May 31, June 1-2, Facultad de Bellas Artes (Universidad de Murcia) PRESENTATION

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1 May 31, June 1-2, Facultad de Bellas Artes (Universidad de Murcia) PRESENTATION The 1st International Conference on Art and Identity Politics: Visualities, Migratory Narratives, Trans-Nationality and Gender in Contemporary Art to be held at Universidad de Murcia from May 31 to June , intends to analyze from the context of today s art practices and under a broad interdisciplinary perspective global migratory dynamics and processes, focusing on recent events such as the massive arrival to Europe of refugees and migrants from Syria, Afghanistan, Eritrea, Nigeria or Somalia. These displacements are motivated by a variety of causes which, as expressed by sociologist Saskia Sassen, are increasingly afar from the search of economic prosperity and closer to issues of survival in a condition of massive loss of habitat. Pushed by war conflicts, dictatorships, desertification and land floods, shifting local into global economies, territory appropriation by higher GDP nations or by foreign private companies, etc., thousands of people are forced to abandon their native countries every day, showing that the traditional East/West division, far from disappearing, is increasing, and the logic of colonialism -in its varying expressions- is still intensely strong in our contemporary world. Critical approaches from theorists like Homi Bhabha, Gayatri Spivak and Edward Said, have provided fundamental interpretive tools for postcolonial studies and have had a deep impact in the visual arts and in the field of communication. Despite the controversy around an

2 I CONGRESO INTERNACIONAL ARTE Y POLÍTICAS DE IDENTIDAD 2 adequate definition, the term postcolonialism keeps offering a fertilized field, both for the critical review of modernity and its forms of exploitation and colonial violence and for the interpretation of new modes of colonial practices. These critical perspectives of study, from different cultural contexts and traditions, delineate the conditions of historical colonialism and its continuities in today s so-called global capitalism. In them, the postcolonial glance interferes with theories on globalization, transnationality or cosmopolitism, as three major contemporary phenomena that interrogate identity belonging, citizenship definitions, frontier regulations, racism and difference. Based on analogous premises, de-colonial thought has been promoted from Latin America by theorists like Silvia Riviera Cusicanqui and Boaventura de Sousa Santos proposing the decolonization of knowing and being and proposing alternative narratives to those (hegemonic, racist and patriarchal) ones generated from Western interests. In these alternative narratives, which are now told by those protagonists of history who remained silenced for such a long time, the (de)colonial subject enunciates himself, giving visibility to her cultural, sexual, religious, racial, and territorial particularities. As Dean MacCammell announced in the 1989 edition preface of his novel The Tourist. A New Theory of the Leisure Class, if decades ago the dominant activity shaping world culture was the movement of institutional capital and tourists to the remote regions, and the preparation of the periphery for their arrival. This, of course, followed on three hundred years of foreplay by explorers, soldiers, missionaries and anthropologists. Today, the dominant force if not numerically at least in terms of its potential to re-shape culture- is the movement of refugees, boat people, agricultural laborers, displaced peasants and others from the periphery to the center of power and affluence. Global culture and particularly Western culture widely depend on the human capital generated by migrants and refugees and their potential to create new cultural phenomena, hence the need of analysis not only from the academic sphere, but also from contemporary art practice and from the field of visual and digital culture. These fields are not alien to this phenomenon or to the impact of globalization, generating debate and reflection through their own devices and tools. In their collaborative forms of production, the visual arts, social communication, postcolonial and gender discourses pose the following questions on the connection of the real to memory: what is its cultural narrative? What narratives do this coincident relation of capitalism and reality support? How are cultural translations transformed if we consider the production of local wisdoms and of social, economic, class, race, and gender differences? In order to answer these and other questions the 1st International Conference on Art and Identity Politics: Visualities, Migratory Narratives, Transnationality and Gender in Contemporary Art will be structured around the following central concepts: 1. East/ West: Borders, representations and migratory narratives. Times, memories and histories. Between borders and interculturality. Urban anthropology.

