Archives de catégorie : Appels à communication

Appel pour un colloque au MUCEM en prévision

Atelier(s) d’artiste(s), 4-5 octobre 2018, Marseille : Appel à communications

    Atelier(s) d’artiste(s)

Lieux et processus de production
Matériaux pauvres – Matériaux nobles

Marseille, MUCEM
4-5 octobre 2018

Porter son attention sur ces Atelier(s) d’artiste(s) que sont les lieux, les processus de production, les matériaux employés et les savoir-faire mis en œuvre …

Des pistes multiples que  la SFIIC se propose d’explorer de manière pluridisciplinaire en partenariat avec le MUCEM et le CICRP.

Deux thématiques seront abordées :

  • Lieux et processus de production aussi divers que l’espace public, l’atelier d’artiste ou d’artisans, les manufactures…, et les enjeux pour leur conservation…..
  • Matériaux nobles – matériaux pauvres : L’« atelier », où l’on perfectionne des matériaux et où s’affirment des savoir-faire

Un appel à communications est lancé sur la thématique
Matériaux nobles – matériaux pauvres.

Les propositions sont à adresser à contact@sfiic.com pour le 7 janvier 2018 au plus tard et seront examinées par un Comité scientifique.

  • Modalités de l’ appel [ ICI ]

Acting in Contemporary Art Conservation

Call for Papers: SBMK Summit 2018

The Dutch Foundation for the Conservation of Contemporary Art (SBMK) has announced an international event to take place on the 15th and 16th of November 2018 in the Netherlands: the SBMK summit on (inter)national collaboration ‘Acting in Contemporary Art Conservation’. SBMK invites scholars, researchers, artists and educators to submit papers for this international symposium.

The aim is to create a lively event to meet peers, to share experiences and current research, and to get inspired to initiate new projects and collaborations. Several timely topics have been selected for this symposium and applicants are invited to present a proposal that either fits these topics or to suggest an additional theme, as the programme is open to include one more. The themes selected are: decision making, artist participation and oral history in conservation.

The SBMK summit is being organised in collaboration with the Cultural Heritage Agency of the Netherlands and the University of Amsterdam.

Deadline of the Call for Papers: 31 December 2017.

Published by  Amsterdam School for Heritage, Memory and Material Culture Copyright UvA 2017

Appel à publication / Call for paper

Nous relayons ici l’appel à publication lancé par Hanna Hölling, notre collègue membre de l'[URI-cr].

Object – Event – Performance: Art, Materiality, and Continuity since the 1960s
2018 CAA | College Art Association, Los Angeles, Feb 21-24, 2018 – call for papers
In the 1960s, the art world and its objects began to experience a dramatic shift in what and how art can be. New modes of artistic expression articulated through Fluxus activities, happening, performance, video, experimental film and the emerging practices of media art questioned the idea of a static object that endures unchanged and might thus be subject to a singular interpretation. Different from traditional visual arts, the blending genres and media in art since the 1960s began to transform not only curatorial and museum collecting practices, but also the traditional function and mandate of conservation, now augmented to accept the inherent dynamism and changeability of artworks.

How do these artworks endure over time despite their material and conceptual changes? How do their identities unfold contingent on ruling knowledge, values, politics, and culture? Forging an examination of the physical and immaterial aspects of artworks at the intersection of art history and theory, material culture studies, and conservation, our session proposes to interrogate artworks that evade physical stability and fixity familiar from traditional works often conceived in a singular medium and meant to last “forever.” Intrinsically changeable and often short-duration, these artworks challenge art, conservation, and museological discourses. Not only do they test the standard assumptions of what, how and when an artwork is or can be, but they also put forward the notion of materiality in constant flux that plays a significant role in the creation and mediation of meaning.

[Send applications to:] Chair: Hanna B. Hölling, University College London, h.holling@ucl.ac.uk

The deadline for submissions is August 14, 2017. Please consult general guidelines for participants listed in the 2018 CAA Call for Participation (accessible here). A downloadable CFP for this session is available here.

