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DTSTART;VALUE=DATE:20210511
DTEND;VALUE=DATE:20210513
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SUMMARY:Journée d'étude\, Artistic Activism in India (visio)
DESCRIPTION:Journée d’étude\, Artistic Activism in India (History\, Practice\, Paradigm and Circulation)\nThe expression “Arts Activism” is often used since the 1990s in reference to a significant part of the production of contemporary art throughout the world\, without any clear definition. Numerous international events – the Berlin Biennial in 2012\, the Venice Biennial in 2017\, the Manifesta 12 held in Palermo in 2018\, or the Kochi-Muziris Biennial entitled “Possibilities of a non-alienated life” in 2018-19 among some other such events – made it a central question. They all broached a large spectra of thematic going from ecology\, anti-globalization\, feminism\, responsible consumption\, social and economic alienation or immigration. Similarly\, a number of academic works (C. Mesch 2014\, D. Vander Gucht 2014\, J.M. Lachaud 2015\, N. Thompson 2015\, 2018\, P. Weibel 2015\, G. Didi-Huberman 2016\, G. Sholette 2017\, 2018\, D. Berthet 2018\, M. Reilly 2018) and magazines (the May 2019 Artforum International for example) address the question of contemporary forms taken by the interrelations between art and politics. \n“Artivism” encompasses artistic actions\, whose direct or indirect ambition is to tackle social and political issues\, reviving agitational practises defined in resistance to the planetary ideological hegemony they refer to as “neoliberalism”. This resurgent awareness of the political nature of artistic creation tends to question consensual discourses on the neutrality of art and aesthetics\, often confined in their “autonomy” and impervious to the disorders of the world. Within artistic activism a dialectic between two entities\, traditionally perceived as being of a different nature\, is played out: on the one hand the field of art (too often defined as autonomous\, with no other functionality than its own); on the other hand the field of politics and social activities (thought out as a praxis of the exercise of the power in an organized society). The central question posed by artistic activism could be stated in this way: How can we evaluate the capacity of art (visual and performing arts\, literature\, theatre\, dance\, video\, cinema\, etc.) to function as social and political protest? \nThe diversity of actors involved in such practice\, and their intentions\, targets and modes of expressions\, make it difficult to clearly envision the very function of art in politics. Artistic expressions are large\, going from so-called traditional medium (painting\, drawing\, sculpture\, theatre\, etc.)\, or in situ ephemeral practices inscribed in particular times and places (urban spaces\, neighbourhoods\, specific sites\, warehouse\, etc.)\, to interventions happening through the Internet (net art\, hacktivism\, etc.). So large are the ideological backgrounds of their authors\, being individuals or collectives\, all mediated by rhetoric and diversion practices\, expressing different postures as well as distinct levels of radicalisms\, etc. Therefore\, to overcome the singularities of art activisms\, it is necessary to engage a common reflection enabling the drawing lines of analysis in order to build a robust analytical framework. \nTwo radically different positions can be delineated\, within all these practices: \n1- The first describes artistic action as part of a movement of enhancing the functionality of the message and political action\, in order to make the latter more “attractive”. In this case\, the activist-artist often tends to adopt a rather sympathetic position with the object of the political discourse. If this type of intervention allows him/her to cherish the hope of generating awareness and some social and political changes\, it contains the risk of ideological subjugation\, drifting into the art of propaganda and the reduction of aesthetic innovation. \n2- The second relates to artistic action oriented to the diversion and dysfunction of political action and its discourse\, in the cancellation of their practical and efficient dimension. This position seems to have been adopted by a large number of activist artists around the world\, in order to call out the dangers\, the excesses\, the flaws\, the hypocrisies of this or that political actions or this or that ideological principles. It ensures a greater autonomy of the artistic action and seems to avoid any subjection to one political discourse. On the other hand\, it relegates to the background the impact of artistic action in the social and political domain (in a sort of objectification of a political and social status quo). \nThese two contradictory traditions nourish\, by mingling with each other\, what we call contemporary artistic activism. An analysis of its productions sometimes reveals more or less contrasted aims. The Indian art scene is no exception and a number of artists and artists’ collectives claim to be activists (Vivan Sundaram\, Navjot Altaf\, Tejal Shah\, Shilpa Gupta\, Pushpamala N.