Referentes de la critica de arte en la península ibérica: mujeres en la crítica
Jueves, 21 de noviembre 2024
18 h. Portugal / 19 h. España
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RESULTS OF AICA AWARDS: INCENTIVE PRIZE FOR YOUNG ART CRITICS 2024
We are pleased to announce the winners of the 2024 AICA Incentive Prize for Young Art Critics, RECOGNISING outstanding essays by emerging voices in art criticism:
3rd Prize
Jessica Simmons-Reid (USA)
Essay: Embraced by an Amniotic Earth: Delcy Morelos at Dia Chelsea
Warm congratulations to the winners for their exceptional essays! Thank you to the jury and awards committee members for their expertise and insight: Adriana Almada (Paraguay), Ana Lucia Beck (Brazil), Jean Bundy (USA) (Chair), Rui G. Cepeda (UK), Niilofur Farrukh (Pakistan), Luciane Garcez (Brazil), Sandra Hitner (Brazil), Małgorzata Kaźmierczak (Poland, AICA President and Committee Advisor), Hon. Lisbeth Rebollo (Brazil), Allison Thompson (S. Caribbean), and Esra Yildiz (Turkey).
AICA Distinguished Prize 2024
This year, we are proud to honour Professor Ileana Pintilie with the prestigious AICA Distinguished Prize.
Professor Pintilie has made an indelible impact as both an art critic and curator, with her work shedding light on the nuances of art in both Romania and abroad.
Her prolific contributions, from her groundbreaking book “Actionism in Romania During the Communist Era” to her profound insights on Central European paradigms in her “Performance Art in the Second Public Sphere. Event-based Art in Late Socialist Europe” demonstrate her dedication to exploring art's intersection with history, culture, and political contexts. Her publications and curatorial projects have consistently provided new lenses through which we understand the power of art in shaping society.
Professor Pintilie has curated numerous exhibitions and performance art events, from the Zone Performance Festival in Timisoara, the monumental “Body and the East” at the Museum of Modern Art in Ljubljana, to her role as a curator for the Romanian section in “Subversive Practices” in Stuttgart, among many others. Her curatorial vision has fostered dialogue across continents and generations, always with a keen eye on the relationship between art, repression, and freedom of expression.
With national accolades for her art criticism and a legacy of publications that span decades, Professor Pintilie has truly shaped the discourse on contemporary art in Romania and beyond.
The Distinguished Prize is a nomination made by the Congress host section, and we are thrilled to recognize Professor Pintilie’s remarkable impact on the field. Please join us in congratulating Professor Ileana Pintilie, the well-deserved recipient of this year’s AICA Distinguished Prize!
In memory of INÉS TREJOS ARAYA
AICA Costa Rica announces the sad loss of Inés Trejos Araya, vice president and co-founder of our national section, who passed away in the Costa Rican capital on October 15 after a long battle with cancer.
Trejos Araya, journalist, art critic and cultural manager, was a pioneer in the development of periodical publications in the artistic-cultural field in Costa Rica and Venezuela. Her contributions in the official sphere of government and outside of it have been decisive for the definition of cultural policies and the promotion of art, highlighting her role as founder and first director of the Costa Rican Art Museum. AICA Costa Rica recognized her as an honorary member of the association that she helped found in 2021 and of which she was vice president. She was an accredited member of AICA International. She was responsible for the Awards and Recognitions committee, the second edition of which took place this year.
At AICA Costa Rica, she made a decisive contribution to opening spaces for discussion and the incorporation of women of merit into the association. She was a tireless fighter for Costa Rican art and culture and freedom of expression. We express our sincere condolences to her family.
En memoria de INÉS TREJOS ARAYA
AICA Costa Rica comunica la lamentable perdida de Inés Trejos Araya, vicepresidenta y cofundadora de nuestra sección nacional quien falleció en la capital costarricense el 15 de octubre tras una larga batalla contra el cáncer.
Trejos Araya, periodista, crítica de arte y gestora cultural, fue pionera en el desarrollo de publicaciones periódicas en el ámbito artístico-cultural en Costa Rica y Venezuela. Sus contribuciones en el ámbito oficial de gobierno y fuera de este han sido decisivas para la definición de políticas culturales y la promoción del arte destacando en particular su rol como fundadora y primera directora del Museo de Arte Costarricense. AICA Costa Rica le hizo un reconocimiento como miembro honorario de la asociación que contribuyó a fundar en el 2021 y de la que fue vicepresidenta. Era miembro acreditado de AICA Internacional. Fue responsable del comité de Premios y reconocimientos cuya segunda edición tuvo lugar este año.
En AICA Costa Rica contribuyó decisivamente a la apertura de espacios de discusión y la incorporación de mujeres de mérito a la asociación. Fue una infatigable luchadora a favor del arte y la cultura costarricenses y la libertad de expresión. Expresamos nuestras sinceras condolencias a su familia.
AICA Congress 2024 is Now Open!
