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​WPC 2023 FULL CONFERENCE PROGRAM

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Hosted by ICI Berlin Institute for Cultural Inquiry

10 October, 7pm (CET)

In his well-known essay, Die Zeit des Weltbildes, Heidegger describes modernity as the age in which the world has been reduced to a picture. The conceptualization of the world as picture is the fundamental basis of globalization and the geopolitical relations of power, inequality and exploitation that characterize the world-system created by late capitalism. The world as picture is also the basis of various conceptual approaches for understanding worldliness informing various disciplines in the humanities and the narrative social sciences: world history, globality (global exchange and intercourse) and environmental kinship. But what is implied by the world as picture is the excess that is excluded or obscured by the picture frame because the idea of a frame intimates at something that lies beyond the picture that is its ontological condition of possibility. This talk examines two philosophical accounts of what is beyond the world as picture: Heidegger’s idea of worlding and Deleuze and Guattari’s idea of becoming the whole world as it is connected to their account of minor literature. It highlights the fundamental differences between these philosophies of world and the above approaches. Time permitting, I will then explore how postcolonial world literature, when read as part of the temporal process of worlding and world-creation, disrupts and shatters the world picture by participating in struggles within specific fields of forces in contemporary globalization.  Such literature unsettles their readers’ sense of territorial boundaries and makes them aware of how they are constitutively implicated in the hierarchies of the contemporary world even as it resists being arrested in a geographically bounded and determinable subject-object such as a nation, a continent or a region.

Pheng Cheah is Professor in the Department of Rhetoric at UC Berkeley. His research interests include late 18th-20th century continental philosophy and contemporary critical theory, postcolonial theory and anglophone postcolonial literatures, theories of nationalism, cosmopolitanism and globalization, philosophy and literature, legal philosophy, social and political thought, and feminist theory. He is the author of What Is a World? On Postcolonial Literature as World Literature (2016), Inhuman Conditions: On Cosmopolitanism and Human Rights (2006), and Spectral Nationality: Passages of Freedom from Kant to Postcolonial Literatures of Liberation (2003).

Organized by the Heidelberg University team of Worlding Public Cultures: The Arts and Social Innovation in collaboration with Ming Tiampo (WPC / Carleton University) and Birgit Hopfener (WPC / Carleton University), in cooperation with ICI Berlin.

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Photos by Claudia Peppel / ICI Berlin.

Date: 11 October 2022

Time: 10am - 2pm

Venue: ICI Berlin Instiute for Cultural Inquiry & online

The recent  ‘global turn’ in art history and curatorial practice has prompted the question of how to reflect this through pedagogy. The workshop Worlding Art History through Syllabi takes up the notion of ‘worlding’ to explore how art history is taught in different places and institutions around the world. What would a ‘worlded’ syllabus look like, and how can we collaboratively ‘world’ global art history?

A ‘worlded’ art history rejects the idea of a single global world framed, ordered and represented according to Eurocentric premises or as universally constituted by global capitalism. Instead, it conceives of the global as constituted from multiple and entangled geo-cultural perspectives. It is not centered on assumed commonalities of ‘global’ art. Rather, it seeks to shed light on differences and relations. What are histories, epistemologies and ontologies that constitute ‘global’ art? What are infrastructural or institutional incommensurabilities which define the many intersecting art histories of the present?

This workshop is organised as part of the international research project and network Worlding Public Cultures: the Arts and Social Innovation (WPC) in cooperation with the ICI Berlin. It invites scholars from the fields of art history, cultural studies, cultural anthropology, media studies, museum studies and other related disciplines to participate in a peer-to-peer exchange of experiences and practices. It focuses on how scholars may, or already have, designed teaching syllabi to complicate dominant frameworks of ‘global’ art history. It is particularly interested in how syllabi have the capacity to restructure pedagogical approaches to teaching topics such as global capitalism in the art world, the so-called Global North-South division, transnational and transcultural entanglements, and differences between teaching regional art histories.

This workshop builds upon recent discussions around pedagogies at the Worlding Public Cultures Academy, Lessons Learned? Transcultural Perspectives in Curating and Pedagogies (14-16 July 2022), hosted by the Staatliche Kunstsammlungen Dresden. It takes the form of an interactive gathering. Participants are invited to share examples of their own syllabi, as well as speak on the challenges faced in designing syllabi to reflect multiple geo-cultural perspectives, decolonial and ‘global’ art histories. Among the questions which this workshop seeks to address are:

• How is the situatedness of art history taught across regional, national and local contexts?
• What methodological approaches are discussed?
• Which discursive, spatial and temporal frameworks are syllabi structured around?
• What role does close-looking of artworks play in courses? How to connect theoretical readings and visual materials?
• How can art historical methods be reconceptualized through comparative approaches?
• How are the notions of the ‘global’, ‘transnational’ and ‘transcultural’ defined for students?
• What are different approaches to structuring syllabi for undergraduate and postgraduate students? What information do ‘foundational courses’ provide?
• What challenges are faced? What do students and lecturers appreciate the most?
• How have institutional and departmental interests shaped the scope of teaching  ‘global’ art history?
• How can museums or other art institutions be integrated into teaching?

Programme

Welcome and opening remarks by Franziska Koch and Eva Bentcheva

Session 1: What is a Syllabus?

Presentation by Presentation by Eva Ehninger (Humboldt University Berlin)

Session 2: Rethinking Syllabi in/from Asia

Presentation by Xiaoxia Song (Central Academy of Fine Arts Beijing)

Presentation by Priya Maholay-Jaradi (National University of Singapore)

and Roger Nelson (Nanyang Technological University)

Session 3: Re/laying the Groundwork

Presentation by Claire Farago (University of Colorado, Boulder)

Presentation by Ming Tiampo (Carleton University)

Workshop participants:

Oliver Aas

Antonia Behan

Eva Bentcheva

Laurens Dhaenens

Pauline Doutreluingne

Eva Ehninger

Philipp Ekardt

Claire Farago

Wesley Hogan

Birgit Hopfener

Sol Izquierdo de la Viña

Monica Juneja

Franziska Kaun

Seunghee Kim

Franziska Koch

Anton Lee

Mark Louie Lugue

Priya Maholay-Jaradi

Roger Nelson

Varda Nisar

Miriam Oesterreich

Luísa Santos

Vera Simone-Schulz

Jakob Schillinger

Moritz Schwörer

Xiaoxia Song

Hanna Steinert

Tanya Talwar

Ming Tiampo

Esra Yildiz

Carine Zaayman

Ayelet Zohar

This workshop is conceived by the Heidelberg University team of Worlding Public Cultures in collaboration with Ming Tiampo (WPC / Carleton University) and Birgit Hopfener (WPC / Carleton University), and is generously hosted by ICI Berlin Institute for Cultural Inquiry Berlin. For more information, please see: https://www.ici-berlin.org/past/  

