Category Archives: Conference / Workshop

CFP: Women in Photography. Deadline: March 31, 2020

Call for Papers

Fast Forward: Women in Photography

WOMEN, PHOTOGRAPHY, CONFLICT

Conference 4, Tbilisi, Georgia, 19-20 – September 2020

Tbilisi Photography & Multimedia Museum announces the Georgian edition of Fast Forward: Women in Photography, which is organised in partnership with University for the Creative Arts (UCA) and London College of Communication (LCC) at University of the Arts London Photography (UAL). This international conference will be the central event of the 11th Edition of Tbilisi Photo Festival.

The research project Fast Forward: Women in Photography, aims to explore the work and histories of women photographers, promote opportunities and question ideas dominating the field of photography by initiating thoughtful, new debates. Initiated in 2014 with a panel discussion at Tate Modern, the project has become significant within the world of photography for examining the work of women photographers and for questioning the way that the established canons have been formed.

Following the initial success of the first two conferences at Tate Modern in 2015 and at the National Gallery of Arts in Lithuania in 2017, Fast Forward was awarded a Leverhulme Trust International Network Grant to run a series of research workshops in 6 countries, culminating in the third conference at Tate Modern in 2019.

The theme for the 4th conference, to be held in Tbilisi Georgia, and co convened by Professor Anna Fox and Maria Kapajeva (UCA), Professor Val Williams (UAL/LCC) and the Tbilisi Photography & Multimedia Museum, Georgia, will explore the ways that women photographers have worked in countries affected by conflict. The conference will generate new knowledge within this little- researched area.

As the violation of women’s rights is one of the prominent aspects dominating conflict zones, this theme resonates with many realities encountered by women across the region, including Georgia.

Over the last ten years, in South Caucasian countries such as Georgia, Armenia and Azerbaijan, as well as Iran or the Persian Gulf countries, women photographers have been active in documenting violations of human rights, have advocated for women and initiated real changes. Yet, within the contemporary historiography of photography, their contributions are frequently omitted. Discussion of conflict photography almost always revolves around high action war photography and heavily-dominated by a traditional male perspective.

The 4th conference is calling for papers which explore, but which are not limited to, the following questions.

>> How do women photographers (re)shape our understanding of conflict?

>> To what extent does gender influence photography practice which deals with conflict and its aftermath.?

>> How can we adjust photographic history, to encompass non-Western work by women photographers?

>> In which ways have women’s photographic documentation of human rights violations contributed to social justice?

The conveners are particularly interested in bringing together, and giving voice to, photography professionals, photographers, scholars, curators and editors from the wider region, including the countries of South Caucasus, Ukraine, Turkey, Israel, Iran, Iraq, Palestine, Persian Gulf countries, Jordan, Afghanistan, Syria, Lebanon, Pakistan, India and Bangladesh.

Deadline for the abstract submission: March 31, midnight GMT.

All applicants will be informed about the selection by May 15.

We hope to provide discretionary funding to selected speakers who require financial support.

Submission regulations:

The abstract submitted must be in English. However, as the working languages of the conference are Georgian and English, the presentation during the conference can be done in one of these two languages.

Please, submit the following documents:

1. 500-word abstract in a Word format, no images.

Please make sure your full name and the title of the paper are at the top of the abstract.

Please name the file as follows: ‘Your surname_Initial of you first name_abstract’ (ex: ‘Smith_J_abstract’)

2. CV in Word or PDF format, no images.

Please name the file as follows: ‘Your surname_Initial of the first name_CV’(ex: ‘Smith_J_CV’)

Both files must be submitted to email fastforward@ucreative.ac.uk with the subject line “Georgian Edition – submission”

Call for Papers can be found also online here.


Image credit: © Justyna Mielnikieiwicz/MAPS. Crimea, Ukraine 2008. From the project Ukraine Runs Through it.

Photography and creativity workshops in Greece, this fall.

TransEurope / Eyesculture Workshops of 2019

Join Transeurope / Eyesculture in any of their 7 Workshops for 2019!
Check out the different submission deadlines.