(submitted by Hanna Hölling)

Appel à publications pour EGG – CerOArt

(Version Française)

EGG – 2016-2017

Le hors-série EGG (European Graduate Generation in conservation-restoration), publiera début d’hiver 2017  les premiers articles de jeunes diplômés des années 2016 et 2017. Ceux-ci peuvent porter indistinctement sur des études de cas, des recherches ou des réalisations pratiques dans le cadre de jurys et mémoires ou thèse de doctorat, pour autant qu’elles aient été présentées avec succès au sein des différentes formations.

Par la poursuite de ce projet, nous voulons réaffirmer l’importance, pour de jeunes conservateurs-restaurateurs, de partager leurs recherches et travaux sous forme de publication scientifique. En effet, la somme de savoirs accumulée dans la « littérature grise » (non publiée) des dossiers d’intervention, mémoires de fin d’études et thèses doctorales est phénoménale. La divulgation des résultats stimule les recherches, et leur complémentarité peut déboucher sur des projets communs au niveau européen. L’initiative donne, en outre, une meilleure visibilité aux différentes formations au sein des Hautes Écoles et Universités.

Modalités

Chaque étudiant ou diplômé désireux de soumettre un article doit préalablement contacter, au sein de l’établissement où il étudie, un enseignant faisant office de personne de référence et qui sera son intermédiaire vis-à-vis de CeROArt. La personne de contact est chargée du suivi de l’article scientifique (de l’élaboration à sa version finale), et veille à sa conformité par rapport à la charte éditoriale ;  elle est à même de procéder à la relecture d’un article émanant d’une autre institution; enfin elle vérifie les informations relatives à la formation et à l’École ou Université qu’elle représente, et qui seront publiées.

Les textes peuvent être soumis en français, en anglais, ou dans les deux langues. Les textes en anglais doivent impérativement relus par un native English speaker. CeROArt n’assume pas les traductions.

Site et Charte éditoriale la revue

Calendrier

Envoi des articles avant le 1 novembre 2017. Ceux-ci pour être pris en compte doivent respecter la charte éditoriale et être vérifiés (cf check list).

Information complémentaire: muriel.verbeeck(at)ceroart.org

 English version

EGG – 2016-2017

In winter 2017, special issue EGG (European Graduate Generation in conservation-restoration), will publish the first articles by young graduates (2016 and 2017). These may be case studies, research or dissertations, provided that they have been successfully presented in the various trainings.

By this project, we wish to reaffirm the importance, for young conservators-restorers, of sharing their research and work in scientific form. There is in fact an exceptional amount of knowledge accumulated in the (unpublished) “grey literature” of intervention files, end-of-study dissertations and doctoral theses. The dissemination of the results stimulates research and their complementarity can lead to joint projects. In addition, the initiative gives greater visibility to the different types of training within Colleges of Arts and Universities.

Modalities

Each student or graduate wishing to submit an article must make prior contact with a teacher in the establishment in which he is studying, who will act as a reference person and be his intermediary with regard to CeROArt. The contact person is responsible for supervising the scientific article (from drafting to final version), and ensures that it complies with the editorial charter; this person is also able to proofread an article from a different institution; finally, he checks the information to be published regarding training and the College of Arts or University he represents.

Texts may be submitted in French, in English or in both languages. Texts in English must be proofread by a native English speaker. CeROArt will not provide translations.

Website: http://ceroart.revues.org/ (for English version, click on the upper right button)

Publishing Policy: http://ceroart.revues.org/index87.html

Check list: https://ceroart.revues.org/5198?file=1

Schedule

Papers’ submission: before November 1st 2017.

