[Previous message][Next message][Back to index]
[Commlist] CfP – Unstable Images and Shifting Histories: Photography, Anthropology, Cinema
Sat Nov 09 07:55:04 GMT 2019
Call for Papers – Unstable Images and Shifting Histories:
Photography, Anthropology, Cinema
Edited by Dr. Hanin Hannouch (Kunsthistorisches Institut in
If the scholarship on photography has often lodged its cultural and
philosophical significance within the epistemological framework of
evidence, it has also increasingly taken into account how photography
was the medium of choice for bringing the foreign and the exotic to the
salons of the European bourgeoisie thirsting for images and texts from
newly-colonized territories (Sekula 1981, Shohat 2008, Göttsche 2013).
By maintaining close ties with anthropology (Pinney 2001), as well as
with colonial administrators and military personal, photography
perpetuated long- held identity constructions within asymmetrical power
relations and transmitted them as supposed “truths” to various European
and American ethnological museums, thus accounting for their
extraordinarily large archives (Geary 1988). Beyond its function as
anthropological record, photography’s use as source for shaping
historical narratives runs in parallel to its ability to provide a
“reckoning with history” (Tucker, Campt 2009), by bringing (visual,
textual etc.) sources to their limits and by unmasking the constructed
dimension to the narratives they are meant to articulate. Moreover,
though the archive bestows upon photography and cinema — its preeminent
materials — the authoritative status of document (Ellenbogen 2012),
differing epistemologies continue to underpin its various stakeholders
(Hamminga 2016) exceeding their initial framework of reference. And
although (moving) images suture the subject into a supposedly
scientific, anthropological, or historical project, buried within the
very process which representation eclipses is a greater uncertainty as
to the kind of history that is being inscribed, and most importantly,
/whose/ history is being told.
Consequently, the special section of the issue number 17 of Cinergie
analyzes how images “disturb the core nodes of historical relations and
practices of history” (Edwards 2016) rather than how they constitute it
through nation-building. By investigating how artists re- appropriate
(anthropological, scientific, or historical etc.) photography and film,
and how they re-read them against their own original trace, as in
against the very object whose presence they inscribe, this volume
examines how images are deployed against the history they are thought to
depict. Cinergie seeks to historicize this failure of evidentiary and
documentary claims to visual media as disturbances causing epistemic
shifts. Furthermore, it focuses on how their narratives remain
ever-shifting despite theorists' use of “context” (understood here as
the fruit of a process of framing and of interpretation attempts to give
meaning and coherence) as a reliable backdrop to comprehending them and
pinning them down. By asking how certain archival practices and the
system of knowledge they bespeak inadvertently undermine institutional
power, this section considers how instability has always been integral
rather than contingent to the image and how fractures are part of the
archive, irrelevant of the framework made to fix its internal
Contributions will be considered that include but are not limited to:
How do artists employ colonial, scientific, or historical
photography and film in order to shift their initial significance
and what kind of new epistemologies do they create in the process?
How do scientists, photographers, officials etc. attempt to palliate
contradictions between the visual materials they generate and the
theories they formulate?
How do various artistic operations question the constitution of
indexicality, and have the image emerge as a site of contested
encounters resisting collection and interpretation even (or
especially) within the archive?
Please send an abstract and a short biographical note to Dr. Hanin
Hannouch, Post- Doctoral researcher at the Kunsthistorisches Insitut in
Florenz, Max-Planck-Institut at: (hanin.hannouch /at/ khi.fi.it)
<mailto:(hanin.hannouch /at/ khi.fi.it)> *by December 31, 2019* — [subject:
Unstable Images and Shifting Histories: Photography, Anthropology,
Cinema + name surname author(s)].
Abstracts should be from 300 to 500 words of length (English).
If the proposal is accepted, the author(s) will be asked to submit the
full article *by February 15, 2020*.
The articles must not exceed 5,000/6,000 words.
Contributions will be submitted to double-blind peer-review
The issue number 17 of /Cinergie/ will be published in *July 2020*
This mailing list is a free service offered by Nico Carpentier. Please use it responsibly and wisely.
To subscribe or unsubscribe, please visit http://commlist.org/
Before sending a posting request, please always read the guidelines at http://commlist.org/
To contact the mailing list manager:
Email: (nico.carpentier /at/ vub.ac.be)
[Previous message][Next message][Back to index]