“The heart of an image” with David Jiménez, Sept 26 – Sept 30, at Galani (Xanthi)
“Impact through extinction” with Eefje Ludwig and Rebecca Simons, Oct 1-Oct 6, at Galani (Xanthi)
“Portrait Puzzles” with Diana Blok, Oct 31-Nov 03, at Onassis Cultural Center, Athens, Greece
“River Routes” with Matteo Balduzzi and Panayiotis Lambrou, Nov 03-Nov 06, at Onassis Cultural Center, Athens, Greece
“Experiments with the Irrational” with Claire Strand, Nov 21-Nov 24, at Onassis Cultural Center, Athens, Greece
“Super Vision” with Mishka Henner, Nov 21-Nov 24, at Onassis Cultural Center, Athens, Greece
“Image-Context-Project-Exposure” with Moritz Neumüller, Nov 27-Nov 29, at Onassis Cultural Center, Athens, Greece

By submitting your application to any of the TransEurope / EyesCulture events you agree to the Policy Terms and Conditions.

Click here to download the application

fill it in and

email it to athens@transeuropephoto.eu

You could also make a reservation by phone (M.+306977641148) in advance.

Payment Procedure

STEP 1. Check on each Workshop’s page for the specific amount!

STEP 2. Either pay the whole amount of the Workshop’s participation fee

OR deposit

  1. the pre-inscription of 200€ [20€ registration fee + 180€ deposit] as a first installment as soon as your application has been accepted and
  2. and settle the balance by the specified date.

Your participation is assured as soon as TransEurope has received the participation fee.

Should you experience difficulties with the methods of payment (paypal, bank transfer), please contact us to give you alternative ways of payment at athens@transeuropephoto.eu.

 

FIEBRE Photobook Festival Open Calls. Deadline: Oct. 2019

The 7th edition of Fiebre Photobook Festival Madrid will take place in Sala el Águila, from October 25th to 27th, 2019. Save the date and don’t miss the new open calls:

EL PAPEL DEL DISCURSO
Laboratorio editorial intensivo de 23 horas con:
Fosi Vegue
Alberto Salván
Víctor Garrido
Sonia Berger 22-25 de octubre
Visionado incluido
Máximo 8 plazas, con selección previa
Preinscripción gratuita
Cada seleccionado/a 200 € de honorarios
Idioma: español Convocatoria abierta
THE ROLE OF THE DISCOURSE
23 hour intensive editorial laboratory with:
Fosi Vegue
Alberto Salván
Víctor Garrido
Sonia Berger October 22-25
Dummy Review included
Maximum 8 participants, with pre-selection
Free pre-registration
Each selected 200 € fee
Language: spanishOpen call
VISIONADO DE MAQUETAS
Con editores y profesionales del sector Viernes 25 de octubre de 11:00 a 14:00
Comida networking incluida
Máximo 12 plazas, con selección previa
Preinscripción gratuita
Tasa de seleccionados 20 €
Idioma: español/inglésConvocatoria abierta
DUMMY REVIEW
With publishers and professionals October 25th, Friday, from 11 am to 2 pm
Networking lunch included
Maximum 12 participants, with pre-selection
Free pre-registration
Cost 20 €
Language: spanish/englishOpen call
VALENTINA ABENAVOLI, AKINA BOOKS
Un curso intensivo sobre lectura de fotografíaViernes 25 de octubre de 16:00 a 20:00
Sábado 26 de octubre de 10:00 a 14:00Máximo 10 plazas, con selección previa
Preinscripción gratuita
Tasa de seleccionados 50 €
Idioma: inglésConvocatoria abierta
VALENTINA ABENAVOLI, AKINA BOOKS

A crash course on reading photography

October 25th, Friday, from 4 pm to 8 pm
October 26th, Saturday, from 10 am to 2 pm

Maximum 10 participants, with pre-selection
Free pre-registration
Cost selected 50 €
Language: english

