The Department of Media has positions for
Two Doctoral Candidates
The positions are fixed-term and will be filled for 12 months. The starting date is 1st March 2018.
These positions are for doctoral students who study within the Department of Media, Aalto-ARTS, to support the final stages of their dissertation preparation, for pre-examination. The position duties are working full-time on the DA dissertation, so that within, but not later than, the end of the 12 month work period, the Head of Research in the Department of Media will make a proposal to the Doctoral Programme Committee confirming that the dissertation is ready to be submitted for pre-examination.
The salary for these positions is 2500-2700€ per month. Aalto University follows the salary system of Finnish universities.
How to apply
Applications for the position require:
1. A written statement from the applicant that includes overview of the research, schedule and time-line for completion. This must include a written statement declaring that the applicant understands their dissertation will be ready to be submitted for pre-examination at the end of the work period.
2. Full CV from applicant
3. Recent academic transcript from Aalto University (digitally signed is accepted)
4. Letter of Support from the Supervising Professor including a statement confirming their confidence that full-time work on the dissertation will allow the applicant to be ready to submit the dissertation for pre-examination at the end of the work period.
5. Letter(s) of Support from the Advisor or Advisors including a statement confirming their confidence that full-time work on the dissertation will allow the applicant to be ready to submit the dissertation for pre-examination at the end of the work period.
6. The applications for the positions should be submitted through the eRecruitment system no later than on Monday February 5th, 2018.
The dissertation scrutinises how sickness has been represented in art photography and examines new ways to approach, think about and create photographic art about sickness.
M.Soc.Sci Maija Tammi will defend her dissertation Sick Photography. Representations of Sickness in Art Photography. on Tuesday 12 December 2017.
At 12:00–14:00. Lecture hall 822, 8th floor, Hämeentie 135 C, 00560, Helsinki.
Opponent: PhD Loiuse Wolthers, Hasselblad Foundation, Göteborg
Custos: prof. Merja Salo, Department of Media
The discussion will be in English.
The dissertation Sick Photography scrutinises how sickness has been represented in art photography and examines new ways to approach, think about and create photographic art about sickness. It is a work of artistic research – it combines the practice of research with the generation of new artworks. The research differentiates between sickness, illness and disease, following anthropologist Arthur Kleinman’s definitions, and illustrates how 67 artworks by known authors sit in relation to these definitions. The research shows that art photographers have mostly concentrated on depicting personal illness experiences. Critics and scholars have concentrated on the ethics of what kind of images of sickness or suffering ought to be shown or on the psychology of why some images of sickness bother viewers. Tammi’s research adds to the conversation of difficult images drawing from writings on disgust, uncanny and abject, and claims that the proximity of photography makes it potent for being abject or uncanny. The main results of the research, artworks Leftover (2014) and White Rabbit Fever (2016), are intertwined with the research and draw their inspiration from it.
The dissertation notice and the published dissertation are placed for public display at the Learning Hub Arabia (Hämeentie 135 C, 5th floor, room 570), at latest 10 days before the defence date.
Event on Facebook: https://www.facebook.com/events/146912999264323/
Toivotamme teidät tervetulleeksi TaM Ismo Luukkosen väitöstilaisuuteen:
Maiseman kerrostumista ajan kokemukseen.
Perjantaina 3 marraskuuta 2017, klo 12.00–14.00
Iso Luentosali 822
8krs, Hämeentie 135 C
00560, Helsinki, FI
Väitöskirja on taiteellinen tutkimus, joka tuo esille tekijälähtöisen näkökulman ajan ja valokuvan suhteeseen. Väittelijä esittää tulkintoja ajasta, maiseman kerrostumista sekä muinaisjäännöksistä maisemassa, ja tuo samalla kuvan sekä kuvan tekemisen kiinteäksi osaksi tutkimusta.
Vastaväittäjä: KuT Jan Kaila, Taideylipiston kuvataideakatemia
Kustos: prof. Merja Salo, Aalto-yliopiston Median laitos
Keskustelu käydään suomeksi.
Valokuvan ajallisuus (Maiseman kerrostumista ajan kokemukseen) on tekijälähtöinen taiteellinen tutkimus valokuvan ja ajan suhteesta. Muinaisjäännökset maisemassa, maiseman ajallinen kerroksellisuus ja sen välittyminen maisemavalokuvissa ovat työni lähtökohtia, joiden johdattamana tarkastelen valokuvan ajallisuutta. Pyrin vastaamaan kysymykseen, kuinka aika esiintyy valokuvissa.