Cover image credit: Migrations, Pansee Atta, 2014, Mixed Media on panel, 8"x10" 

Image credit (below images): Claudia Peppel / ICI Berlin

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Organisers: The Heidelberg team of Worlding Public Cultures: the Arts and Social Innovation (WPC) in cooperation with the Institute of European Art History of Heidelberg University

Chair: Prof. Dr. Monica Juneja (Chair of Global Art History, Heidelberg Centre for Advanced Transcultural Studies, HCTS)

Date: Wednesday, 20 July 2022, 16:00-18:00 CET

Venue: Online event via Zoom (registration required)

While the ‘lessons learned’ from exhibitions and curating have received abundant attention in recent times, the importance of rethinking modes of pedagogy in art history merit further reflection. What are the tools at our disposal for teaching transcultural, de/postcolonial and non-hierarchical art histories? How can the discipline respond to contemporary crises triggered by neo-liberal economics, war and climate change? This interactive workshop is conceived as an ‘intellectual space’ in conjunction with the international Academy, Lessons Learned? Transcultural Perspectives on Curating and Pedagogies (14-16 July 2022). This is organised by the Heidelberg University team of WPC in collaboration with the Dresden State Art Collections (SKD) around the question of how transcultural theoretical perspectives can be informed by case studies from curatorial and collecting practices. For more information, please visit: https://www.asia-europe.uni-heidelberg.de/index.php?id=5129

Following on from this, Lessons Learned? (Part 2) takes the form of a guest lecture and workshop, which looks more specifically to the role of teaching. How can scholars of art history, transcultural studies, museums studies and other neighboring disciplines provide more ‘worlded’ perspectives? Most importantly, what new modes of critical pedagogy can be developed to serve as impulses for

(un-)learning the complexities of imperial, colonial, modernist, universalist, and Eurocentric underpinnings of our methodology, institutional hierarchies and ways of knowing?

The opening lecture “Taking a Creative Commons Approach to World Art Studies” (see abstract below) by the distinguished Prof. Emerita Claire Farago (University of Colorado Boulder) will provide an entry point into these issues. It will address questions of how history and canon-making can be ‘worlded’, and what challenges this presents, Prof. Farago’s talk will be followed by two short responses by Prof. Birgit Hopfener (Carleton University, Ottawa / WPC) and Prof. Henry Keazor (Institute for European Art History, Heidelberg University). Following Professor Farago’s call to “imagine art history otherwise”, colleagues will be encouraged to share examples and experiences from their different contexts. The discussion, moderated by Prof. Monica Juneja, Chair of Global Art History, will address different approaches to teaching and the entanglement of institutional, cultural, historical, political, and theoretical concerns within art history.

This event is open to all with prior registration required. To register, please contact Madeleine Eppel (madeleine.eppel@stud.uni-heidelberg.de), who will provide access information to the virtual event on Zoom.

Programme

16:00-16:15

Welcoming Remarks

Prof. Dr. Monica Juneja (Chair of Global Art History / WPC Heidelberg)

16:15-17:00

Guest Lecture  “Taking a Creative Commons Approach to World Art Studies”

Professor Emerita Claire Farago (University of Colorado Boulder)

17:00-17:20

Responses

Prof. Dr. Birgit Hopfener (Carleton University, Ottawa / WPC)

Prof. Dr. Henry Keazor (Institute of European Art History, Heidelberg)

17:20-18:00

Q&A and Open Discussion

Chaired by Prof. Dr. Monica Juneja

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Lecture Abstract

Taking a Creative Commons Approach to World Art Studies

Art, most broadly defined as anything of human manufacture, has a history that takes place within concrete institutional frameworks; it influences how we think of ourselves, what we desire and, most of all, what we understand the world around us to be. In essence, everything that makes up our world is mediated by art: the worlds that humans manufacture mediate our human experience of the world. Developing tools for talking about art and the experience of it, however “it” is defined, is thus an important part of becoming responsible citizens in society. This is ever more the case in our virtual world of human contact through electronic media. In recent years, decolonial efforts have studied complex global networks of cultural exchange, considering many vectors and using pluralistic approaches to writing history. Changing the structure of a field, however, is even more difficult than contributing new studies that leave the structure intact. Why should anyone bother?

Climate disruption/crisis/emergency is an existential threat facing the entire planet. At the same time, populism and authoritarianism are surging—brutal proof of the lethal effects that an ideology of cultural superiority has assumed in the twenty-first century. We individually have the responsibility and possibly the power to change this if we work together. As hegemonies and their terrorisms evolve, so too must efforts to mitigate the ecological and humanitarian disaster we have inherited on planet Earth. At the centre of theoretical efforts across a wide span of methodologies, subjects, and scales of research for the past quarter century has been the question of whether a global art history inevitably follows the logic of economic globalization, or whether (paraphrasing Monica Juneja (1)) it can provide an alternative conception to effectively theorize relationships of connectivity that encompass disparities as well as contradictions and negotiate the multiple subjectivities of the actors involved? My presentation proposes for discussion a rethinking of art history in the form of an intra-disciplinary collaborative project by conceiving a history of planetary culture that all living creatures and their environments share: a new wing added to the existing sprawling house, capacious enough to embrace archaeologists, anthropologists, musicologists, scientists, philosophers—in short, all who study cultural artifacts.

(1) Monica Juneja, ‘ “A very civil idea...”: Art History, Transculturation, and World-Making - With and Beyond the Nation’, Zeitschrift für Kunstgeschichte 81 (2018), pp. 461-486.

About the Guest Lecturer

Claire Farago is Professor Emerita at the University of Colorado Boulder and currently lives in Los Angeles. She has published widely on art theory and historiography, cultural exchange, the materiality of the sacred, the history of style, museums and collecting practices, and is a specialist on the manuscripts of Leonardo da Vinci. Her anthology, Reframing the Renaissance (1995) is widely recognized as a groundbreaking contribution to art history. Grasping the World: The Idea of the Museum (2006), co-edited with Donald Preziosi, provides an institutional critique of museums at large, investigating the complexities of the relationships of individual practitioners to structures of power that intended to engage readers with the ethics of practice. She is currently working on a book for a broad audience, provisionally titled Writing Borderless Histories of Art: Cultural Memory in the Era of Climate Crisis, forthcoming from Routledge in 2023. In her guest lecture she will address key aspects of this project following up on earlier art historiographical concerns as expressed in the article “Imagining art history otherwise” in Global and World Art in the Practice of the University Museum, ed. by Jane Chin Davidson et al. (2018).