We are thrilled to announce the opening of the annual Congress of the International Association of Art Critics (AICA) in Romania!
Between November 4-9, 2024, the Congress will take place in Bucharest and Iași, bringing together leading experts, art critics, and curators from around the world. This year’s event is a unique opportunity to welcome valuable voices in contemporary art to Romania.
The International Association of Art Critics is the most prestigious global organization in the field, founded in 1950 and affiliated to UNESCO, which includes more than 60 countries from all continents. The Romanian office of the organization, AICA-RO, was (re)established in 1993 and currently has 68 members, specialists of great value from all generations with a remarkable professional activity and a high public profile in Romania and abroad.
The theme of this congress, “Becoming Machine, Resisting the Artificial. Art in the Present Tense,” fully reflects the current realities of a world increasingly permeated by technology and has already aroused the enthusiasm of many people active in the cultural field here and abroad. 58 internationally renowned experts from all continents will be giving presentations and participate in debates.
Keynote speakers at the congress are recognized specialists with outstanding publications in the field of contemporary art: Joanna Zylinska (King’s College London), Jean-Paul Fourmentraux (Aix-Marseille University, France) and Paul O’Kane (University of the Arts London). The program includes a round table entitled “Becoming Freedom. Performance Art in the '1990s”, with the participation of art critics Kata Balázs-Miklós, Ileana Pintilie, Jurij Dobriakov, moderator: Małgorzata Kaźmierczak, president of AICA International.
The Congress will be hosted by the National Museum of Contemporary Art in Bucharest and the “George Enescu” National University of Arts in Iași. The last AICA International congress organized in Romania took place in 1967, in Târgu Jiu, coordinated by Dan Haulică. So, after many years, we hope that the attention of the entire cultural world in the field of visual arts - and not only - will turn to Romania in 2024.
The detailed program for the AICA Congress 2024 is available here. For speaker bios and abstracts, please visit this link.
AICA Próxima No. 9 - NEW ISSUE AVAILABLE NOW
The Venezuelan situation is critical.
The impact of political and socioeconomic changes on the promotion, development, and freedom of expression of visual artists and art critics is a crucial topic of attention for AICA Regional Latin America and the Caribbean, which recognizes their interdependence and, consequently, opens its pages with the cover article of AICA Próxima on the Venezuelan context in its ninth quarterly and multilingual edition.
This ninth edition also includes extensive content on the milestones and activities organized during the third quarter of 2024 by members of ten AICA Regional sections and how they have been consistently breaking new ground in the artistic-cultural sphere of their respective areas of influence. Not only can regional production and critical thinking be seen in the contents of this new issue, but also curatorship, commissioning, aesthetic research, and cultural management.
La situación venezolana es crítica.
El impacto de los cambios políticos y socioeconómicos en el fomento, desarrollo y libertad de expresión de los artistas visuales y la crítica de arte es un tema de atención crucial para AICA Regional América Latina y el Caribe que reconoce su interdependencia y en consecuencia abre sus páginas con el artículo de portada de AICA Próxima sobre el contexto venezolano en su novena edición, trimestral y multilingüe.
Esta novena edición incluye, también, amplios contenidos sobre los hitos y actividades organizadas durante el tercer trimestre del 2024 por los miembros de diez de las secciones de AICA Regional y cómo vienen abriendo brecha consistentemente en la esfera artístico-cultural de sus respectivas zonas influencia. No solo se pueden visibilizar en los contenidos de este nuevo número la producción y el pensamiento crítico regional, sino también la curaduría, el comisariato, la investigación estética, y la gestión cultural.
WEBINAR: Paralysis and disruption in art criticism in Mexico and South America
Between 1960 and 2000, a significant division was established between art criticism articulated in universities and that developed by laymen and professionals in the media and other dissemination channels.
The AICA Latin America and Caribbean Regional has therefore organized three webinars between the national sections that involve a thorough examination of the critical models with which art is thought of in the different regions included, as well as making visible the critics who have been pioneers of metatheories such as the integrationist cultural identity that sought to define a Latin American art and those who later in postmodernism became detractors in favor of a more international art to finally review its role in contemporaneity. In addition, it supposes a look from the critics in the indicated period of modern and contemporary art.
The third and final of the series will take place on Thursday, November 14 at 6 pm (Sao Paulo, Brazil time), 4 pm (Costa Rica time) with speakers from Mexico, Brazil and Venezuela.
To register email: aicainternational.webinar@gmail.com
WEBINARIO: Parálisis y disrupción en la crítica de arte de México y Sudamérica
Entre 1960 y el año 2000 se establece una importante división entre la crítica de arte que se articula en las universidades y la que desarrollan legos y profesionales en los medios periodísticos y otros canales de difusión.