Open call

FERIA FIEBRE: AUTOPUBLICANTES

25-27 de octubre

Mesa compartida
Tasa de inscripción gratuita
Máximo 5 ejemplares por cada libro

Convocatoria abierta

FIEBRE BOOK MARKET: SELF-PUBLISHED

October 25th to 27th

Shared table
Free registration fee
Maximum 5 copies per book

Open call

EXPOSICIÓN DE MAQUETAS

25-27 de octubre

Tasa de inscripción gratuita
Máximo una propuesta por participante

Convocatoria abierta

DUMMIES EXHIBITION

October 25th to 27th

Free registration fee
Maximum one proposal per participant

Open call

4ª EDICIÓN DEL CONCURSO DE MAQUETAS

500 ejemplares
Distribución y promoción
1.000 € de honorarios + 25 libros
Presentación y exposición en España
Tasa de inscripción 20 €

Convocatoria abierta

4th EDITION OF THE DUMMY AWARD

500 copies
Distribution and promotion
1.000 € fee + 25 books
Presentation and exhibition in Spain
Registration fee € 20

Open call

 

Workshop To Photograph – To Think – To Publish 10 > 21 JULY HÉLICE – LISBON

To photograph, to think, to publish

This workshop is aimed to all interested with a finished photographic project, ready to be edited and published.
On a case-to-case basis, classes will evolve around specific solutions for the publication: the narrative, graphic concepts and technical possibilities for the printing process.
The workshop begins with two sessions with Paulo Arraiano (artist and designer), who will focus on InDesign software. We will approach introductory tools and more advanced ones regarding the preparation of documents for the printing purpose.
João Linneu (Void.photo) will be tutoring two weekends. On the first students will be able to discuss the narrative, sequencing and format of the images within the multiple publishing options. The second weekend will be dedicated to a theoretical discussion around design and production.
The workshop goal is to provide the ability to think and produce a project in a publishing format that suits its language, with a coherent narrative and editorial discourse. Students will be autonomous to execute the design and a dummy, if they wish to do so, always with João’s mentoring behind.
You will need a laptop with Adobe InDesign and Photoshop, files organized (to be explained later), work prints of around 10×8 cm and a short text about your project for the first class with João.
Sessions:
– 10 and 12 July 19:30 > 22:30 – Indesign with Paulo Arraiano
– 13 and 14 + 20 and 21 July 10h > 18h – Two weekends with João Linneu
– Hélice students or ex-students €220
– External students €350
– 5 places

Apply and more informations:
helice@helice.pt
Rua da Boavista 84 – 2º
LISBOA

helice.pt
JOÃO LINNEU
Brazilian born, based in Lisbon, João Linneu (1978) graduated in Communication and worked for 20 years as Art Director, Head of Art and Creative Director in several advertising agencies in São Paulo and London. He was awarded in prestigious advertising and design awards such as the D&AD, Cannes Lions, One Show and Clio. For the last 12 years, João has also started developing his photographic projects, an
ended up founding Void in 2016 with Myrto Steirou and Sylvia Sachini.

PAULO ARRAINO [b. 1977, Portugal]
Visual artist based in Lisbon. He has participated in several exhibitions, both solo and collective including Hawaii-Lisbon [Lisbon]; Dimora Artica [Milan]; Pivô (S.Paulo); Art Rotterdam [Rotterdam]; Cidade das Artes Museum [Rio de Janeiro]; MAH Museum [Azores]; Quartier General, Centre d’art Contemporain [La Chaux-de-Fonds]; Aeroplastics Contemporary [Brussels]; Petra Gut Contemporary [Zurich]; TAL Gallery [Rio de Janeiro]; ArtRio [Rio de Janeiro]; Pena Palace [Sintra]; Forty/Forty [Warsaw]; Galeria Graphos [Rio De Janeiro]; Museu do Côa [V. N. Foz Côa; Hifa, Harare International Festival Of Art [Zimbabwe]; Cãmara Municipal do Porto [Porto]; Museé d’Art Moderne [Luxembourg], Scope/Miami Basel [Miami]; National Building Museum [Washington DC]; P28 [Lisbon] among others. Paulo Arraiano has a degree in Communication by ISCEM [Lisbon], and studied Visual Arts at Ar.Co – Centro de Arte e Comunicação Visual [Lisbon]. He is also co-founder of re_act contemporary, art laboratory and residence program based in the Azores Islands and no.stereo, an independent Artist-run platform.