About the Respondents

Henry Keazor is Professor for Early Modern and Contemporary Art History at the Heidelberg University. His research focuses on the art of the Early Modern period, particularly the Italian and French late Renaissance and Baroque. He has published widely on the painter Nicolas Poussin, as well as the painting reformations achieved at the turn of the 16th to the 17th centuries by the members of the Carracci family, and the Cinquecento illustrations of the “discovery” of America by the publisher and engraver Theodor de Bry. He is currently developing research on contemporary art and architecture with a specific focus on the contemporary French architect, Jean Nouvel, and art forgery. Another important strand of his publications is the reception of art in media such as film and music videos. His most recent publication on the topic is “Raffaels ‘Schule von Athen’: Von der Philosophenschule zur Hall of Fame”, or “Raphael's ‘School of Athens’: From the Philosophers' Academy to the Hall of Fame” (2021).

Birgit Hopfener is Associate Professor of Art History and current holder of the Ruth and Mark Phillips professorship at Carleton University. She situates herself in the fields of critical global art history and Chinese art history. Her present research centers around multiple and entangled temporal assumptions (historiographical models, their respective concepts of time and temporality) that constitute and frame our world, its art, subjects, and knowledges. With the aim to shed light on the transcultural historicity of contemporary art, its structures and experiences of time from a specific locale, her current book project focuses on art historiographic works by contemporary Chinese artists. She authored the book Transkulturelle Reflexionsräume einer Genealogie des Performativen: Bedingungen und Artikulationen kultureller Differenz in der chinesische Installationkunst (2013) and co-edited the volumes Negotiating Difference: Chinese Contemporary Art in the Global Context (2012) and Situating Global Art. Topologies – Temporalities - Trajectories (2018). She is a founding member of TrACE, and serves on the editorial boards of Art Journal and 21: Inquiries into Art, History, and the Visual.

Worlding Public Cultures: the Arts and Social Innovation is a collaborative research project and transnational platform conceived by the international consortium Transnational and Transcultural Arts and Culture Exchange (TrACE) and funded by a Social Innovation Grant from the Trans-Atlantic Platform for the Social Sciences and Humanities and (for the German part) the Federal Ministry of Education and Research (BMBF/ DLR: 01UG2026). The project draws upon the concept of “‘worlding’, which understands the global as actively co-produced from multiple and complex locales, in contrast to dominant discourses rooted in a notion of the global as a passive effect of global capitalism. Going beyond current top-down models of “inclusion”, “diversity” and other representations of the “global”, the concept of worlding grounds the global within local worlds and allows entangled histories to emerge, opening pathways to decolonize universalizing Western narratives and epistemologies. www.worldingcultures.org.

Cover image: Mark Justiniani, Well, 2018. On display at the Children's Biennale, Japanisches Palais, Dresden. Image courtesy of the Staatliche Kunstsammlungen Dresden. Photo: Oliver Killig. 

Location: Online and in-person at the Japanisches Palais, Staatliche Kunstsammlungen Dresden (SKD), Palaisplatz 11, 01097 Dresden, Germany

Conceptualised and organised by Heidelberg University’s team of Worlding Public Cultures: The Arts and Social Innovation

14-16 July 2022

As the drive to expand, explore and inform museum collections through global histories gains momentum, a pressing question remains: what is the role of art historical pedagogy in the museum? The concept of pedagogy is etymologically posited on the distinction between an adult and a child, and privileges teaching over learning. In past decades, there has been a decisive move to rethink the role of museums away from teaching through visuality (Svetlana Alpers) towards becoming sites of emancipatory and critical learning. Exhibitions such as the Documentas X and XI (curated by Catherine David in 1997 and Okwui Enwezor in 2002 respectively) or the iteration of Havana Biennale directed by Gerardo Mosquera in 1989, adopted open transactions across curating, learning and teaching. In addition, a growing number of cross-disciplinary platforms and collectives across the Global North and South – small in scale, locally anchored, and horizontally organized – have brought forth radical modes of cultural critique and transnational networks opposing exploitation, precarity, homophobia, militarisation and xenophobia. The radicalism of such “micro-organizations” (Marion von Osten) has now begun to rebound on larger institutions. Presently, a number of museums, particularly in Europe and North America, are introducing forms of self-reflection about audiences and collections.

The international Academy, Lessons Learned? Transcultural Positions in Curating and Pedagogies, explores the successes and failures of existing pedagogical practices in museums, and potentials for new transcultural and ‘worlded’ approaches. Conceptualised by Heidelberg University’s team of the international research platform, Worlding Public Cultures: The Arts and Social Innovation, this Academy unfolds as a three-day series of on-site and virtual discussions and exhibition visits around the SKD from 14-16 July 2022. The SKD museums hold amongst the most important and expansive present-day collections in Germany that speak to histories of transcultural collecting and conservation since the 16th century. Lessons Learned? is integrated into the second edition of SKD’s Transcultural Academy at the Japanisches Palais. This cross-collection initiative will take place in the autumn 2022 with an artists’ residency programme. It aims to rethink its own collections and archives, as well as curatorial forms of presentation based on current debates on decolonisation and the involvement of the public.

The discussions and exhibition visits of the three-day programme, Lessons Learned?, will take place in the Japanisches Palais and talks will be simultaneously streamed online. The programme will conclude with a separate lecture and e-workshop titled Lessons Learned? (Part 2): Rethinking Pedagogies: An ‘Intellectual Space’ for (Un-)Learning Art History on 20 July 2022 (16:00-18:00 CET on Zoom). This will feature a guest lecture by Prof. Emerita Claire Farago, two invited responses and a public discussion on how to (un)learn art history through university teaching.

Public Programme

All times are listed in CET. All talks will take place in English, with German translations available simultaneously live online via Zoom.

Thursday 14 July

13:30 – 13:45   Welcome remarks

Monica Juneja (Heidelberg University / WPC) and Doreen Mende (SKD)

Introduction to Worlding Public Cultures

Ming Tiampo (Carleton University / WPC) and Paul Goodwin (University of the Arts London / WPC)

13:45 – 15:15   Panel 1: Emerging Research on Reciprocal Learning across Art Institutions - Futures of Transcultural Knowing

Introductions: Seung Hee Kim (Heidelberg University / WPC)

Noura Dirani (SKD)

The Transcultural Museum: A Case Study of Collaborative Learning and Exhibiting

Pansee Atta (Carleton University / WPC)

The Moon upon its Fourteenth Night: Embodied archives, gendered histories, and decolonial story-telling practices

Nathalia Lavigne (University of São Paolo)

Occupying the Archives: Agency Over Images and Folksonomy developed through Collaborative Initiatives

Moderator: Moritz Schwörer (Heidelberg University / WPC)

15:15-15:45  Break

15:45 – 17:15  Panel 1: Emerging Research on Reciprocal Learning across Art Institutions - Futures of Transcultural Knowing (cont.)

Introductions: Seung Hee Kim

Silvia Gaetti (GRASSI Museum of Applied Arts)

CULTURAL AFFAIRS. Exhibiting and Mediating Transculturality

Di Liu (University of Cambridge)

Practicing lumbung at documenta 15

Varda Nisar (Concordia University / WPC)

A Case Study of Karachi Art Anti-University (online talk)

Moderator: Franziska Kaun (Heidelberg University / WPC)

19:00 – 20:00  Impulse Discussion: What are Alternative Forms of Research in the Museum?