La Regional de AICA Latinoamérica y el Caribe ha organizado por ello tres webinarios entre las secciones nacionales que suponen un examen minucioso en torno a los modelos críticos con los cuales se piensa el arte en las distintas regiones comprendidas así como visibiliza a los críticos que han sido pioneros de metateorías como la identidad cultural integracionista que buscaba definir un arte latinoamericano y aquellos que luego en el posmodernismo se volvieron detractores en favor de un arte más internacional para finalmente revisar su papel en la contemporaneidad. Además, supone una mirada desde la crítica en el período indicado del arte moderno y contemporáneo.
El tercero y último de la serie tendrá lugar el jueves 14 de noviemnbre a las 6 pm (Hora de Sao Paulo, Brasil), 4 pm de Costa Rica con ponentes de México, Brasil y Venezuela. This session will be conducted in Spanish.
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OPEN CALL: Residency Programme for curators and art critics based in the European Union
The DRAC Île-de-France, the TRAM network, and the Cité internationale des arts announce their collaboration and the launch of a research residency program aimed at exhibition curators and/or art critics working and residing in the European Union. The objective of this program is to encourage and facilitate their mobility by supporting opportunities for engagement with the French artistic and curatorial scene, while also supporting projects focused on research that can benefit from the working environment provided by the Cité internationale des arts.
The partners are committed to supporting the laureates by offering them privileged mentorship related to their research and providing them with professional networking opportunities in the Île-de-France region.
Following this call for applications and the convening of a jury, two laureates will be selected.
All practical details and information are available here (please review these carefully before submitting your application).
Application deadline: 30 October 2024
AICA podcast with Niilofur Farrukh
The AICA Podcast, created and hosted by Mihaela Ion, is back with its second episode, featuring Niilofur Farrukh, a Karachi-based art interventionist and chair of AICA’s Censorship and Freedom of Expression Committee.
In this episode, we delve into the history of AICA in Pakistan, exploring how the country’s evolving socio-political landscape influences artistic expression and art criticism. We highlight the initiatives of AICA’s Censorship and Freedom of Expression Committee, which works to establish guidelines that support artists, cultural workers, and curators in navigating the challenges of limited freedom of speech, fostering a supportive environment for creative work in the face of censorship.
AICA, in collaboration with its international network, is actively developing a Censorship Toolkit to support cultural workers facing censorship challenges. In the podcast, Niilofur Farrukh presents a short version of the toolkit, which includes strategies for navigating censorship situations, highlights available resources, and promotes solidarity among artists, curators, art critics, and cultural practitioners.
This episode also focuses on the Karachi Biennale, exploring its rich cultural heritage and historical significance in the region. The discussion touches on the challenges the event has faced, including logistical and social hurdles, while highlighting the new curatorial concept that aims to reinforce the Biennale’s impact on both local and international art scenes. The Karachi Biennale, will open its doors to visitors on October 27 for two weeks and showcase art in five public spaces across Karachi.
About the Moderator: Mihaela Ion
Mihaela Ion holds a Ph.D. in History and is a curator, cultural manager, and art researcher based in Bucharest. Since 2021, she has been an AICA member and has served as an International Board Member since 2022, as well as being part of the Digital Strategies Committee. Over the past 17 years, she has presented papers on Communist Art, Cultural Wars, and contemporary artworks at leading conferences across Europe. Mihaela collaborates with several art galleries and museums throughout the continent. Her Ph.D. thesis focuses on the heritage of communist artworks. She has had the opportunity to work as a cultural manager in London with body>data>space and in Paris, Sélestat, Strasbourg, and Nancy during her Courants du Monde grant from the French Ministry of Culture. In 2010, she co-founded Atelierul Magazine, an active international online and offline platform fostering intercultural dialogue between design creators and the public.
About the Speaker: Niilofur Farrukh
Niilofur Farrukh is a Karachi-based art interventionist whose work has expanded the scope of art publication, curation, and public art in Pakistan. Primarily motivated by issues of decolonization and the intersections between political ideology and visual narrative, her writing focuses on excavating the interdisciplinary connections often lost in Pakistan’s complex cultural and political landscape. She is the author of three books, including her most recent publication, A Beautiful Despair: The Art and Life of Meher Afroz. Niilofur co-founded NuktaArt, Pakistan’s contemporary art magazine, and served as its founding editor for 10 years while it was in print. Her work has appeared in leading Pakistani and South Asian publications, and she is regularly invited to speak at conferences worldwide.
Niilofur has served two terms as Vice President on the Board of the International Art Critics Association and is the former Chair of the Election and Membership Committee. She currently chairs the Censorship and Freedom of Expression Committee, is a member of the FFC, and sits on the jury for the AICA Young Critic Award. In 2023, she was invited to serve on the jury for the Shanghai-based International Public Art Prize. Niilofur is a founding member of the Karachi Biennale Trust and has been its Managing Trustee since 2016. She currently serves as the CEO of the Karachi Biennale.
Karachi Biennale KB24
The Fourth Karachi Biennale KB24 will open its doors to visitors on October 27 for two weeks and showcase art in five public spaces across Karachi.