Accessibility Workshop in Madrid, 13.6.2019, Lázaro Galdiano Museum.

Museum For All Blog

The project ARCHES will organize a series of workshops with the objective to reach museum professionals in Europe and around the world. The first Workshop will take place in Spain on 13.6.2019, Lázaro Galdiano Museum, Madrid

Germany: fall of 2019, Bundeskunsthalle, Bonn

France, fall of 2019: Musée d’arts de Nantes

Italy, fall of 2019: TBC

Croatia and Slovenia, fall of 2019: TBC

These workshops will be accompanied by a 80 page handbook, published in three languages (German, English and Spanish) which will be both printed and distributed as a PDF and plain text through the ARCHES website.

First workshop: Towards a Participatory Museum: Inclusive Activities in Cultural Institutions

Workshop for Spanish and Iberoamerican museum professionals

13.6.2019, Lázaro Galdiano Museum, Madrid

Introduction

This workshop is the first in a series of events to disseminate the results of a three-year research within the framework of the ARCHES project.
The visit to the museum…

View original post 1,353 more words

AFTER POST-PHOTOGRAPHY 5 Conference, 23-25 May 2019, St. Petersburg

Conference APP. Cultural, historical and visual studies in photography

23-25 May 2019,
European University in St Petersburg

Addressing one of the most common concepts that define the nature and function of photography, the fifth edition of the conference After Post-Photography  aims to re-think the fundamental notions and offer new perspectives on the subject of photography and its connection with memory.

Memory is a notion commonly brought forward when speaking about photography. The very idea of close connection between memory and photography has long found itself at the basis of the (re)construction of histories and identities.

The photographic image, when regarded as a material evocation of memories, is supposed to not only preserve the past, but to represent a selection of moments worthy of being captured and retained. In this sense, photography has caused fundamental changes to mental structures, such as remembrance and forgetting. Its mechanics, however, is still indecisive: is photography something that evokes memory – or something that enhances oblivion? Furthermore, is a photograph something that really speaks of a moment of the past, or does it rather testify of certain modes of cultural optics? Is there still a possibility to ‘remember’ with, or through photographs? After all, the traditional belief in photography’s truthfulness, its indexical function, the freezing of a decisive moment, or proof of “what has been”, all this stands in strong contrast with the contemporary discussions on fake news, artificially constructed memories, post-reality politics and “augmented” realities.

The conference is chaired by Maria Gourieva, Olga Davydova, Natalia Mazur, Moritz Neumüller, Daria Panaiotti, and Friedrich Tietjen. It is organized in collaboration with the conference “PHOTOGRAPHY AS ART. Current trends in study and the history of national schools”, at the Russian Academy of Arts, Moscow, May 27-29, 2019.

This three-day event will feature four keynote speeches, eight presentations, and a round table, by scholars from Russia, Europe, the United States and Japan.   

Day 1 will feature two evening lectures, one by Fred Ritchin on The Post-Photographic Challenge, the other by Helen Petrovsky on Photography: Memory Formulae.

Day 2 will start with a morning panel dedicated to Photograph Politics, or: How to Show (and how to not). The afternoon will feature the panel Present Photography, or: How to Rethink Pictures. A get-together dinner will be the perfect setting to keep the discussions going on into the later hours.

Day 3 will be dedicated to the panel Photographic Projections, or: How to Show What Never Happened, and a round table discussion on Photography Studies in Russia, before we wrap up the conference in a general Q&A session.

All talks will take place at the European University in St. Petersburg, 1 Shpalernaya street / metro Chernyshevskaya

Talks and presentations will be held both in English and Russian. Simultaneous translation will be provided.  