Additional information : muriel.verbeeck(at)ceroart.org

Call for participation

CAA 106 th Annual Conference

Los Angeles, February, 21 – 24, 2018

Object – Event – Performance
Art, Materiality, and Continuity since the 1960s
[Send applications to:]

Chair: Hanna B. Hölling, University College London, h.holling@ucl.ac.uk

In the 1960s, the art world and its objects began to experience a dramatic shift in what and how art can be. New modes of artistic
expression articulated through Fluxus activities, happening, performance, video, experimental film and the emerging practices of media art questioned the idea of a static object that endures unchanged and might thus be subject to a singular interpretation. Different from traditional visual arts, the blending genres and media in art since the 1960s began to transform not only curatorial and museum collecting practices, but also the traditional function and mandate of conservation, now augmented to accept the inherent dynamism and changeability of artworks.
How do these artworks endure over time despite their material and conceptual changes? How do their identities unfold contingent on ruling knowledge, values, politics, and culture? Forging an examination of the physical and immaterial aspects of artworks at the intersection of art history and theory, material culture studies, and conservation, our session proposes to interrogate artworks that evade physical stability and fixity familiar from traditional works often conceived in a singular medium and meant to last “forever.”
Intrinsically changeable and often short-duration, these artworks challenge art, conservation, and museological discourses. Not only do they test the standard assumptions of what, how and when an artwork is or can be, but they also put forward the notion of materiality in constant flux that plays a significant role in the creation and mediation of meaning.
The deadline for submissions is August 14, 2017. Please consult general guidelines for participants listed in the 2018 CAA Call for
Participation (accessible here). Selected contributions might be considered for publication.

Pour lire le programme complet, voir ICI

What is authentic about restoration?

Call for papers

  » What is authentic about restoration ? «  for an upcoming issue of Aesthetic Investigations focused on the philosophical implications of preservation, restoration, and conservation, as it applies to art or architecture. Editors Remei Capdevila and Sue Spaid welcome submissions from aestheticians, environmental philosophers, moral philosophers, cognitive philosophers, art conservators, architects, artists, architectural historians, art historians, etc.
Your previously unpublished paper cannot exceed 7500 words (including embedded footnotes) and must be: written in English, prepared for blind review, follow Aesthetic Investigations guidelines, and uploaded directly to the journal’s site. We especially welcome papers from writers whose native tongue is not English.
Many seem to agree that restoration generally means « restoring to normal use, » not original conditions. Where does that leave the « authenticity » or traceability of the artist’s achievements? We welcome aesthetic and philosophical discussions of the law and criteria in use in practice in the restoration of objects of value.
Papers may address/assess any of the following issues:
1)         Conserving to the photograph; photography’s role in guiding approaches, influencing outcomes, and measuring success, or alternative measuring sticks to photography.
2)         Are renovated buildings and conserved artworks co-authored?
3)         What are the boundaries of authenticity? What needs to be left of the « original » for it to be considered an original work? Are works perceived as poorly or improperly conserved works effectively « new » works by different artists?
4)         How do preservationist approaches, which discourage interventions, challenge intentionalist positions?
5)         Does aesthetics treat conservation as a fact of the matter or a controversial inconvenience?
6)         Is conservation a matter of appearance or does it have ontological considerations?
7)         What are the ethical aspects to be considered when restoring or preserving?
8)         How do preservationist practices challenge established notions of authenticity?
 We offer authors the possibility to submit a long abstract of around 1000 words consisting of a detailed outline of the paper and which should include the paper’s structure as well as its main claims, ideas, and arguments.
Submission deadline: June 30, 2017
 
Please contact the editors for any questions:
Remei Capdevila  remeicw@alum.mit.edu
Sue Spaid articles@aestheticinvestigations.eu

CALL FOR PAPERS

6th interdisciplinary ALMA conference « Painting as a story »

31 MAY– 3 JUNE
Wednesday, May 31, 2017 – 12:00 to Saturday, June 3, 2017 – 12:00
Brno, Czech Republic
Brno, Czech Republic

Methodological novelties to the fine arts’ research with the accent on the role of time depending processes affecting the object‘s identity and state of preservation.

