Call for Papers | MIRAJ | Transnationalism and South Asian Artists’ Moving Image
Image: Prisms of perception, (2010) Artist: Gigi Scaria. Medium: Video installation. (Image courtesy of the artist).
Moving Image Review & Art Journal | Issue 7:2
Transnationalism and South Asian Artists’ Moving Image
Call for Papers | Deadline: 1 March 2017
This issue will be guest edited by Rashmi Sawhney and Lucia King.
The uncontestably global ecologies of contemporary moving image art have invited some deliberation on questions of regional aesthetics, identity, circulation and transnationalism. Yet such discussions have mainly taken place in the context of exhibiting ‘non-western’ art in the western world. Contradictions still persist in the project of destabilizing assumed hierarchies within the Euro-American art world (in the most recent Documenta XI and Venice Biennale, for example) whilst artists of the global South gain currency primarily by meeting the expectations of ‘western’ art markets. Furthermore, Euro-American art historical discourse remains negligent of film and video art’s legacies from the South, including experimental film and screen-based arts. As a consequence, moving image art by ‘non-western’ artists is either caged into essentialist frameworks founded on mythical notions of ‘authenticity’, or stirred into the melting pot of contemporary art without due attention to their particular cultural and aesthetic contexts. This MIRAJ issue, therefore, engages with the particularities of film and video art practices from South Asia, and leverages these in theorising the relationship between regional, global and transnational moving image cultures.
To address some of these gaps in scholarship, this special edition of MIRAJ focuses on the circuits of production, exhibition and authoring of South Asian artists moving image in order to chart key theoretical terrains of ‘regional’ practices in a global context. We solicit articles from artists, critics and curators who work within and outside South Asia, that highlight conceptual frameworks and offer insights on the multi-layered relationships between ‘home and the world’, region and identity, aesthetics and translatability, cultural specificities and contexts of classification/consumption/circulation. We invite articles that build upon foundational work in South Asian moving image art and film histories as well as transnational art practices and aesthetics.
We are particularly interested in articles that address the following:
• Theories of film and video art outside of the ‘national’ framework that are attentive to influences, collaborations and exchanges across geographic and political regions.
• Examples of significant regional exchanges and collaborations between artists and filmmakers from India, Pakistan, Bangladesh and Sri Lanka.
• The relationship between region, identity and moving image practice in South Asia.
• The aesthetic pre-cursors (in a pre-cinematic sense) that influence contemporary moving image art in the region, including investigations of artist(s)’ methodologies.
• Experiments in film and video art that emphasise ‘indigenous forms’.
• Transnational curatorial practices that work with and around the regional/national framework.
• Historicising South Asian moving image art in the post-medium context.
• Spectatorship and post medium/ multi-media art in/from South Asia.
• South Asian artists’ moving image engagement with science, political activism, environmentalism, urbanism etc.
• South Asian artists’ moving image hybridity with alternate media genres, such as experimental film, documentary, and digital media.
• Digital media and the exhibition and distribution of ‘regional’ moving image art.
• Digital archives and curatorial practices in/about South Asian film & video art.
We publish the following types of writing: scholarly articles (5000-7000 words); opinion pieces, feature articles and interviews (3000-5000 words); review essays of books, individual works, exhibitions and events (3000-5000 words). Scholarly articles will be blind peer-reviewed and feature articles and review essays can be peer-reviewed on request. Articles submitted to MIRAJ should be original and not under consideration by any other publication, including online publications. We do not publish articles by artists about their own work, nor reviews by curators or venues about their own exhibitions.
Please submit completed manuscripts only.
Send all contributions by e-mail in Word format to the Editorial Assistant: email@example.com.
Deadline for completed articles: 1 March 2017
Moving Image Review & Art Journal
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: firstname.lastname@example.org
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: http://www.intellectbooks.co.uk/journals/view-Journal,id=207/view,page=0/
Moving Image Review & Art Journal (MIRAJ)
Editor: Catherine Elwes, Professor of Moving Image Art
Founded by Professor Catherine Elwes in 2012, the Moving Image Review & Art Journal (MIRAJ) is the first international peer-reviewed journal dedicated exclusively to artists’ moving image practices. Published by Intellect Books, MIRAJ boasts an editorial team that combines established academics such as Sean Cubitt, Rachel O. Moore, Maria Walsh and Janine Marchessault, with rising talents including Eu Jin Chua and Colin Perry. The advisory board is made up of leading academics from across the globe, for example, Laura Mulvey, Thomas Elsaesser, Catherine Russell and David E. James.
