Call for Papers: From De Stijl to Dutch Design: Canonising Design 2.0

Annual Dutch Design History Society Symposium

9 December 2016, De Tuinzaal, Centraal Museum Utrecht, 09:00 – 17:30 (with drinks afterwards)

Submission deadline: 15 October 2016

Tourism agencies, governments, museums, and design academies in the Netherlands and abroad are already busy preparing for the widespread celebrations of 100 Years of De Stijl – 25 Years of Dutch Design next year (2017). While De Stijl’s implied beginnings (1917) are relatively uncontroversial, the proposition that Dutch design originates from 1992 is much more so. This specific construction of ‘Dutch design’ as an avant-garde phenomenon that started in the 1990s with Droog design and is today centred around the Design Academy Eindhoven is a clear example of design canonisation at work. In this process, what comes to count as (good) design and the knowledge about it is selectively produced in line with specific (cultural, political, economic, etc.) agendas.

However, this case also shows how today, the process of design canonisation is no longer solely decided on by traditionally recognised authorities (museum curators, design historians, high-end retail venues, influential designers) but also by an unusually wide range of ‘non-expert’ actors (tourism agencies, politicians, funding agencies). This dispersion of design canonisation is boosted further by digital and participatory social media technologies and platforms, which allow individuals and communities to generate a multiplicity of alternative ‘mini-canons’ that operate alongside and relatively independently from official or accepted ones.

Yet – and paradoxically – this proliferation of actors and multiplicity of canons does not necessarily herald the end of established canons. Indeed, the Dutch design ‘brand’ seems to become ever more established and entrenched. In what different ways do contemporary processes of design canonisation work, and what are the outcomes? What are the implications of this contemporary condition of ever changing canonisation processes for design historical knowledge? What repercussions does it have for traditionally acknowledged actors on the one hand, and for non-professionals on the other? Does it contribute to bringing into view the material culture of otherwise underrepresented individuals and communities?


The one-day symposium From De Stijl to Dutch Design: Canonising Design 2.0 aims to reflect on questions relating to the workings and implications of canonisation processes – both traditional and contemporary, professional and amateur – to knowledge formation and transfer concerning design. To reflect the contemporary condition whereby design canons and knowledge are created through and by actors operating in widely diverse institutions with a variety of different agendas, the symposium is structured in two parts. The morning session is structured according to a typical academic conference format, comprising the presentations of four scholarly papers followed by a response and discussion. In the afternoon session, five keynote speakers will reflect on the contemporary processes of design canonisation from their respective perspectives: academia, politics/economics, the museum, and design practice. The day will conclude with a roundtable discussion, where the different perspectives will be confronted with each other so as to bridge highly compartmentalized discourses that otherwise remain largely unknown and irrelevant to each other. Ultimately, the aim of the symposium is to generate new academic knowledge about design canonisation that is relevant to all actors involved in the process. The event will be bi-lingual: speakers are welcome to present and respond in Dutch or English. 


The event is organised by the Dutch Design History Society in partnership with Centraal Museum Utrecht, where it will be held. Centraal Museum owns the largest Rietveld collection in the world, and was the first museum to acquire the entire Droog collection and a broad range of Dutch Modernism fashion in the 1990s. Since then, it has actively experimented with a range of digital and participatory platforms to share and co-create its design collection with diverse audiences. Being one of the initiators of 100 Years of De Stijl – 25 Years of Dutch Design, in which economic considerations of city branding and tourist marketing predetermined the definition of the event’s content, Centraal Museum is eager to reflect on questions concerning design canonisation in the past, present, and future, and its role in it. As such, it provides the ideal institutional setting to reflect upon the symposium’s theme.