Timetable

23 May 2019

16.30 Registration for speakers

17.00 Keynote: Fred Ritchin (ICP, USA): The Post-Photographic Challenge

18.30 Keynote: Helen Petrovsky (Russ. Acad. of Sciences, Russia): Photography: Memory Formulae

24 May 2019

10.15 Registration for speakers

10.45 Welcome

Panel 1: Photograph Politics, or: How to Show (and how to not).

11.00 Carole Naggar France/USA): A Closet, a Suitcase and a Warehouse: David «Chim» Seymour’s Archives

11.30 Susumu Shimonishi (Tokyo University of the Arts): Japanese Photography Magazines. The Case of CAMERA MAINICHI

12.00 Coffee break

12.30 Denis Skopin (St. Petersburg State Univ.): Elimination of the Enemies of the People from Group Photographs in Stalin’s Russia: Political and Psychological Aspects

13.00 Discussion

13.30 Lunch break

Panel 2: Present Photography, or: How to Rethink Pictures

14.30 Irina Chmyreva (Research Centre for Theory and History of Arts, Russian Academy of Fine Arts): Echo of Political Realities in Photography: Studies of Reading National History in Art Photography Projects from 1990-2010s

15.00 Michelle Bogre (Parsons School of Design, USA): The Photograph Unmoored: Truth and Authenticity in the 21st Century

15.30 Alexander Streitberger (Univ. catholique Louvain, Belgium): The Photographic Ruins of the Future

16.00 Discussion

16:30 Coffee break

17.00 Keynote: Andrés Mario Zervigón (Rutgers University, USA): The Camera Lens: Fully Visible and Transparent

18.30 Keynote: Gil Pasternak (Photographic History Research Centre, De Montfort University, UK): Photography in Politics: Remembering and Being Together, With Photographs

25 May 2019

Panel 3: Photographic Projections, or: How to Show What Never Happened

10.30 Oksana Sarkisova (Central European University, Hungary): Imagining Soviet Space: Representations of Travel in Vernacular Photographic Collections

11.00 Maria Gourieva (European University/St. Petersburg State University), Friedrich Tietjen (Germany/Austria): Everybody Lives the Same (in private photographs)

11.30 Discussion

12.00 Coffee break

12.30 Keynote: Galina Orlova (Higher School of Economics, Russia): Anonymous Archive, Digitalization, Recycling

14.00 Lunch break

15.00 Roundtable discussion for educators and researchers: Photography Studies in Russia: Challenges and Perspectives

17.00 Final remarks and outlook

 

The Conference takes place at the European University, 1 Shpalernaya street, St. Petersburg. Nearest metro station: Chernyshevskaya.

Any changes to this timetable will be announced on the website www.after-post.photography and the telegram channel afterpostphotographytelegram.   

 

Curators’ Meeting, Arles. Deadline: May 13, 2019

CALL FOR APPLICATIONS

For the first time, the Rencontres d’Arles and the French Ministry of Culture are launching a professional matinée open to all curators.

Thursday July 4, 2019 at 9 am

TEMPLE ARLES BOOKS

Deadline for submitting projects:

May 13, 2019

> APPLICATION MUST BE FILLED ONLINE HERE <

DETAILS

The Curators’ meeting is intended for institutions and curators wishing to present a new exhibition project involving the image or photography to a professional public. The event aims to encourage the production or coproduction of the projects presented.

An institution, cultural organization, collective or freelance curator may submit the project.

The Ministry of Culture, Temple Arles Books and the Rencontres d’Arles will select around 10 projects, which will be presented to an audience of professionals. The project’s organizer will make a brief (10 minutes) presentation in English or French. A luncheon will follow the meeting.