Tutkimuksen rakenne on dialoginen. Tutkimustekstin rinnalla on kuvallisia lukuja, jotka pohjautuvat vuosien 2000–2017 taiteelliseen työskentelyyni maisemassa olevien muinaisjäännösten ja valokuvan ajallisuuden parissa. Kuvaustyössäni olen pyrkinyt tarkastelemaan kohteitani erilaisista lähtökohdista, mikä näkyy myös kuvien ilmiasuissa. Kuvallinen työskentelyni on tapahtunut samanaikaisesti teoreettisen tutkimuksen kanssa ja työskentelytavat ovat vaikuttaneet toisiinsa. Kuvalliset luvut tuovat toisen tarkastelutavan sanallisten rinnalle. Ajattelutapa on toinen, mutta tarkastelun kohde yhteinen.
Valokuvan voi nähdä todellisuuden jälkenä tai kuvallisena tulkintana todellisuudesta. Nämä kaksi näkökulmaa esiintyvät rinnakkain sekä tutkimustekstissä että kuvallisissa luvuissa. Kun katson valokuvaa todellisuuden jälkenä, sen ajallisuus liittyy kohteen ajallisuuteen, esimerkiksi maiseman ajallisiin kerrostumiin ja niiden välittymiseen valokuvasta. Jotta ajallisuuden voi tunnistaa kuvasta, se on ymmärrettävä myös kohteena olevasta maisemasta. Mutta jälki sitoo valokuvan aikaan myös toisella tavalla. Kuvattu hetki on tietty ajankohta menneisyydessä, joka väistämättä karkaa kauemmaksi ajan jatkumolla. Mennyt hetki tulee näkyväksi esimerkiksi vertailun kautta. Kuvaa voi verrata toisiin kuviin (samasta kohteesta) tai itse kohteeseen.
Katsoessani valokuvaa todellisuuden kuvallisena tulkintana, sen ajalliset merkitykset ovat riippuvaisia myös valokuvaajan tekemistä valinnoista. Valokuvaajana voin vaikuttaa siihen, kuinka aika jättää merkkinsä kuvan pintaan. Ajallisuutta voi edelleen korostaa käyttämällä erityisiä tekniikoita, joissa aika jo kuvattaessa muovaa valokuvan ilmiasua. Esimerkiksi pitkällä valotusajalla kuvattaessa esiintyvä liike-epäterävyys voi johdattaa katsojan ajallisten merkitysten äärelle.
Valokuva on kuitenkin monitulkintainen, sitä voi tarkastella monista näkökulmista ja erilaisista lähtökohdista. Tulkinta ei aina pysy niissä raameissa, joita tekijä yrittää kuvalle asettaa. Valokuvan merkitykset riippuvat siitä, kuinka katsoja kuvan kohtaa. Tähän kohtaamiseen vaikuttaa valokuvan ilmiasun ja katsojan itsensä lisäksi myös esityskonteksti, se, millaisessa yhteydessä kuva esitetään ja mitä muita kuvia tai tekstejä kuviin liittyy. Näin voidaan johdatella katsojaa myös ajallisiin tulkintoihin.
Valokuvalla on myös oma ajallisuutensa. Se on esine, joka vanhenee minkä tahansa esineen lailla, mutta vielä olennaisemmin ajallisuus tuntuu välimatkassa, joka syntyy valokuvan ottamisen ja katsomisen hetkien väliin. Valokuvaa katsotaan aina jälkikäteen. Se on väistämättä sidoksissa menneeseen ja tietoisuus tästä vaikuttaa siihen, kuinka kuvaa katsotaan. Valokuva on jäännös hetkellisestä tapahtumasta.
You are cordially invited to the Defence of Doctoral Dissertation of MA Ismo Luukkonen:
Temporality of a photograph.
From the layers of a landscape to the experience of time.
Friday 3 November 2017, 12.00–14.00
Lecture Hall 822
8th floor, Hämeentie 135 C
00560, Helsinki, FI
The dissertation is artistic research into the relationship between a photograph and time. Photographing of prehistoric objects in landscape are used to examine the temporality of photography.
Opponent: Doctor of Fine Arts Jan Kaila, University of the Arts Helsinki
Custos: prof. Merja Salo, Aalto University Department of Media
Discussion will be held in Finnish.
The temporality of a photograph (from the layers of a landscape to the experience of time) is artistic research into the relationship between a photograph and time. The prehistoric objects in a landscape, the temporal layers of the landscape and the way the temporality of the landscape is represented in photographs are the starting points of the research. They led me to the key issue: the temporality of a photograph. My question is how time appears in photographs.
The structure of the research is dialogic. There are pictorial chapters beside written ones. The photographs are the results of my artistic work in the years 2000–2017, concerning prehistoric remains in the landscape and the temporality of a photograph. In my photographic work, my aim has been to examine subjects using different approaches. This is also visible in the appearances of the images. My photographic work has been concurrent with the theoretical research, and the two ways of working have affected each other. The way of thinking is different, but the subject is shared.