Call for papers

For the morning session, the symposium welcomes contributions by academics (junior and established) of design and art history, media studies, museology, anthropology, and related fields. Potential themes to be elaborated by papers include but are not limited to:

–        The processes according to which design canons are formed, today and in the past;

–        The formation of alternative design canons and/or the breakdown of canonical thinking, i.e. the ‘undoing’ of canonisation;

–        The formation of design canons beyond the traditional national framework: local/regional/global;

–        The (different) roles that the media, museums, and governments/politics play in these processes;

–        The impact of contemporary online mediation and distributed participatory processes, such as digital platforms, in the canonisation of design;

–        New actors in the canonisation of design;

–        The role of museum exhibitions and (permanent) displays in canonisation processes;

–        The emergence (and the role) of new publics/new consumers of design canons;

–        The canonisation of De Stijl and/or Dutch design;

–        The futures of design canons.

Note that papers do not necessarily have to reflect on Dutch cases.

The presentations will be considered for an edited publication, while the results of the symposium and debate will become available from the website of the Dutch Design History Society.


Proposals for 20-minute papers must be submitted by 1 October 2016 as detailed below. Please email the document as a Word document to [email protected].

Page 1

  • Author(s) full name(s)
  • Institution, address for correspondence, telephone and e-mail
  • 50-word biography

Page 2

  • Title of the paper
  • Three keywords
  • 200-word abstract of the paper in Dutch or English

AAH2017 43rd Annual Conference & Art Book Fair

43rd Annual Conference & Art Book Fair
Loughborough University
6th to 8th April 2017
Textile, Art & Design: Reciprocity and development



Alice Kettle, Manchester Metropolitan University, [email protected]k
Uthra Rajgopal, Manchester Metropolitan University, [email protected]

The reciprocity and division of textiles and the fine arts are in continual negotiation. This session examines the nexus between the fine and decorative arts, craft making and commercial production. Many artists of the 20th century such as Abakanowicz, Dali, Delaunay, Matisse, Moore, Parker, Picasso, Paolozzi and Warhol (to name but a few) have been celebrated for their collaborations in sculpture and/or pattern making, but this approach presents one avenue of the artist’s intervention in textiles. This session will consider a wider view, asking how contributions of textile designers and artists working across a spectrum of geographical and historical periods, such as those working in Spitalfields, Lyon, Japan or India for example, or designers such as Dora Batty, Marian Clayden, Marion Dorn, Bernat Klein or John Piper influenced and collaborated with artists, fashion designers and art movements or contributed to the synergy of these practices.

In this session we welcome papers from academics, researchers, textile artists, textile and fashion historians, curators and archivists. The term textile can be interpreted in its widest sense.

Suggestions for proposals of papers or panel discussions include but are not limited:

• The evolution and circulation of a particular motif in woven or printed textiles
• Artists/designers and textiles: an exploration of their oeuvre through pattern making
• The influence of textile designers in art/dress/fashion history
• Historical and contemporary collaborations between artists and textile designers
Please email your paper proposals straight  to the session convenor(s). Provide a title and abstract for a 25 minute paper (max 250 words). Include your name, affiliation and email. Your paper title should be concise and accurately reflect what the paper is about (it should ‘say what it does on the tin’) because the title is what appears most first and foremost online, in social media and in the printed programme.

You should receive an acknowledgement of receipt of your submission within two weeks. Do not send proposals to the Conference Administrator or the Conference Convenor.

Deadline for Paper Proposals: 7 November 2016


Symposium | Material Others and Other Materialities

September 30, 2016   12.45 – 6.15pm

Iklectik Art Lab, 20 Carlisle Lane, London SE1 7LG

In their short philosophical fable ‘Vampyroteuthis Infernalis’, Vilem Flusser and Louis Bec compare human existence to that of a deep-sea squid, the Vampyroteuthis Infernalis. In the process they raise questions about the relation of cognition, culture and sociality to corporeal anatomy and environment. Flusser and Bec’s ruminations form the background context and connecting thread for this symposium, which brings together 10 papers to explore questions of materiality and otherness, specifically in relation to art and design and media. All presentations take a point of departure from Flusser and Bec’s text to discuss an artefact in relation to the symposium’s themes.

Register via Eventbrite:


  1. Phenomenological Materialities

The Immateriality of Titian’s Pesaro Altarpiece | Ken Wilder, Chelsea College of Arts

Circle or Oval?: Concepts, Non-identity and the Lifeworld | Johanna Bolton, Royal College of Art

Things that Happen Again: Roni Horn and the Phenomenology of the Other | Andrew Chesher, Chelsea College of Arts
Chair: Allan Parsons; Discussant: t.b.c.