\, Anita Dube\, Open Circle\, Raqs Media Collective\, Sahmat\, Vijay Tendulkar\, Badal Sircar\, Habib Tanvir\, Namdeo Dhasal\, etc.). They thus contribute to the global and local dimension of the phenomenon of arts activism. \nSince the launch of the New Economic Policy in 1991\, the Indian Union has undergone profound changes in all areas of activity (economic\, social\, cultural\, artistic). The “opening” of the economy and the rise to power of the Hindu nationalist right have had the effect of deeply questioning the principles of the Indian way enacted by the fathers of Independence in 1947\, based on a secularist democracy\, a self-centred growth model organized around a large public sector and non-alignment. \nThe current political context of India\, where tends to dominate religious nationalism\, stigmatization of minorities\, questioning of secularism\, ethnic conception of the Indian nation\, bone of contention around Kashmir\, violence of intercommunity conflicts\, etc.\, as well as its cultural and artistic context (advent of India on the international art scene\, development of the art market and cultural economy\, shift of the middle class into mass consumption\, questioning of freedom of expression etc.) make the Indian Union a specific laboratory for the contemporary development of interrelationships between artistic practices and social and political commitment. \nThis Two-days Online Conference intends to bring together researchers and practitioners from all horizons\, from artists\, curators to academics\, to reflect together on the various forms and conceptions of artistic activism in India since the 1990s onwards. By gathering such a diversity of profiles\, this conference aims at approaching crossings\, transfers\, intersections between art and politics at work within Indian artistic activism\, both in their transversal and global dimensions\, and in all the nuances and specificities observed at the local and the micro-local scales. \n>> télécharger le programme (pdf) \nScientific Committee\nYashadatta Alone\, JNU\, School of Arts & Aesthetics\, New Delhi\nNicolas Bautès\, IFP (MEAE)\, Associate Researcher CEIAS (EHESS-CNRS)\nChristine Ithurbide\, CNRS UMR 5319 PASSAGES\, Associate Researcher with CEIAS and LabSIC\nMalvika Maheshwari\, Ashoka University\, Political Science\, New Delhi\nNicolas Nercam ADS-MICA-CEIAS (EHESS-CNRS) \nOrganising Committee\nNicolas Nercam ADS-MICA-CEIAS (EHESS-CNRS)\nNicolas Bautès\, IFP (MEAE) Associate Researcher CEIAS (EHESS-CNRS)\nChristine Ithurbide\, CNRS UMR 5319 PASSAGES\, Associate Researcher CEIAS and LabSIC \nOrganisée par l’axe ADS du MICA\, en collaboration avec le LabSIC\, CEIAS\, IFP. \nContact and Registration\nNicolas Nercam nicolas.nercam@u-bordeaux-montaigne.fr\nNicolas Bautès nicolas.bautes@ifpindia.org\nChristine Ithurbide christine.ithurbide@cnrs.fr \nLa journée d’étude aura lieu sur Zoom.\nLes participants sont invités à s’inscrire sur le lien suivant afin de recevoir leur lien par email :\nhttps://u-bordeaux-montaigne-fr.zoom.us/\nUn projet de recherche qui bénéficie du soutien de la MSH Paris Nord dans le cadre de son appel à projets.
URL:https://www.mshparisnord.fr/event/journee-detude-artistic-activism-in-india/
LOCATION:visio-conférence
CATEGORIES:Manifestations scientifiques
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DTSTART;TZID=Europe/Paris:20210512T180000
DTEND;TZID=Europe/Paris:20210512T200000
DTSTAMP:20260420T224334
CREATED:20201009T134310Z
LAST-MODIFIED:20210318T082148Z
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SUMMARY:Séminaire\, Histoire(s) de la visibilité selon Harun Farocki\, 12 mai 2021 (visio)
