Conferences organized by Forum Studien
Taking the years between 1905 and 1965 as the temporal frame, this conference seeks to rethink Gl... more Taking the years between 1905 and 1965 as the temporal frame, this conference seeks to rethink Global Modernisms from a transregional perspective. Current conceptualizations of avantgardism and formal innovation often related to places like Paris, New York, Weimar or Moscow continue to inform Global Modernisms’ intellectual field. Global Modernisms are often presented as a symptom for new Westernism that masquerades as the universal. This conference seeks a more constitutive conceptual vision.
Understanding Global Modernisms as clusters of artistic, intellectual, technological, institutional, socio-cultural, and political arrangements, the conference focuses on this field as an effect of contiguities and infrastructures. We approach contiguities as global and local zones of intellectual and artistic proximity and difference, and infrastructure as a combination of physical, political, social and intellectual formations. The conference then aims to situate the concept of Global Modernisms within the scalarity of the macro, meso and the micro and within the plurality of temporal and geographical spaces, movements and events.
To what extent did the relation between material infrastructure (institutions, the formation of disciplines, public policy, architecture, and engineering) and immaterial infrastructure (domination, freedom of movement, gendered hierarchies of power) generate semantic conditions for articulating aesthetic, intellectual, and critical concerns in dispersed parts of the world? Might thinking in terms of contiguities and infrastructures allow us to jettison conceptions of repetition, influence, and derivation that continue to haunt modernisms’ perceptual field?
The conference is an invitation to engage the architectonics of such contiguities. How, for instance, did innovations in science, technology, and engineering affect Global Modernism/s’ zones of contiguities, around the globe? Did museological discourses and modernist display techniques contribute in creating a new domain of visibility? To what extent did new infrastructures generate the semantic conditions for articulating the aesthetic, intellectual, critical, art historical, and curatorial concerns of Global Modernism/s? What, for instance, were the formal and aesthetic outcomes of Global Modernism/s, and how might we, in retrospect, recognize formal contiguity and distinguish it from more conventional conceptions of repetition, influence, and derivation?
Papers by Forum Studien
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Conferences organized by Forum Studien
Understanding Global Modernisms as clusters of artistic, intellectual, technological, institutional, socio-cultural, and political arrangements, the conference focuses on this field as an effect of contiguities and infrastructures. We approach contiguities as global and local zones of intellectual and artistic proximity and difference, and infrastructure as a combination of physical, political, social and intellectual formations. The conference then aims to situate the concept of Global Modernisms within the scalarity of the macro, meso and the micro and within the plurality of temporal and geographical spaces, movements and events.
To what extent did the relation between material infrastructure (institutions, the formation of disciplines, public policy, architecture, and engineering) and immaterial infrastructure (domination, freedom of movement, gendered hierarchies of power) generate semantic conditions for articulating aesthetic, intellectual, and critical concerns in dispersed parts of the world? Might thinking in terms of contiguities and infrastructures allow us to jettison conceptions of repetition, influence, and derivation that continue to haunt modernisms’ perceptual field?
The conference is an invitation to engage the architectonics of such contiguities. How, for instance, did innovations in science, technology, and engineering affect Global Modernism/s’ zones of contiguities, around the globe? Did museological discourses and modernist display techniques contribute in creating a new domain of visibility? To what extent did new infrastructures generate the semantic conditions for articulating the aesthetic, intellectual, critical, art historical, and curatorial concerns of Global Modernism/s? What, for instance, were the formal and aesthetic outcomes of Global Modernism/s, and how might we, in retrospect, recognize formal contiguity and distinguish it from more conventional conceptions of repetition, influence, and derivation?
Papers by Forum Studien
Understanding Global Modernisms as clusters of artistic, intellectual, technological, institutional, socio-cultural, and political arrangements, the conference focuses on this field as an effect of contiguities and infrastructures. We approach contiguities as global and local zones of intellectual and artistic proximity and difference, and infrastructure as a combination of physical, political, social and intellectual formations. The conference then aims to situate the concept of Global Modernisms within the scalarity of the macro, meso and the micro and within the plurality of temporal and geographical spaces, movements and events.
To what extent did the relation between material infrastructure (institutions, the formation of disciplines, public policy, architecture, and engineering) and immaterial infrastructure (domination, freedom of movement, gendered hierarchies of power) generate semantic conditions for articulating aesthetic, intellectual, and critical concerns in dispersed parts of the world? Might thinking in terms of contiguities and infrastructures allow us to jettison conceptions of repetition, influence, and derivation that continue to haunt modernisms’ perceptual field?
The conference is an invitation to engage the architectonics of such contiguities. How, for instance, did innovations in science, technology, and engineering affect Global Modernism/s’ zones of contiguities, around the globe? Did museological discourses and modernist display techniques contribute in creating a new domain of visibility? To what extent did new infrastructures generate the semantic conditions for articulating the aesthetic, intellectual, critical, art historical, and curatorial concerns of Global Modernism/s? What, for instance, were the formal and aesthetic outcomes of Global Modernism/s, and how might we, in retrospect, recognize formal contiguity and distinguish it from more conventional conceptions of repetition, influence, and derivation?