Conference topics:

  • Degradation phenomena (from chemical mechanisms to impacts on artwork’s aesthetic value and identity)
  • Unclear history (consistency and controversy of historical and analytical facts and comparative studies)
  • Unclear future (recent experience with conservation of modern and contemporary art)

6th interdisciplinary ALMA conference focused on research, technology, history and conservation/restoration of paintings. The conference is going to be held in historical premises of the Augustinian Abbey, Mendel Square, Brno, on May 31 – June 3 2017. The usual date of the conference was postponed from the traditional November of an even year to spring of an odd year to achieve regular annual periodicity with a conference held in Krakow, Poland with a similar specialization. The tandem of these two conferences will create a united discussion platform for the field of interdisciplinary research of the fine arts in the Central European region. Therefore, in the programme committee of the ALMA conference 2017 there are not only Czech members, but also members from Slovakia, Austria, Germany and Poland. For the first time the conference is organized not only by establishing institutions of ALMA laboratory, i. e. Academy of Fine Arts in Prague and Institute of Inorganic Chemistry of the Czech Academy of Sciences, v.v.i., but also Moravian Gallery in Brno, Masaryk University Brno, and two partner institutions from Slovakia – Slovak University of Technology in Bratislava and Academy of Fine Arts and Design in Bratislava. Because of the Czech-Slovak format of the organizing committee, it was decided to held the conference in Brno for the first time. The conference is going to be held under the patronage of the Rector of Academy of Fine Arts in Prague, MgA. Tomáš Vaněk, and the Rector of Masaryk University Brno, doc. PhDr. Mikuláš Bek, Ph.D. The conference is intended for researchers from the fields of natural and material sciences, humanities, restoration and conservation and arts, interested in current scientific knowledge on the topic and its possible use in practice.

The topic of the conference is “Painting as a story” where the need of the interdisciplinary approach can be seen in any potential context. Also a crystallographic workshop focused on authentication of artworks and the provenience analysis organized by International Union of Crystallography becomes a regular part of the tandem of Central European conferences.

The ALMA conference 2017 registration is now open and accessible on the website: https://www.alma-lab.cz/eng/informations-and-registration. It is possible to submit oral or poster presentations. Main conference language is English, a limited number of presentations can also be in Czech or Slovak.

Presenting students can ask for a financial support. Conference proceedings “Acta Artis Academica” is included in the international ISI Proceedings database (Web of Science). Important information can be found in the invitation (attached below).

Invited speakers

  • Katrien Keune / University of Amsterdam, Amsterdam, Netherlands
  • Koen Janssens / University of Antwerpen, Antwerpen, Belgium
  • Luciano Pensabene / Peggy Guggenheim Collection, Venice, Italy
  • Giovanni Cavallo / Scuola universitaria professionale della Svizzera italiana, Canobbio, Switzerland
  • Gilberto Artioli / University of Padova, Padova, Italy (CrysAC IUCr)
  • Costanza Miliani / University of Perugia, Perugia, Italy
  • Jiří T. Kotalík / Academy of Fine Arts in Prague, Prague, Czech Republic

Call for abstracts and registration opening: 7 November 2016

Abstract submission: 28 February 2017

Submission for financial support (for presenting students): 28 February 2017

Decision of acceptance: 20 March 2017

Early-bird registration: 30 April 2017

Date of the conference: 31 May – 3 June 2017

Questions regarding registration can be sent to a contact e-mail address: alma2017@alma-lab.cz.

European Graduate Generation in conservation-restoration

EGG – 2016-2017

EGG-2014 (European Graduate Generation in conservation-restoration), publiera à l’automne 2017  les premiers articles de jeunes diplômés des années 2016-2017. Ceux-ci peuvent porter indistinctement sur des études de cas, des recherches ou des réalisations pratiques dans le cadre de jurys et mémoires ou thèse de doctorat, pour autant qu’elles aient été présentées avec succès au sein des différentes écoles européennes.

