joulukuu 2013

NORDIK 2015 – Call for Session Proposals

Anna-Maria Wiljanen | ajankohtaista

NORDIK 2015 – Reykjavík May 14 -17th, 2015


Deadline: January 20th, 2014

The Committee of the NORDIK Conference for Art History in the Nordic Countries cordially invites colleagues in the Nordic Countries and beyond to present Proposals for Sessions for the NORDIK Conference in Reykjavík 2015. We welcome academic scholars relating to the field of Art History in a broad sense.

Instructions: Proposals for Sessions

Submit Session title and a short introduction (500 words) to the organizers (see below). Sessions may deal with subjects and material in any area or time period that relates, in general terms, to the theme of the conference (see discussion below). Topics focusing on historiography, methodology, and pedagogy are also welcome. Session proposals should consist of clearly formulated questions around a well-defined theme. This theme should also relate to current research in relevant fields. The Committee selects Sessions from among submitted proposals. The number of accepted conference sessions will depend on submissions and funding.

Deadline for Session Proposals is January 20th, 2014.

E-mail the following information to Hlynur Helgason (

· Title of Session.

· Maximum 500-word abstract with topical questions and relevant research.

· Short resume, or curriculum vitae, including institutional affiliation and publications by session chairs (less than three pages).

· Contact details with telephone number, e-mail, and mailing address.

Confirmed Conference Sessions

The organizers will notify Session contributors in August. Accepted conference Sessions will subsequently appear together in the NORDIK 2015 Call for Papers, posted on the NORDIK web publication. The Chair collects and selects contributions for the Session. This responsibility includes informing panelists and organizers of their decisions. Deadline for submission of papers will be September 1st, 2014.

Sessions generally include three papers, 20 minutes each, assembled by Chair. However the Committee welcomes diverse session formats, paper presentations as well as round table panels. The session ends with summary and questions prepared by a discussant. The Chair leads the subsequent open discussion.

More information will be given to Chairs (Discussants) on acceptance of a Session.

Discussion of Conference Theme

Questions about the structure of the “art-world” and the establishment of hierarchies in terms of a dichotomy between “center” and “periphery” have been important in art historical discourse for the past decades, within the nordic countries as well as in other countries finding themselves in a peripheral position; many of those are questions related to ideas of identity and power, as well as attempts to address the possibilities of empowerment of those that perceive themselves to be in a marginal position.

Traditionally art historical discourse has emphasized the centric aspect of the art world. What was of importance was considered either to have occurred in the centers or to have migrated to the centers. All activity occurring elsewhere was, following that, considered to be a development resulting from the activity that previously occurred at the center. The same model also applied to those aspects of art creation topologically located at the center itself, but culturally, ethnically, or in terms of gender considered to be inferior to the art of quality, endorsed by heroic artists and brilliant art historians operating at the center.

In recent decades it has become increasingly evident that the lack of research into the non-centric aspects of art has left us with a very incomplete picture of art history in general, its forms, structures and forces. We now perceive an increasing need to travel to those largely unchartered territories and attempt to map them, categorize them and understand, in order to criticize and disrupt the centric and provide a more coherent art-world view where both center and periphery are included in a comprehensive manner.

The main focus of the conference is therefore upon those areas of art within the Nordic, and relating to the Nordic, that have up to now not received the main thrust of art historical attention. This involves a number of lacunae or voids in terms of art historical consciousness. Some of these we identify as: (1) art in areas where research has been scarce and that is therefore badly documented and understood; (2) art within the centers that has not been included within the mainstream discourse of art history, but may merit consideration; (3) art, both central and marginal, that has to a large extent been categorized and understood in reference to the hierarchy of a global art world, and that could possibly be reconsidered on its own as being more singular and special for its own sake. Evidently a lot of other interesting possibilities fall under the scope of the main theme of the conference and we invite any proposal for sessions that people feel would apply.

You’ll find more information about the conference and about NORDIK on our website