  1. My Body and the Body: The Other and the Alien

My Neighbour, That Thing | Werner Prall, Middlesex University

The Corporeal Witness in Katie Green’s Lighter than my Shadow | Dan Smith, Chelsea College of Arts

Fishing for Zebedee | Mark Ingham, London College of Communication
Chair: Amanda Windle; Discussant: t.b.c.

  1. Digital Materialities

The Material Other in Fashion Making: The T-shirt | Douglas Atkinson, London College of Fashion

Emergent Materiality: The Self and the Other in Material Dialogues | Virna Koutla, Royal College of Art

Robotum Anthromorphum: of Virtual Assistants and their Networked Materialities | Michel Erler, London College of Communication

The Nonhumanity of Planetary Computing, Metis, or how to live with Digital Uncertainty | Betti Marenko, Central Saint Martins
Chair: Andrew Chesher; Discussant: Amanda Windle

For more details: 

Susumu Koshimizu From Surface to Surface 1971, remade 1986, wood, 3000 x 8100 x 100 mm. Tate collection, purchased with funds provided by the Asia Pacific Acquisitions Committee 2008. © Susumu Koshimizu

Contact Points | A Seminar Organised by Tate Research Centre: Asia

Contact Points

21 November 2016 at 14.00–18.00

Starr Cinema – Tate Modern

Tate Research Centre: Asia Visiting Fellows Eva Bentcheva and Yohko Watanabe present their research.

This seminar examines two international ‘contact points’ between artists in the twentieth century: the 1970 Tokyo Biennale and David Medalla’s performance practice in London and the Philippines.

Contact Points represents the culmination of Tate Research Centre: Asia’s Visiting Fellowship Programme in 2016; both Eva Bentcheva and Yohko Watanabe conducted their research as the Centre’s Visiting Fellows.

Panel One: A Stitch in Time? Situating David Medalla’s ‘Participation-Performance’ between British and Philippine Performance Art History

Chair: Eva Bentcheva
Speakers: TBC

Panel Two: Tokyo Biennale 1970 as Contact Point

Chair: Yohko Watanabe
Speakers: Toshiaki Minemura and Susumu Koshimizu

Tate Research Centre: Asia has been established with generous support from the Andrew W. Mellon Foundation 

Price : £8

Book tickets here

Image: Susumu Koshimizu From Surface to Surface 1971, remade 1986, wood, 3000 x 8100 x 100 mm. Tate collection, purchased with funds provided by the Asia Pacific Acquisitions Committee 2008. © Susumu Koshimizu

Design Connections Istanbul | British Council

In partnership with IKSV, the British Council are seeking expressions of interest for senior curators, programmers and heads of design organisations from the UK to join a delegation visiting Istanbul Design Biennial between 19 – 23 October 2016.

The purpose of the delegation is to connect key individuals from the UK to designers and organisations, with the aim of brokering new collaborations and partnerships, as well as providing the opportunity for networking, learning and sharing with international counterparts. The British Council will fund travel, accommodation and per diems for delegates.

Five individuals will be selected to join an industry networking programme, visiting the Biennial itself and leading designer organisations and studios in Istanbul.

To express interest please email [email protected] by 9 September with a short professional profile.

About Istanbul Design Biennial 2016

The 3rd Istanbul Design Biennial, curated by Mark Wigley and Beatriz Colomina, explores the intimate relationship between the concepts of “design” and “human.” Design always presents itself as serving the human but its real ambition is to redesign the human. The history of design is therefore a history of evolving conceptions of the human. To talk about design is to talk about the state of our species.