Par la poursuite de ce projet, nous voulons réaffirmer l’importance, pour de jeunes conservateurs-restaurateurs, de partager leurs recherches et travaux sous forme de publication scientifique. En effet, la somme de savoirs accumulée dans la « littérature grise » (non publiée) des dossiers d’intervention, mémoires de fin d’études et thèses doctorales est phénoménale. La divulgation des résultats stimule les recherches, et leur complémentarité peut déboucher sur des projets communs au niveau européen. L’initiative donne, en outre, une meilleure visibilité aux différentes formations au sein des Hautes Écoles et Universités.

Modalités

Chaque étudiant ou diplômé désireux de soumettre un article doit préalablement contacter, au sein de l’établissement où il étudie, un enseignant faisant office de personne de référence et qui sera son intermédiaire vis-à-vis de CeROArt. La personne de contact est chargée du suivi de l’article scientifique (de l’élaboration à sa version finale), et veille à sa conformité par rapport à la charte éditoriale ;  elle est à même de procéder à la relecture d’un article émanant d’une autre institution; enfin elle vérifie les informations relatives à la formation et à l’École ou Université qu’elle représente, et qui seront publiées.

Les textes peuvent être soumis en français, en anglais, ou dans les deux langues. Les textes en anglais doivent impérativement relus par un native english speaker. CeROArt n’assume pas les traductions.

Le site de la revue : http://ceroart.revues.org/

La charte éditoriale de la revue : http://ceroart.revues.org/index87.html

Calendrier

Au plus tard le 30 octobre 2016 pour les diplômés 2016: envoi des sujets, des titres et des résumés/abstracts et mots-clés ainsi que d’une brève + référence et nom du référent (fiche modèle téléchargeable dès le 1e juillet 2016). Envoi des articles avant le 15 décembre 2016.

Au plus tard le 1 juin 2017 pour les diplômés 2017: envoi des sujets, des titres et des résumés/abstracts et mots-clés ainsi + référence et nom du référent (fiche modèle téléchargeable dès le 1e juillet 2016). Envoi des articles avant le 1 octobre 2017.

Information complémentaire: muriel.verbeeck(at)ceroart.org

Appel à contributions

Evolution de la conservation préventive en France – 8 et 9 juin 2017 – Pierrefitte

L’Association des Préventeurs Universitaires (APrévU) existe depuis le début de l’année et  vient de mettre en ligne un site internet :https://aprevu.com

Elle lance un appel à contributions pour la conférence, qui aura lieu les 8 et 9 juin 2017 aux Archives Nationales à Pierrefitte.

Date limite : résumés pour le 15 juillet 2016 au plus tard : https://aprevu.com/2016/06/11/appel-a-contribution

Appel à contributions

La Revue MONUMENTAL 2017-1 – Conservation /restauration des monuments historiques et innovations technologiques [immeubles et objets mobiliers]

Objectif : faire un point, de façon transversale, sur l’ensemble des nouveaux processus et outils mis au point ces dernières années dans le domaine de la restauration des monuments historiques [meubles et immeubles].

Vous êtes invités à faire parvenir vos propositions avant le 1er juillet 2016 à la rédaction de la revue MONUMENTAL

Plus de détails   ici  

Appel à communication.

Nature de l’offre  : Appel à communication.
Date  : du 24 au 26 août 2016.
Lieu  : National Gallery of Victoria, Melbourne, Australie.
Date limite d’ennvoi d’un résumé : 30 avril 2016.

The Australian Institute for the Conservation of Cultural Material, Conservation Framing and Gilded Objects (special interest groups) will hold this international symposium, encompassing both traditional framing as well as broader concepts of framing for the presentation of modern and contemporary art and design. This wide-ranging theme will appeal to many potential speakers and delegates including artists, curators, conservators, historians, designers and frame makers.

Our symposium will coincide with the NGV Winter Masterpieces exhibition Degas, A New Vision. It is anticipated that some of our speakers will focus on the frames designed by Degas for his artworks, further enriching our understanding of the artist and his work.

Twenty speakers are anticipated and currently include prominent international experts Dr Eva Mendgen and Lynn Roberts, and Australian specialists Dr Malgorzata Sawicki, John Payne and Holly McGowan-Jackson.