A photograph can be seen as a trace of reality or as a pictorial interpretation of reality. These two approaches appear both in the written text and in the pictorial chapters. When a photograph is thought of as a trace of reality, its temporality is based on the temporality of the subject, such as the temporal layers of a landscape and their representation in a photograph. To be able to recognise the temporality in the photograph, one must understand the temporality of the subject. However, the photograph as a trace also ties the photograph to time in another way. The photographed moment is a point in time, in the receding past. The gone moment of the photograph becomes visible, for example, if the photograph is compared to another photograph (of the same subject) or to the subject itself.
When I look at a photograph as a pictorial interpretation of reality, the temporal meanings also depend on the choices the photographer makes. As a photographer, I can decide how time leaves its mark on the surface of the photograph. The temporality can be emphasised by special techniques. A long exposure, for example, has an effect on the visuality of the photograph, and it can lead the viewer to temporal interpretations.
The photograph is, however, ambiguous. It can be studied from different viewpoints and using different approaches. The interpretation does not always stay within the frame that the photographer has suggested. The meanings depend on the way the viewer confronts the photograph. They are affected by the appearance of the photograph and the personality of the viewer, but also by the context of the photograph: where it is shown and what other pictures or texts are present. The context can be used to suggest temporal interpretations.
The photograph also has a temporality of its own. It is an object that ages like any object does, but even more essentially, temporality is felt in the distance between the moment when the photograph was taken and the moment when it is viewed. A photograph is always seen afterwards. It is inevitably bound to the past, and the awareness of this affects the way the photograph is viewed. A photograph is a remnant of a momentary incident.
Call for Papers
Helsinki Photomedia 2018
March 26 -28, 2018
Aalto University, Helsinki, Finland
Deadline for 500 word abstracts: October 31, 2017
Theme: Reconsidering the “Post-truth Condition”: Epistemologies of the photographic image.
Contemporary photography takes place in a world where the relation between facts and values is a social and political issue which has repercussions in art and education as well. The public discussions on information warfare, fake news and manipulated media contents have shaken the epistemology of news media and generally revitalized the questions of trustfulness of media representations. Problematic statements about the ‘post-truth condition’ symptomatically reflect this situation and pose new challenges to our understanding of the epistemology of the photographic image.
It is vital to reconsider the ‘post-truth condition’ as a discursive and imaginary formation. This implies that its claims cannot be taken at face value. At the same time, however, as a socially seducing phenomenon, it arranges new settings for old questions of photographic knowledge, authenticity, veracity and truthfulness. It postulates a political and social terrain where photographic images circulate and participate in the formation of socially efficient visual knowledge.
Hence, the controversial notion of post-truth actualizes questions of the quality of photographic information, knowledge and data. Rich in detail, photographs are able to communicate in a constative, laconic manner. Photographs are “dense data” and their mute appearances are malleable material for various information structures.
Helsinki Photomedia 2018 invites critical examinations, artistic reflections and presentations of educational projects of photography after the ‘post-truth condition’, especially work which addresses the variety of ends that photographic truth, authenticity, indexicality, manipulation and suspicion have to stand for. Photomedia 2018 will take up the multifaceted question concerning the photographic epistemology by focusing on topics including (but not limited to):
- Evidence and testimony
- Photography and knowledge
- Technical aspects of photographic data
- Visual information and counter-information
- Strategies of authentication
- Photography and education
Keynote speakers 2018:
Professor Robert Hariman (Northwestern University)
Professor John Lucaites (Indiana University)
Professor Barbie Zelizer (University of Pennsylvania)
Artist Keynote Professor Walid Raad (The Cooper Union, NYC)
Hariman and Lucaites are authors of The Public Image, Photography and Civic Spectatorship (2016) and No Caption Needed: Iconic Photographs, Public Culture, and Liberal Democracy (2007).
Zelizer’s work on photography includes the books About to Die: How News Images Move the Public (2010) and Remembering to Forget: Holocaust Memory through the Camera’s Eye (2000).
Artist keynote speaker Walid Raad is a contemporary media artist who’s works include The Atlas Group project about the contemporary history of Lebanon.
Helsinki Photomedia is a biennial photography research conference organized by four Finnish universities since 2012. The conference offers various platforms where artistic, philosophical, social, cultural, economical and technological approaches to photography meet. We welcome submissions from all areas of photography research. Since 2016 photography education has been one of the areas and we welcome submissions for the educational panel for presenting educational projects and related research. The conference language is English.
