BEGIN:VCALENDAR VERSION:2.0 PRODID:-//jEvents 2.0 for Joomla//EN CALSCALE:GREGORIAN METHOD:PUBLISH BEGIN:VTIMEZONE TZID:Europe/Rome BEGIN:STANDARD DTSTART:20221030T020000 RDATE:20230326T030000 TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:Europe/Rome CET END:STANDARD BEGIN:STANDARD DTSTART:20231029T020000 RDATE:20240331T030000 TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:Europe/Rome CET END:STANDARD BEGIN:STANDARD DTSTART:20241027T020000 RDATE:20250330T030000 TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:Europe/Rome CET END:STANDARD BEGIN:STANDARD DTSTART:20251026T020000 RDATE:20260329T030000 TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:Europe/Rome CET END:STANDARD BEGIN:STANDARD DTSTART:20261025T020000 RDATE:20270328T030000 TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:Europe/Rome CET END:STANDARD BEGIN:STANDARD DTSTART:20271031T020000 RDATE:20280326T030000 TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:Europe/Rome CET END:STANDARD BEGIN:STANDARD DTSTART:20281029T020000 RDATE:20290325T030000 TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:Europe/Rome CET END:STANDARD BEGIN:STANDARD DTSTART:20291028T020000 RDATE:20300331T030000 TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:Europe/Rome CET END:STANDARD BEGIN:STANDARD DTSTART:20301027T020000 RDATE:20310330T030000 TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:Europe/Rome CET END:STANDARD BEGIN:STANDARD DTSTART:20311026T020000 RDATE:20320328T030000 TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:Europe/Rome CET END:STANDARD BEGIN:DAYLIGHT DTSTART:20220911T000000 RDATE:20221030T020000 TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:Europe/Rome CEST END:DAYLIGHT BEGIN:DAYLIGHT DTSTART:20230326T030000 RDATE:20231029T020000 TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:Europe/Rome CEST END:DAYLIGHT BEGIN:DAYLIGHT DTSTART:20240331T030000 RDATE:20241027T020000 TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:Europe/Rome CEST END:DAYLIGHT BEGIN:DAYLIGHT DTSTART:20250330T030000 RDATE:20251026T020000 TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:Europe/Rome CEST END:DAYLIGHT BEGIN:DAYLIGHT DTSTART:20260329T030000 RDATE:20261025T020000 TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:Europe/Rome CEST END:DAYLIGHT BEGIN:DAYLIGHT DTSTART:20270328T030000 RDATE:20271031T020000 TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:Europe/Rome CEST END:DAYLIGHT BEGIN:DAYLIGHT DTSTART:20280326T030000 RDATE:20281029T020000 TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:Europe/Rome CEST END:DAYLIGHT BEGIN:DAYLIGHT DTSTART:20290325T030000 RDATE:20291028T020000 TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:Europe/Rome CEST END:DAYLIGHT BEGIN:DAYLIGHT DTSTART:20300331T030000 RDATE:20301027T020000 TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:Europe/Rome CEST END:DAYLIGHT BEGIN:DAYLIGHT DTSTART:20310330T030000 RDATE:20311026T020000 TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:Europe/Rome CEST END:DAYLIGHT END:VTIMEZONE BEGIN:VEVENT UID:56c79e423c0b547b0917f076f4c13c5e CATEGORIES:Call for papers CREATED:20230912T094301 SUMMARY:Call for papers "Grounding the Arts Crossing the history of art with the history of Earth sciences" LOCATION:Lione DESCRIPTION: \n"Grounding the Arts Crossing the history of art with the history of Eart h sciences"Cari colleghi, allego la call for papers per un panel intitolato "Grounding the Arts Crossing the history of art with the history of Earth sciences", che avrà luogo durante la conferenza del comitato internazionale di storia dell'arte (CIHA, Lione, 23-28 giugno 2024).\n\nDeadline: 15 sett embre 2023\n \nCall for papers:\nIn 1597, Agostino del Riccio wrote in his Istoria delle pietre, “why do we visit Rome and Florence and other cities i f it is not to see stones reduced to good shapes?". He thus expressed the l ink that has always existed between materials from the Earth and artistic c reation. This link puts into question the relationship between the natural and the artificial, materials and crafts.\nThe universe of geological mater ials has never ceased to nourish artistic creativity, from crushed pigments to marbles and stones used in architecture and sculpture. Fossils also tak e part in this myriad of materials, from the fossil teeth of sharks used by medieval artists in the making of medicinal idols to the sculptures that a re the skeletons of dinosaurs exhibited in museums of natural history. As r ecent scholarship has shown, this richness of materials has given rise to a whole world of symbols, which manifests itself in the history of collectio ns at least since the Wunderkammern of the modern period.\nStanding at the crossroads of science, art and heritage, rocks, minerals and fossils consti tute a strategic resource for research and creation. Since the 19th century , advances in Earth sciences, and especially paleontology, have inspired ma ny artists and led to the creation of spectacular sculptures and paintings representing the Earth’s deep past. Beyond an artistic creativity directly serving the Earth sciences, the fascination for geological curiosities cont inues to guide artists and writers in their aesthetic quests, from the surr ealist writings of Roger Caillois to the photographs of Hiroshi Sugimoto, w ho recognizes fossils as the natural precursor of photography.\nThe session will explore the geological universe that underlies the world of creation and foster a collective reflection on interdisciplinarity. The session aims to bring together approaches stemming in particular from the history of co llections, the history of Earth sciences and the history of art with the ai m of developing a "terrestrial" approach to artworks centered on the materi ality of the works and their links with the evolution of knowledge about th e Earth and its history. We want to explore as many avenues of research as possible over a chronology extending from early modernity (15th-17th centur ies) to the present day. We will organize the session (approximately 180 mi nutes) around different themes which will then be discussed together during a final round table.\nAnyone interested to participate is invited to submi t a proposal of approximately 300 words and a CV (2 pages maximum) detailin g relevant publications and communications.\nLe porposte possono essere inv iate in lingua inglese e francese, deadline 15 settembre 2023, e depositate online sulla piattaforma della conferenza a questo link:  https://livebygl events.key4register.com/key4register/AbstractList.aspx?e=148\n \n  \n X-ALT-DESC;FMTTYPE=text/html:

