Les Femmes et l’Art dans l’Afrique francophone

Artistes, critiques, commissaires d’exposition, directrices de galeries, de musées, universitaires

Introduction de Madame Simone Guirandou, Présidente de l’AICA Côte d’Ivoire

Madame Lisbeth Rebello Gonçalves, Présidente de l’AICA International, Pr Yacouba Konaté, Président d’honneur de l’AICA International, M. Ramon Tio Bellido, Chargé du projet Afrique pour l’AICA International, Mesdames et Messieurs.

J’ai l’agréable mission de vous dire combien nous sommes honorés de votre présence aujourd’hui. En mon nom personnel, au nom des membres de l’AICA-CI et du Comité d’organisation, nous vous souhaitons la bienvenue en Côte d’Ivoire par la magie de la technologie.

Le thème de ce colloque : "la Femme et l’art dans l’Afrique francophone" évoque à la fois le statut de la femme en Afrique traditionnelle et son émancipation à travers l’expression artistique.

Placée selon la tradition, sous l’autorité paternelle, la femme à l’âge adulte, sera placée sous celle de son époux, ses principales activités essentiellement domestiques la cantonnant dans son foyer. Pour combler son ennui et la monotonie de son existence, les tatouages au henné, la broderie, la couture lui servent d’échappatoire. L’évolution du monde lui permettra d’accéder à la création grâce à une femme justement.

En effet, d’après les Anciens, la première idée de la peinture est attribuée à "la fille d’un potier, une servante corinthienne amoureuse, qui en suivant l’ombre projetée par la lumière d’une torche, aurait dessiné sur un mur le profil de son amant avant qu’il ne la quitte. Ainsi donc naissait la première tentative de la peinture. "(1)

Il est dit également qu’en Inde "depuis trois mille ans, les femmes de Mithila, et seulement les femmes, exécutaient les peintures vouées aux Dieux et Déesses du Panthéon Indou. Considérée comme une prière attirant la faveur des Dieux, et contrairement à l’Afrique, la peinture fait partie de l’éducation des petites filles et des femmes. "(2)

Si l’on ajoute à ces deux exemples l’histoire du musée, au départ, temple dédié aux muses, divinités des arts chez les Grecs, on se laisse convaincre de l’importance de la Femme dans l’art.

Rien de surprenant alors que des siècles plus tard, ce secteur soit occupé en majorité par les femmes en Afrique, stimulées par le vent de la liberté à l’heure des Indépendances. En 1960, le Président Sénégalais Léopold Sédar Senghor avait placé la culture au cœur du développement, dès lors, le Sénégal se démarque et devient le pays phare de la culture en Afrique de l’Ouest avec le Premier festival des Arts Nègres en 1966. La voie est ainsi ouverte pour la femme désirant embrasser la carrière artistique à condition d’être affranchie des interdits familiaux et traditionnels qui voient mal lafemme, disputer un domaine supposé peu valorisant pour elle, et de surcroit réservé aux hommes.

Grâce à l’éducation, la femme Africaine dispose désormais de son temps et s’implique dans les domaines de son choix. A Dakar comme à Abidjan, et ailleurs sur le Continent, elles sont autant dans la pratique que dans la promotion de l’art contemporain. C’est le cas de la plasticienne Sénégalaise Anta Germaine Gaye, professeur d’éducation artistique qui, ayant à cœur la formation esthétique des enfants, leur consacre des ateliers de peinture afin, dit-elle de "les initier à l’esthétique." (3)

Les femmes entendent contre balancer le poids des hommes aux postes de photographe, de critique d’art, de cinéaste, de designer. Signalons en passant que la Côte d’Ivoire enregistre sa première lauréate en Design, Valerie Oka, à la Biennale de Dakar en 1998. A la même époque, se faisaient connaître de talentueuses photographes parmi lesquelles: Edith Taho, Rachèle Babehi, Hien Macline et Johana Choumali.

Le secteur où l’on retrouve la Femme est celui de galeriste, directrice de musée ou de fondation. En Côte d’Ivoire, le Musée des Civilisations et le MUCAT sont dirigés par des femmes, comme le sont certaines fondations comme BJKD Hampaté Ba et Donwahi.

Le premier événement artistique d’envergure en Côte d’Ivore, Les Grafolies ont été initiées par une femme en 1993, la Ministre de la culture d’alors, le Professeur Henriette Dagri Diabaté. Ce fut un festival des Arts et de la Culture qui a réuni plusieurs artistes plasticiens du Continent à Abidjan. Le Masa (Marché de l’art et du spectacle est également une initiative de Madame la Ministre Diabaté.

Courageuses et volontaires, la présence des femmes dans la promotion de l’art et de la culture est devenue la norme. Les pouvoirs publics africains ont un rôle primordial à jouer dans l’émancipation de la jeune fille et dans son accession à un besoin fondamental qui est la connaissance. Il apparait indispensable d’accorder un soutien à la création et à l’économie du secteur de l’art. Le respect du génie créatif de la femme le réclame.

Mesdames et Messieurs, je vous remercie pour votre aimable attention.