31 October 2017 – Deadline for submissions (500 word abstracts) by 23.59 Finnish time (UCT +2:00)
1 December 2017 – Notifications of Acceptance
1 March 2018 – Deadline for Registration
26–28 March 2018 – Conference in Helsinki
Call for Submissions: JAR Issue 16 – Spring 2018
Journal for Artistic Research (JAR)
The deadline for consideration is 15 September 2017
JAR publishes artistic research from all arts disciplines, with or without academic affiliation, and includes the work of artistic research practitioners and theorists. Rethinking the traditional journal format, JAR offers its contributors a free-to-use online space called the Research Catalogue (RC) where text can be woven together with image, audio and video material. The Journal is specifically interested in contributions that reflect upon and expose artistic practice as research, and welcomes submissions from artists interested in exchanging ideas and opening up the processes and methodologies that underlie their practice. Please view our archive to get a sense of what we publish.
To be considered for Peer Review, the editorial board considers:
1. Whether the exposition exposes artistic practice as research. This engages with questions and claims about knowledge within practice. For a detailed articulation of this please read the editorial to JAR0
2. The degree to which the exposition is conceptually and artistically strong, considered, and significant to the field.
3. Whether the multimedia and design capacities of the RC have been used effectively and meaningfully to support the argument or understanding of the research.
To submit an article, contributors are required to register for an account on the RC and use the online space to layout and expose their research. JAR provides editorial and technical guidance with these processes.
For our guidelines on submissions visit:
For submissions information, and advice on whether your research is suitable for JAR, contact the Managing Editor, at firstname.lastname@example.org
JAR works with an international editorial board and a large panel of peer-reviewers.
Editor in Chief: Michael Schwab
Peer Review Editor: Julian Klein
Editorial Board: Alex Arteaga, Annette Arlander, Sher Doruff, Barnaby Drabble, Mika Elo, Leonella Grasso Caprioli, Yara Guasque, Julian Klein and Mareli Stolp.
JAR is published by the Society for Artistic Research (SAR)
an independent, non-profit association. You can support JAR by becoming an individual or institutional member of SAR. More information can be found here
Please ask your advisor(s) to send their statements/letters of support directly to Philip Dean.
Please inform your official supervisor that you are applying for a position but they do not need to send their statements directly as Philip shall be contacting them personally. Therefore please include the name/e-mail of your supervisor in your application.
INTERNATIONAL CONFERENCE PROGRAMME
Photographies journal: Critical Issues in Photography Today
Thursday 18 May & Friday 19 May, 2017
Venue: University of Westminster (Central London), UK
Tervetuloa DOM-L0003 Valokuvataiteen jatko-opintoseminaariin
Keskiviikkona 19 huhtikuuta 2017, klo 10–16
Arabian kampus, Hämeentie 135 C, Helsinki
9. krs, valokuvauksen tilat
Professori: Merja Salo
10-12 Kari Pyykönen: Väitöskirjan rakenne, sisällysluettelo ja poimintoja aineistosta.
13-15 Satu Kiuru (Taiteen laitos): Kuvataiteilijan tutkimusmatka tiedostamattomaan. Väitöskirjan rakenteen ja aineiston esittely.
15-16 Pauliina Pasanen: Society for Photographic Education, seminaarikuulumisia Floridasta.
Please read below about this year’s Nida Doctoral School (NDS) intensive course for DA and PhD students.
NDS is a wonderful opportunity for doctoral candidates to focus on their doctoral thesis development. There are 4 places for Aalto ARTS students and costs will be covered on ARTS School level.
You will find more information and the link to the Application Form by scrolling down.
Tweezers and Squeezers: Methodological Approaches and Research Methods in Art, Design and Architecture
Third Nida Doctoral School intensive course for DA and PhD students in art, design, architecture, humanities and the social sciences
21-26 August 2017
Nida Art Colony of Vilnius Academy of Arts, Lithuania
Application deadline: 31 March 2017
VAA Nida Art Colony, Neringa, Lithuania, 2016. Dronography by Robertas Narkus
The third Nida Doctoral School (NDS) will bring together a multidisciplinary group of practice and theory-based doctoral candidates researching different topics in the context of the visual and performing arts, design and architecture, sharing the common goal of completing a doctoral degree, to discuss and develop the methodological framework of their research projects. NDS will provide a platform for dialogue and the exchange of ideas, as well as a space for sharing feedback and peer support. The aim of NDS 2017 is to focus on research methods and on the development of methodological skills and approaches, and to provide critical feedback from distinguished international tutors.