The organising committee now welcomes abstracts of 250 words for papers, lightning talks and posters. Paper presentations should be tailored to 20 minutes in length. Presenters are encouraged to submit papers for publication in the AICCM Bulletin. Lightning talks should be tailored to approximately 5 minutes in length with an abstract for publishing in the symposium notes. Posters will be hard copy format with abstracts published in the symposium notes.

To submit your abstract, send it to loubradley@bigpond.com by close of business on 30 April 2016.

Call for Papers: 18th Triennial Conference ICOM-CC

CALL FOR PAPERS ICOM-CC 18th Triennial Conference Copenhagen, Denmark 4–8 September 2017

Theme: Linking Past and Future

ICOM-CC is inviting contributions for its 18th Triennial Conference and Preprints. This two-phase process consists of a call for abstracts, followed by an invitation to submit full papers for publication. A separate call for posters will be issued at a later date. Instructions relating to the Preprints are available on ICOM-CC’s dedicated conference.

website  www.icom-cc2017.org.

The ICOM-CC Triennial Conference presents an overview of the current state of conservation research and practice. Papers addressing the aims and programs of the ICOM-CC Working Groups are encouraged. For information about the Working Groups, please consult the ICOMCC.

website  www.icom-cc.org.

Work submitted must be original and must not have been published elsewhere or be under consideration by another publication. At least one author of each selected paper must be present at the conference to discuss the work. All contributions must be submitted and delivered in English. Authors must use the abstract template provided on the dedicated conference website.

Key dates

  • 1 April 2016: Website available for submission of abstracts
  • 15 April 2016: Deadline for receipt of abstracts
  • 18 November 2016: Deadline for receipt of full papers Non-compliance with these deadlines may result in the rejection of contributions. Invitation to submit a full paper does not guarantee its acceptance. Authors will be informed of the results of the final selection of papers in April 2017.

ICOM-CC Photographic Materials Working Group Interim Meeting

Meeting theme: Uniques & Multiples

fotoPhoto, anonymous, 1884 – 1892. This meeting is an important gathering of photograph conservators and historians from all over the world. Past meetings have been held in Wellington, Athens, Rochester, and Paris, among other locations. The 2016 meeting will be comprised of two days of workshops and tours (21-22 September, optional) followed by two days of lectures and a poster display (23-24 September).

Call for Papers

Please submit an abstract for a full lecture, a 5-minute pitch, or a poster by 15 January 2016.

Lecture Day 1 (23 September)

This day will be dedicated to the meeting theme: Uniques & Multiples

The joint contemplation of the unique and the multiple touches upon the very essence of photography, from its beginnings in the 19th century until the present. While seemingly contradictory, the two concepts are actually inextricably linked and can be explored on many levels. Nicéphore Niépce, for example, was concerned with the reproduction of works of art in order to multiply and disseminate images of them, and yet in fact very few photographic artefacts form his legacy. Daguerre’s process produced a unique photographic object, but many thousands of daguerreotypes can be found in collections today. Early pioneers duplicated daguerreotypes by etching and printing from them or by creating galvanic copies; these techniques then became obsolete within years of their invention.

In our digital era of mass photography, unique analogue processes such as ambrotypes and tintypes are flourishing. Most recently, a 20th century photographic unique, the instant print, teetered on the brink of obsolescence as a result of the takeover of digital photography, but it has been revived and is currently thriving. Many questions remain unanswered on the materials and techniques, but also on the conservation and exhibition of unique photographs, such as daguerreotypes, photogenic drawings, colour screen plates, and contemporary prints with applied media. Similarly, ethical and practical questions regarding reprinting and replacement may arise with serial objects, such as numbered editions of colour photographs and inkjet prints. These and other technically and temporally recurrent variations of the unique and the multiple will be studied in breadth and depth on the first day of the conference.

Lecture Day 2 (24 September)

Free conservation topics

All original submissions covering topics relevant to the analysis, treatment, study and care of photographic materials will be considered.