About İKSV

Istanbul Foundation for Culture and Arts (İKSV) is a non-profit cultural institution that was founded in 1973. The general objectives of the Foundation are: to make Istanbul one of the world’s foremost capitals of culture and the arts; to create continuous interaction between national and universal values and traditional and contemporary values via culture and the arts; and to contribute actively to the development of cultural policies. With these objectives, İKSV organises the Istanbul Festivals of Music, Film, Theatre and Jazz, as well as the Istanbul Biennial, the Istanbul Design Biennial, Leyla Gencer Voice Competition, autumn film week Filmekimi and one-off events throughout the year. The Foundation hosts cultural and artistic events at its performance venue Salon, located at the Nejat Eczacıbaşı Building. İKSV also organises the Pavilion of Turkey at la Biennale di Venezia and coordinates an artist residency programme at Cité International des Arts, France. Furthermore, İKSV conducts studies and drafts reports with the aim of contributing to cultural policy development.

shame chorus

Shame Chorus | Jordan McKenzie

Camberwell’s Drawing Lecturer, Jordan McKenzie, has created an incredible piece of work surrounding psychoanalysis and shame.

“Shame Chorus is an uplifting new project created by international artist Jordan McKenzie and commissioned by the Freud Museum in London. It takes as its starting point Sigmund Freud’s famous ‘talking cure’ a mode of psychoanalytic analysis where the patient talks in order to allow the therapist to uncover hidden, repressed and unconscious desires. Shame Chorus is a collaboration with world-renowned psychoanalyst and cultural critic Susie Orbach, the London Gay Men’s Chorus and writer Andy White.”

Shame Chorus will be performed at the London Irish Centre on the 8th October:

TV Interruptions (7 TV Pieces), TV shoot-out piece 1971, 2.4 mins b/w video

Call for Papers – 50 Years of British Artists’ Moving Image | MIRAJ Issue 6.1/6.2

Moving Image Review & Art Journal

Issue 6.1/6.2

50 Years of British Artists’ Moving Image

Call for Papers | Deadline: 15 August 2016


On the occasion of the fiftieth anniversary of the London Filmmakers’ Cooperative (LFMC) and the fortieth anniversary of London Video Arts (now LUX), articles are invited that reflect upon the histories, contexts and legacies of artists’ film and video practices in Britain since 1966. Both organisations played a significant role in the development of the distinctive and diverse artists’ moving image culture experienced in the UK today. This double issue of MIRAJ marks these anniversaries in order to draw forth new scholarship and research in a vital field of study and practice. This issue will be guest edited by Benjamin Cook and Lucy Reynolds.


Download Call: MIRAJ 6.1_

We invite articles that examine:

  • •      Ecologies of practice, distribution and production (including workshops, funding, the academy, distributors, collectives, co-operatives, galleries, festivals, the art market, television and the internet).
  • •      Spectatorship (spaces and patterns of reception from museums to micro-cinemas, from festival to home viewing and online).
  • •      International links, networks and perspectives (in particular encouraging dialogues concerning a non-Western axis).
  • •      Scholarship then and now (magazines, film journals, educational contexts).

We encourage articles that debate:

  • •      What was and what continues to be at stake in contemporary British artists’ moving image culture.
  • •      Interplay and tensions between moving image culture and contexts such as artists’ film production and film industry, experimental film and the art world.
  • •      The dialogues between earlier movements and contemporary practices.
  • •      Technological shifts and the significance of medium specificity in the digital age.

We welcome articles that explore:

  • •      Original theoretical and interdisciplinary methodologies for the historiography, analysis and discourses of post-war artists’ moving image practices in Britain.
  • •      Posit new research and perspectives on figures and contexts overlooked or under-represented.
  • •      Dissect and examine existing canonical representations of key figures and contexts.


Please submit completed manuscripts only. Send all contributions and proposals by e-mail in Word format to the Editorial Assistant: [email protected]

The Moving Image Review & Art Journal (MIRAJ) is the first peer-reviewed publication devoted to artists’ film and video, and its contexts. It is published twice a year in print by Intellect Books in collaboration with the University of the Arts London. MIRAJ offers a widely distributed international forum for debates surrounding all forms of artists’ moving image and media artworks.

For more information please visit:,id=207/view,page=0/



Call for Papers: What is the relevance of Adorno’s Aesthetic Theory today?

International Conference Call for Papers

What is the relevance of Adorno’s
Aesthetic Theory today?

