Biennial conferences of the International Oral History Association (IOHA) allow for reviewing the global conditions and problems of oral history, regardless of the actual conference theme. This time, the organizers of the 23rd IOHA Conference call on oral historians worldwide to consciously rethink the idea and practice of their discipline.

Oral history today faces both old and new challenges with long-lasting and unpredictable consequences: the crisis of liberal democracy, growing tensions in international politics, climate change with its devastating outcomes on human life, increasing inequalities, wars, and mass migrations. All of the foregoing not only affect the conditions in which oral history is made, but also compels us to rethink its very aim. For Central and Eastern Europe, the full-scale Russian aggression in Ukraine beginning in February 2022 and its consequences are an especially painful reminder of that. Though oral history was, and still is a part of history, it has always been conscious of the responsibility (oral) history has for the current society. Aware of that mission, we encourage the global oral history community to return to the core questions of our practice: what kind of histories should we tell and pass on to the current and future generations?

Therefore, we invite oral historians to rethink this essential issue during the conference that will take place in September 2025 at the Jagiellonian University in Kraków, Poland. Participants are encouraged to address one or more of the following questions in their proposals:

– Political involvement or independence: is ethical neutrality achievable and morally correct in a polarized world?
– Methodological standards: how much does the technological development of AI challenge them?
– Healing the wounds: how far can the therapeutic role of oral history go?
– Oral history responses to human crises: what methodological and ethical problems of emergency documenting and archiving may we use?
– “Lending our ears” (Portelli): how can we provide silenced and marginalized voices access to the public discourse?
– Oral history and environmental history: what are the areas of cooperation?
– Empowering community archives: how to teach them to create their own oral histories?
– How do we balance the dominance of Western academia with the voices of the non-Western world? – agency and resources.
– Globality versus locality of oral history: how to translate local practices into internationally recognized scholarship?
– Post-coloniality: how does oral history help societies reckon with colonial pasts and assist in building post-colonial futures?
– Disseminating oral history: what new methods can we use to present interviews to our audiences?
– Multilingualism as a challenge to global oral history: how to record stories in mother tongues?

Proposals for individual papers, session panels (5 papers each), or audiovisual presentations (film/play screenings followed by round table discussions) are to be submitted by July 31, 2024, via the online form on the conference website: https://ioha2025.conference.pl. Members of national oral history associations are encouraged to check the appropriate box and provide the name of the relevant organization. Individual paper proposals (up to 300 words) must contain the title of the paper, an abstract, and a short bio-note of its author(s). Panel proposals (up to 600 words) must include the title and a description of the session, the titles of all papers, and short bio-notes for all participants. Panel proposals must be international in membership (representing at least two countries). Please indicate the language of your paper/panel (English or Spanish). Audio-visual presentation proposals, in addition to including a description of the film/play (up to 300 words), must provide the names and bios of all discussants. If the film/play is not in English, please make sure that it is subtitled. English will be the main language of the conference. Only the plenary events will be translated into Spanish.

Decisions on the acceptance or rejection of proposals will be announced by the end of September 2024. Registration will be open between October 2024 and January 2025. The conference’s program will be ready by February 2025.

The organizers will not cover travel and accommodation costs; however, IOHA may provide a limited number of travel grants (more information on how to apply can be found on the IOHA website: https://www.ioha.org).

In case of any questions, do not hesitate to contact organizers via email: ioha.krakow@gmail.com

Organizer: Polish Oral History Association
Co-organizers: Centre of Community Archives in Warsaw, European Network Remembrance and Solidarity in Warsaw (ENRS), Faculty of History, Jagiellonian University in Kraków, International Oral History Association (IOHA), The Remembrance and Future Centre in Wrocław