3 VISUALIDADES, NARRATIVAS MIGRATORIAS, TRANSNACIONALIDAD Y GÉNERO EN EL ARTE CONTEMPORÁNEO 3 2. Transnationalism and gender issues: queer geographies, feminisms, subjectivity and diaspora. 3. Reformulating identity from the distance: Hybrid subjectivities and transcultural art practices. Places: the local, the global, the glocal. 4. Art and Digital Media: visual culture and transmedia. Territory and politics in new media art. 5. Representations of mobility: otherness, persistence of the colonial imaginary and new possibilities of citizenship. TO WHOM IS THIS CONFERENCE ADDRESSED? Students of Fine Arts, Communication, Humanities, Education, Philosophy, Social Work or any other field with any kind of connection to contemporary art, communication or crossculture, audiovisual studies and social imaginaries. Professors, researchers and professionals from the fields of art, communication, documentation, social work, social education, psychology, pedagogy or any other areas where the study of migratory narratives and their representations becomes a central or corollary value in the exercise of their professions and the development of services for citizens. WHAT METHODOLOGIES ARE APPLIED? The conference proposes the following methodologies: 1. Group discussion on the main topics of master conferences, papers and posters with the participation of guest specialists. 2. Dissemination and contrast of participants experiences and research work on the topics proposed (publication of the proceedings and particularly relevant papers in journal format). 3. Documental and short films viewing and discussion; journal, book and research projects presentations. WHAT IS THE FORMAT OF THE CONFERENCE? The conference proposes the creation of spaces for collaborative work and exchange, avoiding one-way discourses.

4 I CONGRESO INTERNACIONAL ARTE Y POLÍTICAS DE IDENTIDAD 4 Each session will be inaugurated or closed with a master/plenary conference given by a guest expert in the central topic of the day. This conference will be completed with exchange and debate round tables in which the conference participants will enter into discussions with sorted speakers, and will be chaired by a specialist in the field. Activities like book/journal presentations and documental and short films viewings will complete the program of the day. CONTRIBUTIONS SUBMISSION Oral presentations/papers 15 minutes will be given to each presentation. Following the central topics proposed for the conference, the scientific committee will group accepted individual abstracts into panels. Virtual communications/papers Selected authors who can not attend the conference are invited to submit a 15 minutes video presenting their paper. Max. lenght videos 15 minutes, format.mov Once your communication has been accepted you must send your video to: api@um.es Written communications/posters During the conference, each poster will be exhibited in a designated space. Furthermore, a schedule will be assigned for the authors to explain their work to interested audiences. Posters dimension will be 90x120 cm (vertical format). Panel proposal/ round or debate table 90 minutes will be given to each panel. Each panel can include three to five oral presentations, and one debate. For the proposal of panels, a general abstract presented by the coordinator will be required, a list of participating speakers and one abstract per paper needs also to be included. REGULATIONS FOR PROPOSALS, PANELS AND PAPER PRESENTATIONS Oral or written presentation and panel proposals will be considered for their acceptance after the submission of ( words) abstracts through the web application created for this purpose: Paper proposals in English and Spanish will be accepted. Each proposal must include: Name, surname and institution of the author. Main theme selected. Introduction, objectives, methodology, results and conclusions.

5 VISUALIDADES, NARRATIVAS MIGRATORIAS, TRANSNACIONALIDAD Y GÉNERO EN EL ARTE CONTEMPORÁNEO 5 When proposals don t follow a strictly research format, the alternative methodology used must be specified. The Organizing Committee will inform the participants on their proposals acceptance or refusal as soon as a decision is taken. Each proposal will be submitted to a peer-reviewed process. NOTICE At least one of the papers authors must be registered as a conference participant. A certificate per author will be expedited for each paper presented. Each certificate will include the name of all the paper s authors. No certificate will be delivered to those papers that, having been accepted, would not finally be presented in the course of the conference, date and time planned (as agreed in the terms of their acceptance). Besides, these papers will not be included in the abstracts book or any publication derived from the conference. IMPORTANT DEADLINES Deadline for the submission of paper and other proposals abstracts: February 28, Only those proposals sent through the web application created for the conference will be accepted. Proposals acceptance or rejection will be notified from March 15, 2017 on. Final program publication*: May 10, 2017 * Only registered speakers will be included. REGISTRATION FEES From February 1 to April 15, Regular Registration with/without paper: 60 euros - Students, unemployed and retirees: 30 euros From April 16 to May 15, Regular Registration with/without paper: 80 euros - Students, unemployed and retirees: 40 euros Registration fee includes: welcome reception, free attendance to all programmed activities, coffee breaks and conference information material. The closing dinner and possible visits to Murcia city or surroundings will be paid separately.

