÓN ESPAÑOLA DE CRÍTICOS DE ARTE (AICA/Spain)
Colabora: MUSEO NACIONAL CENTRO DE ARTE REINA SOFÍA

Fechas: 14, 15 y 16 de diciembre de 2017
Lugar: Madrid, Auditorio Sabatini del Museo Nacional Centro de Arte Reina Sofía

El Congreso Internacional ARTE Y LIBERTAD DE EXPRESIÓN tiene por objeto debatir y de- finir, en la medida de lo posible, en qué consiste esa libertad, cuáles son sus fundamentos y hasta dónde alcanza su realidad. Buscaremos determinar la entidad de ese derecho, cómo ejercerlo y sal- vaguardarlo ¿Es la libertad de expresión un derecho fundamental del hombre? ¿Tiene límites su ejercicio? ¿Quién establece esos límites? ¿A quién compete su defensa? Que sea AECA, en cola- boración con el MNCARS, quien realiza este Congreso fija un contendido y un tiempo precisos: el mudo del arte, en todas sus vertientes (curaduría, crítica, museología, historia, gestión, ejecución), contemplado desde la contemporaneidad.

Director: TOMÁS PAREDES ROMERO

Comité científico:
PILAR AUMENTE RIVAS (Universidad Complutense de Madrid)
GENÉVIEVE BARBÉ COQUELIN DE LISLE (Université Sorbonne Nouvelle Paris 3)
MIGUEL ÁNGEL CHAVES MARTÍN (Universidad Complutense de Madrid)
LIAM KELLY (University of Belfast, N. Ireland)
BRANE KOVIC (International Association of Art Critics)
JESÚS PEDRO LORENTE LORENTE (Universidad de Zaragoza)
MANUEL PARRALO DORADO (Universidad Complutense de Madrid)
CARMEN PENA LÓPEZ (Universidad Complutense de Madrid)
CARLOS PÉREZ REYES (Universidad Complutense de Madrid)
WIFREDO RINCÓN GARCÍA (CSIC, Madrid)

Comité organizador:
María Dolores Arroyo Fernández
Pilar Aumente Rivas
Tomás Paredes Romero
Manoli Ruiz Berrio
Julia Saéz-Angulo

Ponentes Invitados:
JUAN MANUEL BONET
PABLO JIMÉNEZ BURILLO
FÉLIX DE AZÚA
NILOFUR FARRUKS
MATHILDE ROMAN

Solicitud de información: congresoaeca@gmail.com

Líneas programáticas que ahorman el contenido de este Congreso Internacional:
I.- Introducción general: Poder y sospecha ¿Es posible hoy la libertad? Paridad e igualdad
II.- Función de la crítica: Crítica marginal. Institucional. Docente. Influjo del mercado. ¿Límites? III.-Acciones expositivas: Rol del museo. Pedagogía expositiva. Pensamiento líquido. Curadores. IV.-Libertad de expresión y soportes: papel, audiovisual, redes sociales. Matones digitales
V.- Creación y censura. Autocensura y dependencia. Incidencias del encargo. Concursos.
Y VI.- Homenaje a la figura de Eduardo Lourenço. Conclusiones y ceremonia de cierre.

Presentación de Comunicaciones:
Los interesados en participar en el Congreso enviarán un resumen de la comunicación con un mínimo de 300 y un máximo de 400 palabras, la línea temática en la que desean presentarse y los datos personales del autor/es a la dirección:

congresoaeca@gmail.com

Plazo de presentación de propuestas: 2 de Septiembre de 2017

Una vez evaluadas las propuestas por el Comité Científico se comunicará, antes del 15 de septiembre, a los autores la aceptación o no de las comunicaciones para su publicación en actas, así como las seleccionadas para su lectura pública durante la celebración del Congreso. Fecha límite de envío del texto completo de las comunicaciones 6 de noviembre de 2017.

Inscripción con comunicación: 130 euros.

Cuota reducida 60 euros para los asociados de AECA (con antigüedad superior a un año)

Sólo se aceptará una propuesta de comunicación por autor, y no se aceptarán, en ningún caso, comunicaciones firmadas por más de 2 autores. Todos los autores con comunicación aceptada deben inscribirse en el Congreso. La aceptación definitiva de la comunicación y su posterior publicación no será efectiva hasta que no se verifique el pago de la inscripción por parte del autor/es de la misma. Cualquier ingreso relacionado con este Congreso, se hará a la cuenta de la Asociación Española de Críticos de Arte:

Titular: Asociación Española de Críticos de Arte

Entidad: BANKIA
Domicilio: Calle Monseñor Oscar Romero, 2, 28025 Madrid No cuenta: IBAN ES35 2038 1135 7660 0034 4402
Código BIC: CAHMESMMXXX

Haciendo constar el motivo del ingreso (Inscripción Congreso Arte y Libertad de Expresión) y el nombre y apellidos del interesado. AECA no se responsabiliza de los ingresos anónimos.