Finding suitable methods and framing the methodological approach is one of the biggest sources of anxiety and uncertainty for doctoral researchers, especially practice-based, when developing and implementing a research plan. Could I treat my art or design practice as the main method? How should I write about my methodology? Or, as Henk Slager calls it, ‘methodicy’*? How should I safeguard myself and my audience from methodological excess? Does my methodological approach help or limit me in doing my research? When should I think about it: when starting or when concluding my research and thesis? What is the relationship between theory and practice in my research, and which philosophical/theoretical school should I refer to in order to base my argument?
The third NDS will take place on 21-26 August 2017. Each day will include one-hour-long presentations by invited speakers and tutors, followed by one-hour-long discussions. The rest of the day will be dedicated to doctoral student presentations, followed by discussions and feedback (one hour per student). Invited speakers and tutors will act as respondents to the student research development work. The programme will also include slots for individual consultations.
The students are expected to participate in presentations and discussions, and to prepare for the course by studying a reading list compiled by the invited speakers and tutors and provided in early June. In addition to the discussions around the overall topic of the School, students are asked to prepare a 30-minute presentation of their own research and practice, with a special focus on their methodological approach. In these sessions, students will receive feedback from their peers on other doctoral programmes, as well as from the invited speakers and tutors of the School.
Invited Speakers and Tutors
In 2017, NDS has the pleasure to welcome three INVITED SPEAKERS:
– Dr Joanne Morra, Reader in Art History and Theory, curator of the Doctoral Platform at Central Saintt Martins, University of the Arts London, founding principal editor of Journal of Visual Culture;
– Dr Marquard Smith, academic, curator, commissioner, programmer, and Founder and Editor-in-Chief of Journal of Visual Culture, currently Programme Leader for the MA Museums & Galleries in Education at UCL Institute of Education;
– Prof Juha Suoranta, social scientist and public intellectual, professor at the University of Tampere, author of ‘Artistic Research Methodology. Narrative, Power and the Public’ (with Mika Hannula and Tere Vadén, 2014), ‘Rebellious Research’ (in Finnish with Sanna, Rynnänen, 2014).
Dr Joanne Morra is a Reader in Art History and Theory at Central Saint Martins (CSM), University of the Arts London. She runs The Doctoral Platform at CSM, and is the Founding Principal Editor of Journal of Visual Culture. She has published widely on modern and contemporary art, in, for instance, New Formations, Art History, Journal of Modern Art, What is Research in the Visual Arts (eds. Holly & Smith). Joanne has edited many collections, including ‘The Limits of Death’ (MUP 2000), ‘The Prosthetic Impulse: From a Posthuman Present to a Biocultural Future’ (MIT 2006), ‘Visual Culture: Critical Concepts in Media and Cultural Studies’ (4 volumes, Routledge 2006), ‘Acts of Translation with Bal’ (Sage 2007). Recent activities include the exhibition ‘Saying It’ (Freud Museum London 2012), ‘Intimacy Unguarded: Autobiography, Biography, Memoir’ (with Talbot, 2013), ‘50 Years of Art and Objecthood’ (with Green, Sage 2017), and ‘Inside the Freud Museums: History, Memory and Site-Responsive Art’ (I.B. Tauris 2017).
Dr Marquard Smith is Programme Leader for the MA Museums & Galleries in Education at UCL Institute of Education. He is an academic, curator, commissioner, programmer, and Founder and Editor-in-Chief of Journal of Visual Culture. Recent exhibitions curated include, ‘The Global Archive’ (London, 2012), ‘Jordan McKenzie: An Englishman Abroad’ (Istanbul, 2014), and most recently ‘How to Construct a Time Machine’ (Milton Keynes, 2015). Marq writes on artistic research, practice-based research, archives, arts education, and most recently on experimentally in ‘MaHKUscript: Journal of Fine Art Research’. He is author, editor, and co-editor of over 20 books and themed issues of journals including ‘What is Research in the Visual Arts?’ (Yale UP, 2008), ‘Visual Culture Studies’ (Sage, 2008), ‘The Erotic Doll: A Modern Fetish’ (Yale UP, 2013), ‘The Prosthetic Impulse’ (The MIT Press, 2005). Marq’s previous academic roles include: Head of the School of Art and Design History, Kingston University, London; Research Leader and Head of Doctoral Studies in the School of Humanities at Royal College of Art; and Founding Director of the Institute for Modern and Contemporary Culture at University of Westminster, London.
Prof Juha Suoranta is a Finnish social scientist, and public intellectual. He is currently Professor at the University of Tampere. In total, he has published 38 books, such as ‘The Integrated Media Machine I: A Theoretical Framework’ (co-edited with Mauri Ylä-Kotola, Sam Inkinen and Jari Rinne), 2000; ‘Architecture: Theory, Research, and Practice’ (with Seppo Aura and Juhani Katainen), 2001; ‘Artistic Research. Theories, Methods, and Practices’ (with Mika Hannula and Tere Vadén), 2005; ‘Artistic Research Methodology’ (with Mika Hannula and Tere Vadén), 2014. Suoranta has published extensively in the fields of education, political sociology of education, radical adult education, critical media education, and critical pedagogy. In his writing, Suoranta is interested in bringing together ideas and material from various disciplines, including media and cultural studies, sociology, educational studies, literature studies and literature.