Contact Email

ioha.krakow@gmail.com

URL

https://ioha2025.conference.pl

ARCHIVAL PRACTICES IN CONTEMPORARY VISUAL ARTS
A MODEL AND A SOURCE

26-27 SEPTEMBER 2024
virtual event

Archivo Platform and the Archivo Papers Journal, are pleased to announce the 5th edition of the Reframing the Archive – International Conference on Photography and Visual Culture. Titled Archival Practices in Contemporary Visual Arts: A Model and a Source, the conference aims to gather contributions on archival art and archival research for contemporary art, considering them as two complementary aspects of a broad and complex field of investigation. On one hand, the archive serves as a structural model for artists from diverse backgrounds and engaged in various fields. On the other hand, authors’ archives provide essential resources for historiographical studies on contemporary art, offering valuable information and direct testimonies. This dual focus necessitates engagement not only with the present but also with a relatively short historical span.

Since at least the 1960s, artists have been grappling with the concept of the archive, influenced by post-structuralist studies and early achievements in conceptual art. By employing tools of collection, classification, and indexing borrowed from archival theory and practice, artists of that (sociologically changing) era explored artistic languages capable of transcending the objecthood prevalent in post-World War II art. This exploration led to the development of an expressive form that remains relevant today. Indeed, much of contemporary art continues to yield compelling results when its semantic and formal contents are mediated by the archival model, particularly in genres such as photography, installation and performance. Despite the vast productivity of this global trend, critics are currently challenged with defining and contextualising archival art, often grappling with the complexities of its heterogeneity. In what perspective, with what tools, and according to what possible definitions or counter-definitions is it possible to historicise or reinterpret archival art today? What new proposals can contemporary artists offer by drawing inspiration from traditional paradigms of archival art or inventing new formal possibilities and codifications?

These questions underscore the extensive and complex dimension of contemporary archival art. However, While the archive serves as an artistic model, its contemporary incarnation as an institution offers a formidable resource for reconstructing recent art history. In recent years, scholars have increasingly turned their attention to the author’s archive as a vital component in studies on the preservation of historical documents and art objects. Research efforts are expanding to develop criteria for the conservation and administration of contemporary art archives, describe case studies on the acquisition or museamisation of art document collections, and critically reinterpret artistic and artists’ correspondence sourced from archives of artists, critics and scholars. Through such resources, the reconstruction of contemporary art gains detailed descriptive capacity, thanks to the archival documents containing first-hand information about artists’ studios, relationships, contracts and exchanges with patrons, family memories, and personal research contained in notebooks, sketches, photographic negatives and other repertoires. How, then, do archives speak about contemporary art? What approaches can be taken to utilise visual archives as sources for art history? How are visual archives employed in constructing national narratives and how can they be decolonised? What does an overview of emerging case studies yield? How can institutions dedicated to preserving historic knowledge be further promoted?

The 5th edition of the International Conference Reframing the Archive invites scholars at any stage of their careers, as well as visual artists and other professionals in the field of visual arts, to reflect on contemporary archive-based visual arts and contemporary archival sources and collections. We welcome proposals for 15-minute theory and practice-led presentations (followed by 15-minute panel discussion) from various disciplines, including: photography, cinema and new media, art history and theory, anthropology, museology, philosophy, cultural studies, visual and media studies, and fine and graphic arts. These presentations should offer an in-depth investigation into the conference topic. Please note that the conference will be conducted in English.

Potential topics include, but are not limited to:
​
— Interpreting contemporary artistic culture through archive material
— The history of contemporary art documented in archives: sources and resources
— Artists’ archives: a complex source for contemporary art history
— Digital sources of art history: new challenges for preservation and usability
— The contemporary Archive: history of studies and the role of artistic historiography
— The artistic and documentary value of photographic archives
— Critical pathways through the Archive
— Documentary art histories: old models and new questions
— Acquisition or purchase? The economic and cultural value of artist’s archives
— The hidden archive: anti-archives and antinomies of the archive
— Museography, topology, and architecture of art archives
— The archive as artistic practice: comparative analyses
— Curating exhibitions of archival art
— The archive in contemporary art: case studies
— Spaces, materials, and technologies in archival art
— Preserving archival art
— Decolonising visual archives
— Archival art and synaesthesia
— Social-political meanings of archival art
— Archives, performance, and body art
— Archival art and the linguistic turn in contemporary art
— Anti-archival experiences in Modern and contemporary art
— Meanings of archival art in artistic tendencies, movements, and groups

Following the conference, extended versions of the conference papers will be published in a forthcoming volume (2025) of the Archivo Papers – Journal of Photography and Visual Culture (ISBN 2184-9218). Conference speakers are welcome and encouraged to submit their articles, which will undergo a double-blind peer-review process.