Friedrich von Bose (SKD) in conversation with Birgit Hopfener (Carleton University / WPC)

Friday 15 July

13:30 – 13:45 Welcome remarks

Moritz Schwörer (Heidelberg University / WPC)

13:45 – 15:00  Panel 2: Recuperating Voices through Museum Collections

Ruth B. Phillips (Carleton University)

Teaching with/in the Museum – Indigenous Collections and Ways of Knowing

Cristina Juan (SOAS, University of London)

Mapping as Re-membering: An Introduction to the Mapping Philippine Material Culture Project

Moderator: Miriam Oesterreich (University of the Arts Berlin)

15:00 – 15:30  Break

15:30 – 17:00  Panel 3: (Re)Thinking through Exhibitions

Claire Farago (University of Colorado Boulder)

‘Scraps as it were’: Binding Memories. Modelling "Decolonial" Museum Practices through a Case Study (online talk)

Maria Silina (Université du Québec à Montréal)

Copypasting and Materiality of the Local (online talk)

Moderator: Franziska Koch (Heidelberg University / WPC)

19:00 – 20:00  

Impulse Discussion: How do Cultural Institutions Interact with Society?

Léontine Meijer-van Mensch (SKD), Larissa Förster (German Lost Art Foundation) in conversation with Chiara de Cesari (University of Amsterdam / WPC)

Saturday 16 July

10:00 – 10:15  Welcome remarks

Eva Bentcheva (Heidelberg University / WPC)

10:15 – 11:30  Panel 4: Identifying Problem Spaces and Absences in Archives

Carine Zaayman (Vrije University Amsterdam / WPC)

Anarchive and Repertoire

Doreen Mende (SKD)

Geopolitics of Exhibiting: A Transhistoric Pharmakon through a Sealed Envelope of 1985

Moderator: Paul Goodwin (University of the Arts London / WPC)

11:15 – 11:45  Break

11:45 – 12:30  Panel 5: Situating Art in Communities and Contexts

Sarah Hegenbart (Technical University Munich)

Differences within Communities: The Decolonial Museum as Platform for Forming Alliances

Nuraini Juliastuti (University of Amsterdam / WPC) 

Contextual Education and Commons Museum: On 'Jet Lag', the Impossible School, and a Pedagogy Model which Teaches Us to Stay (online talk)

Moderator: Eva Bentcheva  (Heidelberg University / WPC)

19:00 – 20:00  Impulse Discussion: Lessons Learned? How to ‘World’ our

Epistemes

Paul Goodwin (University of the Arts London / WPC), Monica Juneja (Heidelberg University / WPC), Eva Bentcheva (Heidelberg University / WPC), Doreen Mende (SKD), Ming Tiampo (Carleton University / WPC)

Wednesday 20 July (follow-up event)

16:00 - 18:00  Lessons Learned? (Part 2):

A guest lecture by Prof. Emerita Claire Farago (University of Colorado Boulder) and e-workshop 'Rethinking Pedagogies: An ‘Intellectual Space’ for (Un-)Learning Art History'  

Registration:

The Academy from 14-16 July will take place in person at the Japanisches Palais. For on-site participation, please register on the website of SKD: https://japanisches-palais.skd.museum/en/frei-raeume/transkulturelle-akademie/

The conference will also be broadcast live (no registration required) over the following Zoom link:
https://braehler.zoom.us/j/84579538815?pwd=UmtIRWlEMnZ3c1NwWWVSRHoyc1RKdz09Passcode: 776935

Information on Lessons Learned? (Part 2) is available on the WPC Heidelberg webpage: https://www.asia-europe.uni-heidelberg.de/index.php?id=5128 

To register for Lessons Learned? (Part 2), please contact Madeleine Eppel (madeleine.eppel@stud.uni-heidelberg.de)

Credits:

Concept and organisation of the Academy Lessons Learned? is by the Worlding Public Cultures team of Heidelberg University (Monica Juneja, Franziska Koch, Eva Bentcheva, Miriam Oesterreich, Franziska Kaun, Moritz Schwörer, Seung Hee Kim and Costina Mocanu).

'Lessons Learned? Transcultural Perspectives in Curating and Pedagogies' is organised as part of the  second edition of SKD’s Transcultural Academy, ‘Toward a Worlded Public’, which will take place in three parts at Japanisches Palais from July to November 2022. This is developed as a partnership between the Research Department and the Staatliche Ethnographische Sammlungen Sachsen (State Ethnographic Collections) of the SKD (Noura Dirani, Leontine Meijer-van Mensch, Doreen Mende, Anna-Lisa Reith).

Funding:

'Lessons Learned? Transcultural Perspectives in Curating and Pedagogies' is part of the public programme of Worlding Public Cultures: The Arts and Social Innovation (WPC), an international research platforum funded by a Social Innovation Grant from the Trans-Atlantic Platform for the Social Sciences and Humanities and (within Germany) by the Federal Ministry of Education and Research (BMBF/DLR Project Management Agency).

The Transcultural Academy of the SKD is generously funded by the Federal Government Commissioner for Culture and the Media.

WPC partner institutions:

The WPC platform brings together several institutions that pioneer transnational and transcultural research in the fields of art at Carleton University (Canada), Concordia University (Canada), the University of Montréal (Canada), the University of Quebec in Montréal (Canada), the University of the Arts London (UK), Heidelberg University (Germany), the University of Amsterdam (Netherlands), and Vrije Universiteit Amsterdam (Netherlands). WPC is the first funded project of the international consortium Transnational and Transcultural Arts and Culture Exchange (TrACE).

Lessons Learned? Transcultural Positions in Curating and Pedagogies will take place at the Dresden State Art Collections (Staatliche Kunstsammlungen Dresden/SKD), Dresden, Germany in the framework of the second edition of the Transcultural Academy organised at the Japanese Palace

14 – 16 July 2022
Organized by the Worlding Public Cultures team of Heidelberg University

As the drive to expand, explore and inform museum collections through global histories gains momentum, a pressing question remains: what is the role of art historical pedagogy in the museum? The concept of pedagogy is etymologically posited on the distinction between an adult and a child, and privileges teaching over learning. In past decades, there has been a decisive move to rethink the role of museums away from teaching through visuality (Alpers) towards becoming sites of emancipatory and critical learning. Exhibitions such as the Documentas X and XI (curated by Catherine David in 1997 and Okwui Enwezor in 2002 respectively) or the iteration of Havana Biennale directed by Gerardo Mosquera in 1989, adopted open transactions across curating, learning and teaching. In addition, a growing number of cross-disciplinary platforms and collectives across the Global North and South – small in scale, locally anchored, and horizontally organized – have brought forth radical modes of cultural critique and transnational networks opposing exploitation, precarity, homophobia, militarization and xenophobia. The radicalism of such “micro- organizations” (von Osten) has now begun to rebound on larger institutions. Presently, a number of museums, particularly in Europe and North America, are introducing forms of self-reflection about audiences and collections.