If you would like to attend the event, please send an e-mail to: curatorsmeeting@rencontres-arles.com

If you have any questions or encounter difficulty logging on, filling out the online application or downloading the documents, please write to: curatorsmeeting@rencontres-arles.com


APPEL À CANDIDATURES

Les Rencontres d’Arles et le ministère de la Culture lancent pour la première fois une matinée dédiée aux professionnels et proposent un Curators’ meeting ouvert à tous les commissaires d’exposition.

Jeudi 4 juillet 2019 à 9h

TEMPLE ARLES BOOKS

Date limite de dépôt des projets :
13 mai 2019
13 mai 2019

> DOSSIER DE CANDIDATURE À REMPLIR ICI <

MODALITÉS DE PARTICIPATION

Le Curators’ meeting s’adresse aux institutions et commissaires souhaitant présenter à un public professionnel un projet inédit d’exposition en lien avec l’image ou la photographie. Cet événement vise à encourager la production ou la coproduction des projets présentés.

Le projet peut être porté par une institution ou une structure culturelle, un collectif ou un commissaire d’exposition indépendant.

Une dizaine de projets seront sélectionnés par le ministère de la Culture, Temple Arles Books et les Rencontres d’Arles, et présentés devant un auditoire de professionnels. Chaque projet d’exposition donnera lieu à une présentation brève (10 minutes) en anglais ou en français par son organisateur. La rencontre sera suivie d’un déjeuner.

Si vous souhaitez assister à la présentation des projets, confirmez votre inscription en envoyant un mail à l’adresse : curatorsmeeting@rencontres-arles.com

Si vous avez des questions ou si vous rencontrez des difficultés à vous connecter, remplir le dossier en ligne ou télécharger les documents, nous vous remercions d’écrire à : curatorsmeeting@rencontres-arles.com

INDIAN PHOTOGRAPHY FESTIVAL – HYDERABAD. DEADLINE: MAY 5, 2018.

The Indian Photography Festival (IPF) – Hyderabad, a Not-For-Profit initiative of Light Craft Foundation, is an international photography festival, showcasing a wide range of photography from India and around the globe with a series of events, including talks and discussions, portfolio reviews, book launches, screenings, workshops etc. The IPF creates a platform for the professional and aspiring photographers, the photography lovers and the public where the festival promotes the art of photography at the same time address the social issues through the medium of photography.

The Indian Photography Festival – Hyderabad announces the Open Call inviting photographers from all over the world to submit their works for the 2018 exhibitions. The Festival is also accepting submissions for its Photobook exhibition.

Bringing the best of photography to Hyderabad each year, the IPF 2018 will take place from 6th September – 7th October, at the beautiful State Gallery of Art – Hyderabad. The festival showcases a wide range of photography across all genres from around the globe with a series of events, including talks and discussions, portfolio reviews, screenings, workshops etc. The 2017 edition presented works by 500 established and emerging artists from 40 countries.

Submission Guidelines; Are open to photographers, curators, collectives, archives, galleries and organizations from around the world.

 

Submissions are free and open to all topics and issues.

More information: www.indianphotofest.com

Transeurope Workshop Zagreb. March 17, 2018

Last places for Workshop Project development, from the idea to the final product, given by the very Captain of this ship, Moritz Neumüller, Inscription fee: 20 EURO (What?? YES!)

This hands-on seminar is addressed at artists working with visual narratives through any lens based media, wishing to learn more about the possibilities of publishing, exhibiting and other ideal opportunities for outputting work. Participants are requested to have a project completed or close to completion ready to be distributed, and they can expect to leave with a solid plan at the end of the seminar.

Inscription at

http://transeuropephoto.eu/activities/project-development-idea-final-product/

 

This workshop is part of Transeurope, a new European platform for professional photographers and visual artists to share, learn, interact and develop their work internationally. The scope of Transeurope is to facilitate access to professional opportunities as well as to create the conditions for greater transnational circulation of their works.

From January to March 2018, preparatory portfolio workshops are going to take place in 14 countries at international cultural and photography venues. Following on from this from May to June 2018, three portfolio reviews will be held in Madrid, Athens and Helsinki where more than 60 portfolio reviewers and 200 photographers/visual artists are expected to participate. The program will include seminars and workshops, conference and cultural visits shaping an experience of professional training for photographers.