Simone Guirandou, Présidente de l’AICA Côte d’Ivoire

(1) Peinture et couleur dans le monde grec antique
(2) https://fr.wikipedia.org/wiki/Peinture_de_Madhubani
(3) https://journals.openedition.org/clio//648

Freedom of expression under threat in Poland

Dear colleagues,

AICA’s Committee on Censorship and Freedom of Expression has compiled a listing of dozens of incidents over the last five years in which freedom of expression has been curtailed or diminished in Poland for political motives. These include cancellation of exhibitions, removal of works from exhibition, withdrawal of funding, harassment by the police, persecution by means of the judiciary (lawfare) and, last but certainly not least, outright censorship. A report documenting some of the most egregious violations of the right to freedom of expression is available here.

In many cases, censorship or cancellation has been premised on the grounds that a work offends religious feeling or disrespects national symbols. While each violation is disquieting in itself, the sum of these attacks on artists and their works constitutes a pattern of outright assault on freedom of expression. What we are witnessing is the systematic persecution of dissenting voices and minority viewpoints under the guise of patriotism, religion and family values. Public officials and cultural administrators seem keen to vie with each other to see who is quickest to enforce the ideology of the ruling PiS (Law and Justice) party. The result is a preemptive culture of censorship and self-censorship that defies European laws and disregards universal values.

As an organization dedicated to artistic freedom and the welfare of art and artists, AICA International calls on the European Commission to take action against the continuous violation by the present Polish government of the right to freedom of expression – guaranteed by article 11 of the EU Charter of Fundamental Rights. It is inadmissible that a member state of the European Union should abet and enable a political climate in which artistic freedom is trampled underfoot by the censoriousness of bureaucrats, large and small.

On behalf of AICA,

Lisbeth Rebollo GONÇALVES | President of AICA
Rafael Cardoso | Chair of Censorhip Committee

AICA AWARDS: Distinguished Prize 2021

Distinguished Prize 2021 has been AWARDED to Prof. Dr. Günsel Renda.

Prof. Dr. Günsel Renda completed her undergraduate and graduate education in art history in Columbia and Washington Universities in the USA. She served as a faculty member and department chair in the Art History Department of the same university until 2004. Günsel Renda, who has been a faculty member at Koç University Archaeology and Art History Department since 2004, served as a ministerial advisor at the Ministry of Culture and a member of the IRCICA board of directors, and lectured on Ottoman painting as a visiting professor at the Ecole Pratique des Hautes Etudes à la Sorbonne in Paris. She was invited to give conferences to many countries abroad, took part in international research projects, and received various awards. She has been in the organising committee of many international exhibitions such as Women in Anatolia, The Sultan’s Portrait, Image of the Turks in the 17th Century Europe, Portolan and Sea Maps in XIV-XVIII Centuries, Views of Venice and Istanbul through the Centuries, An Eyewitness to the Tulip Period Jean-Baptiste Vanmour, Istanbul The City of Dreams with Selected Works of Art from the Suna and İnan Kıraç Foundation Collection, etc.

She has many articles written in Turkish and foreign languages on Ottoman painting and Europe-Ottoman relations in art, published congress papers, encyclopaedia articles, and books that she is the editor and author of. Some of her works are: Turkish Painting in the Westernisation Period, The Transformation of Culture. The Atatürk Legacy (ed. Renda, Kortepeter) A History of Turkish Painting (Grabar, Renda, Turani, Özsezgin), The Sultan's Portrait.Tesavir-i Al-i-Osman (Necipoğlu, zur-Capellen, Majer, Çağman, Bağcı, Mahir, İrepoğlu, Renda), An Eyewitness to the Tulip Period Jean-Baptiste Vanmour (St. Nicolas, Bull, Renda, İrepoğlu), Minnet av Constantinople. Den osmansk-turkiska 1700-talssamlingen pa Biby (Achlund, Adahl, Brown, Karlsson, Kaberg, Laine, Renda) Ottoman Civilization (ed. İnalcık, Renda), Ottoman Painting Art (Bagcı, Çağman, Renda, Tanındı).

WEBINAIRE AICA-UNESCO

Les femmes et l’art en Afrique francophone : artistes, critiques, commissaires d’expositions, directrices de centres d’art, de galeries et de musées, universitaires…

Programme du Webinaire

Jeudi 27 janvier 2022

15h : Introduction générale Lisbeth Rebollo Gonçalves, Présidente de l’AICA International  Simone Guirandou, Présidente de l’AICA Côte d’Ivoire  Salutations de Yacouba Konaté, Président d’Honneur de l’AICA International  Présentation de Ramon TioBellido, Chargé du projet

15h30 : Récits d’Artistes –  Modération : Nadine Hounkpatin

Valérie Oka, artiste et designer (Côte d'Ivoire)

Edwige Aplogan, artiste plasticienne(Bénin)

Bill Kouelany, artiste plasticienne, fondatrice du centre d’art « Les Ateliers Sahm »(Congo)

Fatoumata Diabaté, artiste photographe, présidente de l’Association « Femmes Photographes du Mali »(Mali)

Amsatou Diallo, artiste photographe, fondatrice de l’Association « Femmes Photographes du Mali »,(Mali)