This theme Rizq/ Risk will connect visitors to the foodscape of our time. Combining the Urdu work Rizq that encompasses livelihood , sustenance and food, in relationship to the English word Risk, creates a sense of urgency as the world faces concerns regarding food security. The theme is in response to Pakistan’s recent flood and heatwaves that has impacted food security and calls for us to pause for a moment, and reflect. Over 40 artists from 10 countries through their art, will start conversations on colonial and Neo-liberal polices of food production and trade that privilege capital gain over hunger and ecology. Works will offer insights into indigenous wisdom as a key to healing the land and environment, and make visible the central role of women as keepers of traditional knowledge and food cultures. The KB24 curator, Waheeda Baloch is a professor at University of Sindh, Jamshoro. She holds a master’s degree in Curating Art from Stockholm University, Sweden. Prior to this, she earned a master’s in Fine Arts from Sindh University and is now pursuing her PhD in Contemporary Art History at the Department of Asian and Islamic Art History at the Rheinische Friedrich-Wilhelms-Universität in Bonn, Germany.
The Karachi Biennale is the flagship project of Karachi Biennale Trust (KBT). KBT is a registered Trust, founded in 2016 and operates as a non-profit organization and a platform to promote creativity, innovation, and critical thinking in the visual arts. KBT has organized three successful iterations of Karachi Biennales from 2017 to 2022 . This has contributed to the further development of the art infrastructure through vitalizing new public art spaces across Karachi. All its exhibitions are supported by an extensive public programming to help enhance the experience of art and its understanding. Its mandate is to connect art, the city and its people.
Niilofur Farrukh , the Chair of the AICA CFEC is the Founding Managing Trustee of KBT and CEO of KB.
REPORT: Ruptured Histories: In the Shadow of Russia. Uncomfortable Heritage in Post-Soviet Art, Public Spaces and Museums.
Report by Tessel Janse, PHD Candidate (Cultural Studies) and art critic. AICA Netherlands.
How can societies, whether postcolonial or post-Soviet, contend with built heritage, historical figures and monuments that symbolise a past oppressive regime? What space for debate is there when this precise heritage is the site of ongoing struggle, and subject to taboo, erasure and amnesia as well as contemporary imperialist aspirations? In the fourth edition of Ruptured Histories, moderated by AICA Poland president Arkadiusz Poltorak, AICA international invited artists, curators and art historians from post-Soviet and post-Stalinist Europe to reflect on the ways in which heritage from the Soviet era sits uncomfortably in the current political landscape, but is nevertheless part of the history of post-Soviet nations. They shared examples of their own initiatives in developing cultural practices that attribute new meaning to that which is not easily forgotten, but also refuses to align with new national narratives of independence and overcoming the past. As Russia uses their presence to legitimise invasion, the discussion on whether to topple or preserve becomes a sensitive but urgent topic for artistic engagement.
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Registration Open: AICA Congress 2024
We are pleased to announce that registration for the AICA Congress 2024 is now open!
This year’s congress, titled Becoming Machine, Resisting the Artificial. Art in the Present Tense, will take place in Bucharest and Iași, Romania from November 4th to 9th, 2024.
Join us for insightful discussions, panels, exhibitions, and performances exploring the intersection of art, artificial intelligence, and contemporary practices. The detailed program for the AICA Congress 2024 is available here.
Secure your spot today by filling out the registration form.
We look forward to welcoming you in Romania!
AICA Podcast with Małgorzata Kaźmierczak
The AICA Podcast, hosted and initiated by Mihaela Ion, debuts on September 26, 2024, with an episode featuring Małgorzata Kaźmierczak, the president of AICA International. This first episode offers engaging conversations about contemporary art and art criticism.
In the first part of the podcast, Mihaela Ion and Małgorzata Kaźmierczak explore AICA's significant role in shaping contemporary art criticism and cultural visions. They discuss how AICA offers resources and historical context to enhance the understanding and appreciation of art, while creating opportunities for emerging critics and cultural managers to engage with the AICA community.
In the second part, the conversation focuses on freedom in the arts, examining how artistic and critical expressions inspire and at times spark controversy. Małgorzata addresses the role of censorship, the impact of political climates on creative expression, and the importance of protecting art critics' rights to voice their perspectives, highlighting the ongoing struggle for autonomy in contemporary cultural environments.
About the moderator: Mihaela Ion – Ph.D in History. Mihaela Ion is a curator, cultural manager and art researcher based in Bucharest. Since 2021, she is an AICA member. Since 2022, she has been an International Board Member in AICA and part of the Digital Strategies Committee in the same association. In the last 17 years, she presented papers about Communist Art, Cultural Wars, contemporary artworks at the most important conferences organized in Europe. She collaborates with several art galleries and museums in Europe. Her PhD thesis focused on the heritage of communist artworks. She has had the good fortune of being a grant keeper as a cultural manager in London at body>data>space, and in Paris, Sélestat, Strasbourg and Nancy during her Courants du Monde grant from the French Ministry of Culture. In 2010, she cofounded the project Atelierul Magazine – an international active online and offline platform that creates an intercultural dialogue between the design creators and the public.