 

"Grounding the Arts Crossing the history of art with the h istory of Earth sciences"

Cari colleghi, allego la call for papers p er un panel intitolato "Grounding the Arts Crossing the history of art with the history of Earth sciences", che avrà luogo durante la conferenza del c omitato internazionale di storia dell'arte (CIHA, Lione, 23-28 giug no 2024).

Deadline: 15 settem bre 2023

 

Call for papers:

< p>In 1597, Agostino del Riccio wrote in his Istoria delle pietre, “why do w e visit Rome and Florence and other cities if it is not to see stones reduc ed to good shapes?". He thus expressed the link that has always existed bet ween materials from the Earth and artistic creation. This link puts into qu estion the relationship between the natural and the artificial, materials a nd crafts.

The universe of geological materials has never ceased to n ourish artistic creativity, from crushed pigments to marbles and stones use d in architecture and sculpture. Fossils also take part in this myriad of m aterials, from the fossil teeth of sharks used by medieval artists in the m aking of medicinal idols to the sculptures that are the skeletons of dinosa urs exhibited in museums of natural history. As recent scholarship has show n, this richness of materials has given rise to a whole world of symbols, w hich manifests itself in the history of collections at least since the Wund erkammern of the modern period.

Standing at the crossroads of science , art and heritage, rocks, minerals and fossils constitute a strategic reso urce for research and creation. Since the 19th century, advances in Earth s ciences, and especially paleontology, have inspired many artists and led to the creation of spectacular sculptures and paintings representing the Eart h’s deep past. Beyond an artistic creativity directly serving the Earth sci ences, the fascination for geological curiosities continues to guide artist s and writers in their aesthetic quests, from the surrealist writings of Ro ger Caillois to the photographs of Hiroshi Sugimoto, who recognizes fossils as the natural precursor of photography.

The session will explore th e geological universe that underlies the world of creation and foster a col lective reflection on interdisciplinarity. The session aims to bring togeth er approaches stemming in particular from the history of collections, the h istory of Earth sciences and the history of art with the aim of developing a "terrestrial" approach to artworks centered on the materiality of the wor ks and their links with the evolution of knowledge about the Earth and its history. We want to explore as many avenues of research as possible over a chronology extending from early modernity (15th-17th centuries) to the pres ent day. We will organize the session (approximately 180 minutes) around di fferent themes which will then be discussed together during a final round t able.

Anyone interested to participate is invited to submit a proposa l of approximately 300 words and a CV (2 pages maximum) detailing relevant publications and communications.

Le porposte possono essere inviate i n lingua inglese e francese, deadline 15 settembre 2023, e depositate online sulla piattaforma della conferenza a questo link:  https://livebyglevents.key4register.com/key4register/AbstractList.aspx?e=148

 

 

 

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