Three TUTORS will guide the students through the course:
– Dr Sofia Pantouvaki, scenographer and Professor of Costume Design at Aalto University;
– Dr Mika Elo, Professor of Artistic Research, Head of Doctoral Programme, Vice-Dean for Research at the University of the Arts Helsinki, Academy of Fine Arts;
– Konstantinas Bogdanas, artist and Associate Professor of Visual Art at Vilnius Academy of Arts.
Dr Sofia Pantouvaki is a scenographer and Professor of Costume Design at Aalto University. Her background includes over 80 designs for theatre, film, opera and dance productions in Europe, as well as numerous curatorial and exhibition design projects. She is co-author of ‘History of Dress – The Western World and Greece’ (2010), editor, ‘Yannis Metsis – Athens Experimental Ballet’ (2011), and co-editor of ‘Presence and Absence: The Performing Body’ (2014). She is editor of the academic journal ‘Studies in Costume and Performance’, project leader for ‘Visual Aspects of Performance Practice’ and the Vice-Head of Research for OISTAT Costume Design Group. Costume Curator for World Stage Design (2013), and Associate Curator for ‘Costume in Action’ (WSD2013). At Aalto University, she founded ‘Costume in Focus’ and is Principal Investigator of the research project ‘Costume Methodologies’ funded by the Academy of Finland (2014-2018). Sofia has taught and lectured internationally. Her recent research focuses on performance costume, fashion and costume curating, the potential of new materials and embodied technologies in costume practice, and clothing in the concentration camps of the Second World War.
Dr Mika Elo is Professor of Artistic Research at the University of the Arts Helsinki. His research interests include theory of photographic media, philosophical media theory, and artistic research. He participates in discussions in these areas in his capacity as curator, visual artist and researcher. In 2009-2011, he worked on the research project ‘Figures of Touch’ (figuresoftouch.com). In 2012-2013, he co-curated the Finnish exhibition ‘Falling Trees’ at the Biennale Arte 2013 in Venice. He is also a member of the editorial board of the ‘Journal for Artistic Research’.
Konstantinas Bogdanas studied painting at the State Institute of Art (now Vilnius Academy of Arts). He currently lectures on visual art at the Academy. Since 2012, he has supervised doctoral students’ practice-based research. Bogdanas has been exhibiting since 1986. In his artistic career, he focuses on concept-based artwork, andcombines different media (objects, installations, performances, photographs), the most important of which, however, is the medium of language. Formally speaking, Bogdanas is mainly concerned with questions of identity. He questions abstract notions, such as art, nation and perception, as well as the personal understanding of the self. The key words in his work are (non)coincidence, (in)adequacy, (un)necessity, (non)fruition, (un)usefulness, (non)understanding, (in)capability. The most important, though far from obvious key words, are artificiality and vulnerability. An element of humour is present, only it is not so striking; it always succumbs to existential doubt. His ‘poste restante’ posture of silent waiting and non-involvement should also be conceived as a conceptual work of art.
NAC Academic Board members will also contribute to the course.
What is Nida Doctoral School (NDS)?
In Nida, we explore unorthodox approaches to research. Through making, performing, writing and discussing, we test the possibilities for generating knowledge outside the conventional venues and models of academic research. NDS participants are offered a possibility to position their own research and practice within a broader field of research approaches. NDS aims to open up the horizons for experimental development by intersecting with a diversity of disciplines and experiences. The goal of NDS is to provide time, space and a conceptual framework for participants to gain an insight into their field of research, as well as to broaden and diversify their outlook and methodological tools.
Nida Doctoral School is an international programme designed and organised by the Nida Art Colony of Vilnius Academy of Arts, and Aalto University School of Arts, Design and Architecture, for doctoral students in the visual and performing arts, design and architecture. In 2017, the University of the Arts Helsinki is joining the organisers’ team.
NDS is tailored for doctoral students in the visual and performing arts, design and architecture. However, some limited places are intended for students within the humanities and social sciences, if their research is related to the arts, design and architecture. The programme comprises seven day-long intensive courses, organised once a year, and 1-6 month-long doctoral residencies which are part of the international Nida Artist-in-Residence Programme (the annual application deadline is 15 March).