Ruth Belinga, artiste et directrice d’atelier (Cameroun)

Vendredi 28 janvier 2022

Critique, Institutions et Galeries… - Modération :  en attente de confirmation

15h : La critique d’art 

Mimi Errol, critique et journaliste(Côte d'Ivoire) (en attente de confirmation) Nakana Diakite, critique d’art et commissaire d’exposition (Mali)  Babacar Mbaye Diop, critique d’art (Sénégal)  Louise Abomba, conceptrice de la web émission « L’art sous le manguier » (Cameroun)

16h30 : Institutions & Galeries

Simone Guirandou, fondatrice de la Galerie Simone Guirandou (Côte d'Ivoire)

Cécile Fakhoury, fondatrice de la Galerie (Côte d’Ivoire)

Hama Goro, directeur du Centre Soleil d'Afrique (Mali)

Malick Ndiaye, historien de l’art, conservateur du Musée Théodore-Monod d’art africain, au sein de l’université Cheikh-Anta-Diop de Dakar (Sénégal)  Jhonel(Hamani Kassoum Himou),fondateur du festival Goni,(Niger)

Ces rencontres, organisées par l’AICA International et l’AICA Côte d’Ivoire, s’inscrivent dans les directives proposées par le Programme de Participation 2020/2021 de l’UNESCO, axées sur « L’Afrique et l’égalité des genres ».

Après un premier séminaire organisé à Rabat les 22 et 23 septembre 2021 sur la situation des femmes et de l’art dans le Maghreb, cet événement, sous forme de Webinaire, constitue le deuxième volet du projet global présenté par l’AICA International à l’UNESCO, axé prioritairement sur les régions francophones de l’Afrique.

Ce Webinaire est réparti en deux après-midis : la première consacrée aux « récits d’artistes » réunira des plasticiennes travaillant dans plusieurs pays de cette région et sera l’occasion de voir leurs travaux et de juger de leurs engagements et de leurs actions. La deuxième présentera tout à la fois des participants répondant à la thématique générale de « la critique d’art », et à celle des « institutions et galeries », c’est-à-dire des acteurs qui, à titre divers, se chargent de l’analyse et de la promotion de l’art et de la culture en privilégiant l’importance et les enjeux des rôles et des fonctions décisionnaires que tiennent nombre de femmes dans cette région de l’Afrique.

L’évènement est organisé par :

Ramon Tio Bellido, Chargé du projet « Afrique » pour l’AICA International, et Sonia Recasens, assistante de l’AICA International

Simone Guirandou, Présidente de l’AICA Côte d’Ivoire et Martine Ducoulombier, vice-présidente

Ruth Belinga, artiste, historienne de l’art (Cameroun) ; Fatoumata Diabaté, artiste (Mali) ; Franck Ekra Hermann, critique d’art (Côte d’Ivoire) ; Nadine Hounkpatin, éditrice et commissaire d’exposition (Paris) ; Jhonel, fondateur du festival Goni (Niger).

Pour participer à ce webinaire, merci de vous inscrire en adressant un courriel, d’ici le 26 janvier à  aicainternational.webinar@gmail.com

Vous recevrez le jour J le lien zoom.

CONFERENCE - EXHIBITIVE CARTOGRAPHIES: 10 - 12 MARCH 2022

Dear colleagues,

We cordially invite you to participate in the conference “EXHIBITIVE CARTOGRAPHIES” with the subtitle “Critical Instrumentation, exhibitive and curatorial narratives,” an international expert scientific and arts conference conducted in English and Croatian, and co-organised by the Faculty of Humanities and Social Sciences of the University of Split and the Croatian Section of the International Association of Art Critics (HS AICA) from 10 to 12 March 2022. The Conference will be held online on the Google Meet platform, in English and in Croatian.

Visual identity: Niko Mihaljević. Vladimir Jakolić, photograph from the “Exhibition of Women and Men,” 26 June 1969, Student Centre Gallery, Zagreb. Archive of Fine Arts HAZU, Zagreb, inv. no.: SC-46/F1

The lecturers invited are Ivana Bago, PhD, Ana Dević (WHW/What, How & for Whom), Associate Professor Miriam De Rosa, PhD (Università Ca' Foscari, Venice), Professor James Elkins, PhD (Art Institute of Chicago), Professor Lev Manovich, PhD (The Graduate Center, City University of New York/Cultural Analytics Lab), Damir Gamulin and Antun Sevšek, and in 2023, on the occasion of presenting the Proceedings, Associate Professor Beti Žerovc, PhD (Faculty of Arts of the University of Ljubljana).

The Organising Committee of the Conference consists of Professor Marina Gržinić, PhD, from the Institute of Philosophy ZRC SAZU in Ljubljana; Associate Professor Asja Mandić, PhD, from the Faculty of Humanities and Social Sciences of the University of Sarajevo; Assistant Professor Neli Ružić from the Arts Academy of the University of Split; alongside Assistant Professor Silva Kalčić, PhD, from the Faculty of Humanities and Social Sciences of the University of Split, President of HS AICA; with Miona Muštra and Anđelko Mihanović, PhD, former attendees of the art critique workshop “Writing on Contemporary Art” in Zagreb and Split.   