After the closure of the portfolios, a jury will select 30 works that will be part of three group exhibitions (September 2018-November 2019) and will be also featured in the accompanying printed magazine/publication and the web platform will be a data base for consulting with more than 300 experts, artists and art centers, etc.

Transeurope is co-organized by the Fundacion Contemporanea-PhotoEspaña in Madrid, The Finnish museum of Photography in Helsinki and Euromare NPO in Athens. Among its founders the project has come to life with the support from the European Commission, the Creative Europe Culture-Educational, and the Audiovisual and Culture Executive Agency.

For more information on how to participate, check out the website www.transeuropephoto.eu and the Transeurope Facebook page.

Call for papers – After Post-Photography. Deadline: 20 Dec. 2017

————- English (véase abaja para español ————

Call for papers, for Conference

AFTER POST-PHOTOGRAPHY 4 – MODES OF PRODUCTION

Сultural, Historical and Visual Studies in Photography

16-18 May 2018, European University in St. Petersburg, Russia

That photographic media, in one way or the other, record, depict and represent truth, realities and the past, is a staple. In theory this relation has been called into question, in particular with the advent of digital image manipulation, and the doubts have been extended since to analogue photography, too. Yet despite these doubts the notion of photographs being somewhat true permeates most, if not all, practices with these media: in science and humanities, photographic images replace and represent the object of research; in an ID, the portrait connects a face and a body with a name and other personal data; photographs in family albums and books allow to look back into the past. And though it may have been the reason for recent doubts in photography’s veracity, digital photography thrives on this promise as well: we share meals with our social networks the moment they are served, video telephony lets us talk not only to a voice but a face, and GPS metadata tells us where on Earth we took a certain picture. Moreover, photography is hybridized when the camera in our smartphones becomes a scanner for QR-codes, drones are equipped with face-recognition software, and augmented reality systems transform the material world into a space and surface for digital data.

 

Under these conditions, photography has ceased to be a specific medium generating still images. It has become a dispositif in the sense of being a network of applications, institutions, materialisations and theoretical settings such as its privileged relation in representing truth – which, looking back, it has always been. The discussions concerning the re-evaluation of photography, however, usually give most attention to individual pictures as products and as depictions. What we would like to focus upon  with our next conference are the modes of the technical, optical, chemical and social conditions of pre-, post-, mass and over-production, of  the distribution, consumption, circulation and archiving of what is so commonly known as photographs. We welcome in particular submissions concerned with new theoretical and empirical approaches and perspectives on these fields. And we would be delighted to receive papers dealing with rarely researched topics such as photographic optics, photochemistry and the applications of soft- and hardware for generating photorealistic images. We plan to arrange the talks in four panels:

 

  • Ça eu été? What photography has been and will become.
  • What is needed. The material bases of photography
  • How to use them. Production, dissemination, application and perception of photographic images
  • What else is new? Photographic practices at the fringes of photography.

 

Please submit your application, including a short summary of your paper (250-400 words) in English using the following link: https://easychair.org/conferences/?conf=app4 no later than 20 December 2017. Note that you should register at the Easychair website in order to submit your application. There is no participation fee.

We shall consider the possibility of online participation for a limited number of participants. The working languages of the conference are Russian and English. Conference materials are planned for publication in 2018-2019. For programs of After Post-Photography since 2015 and past publications, please see http://www.after-post.photography

We would appreciate it if you would circulate the call to your own networks and other mailing lists.