About the speaker: Małgorzata Kaźmierczak – Ph.D. in History. Since 2004 an independent curator of art projects in Poland and USA, especially performance art events. Researcher and author of many essays and reviews. Between 2011-2014 – editor, writer and translator of livinggallery portal; 2006–2012 – president of the Foundation for the Promotion of Performance Art “Kesher” in Kraków, Poland; 2012–2014 – managing editor of the Art and Documentation journal; 2014–2016 – director of the City Art Gallery of Kalisz, Poland. Between 2016–2017 – editor-in-chief of the Publishing House and Assistant Professor at the Faculty of Painting and New Media of the Art Academy of Szczecin, Poland. Currently an Assistant Professor at the KEN University in Krakow and a Chief of the Board for the Discipline of Art Studies. Lectures in Argentina, Brazil, Chile, USA, South Korea, Israel, Taiwan, Spain, Italy, Czech Republic, Hungary and Poland. Since 2020, vice-president of AICA Poland and AICA International. From 2024 president of AICA International.
Remembering Élisabeth Couturier
Chères et chers membres,
Nous avons l'immense tristesse de vous communiquer la disparition de notre chère Élisabeth Couturier, Présidente d’honneur de l’AICA France, survenue dans la soirée du jeudi 19 septembre 2024 à l'Hôpital Saint-Louis de Paris, après deux ans de lutte contre la maladie.
Journaliste, productrice, programmatrice, documentariste et critique d’art, Élisabeth Couturier a fait preuve, tout au long de sa carrière à la télévision, dans le cinéma, à la radio et dans la presse écrite, d’un goût profond pour le partage et la pédagogie afin d’ouvrir au plus grand nombre les portes du monde de l’art et de la culture. Sa personnalité rayonnante et son dynamisme, son regard singulier et son sens de la formule, animés par une insatiable curiosité pour la création, ont fait d’Élisabeth Couturier une journaliste et critique d’art reconnue, admirée et aimée par ses pairs, par les artistes et par le public.
Sa combativité, sa discrétion et sa dignité face à la maladie, demeurent un exemple de courage face aux épreuves de la vie.
Le bureau et les membres de l’AICA France présentent leurs plus sincères condoléances à sa famille et à ses proches, et tout particulièrement à son fils Félix et à son époux Pierre Desfons. Élisabeth restera pour l’association, qu’elle a présidée de 2018 à 2024, après en avoir été secrétaire générale, une figure inspirante et bienveillante.
La cérémonie publique des obsèques d’Élisabeth Couturier aura lieu vendredi 27 septembre 2024 à 14h30, à l'église Saint-Paul Saint-Louis, 99, rue Saint-Antoine, 75004 Paris.
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CALL FOR PAPERS! Art criticism and the museum: dynamics and challenges of relations in the 20th century
On 18 May 1968, a group of art critics gathered on the edge of the Avenue du Président Wilson in Paris with the aim of occupying the Musée National d'Art Moderne. At the head of the crowd, Pierre Restany raised his voice and called for "another bourgeois Bastille to be pulled down: after the Sorbonne, the Musée National d'Art Moderne". The events of the 1960s crystallised a crisis of confidence in the museum and its objects in the Western intellectual world, which had already been felt since the writings of Pierre Bourdieu and Alain Darbel (1966). The reflections of the time on institutional art structures shook both museum institutions and art criticism to the core, reflecting new challenges to traditional notions of the formal autonomy of the work of art.
Despite its centrality, the relationship between art criticism and museums has remained a discreet issue in academic and institutional research in art history and museum studies. Yet the institution of the museum and art criticism have evolved together since their inception, and there are clear links between them. Although defined as an autonomous literary genre by Albert Dresdner (1915), art criticism still exists within a multi-dimensional historical and institutional context. It helps to create the necessary conditions for the legitimisation and valorisation of contemporary artistic creation and maintains close links with the practices of exhibiting, collecting and patrimonialising art - activities traditionally carried out by museums. Conversely, some museum directors, such as Jean Cassou or James Johnson Sweeney, came from the field of art writing and were also involved in the activities of the International Association of Art Critics (AICA) and the International Council of Museums (ICOM). The roles of the museum and art criticism have also been the subject of recurrent ideological disagreements within Western cultural systems, underlining the importance of their mutual relationship.
The aim of this one-day study session is to explore the different ways in which art critics and museums related to each other in the 20th century. By analysing their respective fields, trajectories and circulations, we will seek to shed light on their joint actions, oppositions and interactions. Although the focus of this study is rooted in Western conceptions of the museum and art criticism, we welcome proposals that open up to other geographical areas. To this end, we propose to focus on three thematic axes:
Circulations, crossovers and transfers between art critics and museums
What international or transnational translations are taking place between art critical and institutional networks? What are their dynamics and effects? What role do supranational cultural organizations such as AICA and ICOM play in these exchanges?