The Conference will be referring to the workshop “Writing on Contemporary Art,” within which James Elkins – art historian and art critic, Professor in art history, theory and critique at the School of the Art Institute of Chicago – will hold a public lecture on 20 January 2022. Alongside Split, the workshop will also be held in Rijeka, in collaboration with the Museum od Modern and Contemporary Art (MMSU) – Ksenija Orelj, Branka Benčić, and Sabina Salamon – and in Zagreb, in collaboration with the Tomislav Gotovac Institute, Institute for Contemporary Art, and Nova Gallery. The workshop will be led by Silva Kalčić, Ivana Meštrov, and Ksenija Orelj; parts-days of the workshop will be led by David Maljković, Ana Kovačić, and Lea Vene; lectures at the workshop and/or Conference will be held by Janka Vukmir and Tomislav Pavelić, Darko Šimičić and Niko Mihaljević.

The aim of this conference is to present, process and contextualise more comprehensively the curatorial practice in contemporary art for the first time in Croatian art history. It is important to note that the history of curatorial practices is an area that has been relatively poorly studied in the Croatian art-historical context, while it is becoming increasingly present at the international level. With this Conference, our very objective is to address this important subject at the crossroads of art critique, theory, and practice. The interest in exhibition history and contextualisation of curatorial practices is becoming increasingly pronounced in art-historical research. While we can follow exhibition history in the modern sense of the universal right to publicness from the revolutionary turmoil of the late 18th century, the history of exhibitive practices gained a new dimension by the very avantgarde artistic strides from the late 19th and the early 20th centuries, which paved the way to methods of innovativeness, participation, and to questioning of existing institutional policies, contextual frameworks, and models of presentation. The emergence of the neo-avantgarde and of the institutional critique of the 1950s and 1960s destabilised the settled meanings and the institutional positions of artists, artworks, curators and the audience, which led to a more active role of the curator in mediating new artistic expressions, but also to a radical questioning of own position. Curators increasingly actively participate in the creation of meaning, and assume more and more often with their gestures or texts the role of meta-artists, especially in the domain of conceptual art. The redefinition of the position of the curator-author has become increasingly topical since the emergence of conceptual/neo-avantgarde currents in art.

The starting point of the Conference is the curatorial figure of Želimir Koščević, the laureate of the Annual Reward of HS AICA for 2018 and of the Lifetime Achievement Award. Irradiated by late modernism, but also by counterculture in the territory of the former republic, as a relatively young art historian, Želimir Koščević attended a fellowship at Moderna Museet, Stockholm’s museum institution, where he assisted – in 1969, the period of radical social progress – the then Director of said institution, Pontus Hultén, in the organisation of the legendary exhibition “Poetry Must Be Made by All! Transform the World!” which exhibited gestures and stances in lieu of material artworks, thereby opening up exhibition space not only for the then early conceptual practice, but also for radically political stances by encouraging the supporters of Black Panthers to gather within the exhibition. The echo of the avantgarde networking of life and art and the stance on art as the transformative motor of the social and political perception, present in Pontus Hultén’s practice, would go on to motivate Koščević for a more experimental and daring approach to exhibition curating, but also for questioning of the very exhibition format, which he continued to foster in his early curatorial beginnings following the return to Zagreb. This refiguration of Koščević’s activity (and ‘student practice’) preceded his return to Zagreb, which coincides with the programmatic openness and the generational artistic experimentation at the Student Centre in Zagreb, where Koščević worked between 1966 and 1979 as Head of SC Gallery. In this period, he introduced a series of innovations in its programme. Some of the innovations in Koščević’s early curatorial approach include the exhibitions Imaginary Museum, Exhibition of Women and Men, Hit Parade, Postal Consignment, Action Total, which were held outside and within SC Gallery. They foster experimentality and provide space to young artists; they open up towards international exchange of ideas, interdisciplinarity, egress from the Gallery, and democratisation of art. The Gallery Newspaper was also published, with the aim of self-contextualisation.

The Conference has been conceived as the final part of the workshop “Writing on Contemporary Art,” focused on the analysis of the role of curator, whether it be institutional or non-institutional. The role of contemporary art curator has been radically enhanced in the art world in the last few decades, and we could say that the curatorial figure – whether it proceeds institutionally, or is marked by independent non-institutional work – is an inseparable segment of perceiving the contemporary artistic worldview. The main coordinates of this workshop are the initiation of the perception of the role of curator and curatorial collectives when forming relevant knowledge on the contemporary culturological complex, i.e., the problematisation of the role of museums and galleries in contemporary society. By processing an exhibition event or the display setup of a particular collection, we perceive in it the politics of choice (purchasing policies, exhibition selections). Furthermore, we also perceive as to how the curators – with their critical and theoretical texts, but also with their practice – also shape the history of contemporary art and anticipate/create future tendencies, but also how the artists assume the curatorial position at a museum, thereby applying artistic methods – in lieu of linear museological narratives – such as the use of the setup and of the existing artefacts as materials, the toying with the ways of seeing and with the exhibition as a rounded experience.