All are united in a commitment to expanding the discursive field around a discipline that in recent years has shifted its position from a marginal and profoundly counter-cultural practice born of the iconoclasm of the 1960s and 1970s, to the default medium of the 21st century. The moving image has made significant incursions into all areas of life in the industrialised world. The contemporary Western imagination is now in constant dialogue with the moving image – internalised, memorialised, and experienced directly on a daily basis. MIRAJ is committed to mapping, debating and theorising the extraordinary growth of the moving image in art that has taken place since the late 1990s.
The field of artists’ film, video and digital media straddles different disciplinary territories. It shifts between scholarship and practice in the fine art tradition, and the culture of mainstream film and media. Discernible trends in recent artists’ practice have drawn in scholars from other disciplines. Anthropologists and earth scientists have become interested in artists’ use of filmic techniques derived from ethnographic documentary. A new concern with issues of place, landscape, and the local has drawn in geographers and historians, and cognitive scientists are beginning to incorporate avant-garde practices in their studies of spectatorship. Meanwhile, some of the best commentary on artists’ film and video, including on-the-ground knowledge of current practice, has come from outside the academy, that is, from independent art critics, curators, and artists themselves. It is the aim of MIRAJ to bring together these different voices and encourage exchange of specialist knowledge, thereby developing a more rounded cross-disciplinary field.
The fundamental aim of MIRAJ is to reignite debates around the nature of the moving image, as a projected and installed phenomenon in all its forms – celluloid, videotape, and digital – but especially in relation to the fine art context. The journal is made up of scholarly articles, feature articles, review articles and polemical essays as well as round-table debates and interviews with individual practitioners. MIRAJ addresses a broad readership that includes an interested public, students, artists, curators, as well as scholars. The journal prides itself on its ability to communicate to a range of readers without compromising intellectual rigour and scholarship.
For further information about MIRAJ please follow this link to the website.
MIRAJ was supported by an initial grant from the Kraszna Krausz Foundation and an AHRC International Network Award 2010–12.
Catherine Elwes, Camberwell, Chelsea, Wimbledon Graduate School, UAL, UK
Sean Cubitt, Goldsmiths, University of London, UK
Eu Jin Chua, Unitec, New Zealand
Jonathan Walley, Denison University, USA
Maria Walsh, Camberwell, Chelsea, Wimbledon Graduate School, UAL, UK
Colin Perry, Central Saint Martins, UAL, UK
Wendy Short, Camberwell, Chelsea, Wimbledon Graduate School, UAL, UK
Gabriele Grigorjeva, Camberwell, Chelsea, Wimbledon Graduate School, UAL, UK
Rachel O. Moore, Goldsmiths, University of London, UK
Janine Marchessault, York University, Canada
International Advisory Board:
Erika Balsom, King’s College, London, UK
Mark Bartlett, Open University, UK
Pryle Behrman, Writtle School of Design,
University of Essex, UK
Suzanne Buchan, University of the Creative Arts, UK
Ian Christie, Birkbeck, University of London, UK
Stuart Comer, Museum of Modern Art, New York
Maeve Connolly, Dun Laoghaire Institute of Art, Design and
David Curtis, Central Saint Martins, UAL, UK
T.J. Demos, University College, London, UK
Thomas Elsaesser, University of Amsterdam, Netherlands
Catherine Fowler, University of Otago, New Zealand
Amrit Gangar, National Museum of Indian Cinema, Mumbai
David E. James, University of Southern California, USA
Laura Mulvey, Birkbeck College, London, UK
Mark Nash, Royal College of Art, London
Michele Pierson, King’s College, London, UK
Lucy Reynolds, Central Saint Martins, UAL, UK
Pratap Rughani, London College of Communications, UAL, UK
Catherine Russell, Concordia University, Canada
Tom Sherman, Syracuse University, USA
Lisa Steele, University of Toronto, Canada