What are the implications of transnational circulations between art critics and museums for a possible re-evaluation of the traditional model of 'centre' and 'periphery' in artistic geography?
How have geopolitical tensions (World Wars, Cold War, post-colonial struggles, etc.) affected these relationships?
Social functions of art criticism and the museum
How does art criticism evolve and participate in the transformation of the museum and its cultural action? How does it contribute to the creation of the "forum" or "laboratory" of the museum and its deployment in the public sphere?
Conversely, what role do museum professionals play in the editorial spaces of art criticism?
What narratives do art critics and museums produce as actors in contemporary art historical writing? In what ways are they similar or different?
Forms, practices and challenges of art criticism and museum media
How do the privileged media of the museum (collections, exhibitions, etc.) and art criticism (art magazines, exhibition prefaces and catalogues, etc.) differ or converge?
What forms and practices do they allow? What are the specific effects of the media?
What role do art magazines play in the translation, dissemination and reception of new
museum practices?
Paper proposals should include an abstract of 1500 characters (including spaces), a short bibliography and a 500 characters author biography. Please send them before the deadline of October 23, 2024 to je.critiquemusee@gmail.com. Proposals will be reviewed by the scientific committee, and you will receive a response during the week of November 11.
Scientific Committee
Antje Kramer-Mallordy, lecturer in contemporary art history, Université Rennes 2.
Marie Tchernia-Blanchard, lecturer in contemporary art history, Université Rennes 2, director of the Archives de la critique d'art, (GIS) Université Rennes 2, INHA Paris, Rennes.
Marie Gispert, professor of contemporary art history, Grenoble Alpes University.
Nicolas Heimendinger, PhD in aesthetics and art history from the University of Paris 8, temporary teaching and research associate at the University of Lille, associate member of the Centre d'étude des arts contemporain (CEAC).
Bibliography
BOURDIEU, Pierre et Alain Darbel. L’Amour de l’art : Les musées d’art européens et leur public, Paris : Les éditions de minuits, coll. Le sens commun, 1966.
DESVALLÉES, André et François Mairesse. Concepts clés de muséologie. Paris: Armand Colin, 2010. DRESDNER, Albert. Die Entstehung der Kunstkritik im, München: Bruckmann, 1915. FRANGNE, Pierre-Henry et Jean-Marc Poinsot, éd. L’invention de la critique d’art : actes du colloque international tenu à l’Université Rennes 2 les 24 et 25 juin 1999. Rennes: Presses universitaires de Rennes, 2002, p. 11.
RESTANY, Pierre. “Une autre Bastille à abattre : le musée d’Art moderne”, Combat, samedi 18 et dimanche 19 mai 1968, p. 16
THIS OPEN CALL IS AVAILABLE AS A PDF DOCUMENT IN ENGLISH AND FRENCH
COMING SOON: AICA PODCAST
The AICA Podcast, initiated and moderated by Mihaela Ion, is set to launch in September 2024, promising to deliver engaging content and discussions on topics related to art, culture, art criticism, and curation.
This online podcast will feature a moderator and invited speakers discussing various aspects of AICA's international projects in English, as well as their own curatorial and artistic endeavors, while exploring the current state of contemporary art and art criticism. The engaging conversations aim to highlight the challenges and emerging ideas within the art world, fostering a deeper understanding of its trends and potential developments. The AICA Podcast seeks to showcase the diverse personalities within our international association, creating a vibrant community of art commentators, managers, and curators from around the globe. By sharing insights and information in real-time, the podcast not only promotes AICA's mission but also facilitates meaningful dialogue and collaboration within the art world. The podcast will be broadcast on several online platforms, as well as AICA’s website and social media channels.
The first three shows are already confirmed with key AICA personalities. In the first episode, we will discuss AICA’s mission, global projects, importance, and history with Małgorzata Kaźmierczak, and in another show with Lisbeth Rebollo Gonçalves. Featuring Małgorzata Kaźmierczak, the current president of AICA, in the first episode will provide valuable insights into the organization's mission and impact. The subsequent discussion with her will undoubtedly enrich the conversation, highlighting AICA's worldwide projects and historical significance, engaging the audience with the important work being done by AICA. We will continue discussing the association's importance with Lisbeth Rebollo Gonçalves, the former president and now Honorary President of AICA. An upcoming episode will feature Alfredo Cramerotti as a guest speaker, where he will delve into digital strategies employed by AICA, his curatorial projects, and explore changes in art criticism.
Review of Jean-Marc Poinsot's Latest Book: "NOTES SUR L'EXPOSITION ET SES ACTEURS"
We are pleased to share a recent, in-depth review by Maïté Vissault of Jean-Marc Poinsot's latest book, NOTES SUR L'EXPOSITION ET SES ACTEURS.