Dates to note:

  • Submission of the topic/title of the lecture (in Croatian and/or English) - deadline: 28 February 2022

  • Conference conducted in English (online) - 10/11 March 2022

  • Conference conducted in Croatian (online) - 11/12 March 2022

  • Submission of texts for the Conference Proceedings - deadline: 15 June 2022

Instructions to authors:

We ask you to propose the topics as abstracts, not exceeding 5400 characters with spaces, no later than 28 February 2022. The lecture may not exceed 30 minutes. Lecturers who want to publish their texts in the “Exhibitive Cartographies” Proceedings should submit integral texts (27000 to 45000 characters with spaces, with a CV not exceeding 1800 characters with spaces) to the email address skalcic@ffst.hr until 15 June 2022. The texts will be reviewed and evaluated by peer reviewers. The submissions are accepted in Croatian and/or English. The formatting of the text/paper should be in accordance with the Chicago Manual of Style, found at the following link: https://www.chicagomanualofstyle.org/home.html, as a system of notes (Notes and Bibliography).

ELECTION RESULTS: NEW INTERNATIONAL BOARD 2022 - RESULTADOS DE LAS ELECCIONES: NUEVA JUNTA INTERNACIONAL 2022 - RÉSULTATS DES ÉLECTIONS: NOUVEAU CONSEIL D'ADMINISTRATION INTERNATIONAL 2022

We are happy to congratulate the new elected members of the AICA International Board!

Jean Bundy (AICA USA), Fernando Farina (AICA Argentina) and Marja-Terttu Kivirinta (AICA Finland) are the three elected International Vice-Presidents (2022-2024)

Maryse Arseneault (AICA Canada), Maria Luz Cardenas (AICA Venezuela), Lin Chi-Ming (AICA Taiwan), Alfredo Cramerotti (AICA UK), Rui Gonçalves Cepeda (AICA UK), Nigel Heyler (AICA Australia), Sandra Hitner (AICA Brazil), Paul O'Kane (AICA UK), Karen von Veh (AICA Open Section), Esra Yildiz (AICA Turkey) are the ten elected International Board Members (2021-2022)

Thanks to everyone who participated in this year's elections, and good luck to the new Board: we are looking forward to working together in the next term.

Nos alegramos de felicitar a los nuevos miembros electos de la Junta Internacional de AICA!

Jean Bundy (AICA USA), Fernando Farina (AICA Argentina) and Marja-Terttu Kivirinta (AICA Finland) son los tres Vicepresidentes Internacionales elegidos (2022-2024)

Maryse Arseneault (AICA Canada), Maria Luz Cardenas (AICA Venezuela), Lin Chi-Ming (AICA Taiwan), Alfredo Cramerotti (AICA UK), Rui Gonçalves Cepeda (AICA UK), Nigel Heyler (AICA Australia), Sandra Hitner (AICA Brazil), Paul O'Kane (AICA UK), Karen von Veh (AICA Open Section), Esra Yildiz (AICA Turkey) son los diez miembros elegidos de la Junta Internacional (2021-2022)

Gracias a todos los que participaron en las elecciones de este año, y buena suerte a la nueva Junta: nos alegra mucho tener la posibilidad de trabajar juntos en el próximo período.

Nous sommes heureux de féliciter les membres nouvellement élu.e.s du Conseil d'administration international de l'AICA !

Jean Bundy (AICA USA), Fernando Farina (AICA Argentina) and Marja-Terttu Kivirinta (AICA Finland) sont les trois Vice-Présidents internationaux élus (2022-2024)

Maryse Arseneault (AICA Canada), Maria Luz Cardenas (AICA Venezuela), Lin Chi-Ming (AICA Taiwan), Alfredo Cramerotti (AICA UK), Rui Gonçalves Cepeda (AICA UK), Nigel Heyler (AICA Australia), Sandra Hitner (AICA Brazil), Paul O'Kane (AICA UK), Karen von Veh (AICA Open Section), Esra Yildiz (AICA Turkey) sont les dix Membres Internationaux élu.e.s du Conseil d’administration international (2021-2022)

Merci à tous et à toutes qui ont participé aux élections de cette année, et bonne chance au nouveau conseil d'administration : nous nous réjouissons de travailler ensemble au cours du prochain mandat.

ELECTIONS 2021 - CANDIDATES PRESENTATIONS: INTERNATIONAL VICE-PRESIDENTS

DURING THE GENERAL ASSEMBLY ON DECEMBER 6TH &10TH, WE WILL ELECT THREE INTERNATIONAL VICE-PRESIDENTS

LORS DE L'ASSEMBLÉE GÉNÉRALE DU 6 & 10 DÉCEMBRE, NOUS ÉLIRONS TROIS VICE-PRÉSIDENTS INTERNATIONAUX

EN LA ASAMBLEA GENERAL DEL 6 & 10 DE DICIEMBRE, ELEGIREMOS TRES VICEPRESIDENTES INTERNACIONALES

The candidates are | Les candidat.e.s sont | Los candidatos son :

Jean Bundy (AICA USA)

Rui Gonçalves Cepeda (AICA UK)

Fernando Farina (AICA Argentina)

Juan Carlos Flores Zuniga (AICA Costa Rica)

Marja-Terttu Kivirinta (AICA Finland)

Susana Sulic (AICA France)

Karen von Veh (Open Section)

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.