Tuition, Funding and Costs
There is no tuition fee. Free accommodation and catering are provided for selected applicants from Aalto University School of Arts, Design and Architecture, University of the Arts Helsinki, and Vilnius Academy of Arts. In addition, Aalto and UniArts students are provided with a travel grant. Other participants are expected to cover their accommodation and catering costs, which amount to 300 Eur/person in a double room, and travel costs.
Please fill in the NDS application form.
Application attachments (motivation letter, CV and portfolio) should be sent to email@example.com
All application documents should be submitted by 31 March 2017.
Up to 16 students will be invited to take part on the NDS course.
Practical information regarding accommodation, travel arrangements, payment and all other issues will be sent to the selected participants in due course. You can check out the facilities of Nida Art Colony here and the programmes of previous NDS courses here.
For any other queries, please contact Dr Rasa Antanavičiūtė, Manager of NDS and Executive Director of Nida Art Colony, at firstname.lastname@example.org
About Nida Art Colony (NAC)
Nida Art Colony is an art and meeting space, surrounded by sand dunes and seas. As a resourceful platform, it runs an Artist-in-Residence Programme, Nida Doctoral School, and initiates art, education and research projects. We aim at a creative confluence of academic and non-academic education, artistic and scientific practice, hard work and leisure.
NAC is a subdivision of Vilnius Academy of Arts, and opened in 2011. It operates all year round, receives about 700 people a year, and provides space for workshops, intensive courses, exhibitions, seminars, rehearsals, artists’ talks and screenings in its premises of 2,500 square metres. Its activities can result in presentations, exhibitions, broadcasts and publications.
NAC is located on the Curonian Spit, a peninsula dividing the Curonian Lagoon and the Baltic Sea. The spit is on the UNESCO World Heritage List as one of the most beautiful and unique cultural landscapes of Europe. It also forms Neringa National Park. Nida is 50 kilometres from the Lithuanian seaport of Klaipėda, and 360 kilometres from the capital city Vilnius.
*Methodicy: ‘[…] a strong belief in a methodology founded on operational strategies which cannot be formulated and legitimized beforehand’ (Henk Slager, The Pleasure of Research, 2015, p. 30).
Photography and the Archive Research Centre
*** CALL FOR PAPERS ***
Art and Reconciliation Sarajevo, Bosnia. June 30-July 2, 2017
Fast Forward: Women in Photography. Vilnius, Lithuania. November 3-4, 2017
Why Remember? Memory and Forgetting in Times of War and Its Aftermath
3-Day Conference in Sarajevo, Bosnia, June 30 July, July 1, July 2, 2017.
Sponsored by the Photography and the Archive Research Centre (PARC) University of the Arts, London; Salem State University, Massachusetts, USA; WARM Festival, Sarajevo, Bosnia.
Keynote Speakers include Simon Norfolk, photographer, and Vladimir Miladinović, artist.
In his book In Praise of Forgetting: Historical Memory and Its Ironies, David Rieff offers a persuasive challenge as to whether the age-long “consensus that it is moral to remember, immoral to forget” still stands in our contemporary era. What should we remember, what should we forget, and why? Do we need to reconfigure the way that we think about memory and its potential impact on issues such as reconciliation and healing in the wake of war? Is memory impotent as a social, political, or aesthetic tool? Rieff’s questions appear more pertinent than ever as wars and conflicts continue to rage in many parts of the world with no end in sight.
These questions of memory (and forgetting) are intensely political and have far-reaching consequences. This conference will engage with difficult and troubling questions around the value and nature of memory such as how do they reverberate in the context of post- war societies, post-conflict reconciliation, prevention, questions of memory and past events? Does memory discourse help us push the borders of how the concept of memory is currently being configured and applied? To what extent do we remember the past and how do we choose what to remember and why we remember? How could and should (consciously and unconsciously) memory processes shape the present and future? How might public institutions (such as museums and other heritage sites that support education/awareness) deal with the past? What is the difference between commemoration and memorialization? Where do they intersect and how might they impact the process of reconciliation and prevention? How can art function as a site of the aesthetic interpretation of the past?
We seek papers from a wide-range of historical and geographical spaces that address the discursive limits of contemporary memory studies, particularly drawing on these areas of study:
* Film/media studies
* Museum studies/objects/ New Materialism
* Visual arts
* Politics and aesthetics
**Interdisciplinary approaches to memory and remembrance studies are welcome.
There will be two styles of presentations: more formal papers of 20-25 minutes and workshop idea papers of 10-15 minutes. We welcome submissions from artists, early career researchers and post-docs as well as established scholars. We encourage applications from a range of academics, current PhD students, especially those outside of Western European institutions. All papers will be delivered in English.
Paper proposals should include:
* author name(s), affiliation(s) and contact email,
* paper title,
* a paper abstract (200 words max),
* and short bio (200 words max).