Poinsot, a distinguished critic and art historian, offers profound insights into the past two decades through his discerning commentary on selected works and exhibitions. Unravelling the critical significance of art pieces addressing societal issues, Poinsot's analysis sheds light on the evolving landscape of the arts. From the visionary works of Daniel Buren, Michel Parmentier, Pierre Huyghe, and Wesley Meuris to the ground breaking exhibitions curated by figures like Jan Leering, Harald Szeemann, Laurent Le Bon, and Jens Hoffmann, this book encapsulates the essence of contemporary art across iconic cities including Paris, New York, London, Cassel, and Venice.
We invite you to read Maïté Vissault’s comprehensive review here.
Jean-Marc Poinsot's NOTES SUR L'EXPOSITION ET SES ACTEURS is available for purchase through our website.
Call for applications for a research grant at the Archives de la critique d'art
The International Association of Art Critics (AICA International) and the Archives of the Art Critic (ACA) are taking applications for a research grant on the history of AICA and its various national sections. This grant is open to all members of AICA International who wish to travel to Rennes to carry out research at ACA. It is intended to encourage the exploration and development of AICA International’s archives, which include documents relating to congresses and general assemblies held in France and abroad from 1948 to 2009 (programmes, memorandums, correspondence, participants’ papers, minutes), on the work of the committees and the organisation and management of the association (accounting and administrative documents, budgets, Presidents’ and Secretary Generals’ files).
The personal records of the association's members may also be consulted.
The grant amounts to €2,000. It is intended to finance a research residency lasting 2 to 4 weeks between April and May 2025. The successful candidate will be able to stay at the Cité internationale Paul Ricoeur in Rennes.
The successful candidate undertakes to produce a piece of written work at the end of the residency and to present the results of their research at the invitation of the partners (seminar, conference, debate, interview, etc.).
Preference will be given to applications from members who do not reside in mainland France.
Application file
The application file (in French or English) must include:
1. An application letter addressed to the President of AICA International and the Director of the ACA detailing the research project;
2. A curriculum vitae;
3. A provisional timetable and budget for the residency.
Applications must be sent in PDF format by the 17th of November 2024 at midnight, Paris time, with the following subject line: ‘Application for the AICA International - ACA Research Grant’; only applications sent to the email addresses below will be considered:
aica.office@gmail.com
aca-direction@univ-rennes2.fr
Selection committee
Applications will be examined by a jury comprising AICA International’s President, ACA’s Director and another qualified individual.
The results will be announced on the 13th of December 2024.
For any questions about the ACA collections, please contact: laurence.lepoupon@univ-rennes2.fr
THIS CALL IS AVAILABLE AS A PDF IN ENGLISH, SPANISH, AND FRENCH.
Invitation to the General Assembly 2024
Dear Members,
You are cordially invited to our annual General Assembly on Wednesday November 6 & Friday December 13, 2024.
All paid-up members may attend the General Assembly and take part in the voting.
November 6: Hybrid Meeting at 4 pm (Romania Time)
The first part of the General Assembly dedicated to Any other businesses is organized in a hybrid format during the 56th AICA International Congress organized by AICA Romania.
In person: meeting at the National Museum of Contemporary art in Bucharest at 4 pm (Romania).
Online: meeting via zoom at 4:00 pm (Romania).
You will find more information about the 56th International AICA Congress in Bucharest and Iasi here .
December 13: Online Meeting at 2 pm (Paris Time)
The second part of the General Assembly is organised online and is dedicated to the Points submitted for voting.
You will find the detailed Agenda for both parts of the meeting here.
Invitation à l’Assemblée Générale: 6 November & 13 Décembre 2024
Ch.e.è.r.e.s membres,
Vous êtes cordialement invité à notre Assemblée Générale annuelle qui se tiendra les mercredi 6 novembre & vendredi 13 décembre 2024.
Tous les membres à jour de leur cotisation peuvent assister à l'Assemblée Générale et prendre part aux votes.
6 Novembre : Réunion hybride à 16h (Heure de Bucharest)
La première partie de l’Assemblée Générale consacrée aux Points divers est organisée en hybride pendant la 56ème édition du Congrès AICA International organisée par AICA Roumanie.
En présentiel: réunion au Musée national d’art contemporain de Bucharest à 16h (Roumanie).
En ligne: réunion via zoom à 16h (Roumanie).
Vous trouverez plus d’information sur la 56ème édition du Congrès AICA International qui se tiendra à Bucharest et Iasi du 4 au 9 Novembre ici.
13 Décembre : Réunion en ligne à 14h (Heure de Paris)
La seconde partie de l’Assemblée Générale est organisée en ligne et sera consacrée aux Points soumis au vote.
Vous trouverez l’ordre du jour détaillé des deux réunions ici.
Invitación a una Asamblea general - 6 de Noviembre & 13 de Diciembre 2023
Estimados/as miembros,
Nos alegra invitarles a una Asamblea General el 6 de Noviembre & 13 de diciembre.