ELECTIONS 2021 - CANDIDATES PRESENTATION: INTERNATIONAL MEMBERS

DURING THE GENERAL ASSEMBLY ON DECEMBER 6TH & 10TH, WE WILL ELECT TEN INTERNATIONAL MEMBERS

LORS DE L'ASSEMBLÉE GÉNÉRALE DU 6 & 10 DÉCEMBRE, NOUS ÉLIRONS DIX MEMBRES INTERNATIONAUX

EN LA ASAMBLEA GENERAL DEL 6 & 10 DE DICIEMBRE, ELEGIREMOS DIEZ MIEMBROS INTERNACIONALES

The candidates are | Les candidat.e.s sont | Los candidatos son:

Maryse Arseneault (AICA Canada)

Maria Luz Cardenas (AICA Venezuela)

Lin Chi-Ming (AICA Taiwan)

Alfredo Cramerotti (AICA UK)

Rui Gonçalves Cepeda (AICA UK)

Nigel Heyler (AICA Australia)

Sandra Hitner (AICA Brazil)

Paul O'Kane (AICA UK)

Susana Sulic (AICA France)

Ramon Tio Bellido (AICA France)

Karen von Veh (Open Section)

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.

WEBINAR: “Many Voices Create” - now available to watch on YouTube

Presented by AICA AUSTRALIA (The International Association of Art Critics), OCA, Norway (Office for Contemporary Art) and CoVA (Centre of Visual Art University of Melbourne)

Featuring First Nations arts writers and spoken word performers from Australia and Sámi writers and spoken word performers from Northern Europe, in dialogue about shared and urgent concerns, the webinar discussion focuses on action and agency. By convening a space for knowledge sharing and relation building, the conversation considers linguistically diverse narratives rooted in country, lands and oceans, of self-determination, storytelling, writing and survival, contestation and listening.

CoVA CONVENOR
Prof Natalie King - CoVA Fellow, President AICA Australia, Curator of Yuki Kihara, Aotearoa New Zealand at the 59th Venice Biennale 2022
MODERATOR
Kimberley Moulton - AICA Board Member, Yorta Yorta curator, writer and Senior Curator, South-Eastern Aboriginal Collections at Museums Victoria and Artistic Associate for RISING Festival Melbourne
PARTICIPANTS
Timimie Märak - Sámi word warrior, Stockholm
Clothilde Bullen - AICA Board Member, Senior Curator of Aboriginal and Torres Strait Islander Collections and Exhibitions at the Museum of Contemporary Art, Sydney and Wardandi, Nyoongar and Badimaya, Yamatji curator
Dr. Liisa-Rávná Finbog - Sámi scholar, Department of Cultural Studies and Oriental Languages, University of Oslo; Curatorial Team, The Sámi Pavilion, La Biennale di Venezia 2022
Faye Blanch, Simone Ulalka Tur and Dr Ali Gumillya Baker - Flinders University, Adelaide; members of Unbound Collective

Source: https://sites.research.unimelb.edu.au/cova...

Results of AICA Awards: Incentive Prize for Young Art Critics, upcoming 53rd Congress (November 25th, 26th, 2021 - online)

Ist Prize: Miriam La Rosa (Australia)
Essay: A Guest on the Edge: Manifesta and the Quest for European Unity and Solidarity - Read the essay here.

Honorable Mention: Nimra Khan (Pakistan)
Essay: Rashid Rana, Challenging Notions of Truth - Read the essay here.

Honorable Mention: Zehra Hamdani Mirza (Pakistan)
Essay: Images on Water - Read the essay here.

Distinguished Prize: has been offered to Prof. Dr. Günsel Renda (Turkey)

Special Prize: The editorial staff at Hyperallergic (online) for their continued coverage of the arts and humanities during the dark days of Pandemic-2020. They continue to merge present-day cultural events, book reviews, and academia with extraordinary aplomb.

Comments: Thank you goes to the six essayists who did not win, and I hope they resubmit next year.

ThankYous:
AICA-Awards Committee and AICA-Jurors

Susana Sulic (AICA-France) and Madeleine Bundy (bfa-NYU/Tish) for help with certificates

Firat Arapoğlu (Director of upcoming 53rd Congress, 2021) ; Norman Kleeblatt (President of AICA-USA) ; Seph Rodney, Senior editor at Hyperallergic (Board member, AICA-USA) ; Liam Kelly (Chair of the AICA Congress Committee) and AICA International President Lisbeth Rebollo Gonçalves for helping to rebuild the Awards Committee, and further promoting/sharing essay writing internationally.

Sincerely,
Jean Bundy, mfa, PhD
38144@alaska.net

AICA International co-host the Gangwon Triennale 2021 Congress

At the end of the month of September, members of AICA International - Kim Levin (USA), Jean Bundy (USA), Malgorzata Kazmierczak (Poland) and Damian Smith (Australia) participated, by invitation, in the Congress “Revitalization of daily life through Technology and Art in the Anthropocene epoch”, organized by the Gangwon Triennale 2021 (Korea), curated by Sung-Ho Kim who invited AICA International to be "co-host" of this Congress.