6 I CONGRESO INTERNACIONAL ARTE Y POLÍTICAS DE IDENTIDAD 6 REGISTRATION METHOD Registration and fees payment to the conference can be fulfilled through Casiopea.um. You can access the conference webpage through this link: PROCCEEDINGS/COMPLETE PAPERS PUBLICATION Paper abstracts will be published online as Conference Proceedings in book format with ISBN. One or some volumes of the journal Arte y Políticas de Identidad connected to the conference topics will be published. Once the conference is finished, the journal will fix a deadline for selected authors to adapt their contributions to the journal s publication regulations: ORGANISED BY Art and Identity Politics Research Group, Universidad de Murcia PARTICIPANTING ENTITIES Departamento de BBAA, UM Facultad de BBAA, UM Facultad de Comunicación y Documentación, UM DIRECTOR Pedro Ortuño Mengual ORGANIZING COORDINATORS Virginia Villaplana Ruiz and Aurora Alcaide Ramírez ORGANIZING COMMITTEE Aurora Alcaide Ramírez, Clara Boj Tovar, Carlos Callizo Gutiérrez, Ana García Alarcón, Gloria Lapeña Gallego, Jesús Martínez Oliva, Pedro Ortuño Mengual and Virginia Villaplana Ruiz.

VISUALIDADES, NARRATIVAS MIGRATORIAS, TRANSNACIONALIDAD Y GÉNERO EN EL ARTE CONTEMPORÁNEO 7 SECRETARY Gloria Lapeña Gallego e-mail: api@um.

Lourdes Cilleruelo, Universidad del País Vasco. José Crespo, Universidad de Cuenca, Ecuador. Diego del Pozo, Universidad de Salamanca. Maribel Domenech Ibañez, Universitat Politècnica de València.

Miguel Ángel Hernández-Navarro, Universidad de Murcia. Rían Lozano, Universidad Nacional Autónoma de México. Coco Margallanes, Universidad Nacional Autónoma de México.

7 VISUALIDADES, NARRATIVAS MIGRATORIAS, TRANSNACIONALIDAD Y GÉNERO EN EL ARTE CONTEMPORÁNEO 7 SECRETARY Gloria Lapeña Gallego api@um.es SCIENTIFIC COMMITTEE Dolores Alcaide Ramírez, University of Washington, Tacoma. María Luisa Bellido Grant, Universidad de Granada. Pablo Beneito, Universidad de Murcia. Lourdes Cilleruelo, Universidad del País Vasco. José Crespo, Universidad de Cuenca, Ecuador. Diego del Pozo, Universidad de Salamanca. Maribel Domenech Ibañez, Universitat Politècnica de València. Leonarda Inmaculada García Jiménez, Universidad de Murcia. Patrice Giasson, Purchase Collage y Neuberger Museum of Art, New York. Pedro Hellín Ortuño, Universidad de Murcia. Miguel Ángel Hernández-Navarro, Universidad de Murcia. Rían Lozano, Universidad Nacional Autónoma de México. Coco Margallanes, Universidad Nacional Autónoma de México. Emilio Martínez Arroyo, Universitat Politècnica de València. Ana Martínez Collado, Univesidad de Castilla La Mancha. César Martínez Silva, Universidad Autónoma Metropolitana, México D.F. Mau Moleón Pradas, Universitat Politècnica de València. Cynthia Pech, Universidad Autónoma de la Ciudad de México. Miquel Plana Roselló, Universitat de Barcelona. Josu Rekalde, Universidad el País Vasco. Encarnación Gutiérrez Rodríguez, Universidad de Giessen (Alemania). Eva Santos Sánchez-Guzmán, Universidad de Murcia. Juan Antonio Suárez, Universidad de Murcia. Sayak Valencia, Centro de Estudios de la Frontera Norte COLEF, Tijuana, México. Cristina Vega Solís, Universidad de Flacso, Ecuador. Águeda Simó Cachorro, Universidade da Beira Interior, Portugal. Xavier F. Totti, Hunter College, Nueva York.

Call for Papers 02 April 2017

Call for Papers 02 April 2017 FEMALE PHOTOGRAPHERS: women behind the camera Research, aesthetics and educational practice CONFOCO 2017 INTERNATIONAL CONFERENCE ON PHOTOGRAPHY Depto. CAVP-1 Fac. CC.II. UCM 26th, 27th, 28th April 2017