The international Academy, Lessons Learned? Transcultural Positions in Curating and Pedagogies, explores the successes and failures of existing pedagogical practices in museums, and potentials for new transcultural and ‘worlded’ approaches. Conceptualized by Heidelberg University’s team of the international research project, Worlding Public Cultures: The Arts and Social Innovation, this Academy will unfold as a three day series of on-site and virtual discussions, excursions and exhibition visits around the Dresden State Art Collections (SKD) from the 14-16 July 2022. The SKD museums hold amongst the most important and expansive present- day collections in Germany. They speak to histories of transcultural collecting and conservation in Germany since the 16th century. Later in 2022, SKD will hold a ‘Transcultural Academy’ at the Japanese Palace to rethink curatorial presentations, and audience engagement via an artist residency programme. Funded by the Federal Government Commissioner for Culture and the Media (BKM), this aims to rethink and reflect upon the role of ethnographic collections in the context of current debates around decolonization.

Lessons Learned? Transcultural Positions in Curating and Pedagogies invites scholars from the fields of Art History, Transcultural Studies, Anthropology among others, alongside museum professionals, critics, activists and artists and others to deliver panel papers of 20 minutes around one or several of the following questions:

• What methodological practices are needed to embrace transcultural and ‘worlded’ approaches in museum curating, research, archiving and public outreach?

• How can museum taxonomies be ‘retold’ through research based on collaboration and consultation?

• What strategies (such as cross-disciplinary studies of language, society and embodied cultural practices) can museums employ to surmount museums’ emphasis on visuality and material culture?

What is the role do funding bodies and selection committees play with regards to research and curatorial outputs?

What different approaches to ‘decolonizing’ museums have been developed so far?

Please submit abstracts of no more than 500 words and a short biography (150 words) to Dr. Eva Bentcheva (eva.bentcheva@hcts.uni-heidelberg.de) by 22 May 2022. Travel to and from Dresden, as well as accommodation for 3-4 nights (depending on arrival from international or regional destinations) will be covered by the Academy organizers.

Worlding Public Cultures: The Arts and Social Innovation is funded by a Social Innovation Grant from the Trans-Atlantic Platform for the Social Sciences and Humanities and (within Germany) by the Federal Ministry of Education and Research (DLR Project Management Agency). Partner institutions and networks are Transnational and Transcultural Arts and Culture Exchange (TrACE), the University of the Arts London (UK), Carleton University (Canada), Concordia University (Canada), the University of Montreal (Canada), the University of Quebec in Montreal (Canada), Heidelberg University (Germany), the University of Amsterdam (Netherlands) and Vrije Universitet Amsterdam (Netherlands).

CfP: Emerging Research on Reciprocal Learning across Art Institutions: Futures of Transcultural Knowing
Location: Hybrid event - online and on-site at the Dresden State Art Collections 14 July 2022

As part of the international Academy, Lessons Learned? Transcultural Positions in Curating and Pedagogies, the hybrid panel discussion ‘Futures of Transcultural

Knowing: Emerging Research on Reciprocal Learning across Art Institutions’ invites emerging scholars, curators and educators whose work and research focuses on the intersection of art and pedagogy. This session particularly welcomes presentations about independent curatorial and pedagogical projects, as well as research and case studies from institutional contexts, which shed light on the successes and shortcomings of reciprocal learning between academic and cultural institutions.

The session is interested in how emerging scholarship and professional initiatives address the intersections of art historical pedagogies (primarily as taught in academic settings) and pedagogical and curatorial practices in museums and beyond. What are examples of existing initiatives that illuminate how we can open up and shape spaces for encounters of reciprocal learning to better enable transnationally, transculturally, or ‘worlded’ forms of knowing? How can innovative pedagogical approaches create new spaces for audiences to learn from – and across – the expertise of museums and universities?

The session invites presentations of 10 minutes each followed by a discussion. The presentations and discussions will be in English. There will also be an opportunity to summarize the discussions in the form of a blog post on the WPC website blog after the Academy. At the end of the Academy, emerging scholars and professionals are invited to meet with the WPC team for a reflection session to debrief and share their experiences of the Academy.

We welcome contributions and case studies from or about museum-university collaborations and/or successful pedagogical models beyond institutions that address one or several of the following questions:

• What are innovative forms of transnationally, transculturally, or ‘worlded’ pedagogical learning in and through networks between, for example, universities and other art-related institutions such as museums?

• What does the concept of pedagogy entail in this nexus? How can it be re- imagined? How has it thus far been re-imagined?

• How can we learn/unlearn art and visual practices in ‘worlded’ ways? How can emerging ideas be incorporated into teaching and showing practices?

• How can art institutions work together to enable situating formerly and continuously excluded, suppressed or ‘othered’ ways of knowing?

  The sessions will take on a hybrid format, with select participants on-site in Dresden and others virtually present online. There are a limited number of travel grants available for participation in this panel in person. If you wish to apply for such a grant and attend in person, please indicate this in your submission along with details of your current place of residence.

Please send your abstract (max. 300 words) and a short professional biography (max. 300 words) to Moritz Schwörer (moritz.schwoerer@hcts.uni-heidelberg.de) by 22 May 2022.

Image credit: ‘The Damascus Room’, Japanese Palace, Dresden State Art Collections.

Workshop organized by Birgit Hopfener and Karin Zitzewitz at Carleton University, Institute for Comparative Studies in Literature, Arts, and Culture, and supported by the Ruth and Mark Phillips Professorship in Cultural Mediations (ICSLAC).

Worlding Public Cultures will screen a programme of artists’ film to accompany the symposium consent not to be a single being: Worlding through the Caribbean, 1st to 3rd December 2021, as counterpoints to the panel discussions formed around the influential work of Édouard Glissant, Stuart Hall and Sylvia Wynter.

The programme reflects some of the key thematics that shape the symposium, and includes recent works by Rhea Storr and Jamilah Sabur that contemplate Caribbean cultural traditions as ontological praxis, and the profound harmony and resistance of carnival and spiritual practices. Personal counter-histories in the work of Helen Cammock unravel the legacy of the sugar trade in the Caribbean as a struggle to understand the realities of forced labour, value and loss. Works by Denise Ferreira da Silva and Arjuna Neuman and Alberta Whittle confront the lived and embodied precarities of ecological catastrophe, and the elemental rhythms and interconnectedness of human experience with seismic geological and climatic events.

The programme will stream on this page for 72 hours from 12.00 (GMT) on Wednesday 1st December.

With thanks to the artists and LUX.
 