More information available here.

Goodbye to Pedro Labowitz, great critical eye of Chilean art

With an analytical, eloquent, and critical gaze, which characterized him until his last days, the great Austrian-Chilean art critic Pedro Labowitz passed away yesterday at 96 years of age. Representative of the International Association of Art Critics (IAAC) of UNESCO and founder of the Chilean Chapter of that organization, Labowitz stood out for his important work as a promoter of national art in the Latin American region, in addition to his figuration as international critic.

Born in 1925 in Vienna, Austria, Labowitz came to our country at an early age, where he developed his career within the art circuit. Influenced by his stepfather, the bohemian artist and painter Francisco Otta (1908-1999), Labowitz was introduced to the art world from a young age, copying from the Czech engraver an ironic style that allowed him to develop a writing with a peaceful character, but with a sharp and distinguished gaze distinguished when analyzing various techniques, styles and expressions of Latin American art. Committed to the development of culture in the country, Labowitz made important donations to bring art closer to Chileans, delivering 300 prints from his collection to the Engraving Museum of the University of Playa Ancha and about 3,000 books from his library to the University of Talca.

Throughout his remarkable career as an art critic, his writing passed through different media, in various languages ​​and with curious nicknames. This is how, for years, Labowitz wrote for the magazine Nuevo Zig Zag under the name "Pierre Randall", and published different writings in the Chilean newspaper The South Pacific Mail, in English, and in the Seminario Cóndor, in German. He also collaborated with his criticism in important media, such as El Mercurio and La Nación, and was one of the five analysts of the well-remembered Political, Economy and Culture Seminar (PEC), a magazine directed by photographer Marcos Chamudez that emerged in the mid-1960s in order to provide a new look on national art.

"With sadness, we heard of the death of Pedro Labowitz, founder of IAAC Chile and great representative of AICA International in the country, who brought together art critics and promoted their relationship internationally," says Lisbeth Rebollo, IAAC world president. Ernesto Muñoz, president of the Chilean Chapter of AICA and world vice president of the UNESCO organization, adds that “Labowitz's work is a pioneer in founding IAAC Chile together with Antonio Romera, Ricardo Bindis and Victor Carvacho”.

From Venezuela, Bélgica Rodríguez, honorary president of IAAC International, regrets the death of this “renowned art critic and researcher, especially in Latin American art, whose research, criticism and theory have made a great contribution to the historiography of the plastic arts of the continent”. She adds that Pedro Labowitz "leaves us extraordinary memories, friendship and teachings, fundamental in our training and development as art critics and researchers," she concludes.

Adiós a Pedro Labowitz, gran ojo crítico del arte chileno

Con una mirada analítica, elocuente y crítica, la cual lo caracterizó hasta sus últimos días, el gran crítico de arte austriaco-chileno Pedro Labowitz falleció durante la jornada de ayer, a sus 96 años de edad. Reconocido representante de la Asociación Internacional de Críticos de Arte (AICA) de la UNESCO y fundador del Capítulo Chileno de dicha organización, Labowitz destacó por su importante labor como promotor del arte nacional en la región latinoamericana, además de su figuración como crítico a nivel internacional. 

Nacido en 1925 en Viena, Austria, Labowitz llegó a muy temprana edad a nuestro país, en donde desarrolló su carrera dentro del circuito del arte. Influenciado por su padrastro, el artista y pintor bohemio Francisco Otta (1908-1999), Labowitz fue introducido al mundo del arte desde joven, copiando del grabador checo un estilo irónico que le permitió desarrollar una pluma de carácter pacífica, pero con una mirada aguda y distinguida a la hora de analizar diversas técnicas, estilos y expresiones del arte latinoamericano. Comprometido con el desarrollo de la cultura en el país, Labowitz hizo importantes donaciones para acercar el arte a los chilenos, entregando 300 grabados de su colección al Museo del Grabado de la Universidad de Playa Ancha y cerca de 3 mil libros de su biblioteca a la Universidad de Talca. 

A lo largo de su notable carrera como crítico de arte, su pluma pasó por diferentes medios, en variados idiomas y con curiosos sobrenombres. Fue así como, durante años, Labowitz escribió para la revista Nuevo Zig Zag bajo el nombre “Pierre Randall”, y publicó diferentes escritos en el periódico chileno The South Pacific Mail, en inglés, y en el Seminario Cóndor, en alemán. Asimismo, colaboró con su crítica en importantes medios, como El Mercurio y La Nación, y fue uno de los cinco analistas del recordado Seminario Política, Economía y Cultura (PEC), revista dirigida por el fotógrafo Marcos Chamudez que surgió a mediados de los 60 con el fin de proporcionar una nueva mirada sobre el arte nacional. 