Tours and Workshops (21-22 September, optional)

A programme of tours and workshops relating to the meeting theme will precede the two days of lectures. In the current planning are included, among others:

  • a tour of the Impossible Project factory (formerly Polaroid), where instant film is still being produced,
  • a workshop on Joseph Berres’ 1840 technique for etching daguerreotypes and printing from them,
  • and an Amsterdam city tour “In the footsteps of Jacob Olie” (a 19th C. city photographer).

The full programme with more tours and workshops will be announced on 15 March 2016.

Technical Committee

  • Susie Clark – Conservator of Photographs, and ICOM-CC PMWG Assistant Coordinator
  • Diana Díaz – Conservator of Photographs, Harry Ransom Center, and ICOM-CC PMWG Twitter LinkedIn and Facebook Coordinator
  • Marc Harnly – Senior Conservator and Department Head, J. Paul Getty Museum, and ICOM-CC PMWG Assistant Coordinator
  • Greg Hill – Senior Conservator, Canadian Conservation Institute, and ICOM-CC PMWG Coordinator
  • Martin Jürgens – Conservator of Photographs, Rijksmuseum Amsterdam
  • Bertrand Lavedrine – Director, Centre de Recherche sur la Conservation des Collections CRCC, Paris
  • Sylvie Pénichon – Conservator, Department of Photography, Art Institute of Chicago, and Chair of PMG-AIC
  • Klaus Pollmeier – Conservator of Photographs, Fine Print Studios, Mühlheim a. d. Ruhr
  • Mark Strange – National Library of New Zealand, and ICOM-CC PMWG Assistant Coordinator
  • Clara von Waldthausen – Coordinator and Lecturer in Photograph Conservation and Preventive Conservation, University of Amsterdam

Key dates to remember

  • 15 January 2016 Submission deadline for abstracts for talks and posters
  • 1 March 2016 Notification of speakers and authors
  • 15 March 2016 Announcement of programme, Registration opens
  • 21-22 Sept. 2016 Workshops and tours
  • 23-24 Sept. 2016 Interim meeting

Contact

ICOM-CC.PMWG.2016@rijksmuseum.nl

logowww.icom-cc.org

Appel à contributions du Groupe de travail ICOM-CC /photographie

Le Rijksmuseum d’Amsterdam et le Groupe de travail sur les matériaux photographiques de l’ICOM-CC sont heureux d’annoncer un appel à contributions pour 2016, pour la réunion du Groupe de travail sur les documents photographiques en assemblée intérimaire, prévue du 21 au 24 Septembre 2016 à Amsterdam / Pays-Bas .

Soumettre un résumé aujourd’hui

Thème de la réunion: Uniques & Multiples

fotoPhoto, anonyme, 1884 – 1892. Cette réunion est une occasion importante de rassemblement de conservateurs-restaurateurs de photographies et d’historiens venus de partout dans le monde. Des réunions passées ont eu lieu à Wellington, Athènes, Rochester, et Paris, entre autres endroits. La réunion de 2016 sera composée de deux jours d’ateliers et de visites (21-22 septembre, en option) suivis de deux jours de conférences et une exposition d’affiches (23-24 Septembre).

Appel à contributions

Vous êtes invités à soumettre un résumé pour une conférence plénière de 5 minutes, ou une affiche avant le 15 Janvier 2016.

Conférence Jour 1 (23 Septembre)

Cette journée sera consacrée au thème de la réunion: Uniques & Multiples

La contemplation conjointe de l’unique et les multiples touche à l’essence même de la photographie, de ses débuts dans le 19ème siècle jusqu’à nos jours. Bien qu’en apparence contradictoires, les deux concepts sont en fait inextricablement liés et peuvent être explorées à plusieurs niveaux. Nicéphore Niépce, par exemple, était préoccupé par la reproduction d’œuvres d’art afin de multiplier et diffuser des images d’eux, et pourtant, en fait, très peu d’objets photographiques forment son héritage. Le procédé de Daguerre a produit un objet photographique unique, mais plusieurs milliers de daguerréotypes peut être trouvés dans des collections aujourd’hui. Les daguerréotypes pionniers ont été dupliqués par gravure et leur impression, ou en créant des copies galvaniques; ces techniques sont alors devenus obsolètes dans les années de leur invention.