Programme

Rhea Storr
Here is the Imagination of the Black Radical, 2020
10 minutes

Afrofuturism is communicated via the Bahamian people through Junkanoo, a form of carnival in the Bahamas, originally celebrated by the enslaved who were given Christmas Day, Boxing Day and New Year’s day off only. The history of Junkanoo is political as much as aesthetic. The film follows the ‘Shell Saxons Superstars’, producing a portrait of not only the parade but examines the way in which the Saxons organise space, questioning the effect of their organisation and how they are culturally represented. ‘Black radical imagination’ is a term used by Robin Kelley, predominantly to describe US Black radical organising in the 20th Century. The film instead aims to utilise a geographical location and history that is Caribbean focused. ‘Here is the Imagination of the Black Radical’ also voices the innovations of Junkanoo within an experimental film history, one which draws on the aesthetics of 1980’s Black film workshops that do not adhere to documentary realism, but produces counter narratives. A 16mm cyanotype blue wash is the signal of Black imaginative life. Its mission is to communicate an incommunicability: knowledge that is enacted or performed to which film cannot do justice.

Jamilah Sabur
Obra, 2019
3 minutes

Obra reflects upon metaphysical practices in Jamaica. Obra combines scenes recorded at The Cardiff Hall, a former plantation in Saint Ann Parish and the Spanish Town mosque, built in the mid-twentieth century by an Indian immigrant Mohammed Khan. With imagery of white tunics, beekeeping suits, the Ethiopian flag and archival footage of Haile Selassie at the League of Nations, Geneva in 1936; together, they create a serene tapestry draped across the Jamaican landscape.

Courtesy the artist and Copperfield, London.

For their new audio commissions, artist Ashley Holmes, and artist and writer Ayesha Hameed in conversation with poet and essayist Shivanee Ramlochan, consider the Caribbean’s deep cultural legacies of poetics and music. They journey through sound and spoken word, to explore the reverberations of personal, cultural and ancestral memory. The ocean and landscape as sites of violence are also demonstrated as a form of diasporic and queer possibility; building new subjectivities through language and sonic experiments – what Stuart Hall has described as survival strategies of Caribbean vernacular culture, ‘[...] the underground, subversive, rhythmic ‘rereading’ of an overground, dominant harmonics.’ (Hall, 2003).
 

Ashley Holmes, Pending, Still (Sync n Feeling Dub), 2021 

Ayesha Hameed: Radio Brown Atlantis with Shivanee Ramlochan

‘Witch Hindu’ by Shivanee Ramlochan: https://poets.org/poem/witch-hindu
'Chaiyya Chaiyya' from Dil Se: https://www.youtube.com/watch?v=WKX5x3KZXfY&ab_channel=ShahadatAliThe 'Coolie Belles' of Caribbean postcards: https://edition.cnn.com/style/article/indo-caribbean-women-colonial-postcards/index.html
‘The Abortionist's Daughter Declares Her Love’ by Shivanee Ramlochan: http://caribbeanreviewofbooks.com/crb-archive/30-november-2013/the-abortionists-daughter-declares-her-love/
'Scorpion Gyal' by Sundar Popo: https://www.youtube.com/watch?v=mKCH9wSBLFw&ab_channel=CaribbeanVibez
‘Hanuman Chalisa’: https://www.youtube.com/watch?v=AETFvQonfV8&ab_channel=T-SeriesBhaktiSagarExcerpt from ‘The Good Brown Girl’: https://www.wasafiri.org/article/the-good-brown-girl-by-shivanee-ramlochan/

Worlding Public Cultures hosts a major international online conference in partnership with Tate and a programme organised by UAL’s TrAIN Research Centre (Transnational Art Identity Nation). It will explore the legacies of Caribbean thought on global art histories, public culture and activism, complementing Tate Britain’s exhibition: Life Between Islands: British - Caribbean Art 1950s – now.

consent not to be a single being: Worlding Through the Caribbean takes the Caribbean and Caribbean thought as a starting point, to reconsider global histories of art and contemporary public cultures. Drawing on the foundational work of Caribbean thinkers Édouard Glissant, Stuart Hall and Sylvia Wynter, the symposium explores their impact on our understanding of the material, epistemological and ontological repercussions of these Caribbean histories.

Addressing the contested public paces of universities, museums, and cultural institutions, this symposium thinks with and through Glissant, Hall, and Wynter to radically transform our ways of relating to the world around us. The event will include a keynote lecture by celebrated Black studies and Black feminism scholar Katherine McKittrick, as well as five panels covering topics ranging from public culture, education, counter-histories, colonialism, world-making and the environment.

Recordings of the symposium will be available online in January 2022. 
 

Symposium Programme

Wednesday 1st December

15:30–16:30

• Keynote Lecture
  • Katherine McKittrick

  17:00-18:30

• Panel 1: Human as Praxis
  • Speakers include M. Ty , Julian Henriques, Maica Gugolati, Christopher Cozier and Ada M. Patterson.

Thursday 2nd December

15:30–17:00

• Panel 2: Counter Histories
  • Speakers include Adrienne Rooney, Nicole Smythe-Johnson, Sarah Casteel.

17:30–19:00

• Panel 3: Public Culture
  • Speakers include Gilane Tawadros, Malini Guha, Julia M. Hori, Natalie McGuire-Batson.

Friday 3rd December

15:30–17:00

• Panel 4: Worlding
  • Speakers include Alexandra Chang, Lee Xie, Alpesh Kantilal Patel, Nidhi Mahajan and Moad Musbahi.

17:30–19:00

• Panel 5: Ecology
  • Speakers include Susanne M. Winterling, Laleta Davis-Mattis, Denise Ferreira da Silva, Roshini Kempadoo and Guillermina De Ferrar

Organised by Hyundai Tate Research Centre: Transnational, in collaboration with UAL’s TrAIN Research Centre (Transnational Art Identity Nation) and the TrACE network (Transnational and Transcultural Art Culture Exchange). 
 

Audio and Film Programme

. . .the struggle of our new millennium will be one between the ongoing imperative of securing the well-being of our present ethnoclass (i.e., Western bourgeois) conception of the human, Man, which over represents itself as if it were the human itself, and that of securing the well-being, and therefore the full cognitive and behavioral autonomy of the human species itself/ourselves. Because of this overrepresentation, which [I define] . . . as the Coloniality of Being/Power/Truth/Freedom, any attempt to unsettle the coloniality of power will call for the unsettling of this overrepresentation. . .

Sylvia Wynter, ‘Unsettling the Coloniality of Being/Power/Truth/Freedom: Towards the Human, After Man, Its Overrepresentation—An Argument’, 2003

The symposium consent not to be a single being: Worlding through the Caribbean is accompanied by an online programme of artists’ audio and film work. It considers Édouard Glissant’s crucial proposition to ‘consent not to be a single being’ (Glissant, 2009) through the entanglements and archipelagic complexity manifested within the Caribbean experience. The programme forms around the notion that these states can be the conditions for worlding otherwise: in Sylvia Wynter’s words, for ‘unsettling the coloniality of being/power/truth/freedom’ (Wynter, 2003) that was established by our collective historical worlding inside the brutality of the colonial project. Across these works, unsettling occurs in the spaces of potentiality created by forms of cultural resistance, and the ever-becoming relationalities in which they are conceived.