Organized through the Université Renne 2

In his Theory of the Avant-Garde Peter Bürger maintained that “the norm of all contemporary aesthetic theory is Adorno’s aesthetics.” What remains of this “norm” of Adorno’s Aesthetic Theory more than forty years after its publication?

This two-day international conference will take place at the University of Rennes 2, in October 2017, and will be presided by Christophe David (senior lecturer, History and Critique of the Arts) and Florent Perrier (senior lecturer, Practical Arts and Poetics). The conference will be conducted in French and English.

This call of papers is addressed to scholars working in aesthetics, in philosophy of art, in political philosophy, in sociology, in history of art, in musicology, in literary history, literary theory, and so on.

The questions we would like to explore during the two days of the conference are the following:

  • The pre-history of Ästhetische Theorie. The point is to explore how these questions, which became thematic in the 30s and 40s (the fetish character of art, dissonance, and so on) find themselves changed, or unchanged, in Ästhetische Theorie in the 60s, to determine the ongoing or transformed role of the decisive early influences (for instance, that of Georg Lukàcs) or the exchanges with his friends (Walter Benjamin, Ernst Bloch, Alfred Sohn-Rethel). What is the role of Schönberg in Ästhetische Theorie now that this artist no longer has a central position? What are the differences between the Schönberg of the first part of the Philosophie der neuen Musik (written in 1940-41) and that of the Darmstadt conferences?
  • The relation between Ästhetische Theorie and the courses on aesthetics of the 1950s (Vorlesungen. Ästhetik [1958-59], Surkamp, 2012).
  • The references to the aesthetic tradition (Baumgarten, Schiller, Rosenkranz, Corce, Dewey, Dilthey, and so on) and the “metacritical” moments (the critique of Kant, Hegel, Nietzsche, Freud, and the other towering figures in the history of art criticism). The major aesthetic questions that are replayed or reinvented: appearance, mimesis, natural beauty, artistic beauty, the sublime, and so on. The relation between Ästhetische Theorie and Ohne Leibild. Parva aesthetica.
  • The major elements in the analysis of the critique of the culture industry. The dialectical opposition between autonomous art and administered art in the culture industry. What place does the critique of culture occupy in Ästhetische Theorie? And how might Ästhetische Theorie help inform the critique of culture today?
  • The articulation between Dialektik der Aufklarüng and Ästhetische Theorie is also played out in the identification of art as a symbolic form that partakes in (as a “secularization of transcendence”) the movement of emancipation from myth. The political and moral import of art as a symbolic form, then, as it emerges against the backdrop of Auschwitz, and against the epoch of the culture industry and the industries of culture.
  • The approach and analysis of the arts (music, literature, cinema, etc.) and of artworks (Ästhetische Theorie contains numerous highly suggestive analyses of works that evidently demand further development) the classical artists (Bach, Baudelaire, Beethoven, Goethe, Wagner) and the modern ones (Beckett, Brecht, Celan, Kafka, Picasso, Valéry) in Ästhetische Theorie. The question of the avant- gardes (and of all the “isms”). The treatment of contemporary art (by means, for example, of the young musicians of Darmstadt). The question of the relation of the philosophy of the arts. Philosophy, interpretation and criticism or critique.
  • The question of the political or of politics in Ästhetische Theorie. Works of art play a role in the political transformation of the administered world. Administered world and administered art. Aesthetic autonomy and political liberty. The question of utopia: “Every artwork has a utopian function to the extent that, through its form, it anticipates a reality that would at last be itself […] But because utopia—what is not yet—is veiled in darkness, it maintains through all its mediations that character of a memory, a memory of the possible against the real, something like the imaginary compensation for the catastrophe of universal history.” Is Ästhetische Theorie indeed a “materialist and dialectical aesthetics”? What relation does Ästhetische Theorie have to Marx?

The proposed papers may be sent in French, German, English or Spanish (a title and summary of no more than 15 or 20 lines) should be sent before October 20th 2016 to Christophe David ([email protected]) and Florent Perrier ([email protected]). Please include a notice of 5 to 6 lines (full name, university affiliation if you have one, your most important articles or books). Your talk must not exceed 25 minutes and may be delivered in French or English.