SUBMITTING YOU PAPER
Paper proposals for the RTA 2024 should be submitted in English, following two possible formats: individual papers, or, pre-constituted panels.
:: Guidelines for individual papers submission
Individual presentations have a duration of 15 minutes.
Candidates are required to submit a proposal that includes:
— Author information (name, email, affiliation, ORCID)
— Paper title, abstract (250 words), and keywords (maximum 5),
— Bibliographical references (maximum 5),
— Author short biographical note (written in third person, 100 words).

:: Guidelines for pre-constituted panels submission
Submission of proposals for pre-constituted panels should consist of three papers.
The panel organiser is requested to submit a panel proposal that includes:
— Panel title and abstract (250 words)
— Information regarding the three speakers and their individual papers, as described in the guidelines for individual papers above.
​
Candidates should submit only one proposal only.
Paper submissions are accepted through our submission form at http://www.reframingthearchive.com

SELECTION PROCESS
The submitted proposals will undergo a blind peer-review process, and authors will be notified of the results of their proposals by July, 2024.

PUBLICATION
Selected speakers are invited to submit extended versions of theirs papers for publication.
Following a double blind peer-review process, the chosen authors will be featured​ ​in​ ​an​ ​edited​ ​volume of the scholarly open-access publication Archivo Papers Journal, scheduled for publication in 2025.

IMPORTANT DATES
Deadline​ ​for​ ​submission:​ ​June 15,​ ​2024
Notification​ ​of​ ​selected speakers:​ July,​ ​2024
Deadline​ ​for​ ​speakers​ ​registration​:​ ​one week after confirmation of acceptance
Conference:​ ​September 26-27,​ ​​2024

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ORGANISING COMMITTEE
Ana Catarina Pinho, IHA, Universidade Nova de Lisboa, Portugal
Annalisa Laganà, Uni. degli studi di Napoli Federico II / Uni. della Calabria, Italy

SCIENTIFIC COMMITTEE
The Scientific Committee will be announced once the peer-review process is completed.

Contact Information

Ana C. Pinho

Contact Email

info@reframingthearchive.com

URL

https://www.reframingthearchive.com

Digital research in the arts and humanities has traditionally tended to focus on digitised physical objects and archives. However, born-digital cultural materials that originate and circulate across a range of digital formats and platforms are rapidly expanding and increasing in complexity, which raises opportunities and issues for research and archiving communities. Collecting, preserving, accessing and sharing born-digital objects and data presents a range of technical, legal and ethical challenges that, if unaddressed, threaten the archival and research futures of these vital cultural materials and records of the 21st century. Moreover, the environments, contexts and formats through which born-digital records are mediated necessitate reconceptualising the materials and practices we associate with cultural heritage and memory. Research and practitioner communities working with born-digital materials are growing and their interests are varied, from digital cultures and intangible cultural heritage to web archives, electronic literature and social media.

To explore and discuss issues relating to born-digital cultural heritage, the Digital Humanities Research Hub at the School of Advanced Study, University of London, in collaboration with British Library curators, colleagues from Aarhus University and the Endangered Material Knowledge Programme at the British Museum, are currently inviting submissions for the inaugural Born-Digital Collections, Archives and Memory conference, which will be hosted at the University of London and online from 2-4 April 2025. The full call for proposals and submission portal is available at https://easychair.org/cfp/borndigital2025.

(Source: British Library Digital Scholarship blog)