Dans notre ère numérique de la photographie de masse, des processus analogiques uniques tels que ambrotypes et ferrotypes sont en plein essor. Plus récemment, un 20ème siècle photographique unique, le tirage instantanés, vacillait au bord de l’obsolescence à la suite de la prise de contrôle de la photographie numérique, mais il a été relancé et est actuellement en plein essor. Beaucoup de questions restent sans réponse sur les matériaux et les techniques, mais aussi sur la conservation et l’exposition de photographies uniques, telles que des daguerréotypes, dessins photogéniques, plaques d’écran couleur, et estampes contemporaines avec les médias appliquées. De même, les questions éthiques et pratiques concernant la réimpression et le remplacement peuvent survenir avec des objets de série, tels que les éditions numérotées de photographies en couleurs et impressions à jet d’encre. Ceux-ci et d’autres variations techniquement et temporellement récurrentes de l’unique, et le multiple seront étudiés en largeur et la profondeur sur le premier jour de la conférence.

Conférence Jour 2 (24 Septembre)

Sujets de conservation gratuites

Toutes les soumissions originales sur des sujets pertinents à l’analyse, le traitement, l’étude et le soin des matériaux photographiques seront considérés.

Visites guidées et ateliers (21-22 Septembre, en option)

Un programme de visites et d’ateliers portant sur le thème de la réunion sera précéder les deux jours de conférences. Dans la planification actuelle sont inclus, entre autres:

  • une visite de l’usine Impossible de projet (anciennement Polaroid), où le film instantané est toujours produite,
  • un atelier sur la technique Joseph Berres 1840 pour la gravure et l’impression de daguerréotypes d’eux,
  • et une visite de la ville d’Amsterdam « Sur les traces de Jacob Olie » (19ème C. photographe de ville).

Comité technique

  • Susie Clark – Conservateur des Photographies, et coordonnateur de l’ICOM-CC GTGP adjoint
  • Diana Díaz – Conservateur des Photographies, Centre Harry Ransom, et l’ICOM-CC GTGP Twitter LinkedIn et coordonnateur Facebook
  • Marc Harnly – restaurateur principal et chef de département, J. Paul Getty Museum, et l’ICOM-CC coordonnateur adjoint GTGP
  • Greg Hill – restaurateur principal, Institut canadien de conservation, et de l’ICOM-CC coordonnateur GTGP
  • Martin Jürgens – Conservateur des Photographies, Rijksmuseum Amsterdam
  • Bertrand Lavedrine – Directeur, Centre de Recherche sur la Conservation des Collections CRCC, Paris
  • Sylvie PENICHON – Conservateur, Département de Photographie, Art Institute of Chicago et président de PMG-AIC
  • Klaus Pollmeier – Conservateur des Photographies, Beaux Studios d’impression, Mühlheim ad Ruhr
  • Mark Strange – Bibliothèque nationale de Nouvelle-Zélande, et coordonnateur de l’ICOM-CC GTGP adjoint
  • Clara von Waldthausen – coordonnateur et chargé de cours en conservation de la photographie et de la conservation préventive, Université d’Amsterdam

Dates clés à retenir

  • 15 Janvier 2016 Date limite de soumission de résumés pour des conférences et les posters
  • 1 Mars 2016 Notification des conférenciers et auteurs
  • 15 Mars 2016 Annonce du programme, ouvereture des inscriptions
  • 21-22 Sept. 2016 ateliers et visites
  • 23 au 24 septembre 2016 Réunion intérimaire

Contact

ICOM-CC.PMWG.2016@rijksmuseum.nl

logowww.icom-cc.org

Ecole Supérieure d'Art d'Avignon [ ESAA-cr ], Département de conservation-restauration