Please clearly indicate whether you are submitting formal paper or a workshop idea paper. This academic conference is linked to the Art and Reconciliation AHRC funded research project currently being undertaken by The University of the Arts London, King’s College War studies Department, and the LSE. The research is under the auspices of the PACCS Conflict Programme. It is also part of the larger WARM festival, which takes place in Sarajevo, Bosnia each summer, and “is dedicated to war reporting, war art, war memory. WARM is bringing together people – journalists, artists, historians, researchers, activists – with a common passion for ‘telling the story with excellence and integrity’.”
See this link for more information.
Registration cost: 150 Euros. Concessionary rates are available for faculty applying from non-EU, non-US institutions, and for those who can present a case for reduced fees. Information about hostels and hotels will be provided for participants. The conference is supported by the Center for Holocaust and Genocide Studies at Salem State University, Massachusetts, and the Photography and the Archive Research Centre (PARC) at the University of the Arts London.
Please submit your proposals no later than March 17th, 2017 to email@example.com.
Decisions will be made by March 31, 2017.
Fast Forward: Women in Photography – Lithuanian Edition
National Gallery of Art, Vilnius, Lithuania, 3-4 November 2017
Please submit your proposals by 8 April 2017 to:
Building on the success of the Fast Forward conference at Tate Modern in 2015, co-organized by Tate, University forthe Creative Arts (UCA) and Photography and the Archive Research Centre (PARC) at University for the Arts London, Lithuanian Photographers Association announces the second edition of the Fast Forward conference in collaboration with UCA and UAL/PARC to take place at the National Gallery of Art in Vilnius.
Photography has been a political tool as well as a means of artistic expression. Women have used it in various ways including discussions around their rights, their economic and social insecurity, and their representation in culture and society. Through studying women photographers’ lives, celebrating their creative achievements and contribution to international photographic history, we can discover important insights and inspiration for current issues and discussions generated by global political forces, and also become aware of the obstacles women photographers have to overcome as they have pursued their work.
We are interested in papers which span the entire history of photography, from the 19th century to the present day and which also encompass photography’s different methodologies, from art practice to commercial /industrial work.
One of the foci of this Fast Forward edition is to enable opportunities for researchers to present to an international audience new knowledge about the role of women photographers in the cultural, social and political life of the Baltic States and Eastern Europe – which have a rich academic discourse and vibrant artistic culture combining specific national features with particular local experiences and Western ideas.
We are also interested to present research into, and practitioner accounts of, the experiences of women photographers in parts of the world that are as yet unfamiliar within a US/European photo historical context.
We welcome proposals for artist-led presentations and panels.
In this conference in Lithuania, we aim to bring together international and regional researchers, to share knowledge and consider our potential relationships and networks. This second edition of the Fast Forward conference aims to embrace and celebrate the contributions of women photographers to both art and commerce, regionally and globally, and to engage in pertinent debate that will influence new academic discourse and provide further context for the study and practice of photography.
This conference has a special interest in women photographers from the Baltic States, but is not limited to this. We also welcome abstracts which explore women’s photography throughout the world and across history, and which provide insight into the breadth and complexity of women’s history within photography as practitioners, curators, writers or organizers.
Areas of interest include, but are not limited to:
§ New knowledge about little known histories and forgotten names.
§ Discussions about networks and collaborations since the invention of the medium until today.
§ Explorations of how technologies have influenced women practitioners, past and present.
§ Research on both commercial and art practices that women have developed within the medium of photography from the 19th century to the present.
§ Activism and socially engaged photo practices initiated by women.
§ Diverse identities coming out through photography.
§ The photographic imprint on other artistic media and its use by online communities.
§ Debates about and new conceptualizations of the medium from the perspective of women photographers.
Researchers are invited to explore conceptual, technical and/or stylistic links connecting women photographers in the Baltic region and internationally.
The conference is organized by Lithuanian Photographers Association and Vitas Luckus Photography Centre in collaboration with The University for the Creative Arts and UAL Photography and the Archive Research Centre (PARC) at London College of Communication, University of the Arts London, and with the support of the National Gallery of Art in Vilnius, Lithuania.
Submission of the papers as follows:
8 April 2017 – submit 500-word abstract for the peer-review
7 May 2017 – successful applicants will be notified
15 October – full paper is required
Abstracts must be submitted in English only, although the papers could be presented at the conference in Lithuanian or English, which will be the working languages of the conference.
Please submit abstracts as a Word document only with your full name, the name of organization you represent (if relevant) and the title — all placed at the top of the first page. The file should not exceed 1MB. Please email submissions or enquiries to: firstname.lastname@example.org with the subject “Lithuanian Edition – submission”.