DESCRIPTION:On abordera dans ce séminaire le travail du cinéaste\, artiste et essayiste Harun Farocki (1944-2014). \nArpenteur infatigable des diverses strates de visibilité de nos sociétés\, il a cherché aussi bien à nous dévoiler l’envers du visible ordinaire qu’à débusquer un visible opératoire qui innerve la réalité sociale en étant invisible pour tout un chacun. Il s’est intéressé aux images qui prennent la mesure du monde\, celles du domaine de la technique\, celles qui produisent comme celles qui détruisent (les techniques de production\, les techniques militaires). \nUne recherche qui se déploie dans l’horizon de la pensée de Marx\, d’Adorno\, de Heidegger et de Foucault. Artisan d’une archéologie (Bellour\, Blümlinger) de notre présent visuel\, Farocki a également patiemment sondé les institutions pour y découvrir les «images opératoires» qui les font fonctionner et qui pilotent le comportement des individus ; on rencontre alors Foucault et ce qu’en dit Deleuze à propos des «sociétés de contrôle». Grâce à ses fouilles\, Farocki recueille les images produites par le monde d’aujourd’hui : photographies\, images d’archives\, images de synthèse\, vidéosurveillance\, imagerie militaire\, cinéma et jeux vidéo\, etc. Il explore ainsi divers milieux sociaux\, l’usine\, la prison\, la communication\, le marketing\, la finance\, mais aussi le sport et l’architecture… En tissant les unes avec les autres ces images provenant de sources hétérogènes\, c’est une lecture critique de l’histoire du siècle dernier et du début du XXIe que nous offre l’œuvre. Une histoire des événements\, leur médiatisation et le rôle des images opératoires (guerre du Vietnam\, Seconde Guerre mondiale\, Révolution roumaine\, chute du Mur de Berlin\, guerre du Golfe\, etc.)\, une histoire industrielle et technique\, aussi bien l’histoire du travail que l’histoire militaire\, et bien sûr une histoire des images\, celles des médias\, les images de l’art\, les images photographiques et cinématographiques\, ainsi que ces toutes nouvelles images de synthèse détachées du regard humain (que «voit» une machine ?). \nDate\n12 mai 2021\n>> lien visio de la séance : https://us02web.zoom.us/j/86475905832 \nSéances précédentes\n30 octobre 2020 de 18h à 20h \n13 novembre 2020 de 18h à 20h \n10 février 2021 de 18h à 20h \n16 mars 2021 de 18h à 20h \n20 avril 2021 de 18h à 20h \nUn projet de recherche qui bénéficie du soutien de la MSH Paris Nord dans le cadre de son appel à projets.
URL:https://www.mshparisnord.fr/event/seminaire-histoires-de-la-visibilite-selon-harun-farocki-12-mai-2020/
LOCATION:visio-conférence
CATEGORIES:Manifestations scientifiques
ATTACH;FMTTYPE=image/jpeg:https://www.mshparisnord.fr/wp-content/uploads/2020/10/affiche-harun-farocki2020-21.jpg
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DTSTART;TZID=Europe/Paris:20210514T100000
DTEND;TZID=Europe/Paris:20210514T130000
DTSTAMP:20260420T224334
CREATED:20200914T134836Z
LAST-MODIFIED:20210419T153609Z
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SUMMARY:Séminaire "Corps" et sciences sociales\, 14 mai 2021 (visio)
DESCRIPTION:Présentation critique d’ouvrages en présence de leurs auteurs\nSéminaire 2020 / 2021\nCe séminaire vise à rendre raison de la floraison saisissante depuis le milieu des années 90 en histoire\, sociologie\, anthropologie\, science politique\, d’ouvrages consacrés aux questions du corps\, de la santé\, de l’administration du vivant. Elle incite à inventorier\, par delà singularités apparentes et spécificités disciplinaires\, les pensés et impensés communs à cette humeur du temps si soucieuse du destin du corps et du biologique. Ce séminaire se tient sous l’égide conjointe de la MSH Paris Nord et de la Fondation MSH-Paris\, et a été intégré dans deux masters de l’EHESS. \n> télécharger le programme complet (pdf) \nSéance du 14 mai 2021 (en visio)\nIV. Corps et droit\nSéance 8. Classer\nMarie-Xavière Catto\, Le principe d’indisponibilité du corps humain\, limite de l’usage économique du corps\, Paris\, LGDJ\, 2018\, 750 p.\nLisa Carayon. La catégorisation des corps : étude sur l’humain avant la naissance et après la mort\, Paris\, IRJS Editions\, 2019\, 787 p.\nLecteurs : Kim Khanh Pham / Marie Mathieu \nInformations pratiques\nLes vendredis de 10h à 13h\, entrée libre et gratuite \nSéances 6 à 8 : à partir de mars 2021\nau CNRS\, 59/61 rue Pouchet\, 75017\, salle 214 \nOrganisatrices scientifiques\nDominique Memmi\, directrice de recherche\, sciences sociales\, CNRS\nGéraldine Aïdan\, chargée de recherche CNRS\, CERSA-CNRS\, Paris II-Panthéon-Assas\nEn collaboration avec Anne-Lise DALL’AGNOLA\, doctorante\, CSU/ Paris 8\, annelise.dallagnola@gmail.com \nPartenaires\nMaison des Sciences de l’Homme Paris Nord\nFondation MSH\nCresppa\nCERSA \nUn projet de recherche qui bénéficie du soutien de la MSH Paris Nord dans le cadre de son appel à projets.
URL:https://www.mshparisnord.fr/event/seminaire-corps-et-sciences-sociales-14-mai-2021/
LOCATION:CNRS Pouchet\, 49/51 rue Pouchet\, Paris\, 75017
CATEGORIES:Manifestations scientifiques
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