The works span music, poetry, conversation and moving image, to reflect the multiplicity of approaches within the respective oeuvres of Édouard Glissant, Stuart Hall and Sylvia Wynter, and their explorations of cultural forms that are intrinsic to their theoretical projects.

The programme includes two new audio commissions: an experimental sound composition by artist Ashley Holmes, and a new episode of artist and writer Ayesha Hameed’s Radio Brown Atlantis, with special guest writer and poet Shivanee Ramlochan.

A programme of artists’ film, screening online from 1st to 3rd December 2021, includes recent work by Helen Cammock, Denise Ferreira da Silva and Arjuna Neuman, Jamilah Sabur, Rhea Storr and Alberta Whittle.

The audio and film programme is curated by Rahila Haque and sponsored by Chelsea College of Arts, UAL.

Amsterdam Assembly: Letting Go of Having to Speak All the Time

From 7-9th October, Framer Framed hosted the Amsterdam Assembly: Letting go of Having to Speak All the Time, a gathering and thinking space for activists, artists, scholars, and other cultural practitioners to discuss various topics around decolonisation, pedagogy, racism, and the politics of archiving.

How can we talk to each other to pass down intergenerational memories? How can we not repeat violent patterns in our ecosystems? Let us practice intellectual humility. Let us step aside, let us stop taking centre stage. Let us talk to each other and practice listening. We will sit and think together. We will write in commons, and pass on certain knowledge and wisdom. How do we start listening?

The Assembly employed an ‘ethics of listening’ as a useful mode to create a space for thinking together and establish conditions for interconnectedness between different locales. While this Assembly took place in the Netherlands, we wanted it to be a site of reflection where activists, artists, and cultural practitioners in the Netherlands think about their struggles and positionalities in relation to the pressing matters in different contexts. The Assembly was preceded by the production of Connecting Oceans, a podcast for translocal conversation between artists, activists, and scholars.

PEDAGOGY: Decolonizing Education

October 7, 10:00-17:10 CET

10:00-10:30 | Welcome, orientation, and introduction
Wayne Modest, Chiara de Cesari, Carine Zaayman, Nuraini Juliastuti

10:30-11:30 | Performative lecture: Spatial politics, policies, and new possibilities for dialogues
Ola Hassanain

11:30-12:30 | Practicing an International Art Student Network in the Netherlands
@No.More.Later // Gizem Üstüner (she/her) and M.C. Julie Yu (she/they)

13:30-15:30 | Lecture and book making workshop: Publishing as social movement
Lúcia Rosa (Dulcinéia Catadora collective)

15:40-17:10 | Lecture: Embodiment, Performance, Decolonisation, and Listening Practices
Deborah Thomas/Practicing Refusal Collective -The Sojourner Project

LISTENING: Building together many voices

October 8, 11:00-21:00 CET | at FRAMER FRAMED

11:00-12:00 | Performative Lecture: A decade of Zwarte Piet is racisme and Carnival
Quinsy Gario

12:00-13:00 | Mixtape on Radical Institutionalism
IMAGINART (Yazan Khalili, Eszter Szakacs, Aria Spinelli, Chiara de Cesari, Abdulkerim Pusat, Nuraini Juliastuti, Carine Zaayman)

13:00-14:00 | LUNCH: Launch of Reasoning podcast series, Connecting Oceans, playing pilot
*Click HERE to read the transcription of the podcast!

14:00-15:30 | Storytelling
Homing (Frigiti Tori: vergeten verhalen van de gedeelde geschiedenis tussen Nederland en Suriname), The PAO Embassy ASKV: Stories Where We Are From (Nneka Mora from Nigeria and Amir Mohammadi from Iran, Godfrey Lado), Stories from Kap Na’m To Fena (Lakoat.Kujawas, Mollo)

16:00-17:00 | Reflection session with Hodan Warsame

BUILDING THE TOOLKIT, OR LEARNING THE HABITS FOR LIBERATION

October 9, 11:00-16:00 CET | ONLINE via ZOOM

11:00-12:00 | Building Community for Liberation
Tracian Meikle

13:00-16:00 | Writing in Commons: Decolonial Companion Book
Assembly attendees and WPC Team – lead by Quinsy Gario and Maya Rae Oppenheimer

For further information about the Amsterdam Assembly, visit its page on the Framer Framed website

Worlding the Global: The Arts in the Age of Decolonization was an international academy held 8th-10th November 2019, designed to collaboratively re-imagine and pluralize the ‘global’ from multiple geocultural perspectives. Working in collaboration with Àbadakone / Continuous Fire / Feu continuel, the International Indigenous Art Exhibition at the National Gallery of Canada, the academy took as its ethical starting point its situation on unceded Algonquin territory, and the city of Ottawa’s entangled settler colonial, migrant, diasporic, and other transnational and transcultural histories.

The Carleton University Centre for Transnational Cultural Analysis, in partnership with the institutional members of TrACE (Transnational and Transcultural Art and Culture Exchange), organised Worlding the Global: The Arts in the Age of Decolonization, an international academy designed to collaboratively re-imagine and pluralize the ‘global’ from multiple geocultural perspectives. Working in collaboration with Àbadakone / Continuous Fire / Feu continuel, the International Indigenous Art Exhibition at the National Gallery of Canada, the academy took as its ethical starting point its situation on unceded Algonquin territory, and the city of Ottawa’s entangled settler colonial, migrant, diasporic, and other transnational and transcultural histories. Bringing together local, national and international scholars, artists, activists, and curators, the academy facilitated a multi-pronged dialogue on the global in the arts and culture, proposing to understand our global world as a temporally constituted and open-ended process of lived interrelations and interconnections (Glissant 1997; Cheah 2016; Shih 2012).

The academy starts from an understanding of art and its related discourses as world-making practices which articulate, perform, construct, and analyse the global from entangled positions. This acknowledgment of art’s world-making capacities is echoed by recent studies in global art history, which call for a fundamental paradigm shift beyond a neoliberal conception of the ‘global’ as an expansive network of culture and capital that starts from a colonial centre and disperses to its peripheries. Such binary models of centre versus periphey, coloniser versus colonised, settler versus indigenous, east versus west, north versus south, fail to analyse the complex power and knowledge structures of the world. Worlding, a concept rooted in phenomenological thinking, is understood as a decolonial ‘tactic’ that ‘enacts openings of time and consciousness to other values and multiple modes of being’ (Wilson 2008). Michelle Antoinette (2014) for instance, examines how contemporary Southeast Asian art contributes to a project of ‘re-worlding’ that not only de-centres Euro-American art-historical imaginaries, but also disrupts essentialising narratives about Southeast Asia. Likewise, Sonal Khullar (2015) draws on worlding as a tactic to re-shape art-historical conceptions of the global from the national and international contexts of twentieth-century India She understands modernism as both projected outward to the world as well as inwardly reflective of the time and place from which specific artworks and ideas are cultivated. More than acknowledging how art worlds have been shaped by globalisation, these authors reveal that the necessary work of global art history is that of decolonisation, understood as a multi-sited and collaborative engagement with entangled histories, epistemologies, power structures, migrations, culture, and capital (Juneja 2013) that involve critically examining how particular concepts, practices, and different knowledges of art-making can shape our understanding and being-in-the-world.