Todos los miembros que hayan pagado sus cuotas pueden asistir a la Asamblea General y participar en las votaciones.
6 de noviembre: Reunión en Hybrid a las 16:00 horas (Romania)
La primera parte de la Asamblea General dedicada a los Asuntos varios se celebrará como una reunión híbrida durante el 56 Congreso Internacional de AICA organizado por AICA Romania.
En persona: reunión en el Museo Nacional de Arte Contemporáneo de Bucarest a las 16.00 horas.
Online: reunión vía zoom a las 16:00 horas (Romania).
Puede encontrar más información sobre la 56ª edición del Congreso Internacional de la AICA en Bucharest y Iasi del 4 al 9 de noviembre aquí.
13 de diciembre: Reunión en línea a las 14:00 horas (París)
La seconda parte de la Asamblea General se organiza en línea y está dedicada a los Puntos sometidos a votación.
Encontrará el orden del día detallado de ambas reuniones aquí.
WEBINAR: Ruptured Histories: In the Shadow of Russia
Uncomfortable Heritage in Post-Soviet Art, Public Space and Museums
DATE: Friday 13 September 2024
TIME: 15.00 (CET); 09.00 (EST)
DURATION: 2 hours
Speakers
Nikita Kadan – Ukrainian artist works with installation, sculpture, painting, graphics, often in interdisciplinary collaboration with historians, architects and human rights activists.
Yevheniia Moliar – Ukrainian art historian working on the cultural heritage of the Soviet period, in particular monumental art.
Dr. Kinga Siewior – Historian and assistant professor in the Department of Anthropology of Literature and Cultural Studies at the Faculty of Polish Studies at Jagiellonian University in Krakow.
Sabina Shikhlinskaya – Azerbaijani artist, educator, and curator of the first Azerbaijani exhibition pavilion at the 52nd Venice Biennial.
Lali Pertenava – Art historian, researcher, and curator based in Tbilisi, Georgia. Her primary area of interest is socially engaged/public art.
Moderator
Arkadiusz Poltorak – President of AICA Poland
RUPTURED HISTORIES is a series of Web Symposiums presented by AICA International (International Association of Art Critics) on the initiative of the Fellowship Fund Committee. This fourth iteration of Ruptured Histories has the support of AICA Poland and AICA Netherlands.
Ruptured Histories is open to AICA members and non-members, students and academics worldwide. There is no charge for attending.
After the moderated discussion between the speakers and the respondents, there will be time for the audience to raise issues, present questions and discuss points with any of the speakers.
PRACTICAL INFORMATION
To subscribe to the Web Symposium please send an e-mail to:
aicainternational.webinar@gmail.com
You will receive a link 24 hours before the event.
RUPTURED HISTORIES: IN THE SHADOW OF RUSSIA
Uncomfortable Heritage in Post-Soviet Art, Public Spaces and Museums.
For our upcoming Ruptured Histories Webinar, we have invited Ukrainian artist Nikita Kadan, Ukrainian art historian Yevheniia Moliar, Polish historian Dr. Kinga Siewior, Azerbaijani artist, educator and independent curator Sabina Shikhlinskaya and Georgian art historian and curator Lali Pertenava. They will discuss the difficulties faced by artists in post-Soviet regimes in their attempts to engage with issues related to cultural memory. Monuments, museum collections, urban planning and architecture are interfaces through which contemporary artists establish relationships with the 20th-century past – and especially that of the Soviet era. However, these relationships are rarely optimistic and are not grounded in a sense of continuity between today’s culture, institutions, and social rituals, and those of the time. Taking Ukraine as an example, the forms of social life typical of Soviet Ukraine appear to be imposed from above – as testaments to political and cultural violence, the renewed manifestations of which Ukrainians recognise in Russia’s contemporary behaviour towards its neighbouring countries. In the light of the ongoing war, traces of the Soviet past often amount to undesirable heritage. As such, they are subjected to active censorship and defacement on the one hand, and cultural elaboration in the light of present interpretations of the past on the other. If war provides a strong impetus for such processes, it should be noted that they have persisted longer than Russia’s military aggression itself. They are not endemic to Ukraine either. The dialectic of tabooism and reinterpretation of the Soviet legacy takes a different pace and course in different areas of the former USSR but remains recognisable in the culture of all post-Soviet countries. How widely does the ongoing war in Ukraine affect culture and art across the former USSR? Do common strategies for constructing cultural memory emerge in the art of diverse post-Soviet societies, despite significant differences? Is the ongoing defacement of Soviet monuments simply a manifestation of epistemic justice and the ‘levelling of accounts’ with the historical perpetrators? Or, following Sharon Macdonald’s writings on Germany’s ways of dealing with its Nazi past, can the traces of the Soviet past be regarded as a ‘difficult heritage’, bearing witness not only to the experience of oppression but also to the shared responsibility in sustaining it?