Organising committee After Post Photography 4:

Maria Gourieva, Olga Davydova, Natalia Mazur, Daria Panaiotti, Friedrich Tietjen

E-mail address:app@mur.at

http://www.after-post.photography

 

————— Español ——————–

Convocatoria de trabajos, para conferencia

DESPUÉS DE LA POST-FOTOGRAFÍA 4 – MODOS DE PRODUCCIÓN

Estudios culturales, históricos y visuales en fotografía

16 -18 de mayo de 2018, Universidad Europea de San Petersburgo, Rusia

El medio fotográfico de una u otra manera, registra, representa y plasma la verdad, las realidades y el pasado, como un elemento fundamental. En teoría, esta relación se ha puesto en tela de juicio, en particular con la aparición de la manipulación de la imagen digital y las dudas se han extendido desde entonces también a la fotografía analógica. Sin embargo, a pesar de estas dudas, la noción de fotografía como algo verdadero impregna la mayoría, si no todas, las prácticas: en ciencia y humanidades. Las imágenes fotográficas sustituyen y representan el objeto de la investigación; como identificación, el retrato conecta un rostro y un cuerpo con un nombre y otros datos personales; las fotografías en álbumes y libros de familia permiten mirar hacia atrás en el pasado. Y aunque puede haber sido el motivo de la recientes dudas sobre la veracidad de la fotografía, la fotografía digital también se basa en esta promesa también. Compartimos las comidas con nuestras redes sociales en el momento en que se sirven, la videotelefonía nos permite hablar no sólo con una voz sino con una cara, y los metadatos GPS nos dicen en qué lugar de la Tierra tomamos una determinada foto. Además, la fotografía se hibrida cuando la cámara de nuestros smartphones se convierte en un escáner para códigos QR, los drones están equipados con software de reconocimiento facial y los sistemas de realidad aumentada transforman el mundo material en un espacio y una superficie para datos digitales.

En estas condiciones, la fotografía ha dejado de ser un medio específico para generar imágenes fijas. Se ha convertido en un dispositivo en el sentido de ser una red de aplicaciones, instituciones, materializaciones y escenarios teóricos como su relación privilegiada en la representación de la verdad -que, mirando hacia atrás, siempre lo ha sido. Sin embargo, los debates sobre la reevaluación de la fotografía, sin embargo, por lo general prestan la mayor atención a las imágenes individuales como productos y como representaciones.

Lo que nos gustaría destacar en nuestra próxima conferencia son los modos de las condiciones técnicas, ópticas, químicas y sociales de pre, post, producción y sobreproducción del medio, la distribución, consumo, circulación y archivo de lo que comúnmente se conoce como fotografías. Son especialmente bienvenidas, los proyectos relativas a nuevos enfoques teóricos y empíricos y las perspectivas sobre estos ámbitos. Y nos encantaría recibir trabajos sobre temas raramente investigados como la óptica fotográfica, la fotoquímica y las aplicaciones de soft- y hardware para la generación de imágenes fotorealistas. Planeamos organizar las charlas en cuatro paneles:

– Qué fue? Lo que la fotografía ha sido y será.

– Lo que se necesita. Las bases materiales de la fotografía.

– Cómo usarlas. Producción, difusión, aplicación y percepción de imágenes fotográficas.

– ¿Qué hay de nuevo? Prácticas fotográficas al margen de la fotografía.

 

Por favor envíe su solicitud, incluyendo un breve resumen de su trabajo (250-400 palabras) en inglés utilizando el siguiente enlace: https://easychair.org/conferences/?conf=app4 a más tardar el 20 de diciembre de 2017. Tenga en cuenta que debe registrarse en el sitio web de Easychair para enviar su solicitud. No hay cuota de participación.

Consideraremos la posibilidad de participación en línea para un número limitado de participantes.

Los idiomas de trabajo de la conferencia son el ruso y el inglés.

Los materiales de la conferencia están previstos para su publicación en 2018-2019.

Para los programas de After Post-Photography desde 2015 y las publicaciones anteriores, por favor vea http://www.after-post.photography

Le agradeceríamos que hiciera circular el llamada entre sus redes y listas de correo.

Comité Organizador After Post Photography 4: Comité Organizador

Maria Gourieva, Olga Davydova, Natalia Mazur, Daria Panaiotti, Friedrich Tietjen

Correo electrónico: address:app@mur.at

http://www.after-post.photography DIFUNDE LA PALABRA-