The program comprised a combination of different formats for critically engaged dialogue: from roundtable sessions and panel discussions, to an early career researchers’ workshop, networking workshops, artist talks, and a keynote lecture by Shu-mei Shih (UCLA). Worlding the Global: The Arts in the Age of Decolonization was the first in a series of international academies and symposia organised by TrACE (Transnational and Transcultural Art and Culture Exchange), the first transregional consortium dedicated to the study of the arts and culture from critical transnational and transcultural perspectives.

Organized by: Centre for Transnational Cultural Analysis

Conference Committee: Birgit Hopfener, Ming Tiampo, Victoria Nolte, Emily Putnam, and EJ McGillis

With support from the following Carleton University bodies: ODFASS, SSAC, MDS, and ICSLAC

Sponsors: Social Sciences and Humanities Research Council of Canada, Ottawa Embassy Hotel and Suites, Baden-Württemberg Foundation’s “Elite-Programm für Postdoktoranden/-innen”

Local Partners: Korean Cultural Centre, National Gallery of Canada, SAW Gallery, Université du Québec en Outaouais, University of Ottawa

Friday November 8, 2019

Korean Cultural Centre (150 Elgin Street, Unit 101)

8:30am-9:00am: Welcome & Introduction
KCC Welcome by Director Kim Yongsup
Carleton Welcome by Pauline Rankin (Dean, ODFASS, Carleton University)
Introduction by Birgit Hopfener and Ming Tiampo

9:00am-11:00am: Panel 1: Decolonizing Modernisms
Chairs: Ruth Phillips (Carleton University) & Ming Tiampo (Carleton University)

Speakers:
Sohl Lee (Stony Brook University)
Jolene K. Rickard (Cornell University)
Samina Iqbal (Lahore School of Economics)
Rolando Vázquez (Utrecht University)

11:00am-11:15am: Coffee break

11:15am-1:15pm: Panel 2: How we write histories: Shedding light on art’s historiographical multiplicity
Chair: Birgit Hopfener (Carleton University)

Speakers:
Viren Murthy (University of Wisconsin-Madison)
Naoki Sakai (Cornell University)
Su Wei (Inside-Out Art Museum, Beijing)
Peter Morin (OCAD University)

1:15pm-2:15pm: Lunch at the Korean Cultural Centre

2:15pm-4:15pm: Panel 3: Collaborative Curating, Curating Collaboration
Chairs: Paul Goodwin (University of the Arts London) & Jonathan Shaughnessy (National Gallery of Canada)

Speakers:
Wanda Nanibush (Art Gallery of Ontario)
Georgiana Uhlyarik (Art Gallery of Ontario)
Liu Ding (Artist, China)
Nanne Buurman (University of Kassel)

4:15pm-5:00pm: Afternoon break

National Gallery of Canada (380 Sussex Drive)

5:30pm-6:45pm: Keynote Lecture presented by Carleton University, The Centre for Transnational Cultural Analysis and the National Gallery of Canada

Indigenous Knowledge in a Relational World
Shu-mei Shih (UCLA)

7:00pm-9:00pm: CBC In-the-Making: Laakkuluk Williamson Bathory
Film screening and discussion organized as part of Àbadakone / Continuous Fire / Feu continuel

Saturday November 9, 2019

National Gallery of Canada (380 Sussex Drive)

10:30am-12:00pm: Panel 4: Art and Indigenous Ways of Knowing
Chairs: Heather Igloliorte (Concordia University) & Carmen Robertson (Carleton University)

Speakers:
Biung Ismahasan (University of Essex)
Peter Morin (OCAD University)
Melissa Cody (Artist, Arizona)
Skawennati (Artist, Montreal)

12:00pm-1:00pm: Lunch

1:00pm-3:00pm: Meet the artists of Àbadakone / Continuous Fire / Feu continuel

Galerie UQO (101 rue Saint-Jean-Bosco, Gatineau, QC)

5:00pm-7:00pm: Roundtable discussion on the occasion of Jinny Yu’s exhibition Perpetual Guest:

Space of suspense between permanence and passing through A conversation with Claudette Commanda (University of Ottawa), Amy Fung (Carleton University), David Garneau (University of Regina) and Jinny Yu (University of Ottawa)

Moderated by Alice Ming Wai Jim (Concordia University)

7:00pm-9:00pm: Reception at Galerie UQO

Sunday November 10, 2019

Club SAW (67 Nicholas Street)

8:30am-11:30am: Early Career Researchers’ Workshop: Worlding Decolonial Knowledges in Modern and Contemporary Art
Chairs: Victoria Nolte (Carleton University) & Emily Putnam (Carleton University)

Speakers:
Anna Stielau (New York University)
Amy Kahng (Stony Brook University)
Ellie Tse (UCLA)
Marisol Villela Balderrama (University of Pittsburgh)
Krista Ulujuk Zawadski (Carleton University)
Maya Wilson-Sanchez (University of Toronto)

11:30am-12:00pm: Coffee break

12:00pm-1:30pm: Panel 5: Worlding Gender
Chair: Laura Horak (Carleton University)

Speakers:
Andrew Gayed (York University)
Zairong Xiang (University of Potsdam)
Raven Davis (Artist, Toronto)

1:30pm-2:50pm: Lunch

3:00pm-5:00pm: Panel 6: How we work together: ethics, histories, and epistemologies of artistic collaboration
Chair: Franziska Koch (Heidelberg University)

Speakers:
Shao-Lan Hertel (Tsinghua University Art Museum)
Katia Olalde (Universidad Nacional Autónoma de México)
Beth Hinderliter (James Madison University)
Theresa Deichert (Heidelberg University)

5:00pm-6:30pm: World Café

World Café tables:

Worlding
Moderated by Rebecca Dolgoy & Zairong Xiang

Decolonization
Moderated by Malini Guha & Aboubakar Sanogo

Relational Comparison
Moderated by Shu-mei Shih

Biennials at Large: Fit in or Subvert it?
Moderated by Amarildo Ajasse & Amy Bruce

Worlding Memory Studies
Moderated by Ania Paluch & Emily Putnam

Global Modernisms
Moderated by EJ McGillis & Maggie Bryan

Worlding Gender: Codes of the Local/Metaphors for the Global
Moderated by Andrea Fitzpatrick

6:30pm: Closing party at Club SAW