“Con tristeza, supimos de la muerte de Pedro Labowitz, fundador de AICA Chile y gran representante de AICA Internacional en el país, reuniendo a críticos de arte y promoviendo su relación a nivel internacional”, asegura Lisbeth Rebollo, presidenta mundial de AICA. Ernesto Muñoz, presidente del Capítulo Chileno de AICA y vicepresidente mundial de la organización de la UNESCO, agrega que “la labor de Labowitz es de un pionero al fundar AICA Chile junto a Antonio Romera, Ricardo Bindis y Victor Carvacho”.

Desde Venezuela, Bélgica Rodríguez, presidenta honorífica de AICA Internacional, lamenta el fallecimiento de este “reconocido crítico e investigador de arte, especialmente en el arte latinoamericano, cuyos trabajos de investigación, crítica y teoría, han hecho un gran aporte a la historiografía de las artes plásticas del continente”. Agrega que Pedro Labowitz “nos deja extraordinarios recuerdos, amistad y enseñanzas, fundamentales en nuestra formación y desarrollo como críticos e investigadores de arte”, concluye. 

Upcoming Meetings & Deadlines

08 & 10 NOVEMBER 2021

 

The next BOARD MEETING will be held on Monday, 8th of November 2021 and Wednesday 10th of November 2021 at 4pm (Paris Time) on ZOOM.

Only for Board members and Board Guests - Please find meeting documents HERE

=> PLEASE Remember to CONFIRM YOUR ATTENDANCE to the Office in order to receive the ZOOM Link

15 NOVEMBER 2021

 

DEADLINE for submitting candidacies for Vice-Presidents and International Board Members.

More information here.

06 & 10 DECEMBER 2021

 

The next GENERAL ASSEMBLY will be held on Monday 6th of December 2021 and Friday 10th of December 2021 at 4pm (Paris Time).

=> PLEASE Remember to CONFIRM YOUR ATTENDANCE to the Office in order to receive the ZOOM Link

Revue de Presse Colloque "Les femmes et l'art au Maghreb"

Le colloque sur «les femmes et l’art au Maghreb» a ouvert ses portes le 22 septembre à la Faculté des Sciences de l’Education à Rabat. Jusqu’au 23 septembre, artistes, critiques, commissaires d’expositions, directrices de centres d’art et de musées, journalistes et universitaires ont débattu de la place des femmes dans le monde de l’art.

Le colloque sur «les femmes et l’art au Maghreb» a ouvert ses portes le 22 septembre à la Faculté des Sciences de l’Education à Rabat. Jusqu’au 23 septembre, artistes, critiques, commissaires d’expositions, directrices de centres d’art et de musées, journalistes et universitaires débattront de la place des femmes dans le monde de l’art.Organisé par l’Association internationale des Critiques d’art, l’AICA International, et sa section marocaine, dans le cadre du Programme de Participation UNESCO 2020-2021 et en partenariat avec la Faculté des Sciences de l’Education –Université Mohammed V de Rabat, ce colloque ambitionne de valoriser l’apport des femmes dans le processus de dynamisation de la création au Maghreb, par leur engagement et leur innovation dans tous les domaines des activités artistiques ou encore par la gestion des institutions et lieux d’art. Et pour cause, la question de la visibilité des femmes ne se situe pas qu’à l’échelle des artistes, elle intervient dans tous les métiers qui se greffent autour de l’écosystème artistique, dans les galeries, les musées, le commissariat, le journalisme…

Il s'agit ainsi de permettre de faire une espèce de topographie de la présence féminine dans le milieu de l’art au Maghreb au-delà de toute ségrégation genrée. L’idée étant de recenser les difficultés ou les avantages que ces femmes rencontrent dans la pratique de leur métier tout en mettant en lumière les passerelles culturelles qui existent entre le Maroc, l’Algérie et la Tunisie.

Retrouver l’article complet sur le site de la revue le360 : https://fr.le360.ma/culture/videos-les-femmes-et-lart-au-maghreb-entre-avancees-et-obstacles-246188

Source: https://fr.le360.ma/culture/videos-les-fem...

Prix AICA France 2021

On Tuesday September 21, the 9th edition of the AICA France Art Critics' Award was held at the INHA auditorium. Every year the AICA France section appoints 10 French-speaking art critics to present the work of an artist around the projection of 20 images for a total duration of 6 minutes 40. Inspired by the principe of PechaKucha, the Prize invites to experiment the performative dimension of the art critic.

The 2021 winners of this original award are :

- AICA France Prize : Camille Bardin who presented the artist Kubra Khademi.

- Special Prize : Elisa Rusca who presented the artist Nina Haab. Elisa Rusca is a member of AICA Switzerland, and a member of AICA International Board.

- Special Prize : Laurent Courtens who presented the artist Eric Van Hove. Laurent Courtens is a member of AICA Belgium.

The members of the jury were : Régine Hatchondo (President of the Centre du Livre) ; Antje Kramer-Mallordy (Director of the Archives de la Critique d'Art); Marc Partouche (Secretary General of AICA International); Sandra Patron (Director of the CAPC- museum of contemporary art Bordeaux); Rafael Pic (editor in chief of the Quotidien de l'art)

Laurent Courtens, Camille Bardin and Elisa Rusca

Laurent Courtens, Camille Bardin and Elisa Rusca