La aceptación definitiva de la propuesta de comunicación queda condicionada a la recepción, en este mismo correo electrónico, de la copia del comprobante de ingreso de la inscripción en el Congreso. FECHA LÍMITE DE INGRESO INSCRIPCIÓN COMUNICACIONES ACEPTADAS: 27 de noviembre de 2017

El Comité Científico seleccionará un número limitado de las comunicaciones aceptadas para su lectura pública en las diferentes sesiones del Congreso, comunicándolo a sus autores y figurando también en el programa definitivo del Congreso. La no participación en la sesión pública correspondiente de la comunicación seleccionada supone la retirada de la misma tanto del programa como de la publicación.

Publicación: Todas las ponencias y comunicaciones aceptadas se publicarán en el libro “Arte y Libertad de Expresión”, con su correspondiente ISBN.

Los participantes con comunicación aceptada tendrán derecho a diploma acreditativo, asistencia a todas las sesiones del Congreso y un ejemplar del citado libro.

La Asistencia al Congreso ARTE Y LIBERTAD DE EXPRESIÓN es libre hasta completar el aforo de la sala.

El programa definitivo del Congreso, con la distribución de ponencias y comunicaciones, se irá actualizando en la web de AECA. El que ahora se proporciona puede sufrir alguna modificación.

NORMAS DE PRESENTACIÓN DE LAS COMUNICACIONES ACEPTADAS

Formato: WORD
Fuente: Times New Roman, cuerpo 12 Interlineado: 1.5

Extensión: mínima 10 páginas – máxima 15 páginas (incluyendo gráficos, tablas, cuadros, imágenes y referencias bibliográficas)

Notas: a pie de página

Fotografías y gráficos: Se admite un máximo de 5 imágenes. Las imágenes y gráficos se adjuntarán en ficheros independientes debidamente numerados y con la calidad suficiente para su publicación (300 pp JPG / TIF). Las imágenes deberán ir numeradas y con su correspondiente pie, listadas en el documento de Word al final del texto de la comunicación. Las figuras que precisen escala la llevarán gráfica y no numérica y, de presentar planos o dibujos, es preferible que sean originales. Si la ilustración está sujeta al pago de derechos de reproducción, estos serán abonados por el autor, y la organización del Congreso no las aceptará si hubiera dudas al respecto. Los autores firmarán para ello un documento de aceptación que se les presentará durante la celebración de las Jornadas.

El texto de la comunicación deberá contener los siguientes datos:

. Título (español e inglés)
. Autor/es
. Filiación institucional (centro, universidad, institución, profesión…)

. Datos de contacto (email y teléfono)
. Resumen / Abstract (español e inglés)
. Palabras clave / Keywords (español e inglés)
. Sumario (si lo hubiere)
. Desarrollo del artículo (con sus correspondientes epígrafes) . Referencias Bibliográficas

Para las citas bibliográficas, se utilizará el sistema Harvard (APA). Cita en el texto: (Autor, año: página). Listado completo de las referencias bibliográficas al final del texto, ordenado alfabéticamente de la siguiente manera:

Libro: APELLIDO, Nombre (año de publicación), Título, Ciudad de publicación: Editorial.

Capítulo de Libro: APELLIDO DEL AUTOR DEL CAPÍTULO, Nombre (año de publicación), “Título del capítulo”, en Nombre del compilador APELLIDO DEL COMPILADOR (comp.), Título del libro. Ciudad de publicación: Editorial, páginas.

Artículo de Revista: APELLIDO, Nombre (año de publicación), “Título del artículo”, Título de la revista. Volumen (número), páginas.

Las fuentes de internet deben citarse indicando no sólo la URL sino también, en la medida de lo posible, el autor, título, nombre del sitio, año de publicación, y la fecha de consulta.

La participación en este Congreso Internacional supone la aceptación expresa de todas las normas que lo configuran. Cualquiera que presente una ponencia o comunicación que no se adapte a las exigencias de presentación de suso enumeradas, quedará excluido del mismo.

download document