Call for Papers: Politics and Sartorial Styles in Britain, 1859-1914

Essays are sought for a proposed collection exploring the links between Victorian political sartorial style and metaphors and analogies of clothing in political thought of the period.

When Walter Bagehot, the mid-Victorian journalist and Liberal economic advisor, wanted to explain changes in the operations of parliamentary government that had resulted in contentment among his contemporaries, he resorted to a sartorial metaphor. “Thirty years ago,” Bagehot writes in The English Constitution, “the nation had outgrown its institutions, and was cramped by them. It was a man in the clothes of a boy; every limb wanted more room, and every garment to be fresh made.” Similarly, John Morley, one of Britain’s premier politicians and John Stuart Mill’s leading disciple, analogized political change to dress in his study of Diderot and the French philosophes. “Form of government is like the fashion of a man’s clothes; it may fret or may comfort him,” Morley writes, “may be imposing or mean, may react upon his spirits to elate or depress them.” The liberal political theorist Herbert Spencer saw even more direct links between attire and political ideology: “Whoever has studied the physiognomy of political meetings, cannot fail to have remarked a connection between democratic opinions and peculiarities of costume.” All three men also happened to be known for their apparel.

The objective of this essay collection—for which expressions of interest and abstracts are sought—is twofold. Through analyses of metaphors and analogies in political novels, treatises, and other written and visual texts, it seeks to document the role of clothing in the Victorian political imagination. Through the study of historical personages or fictional characters, it also aims to explore the ways in which clothes either defined and displayed political identities or conversely symbolized the state of objectivity to which liberalizing individuals in this period aspired.

Proposals are invited for essays (approximately 10,000 words). Topics might include but are not limited to: dress in political novels; metaphors and analogies in key works of political thought; portraiture, caricature, and photographs of political thinkers and leaders; sartorial unremarkableness (“I hold that gentleman to be the best dressed whose dress no one observes,” Anthony Trollope once remarked) and sartorial eccentricity (“primly neat but quaintly unconventional garments,” as Herbert Spencer was described); disinterestedness and detachment in bodily comportment and dress; politics, sociability, and dress (clubland); accessories (the Gladstone bag, the Primrose League pin, the pocket watch); and attire and professional consciousness within British liberal culture. If you are interested in contributing, please send a 250 word proposal and CV by September 15, 2016. Those papers selected for inclusion will be due July 15, 2017. Several publishers have expressed interest in this project. Queries and abstracts to Kevin A. Morrison, Syracuse University Department of English, [email protected]


Matter and Meaning: Materiality and the Visual Arts Archive

ARLIS/Committee for Art and Design Archives Symposium – ‘Matter and Meaning: Materiality and the Visual Arts Archive’

DATE: Friday 23 September 2016

TIME: 10.00am – 6.30pm

VENUE: University of Brighton, Room M2, Grand Parade, BN2 0JY

‘On the one hand… material is discussed today in the light of an idea that it has been dissolved by the so-called immaterialities of new technologies, while on the other – from the margins – we can observe the consolidation of material as a category of its own’.

– (Monika Wagner)

Within the expanding digital environment that encompasses our professional and personal experience, ideas of materiality have received extensive recent attention, across a range of disciplines, including anthropology, archaeology, art history, literary studies and material culture.  As yet, archival theory and practice have given limited consideration to materiality as an approach to the archive. Conservation practices, while focussing on material qualities of archives, may not attend to more philosophical implications beyond technical research. This symposium seeks to reach across and between these various bodies of knowledge, considering materiality as a framework for analysing, interpreting and engaging with archives of art and design.

To view the full event page for the Symposium, including the programme, please visit the University of Brighton website:

Materiality and the Visual Arts Archive: Matter and Meaning

Materiality and the Visual Arts Archive: Matter and Meaning at University of Brighton, College of Arts and Humanities

If you would like to book a place please visit the Arlis Events page to register and pay:

Please note that lunch is not provided