CFP: transfer – Journal for Provenance Research and the History of Collection

The online journal transfer is an academic publication platform in the area of provenance research and the history of collection as well as adjacent fields of investigation, like art market studies, reception history, cultural sociology, or legal history. Issues are published semi-annually and exclusively online in Diamond Open Access. Research articles and research reports, to be submitted in English or German, are subject to a double-blind peer-review. All submissions undergo an internal evaluation by the editors supported by the advisory board and receive professional copy-editing before publication. The journal is based at the Research Centre for Provenance Research, Art and Cultural Property Law at the University of Bonn and at the Leipzig Museum of Fine Arts. transfer receives funding from the German Research Foundation (DFG). Webhosting is provided by our partner institution Heidelberg University Library via arthistoricum.net.

Website: https://journals.ub.uni-heidelberg.de/index.php/transfer/index

Editors: Felicity Bodenstein, Ulrike Saß & Christoph Zuschlag

Managing Editor: Florian Schönfuß

Advisory Board: Arbeitskreis Provenienzforschung e.V., dbv-Kommission Provenienzforschung und Provenienzerschließung, Didier Houénoudé, Larissa Förster, Gilbert Lupfer, Antoinette Maget-Dominicé, Barbara K. Murovec, Gesa Vietzen

Open Call for Submissions

transfer is an interdisciplinary, cross-epoch and international journal. It primarily addresses a scholarly audience. Besides experienced researchers, transfer equally aims at early career researchers, including PhD students, offering broad impact and high accessibility for the publication of recent research. Abstaining from any author charges or other publication fees, transfer provides a Diamond Open Access platform assuring research quality as well as transparency, fostering research interconnection and the crossing of disciplinary and institutional boundaries. Authors are invited to submit papers on the following fields of interest:

– Provenance research on individual objects or object groups

– Collections, History of collection

– Translocation of art and cultural assets 

– Art and cultural property law

– Culture of remembrance, Cultural identity, Collective memory

– Art trade, Art market studies

– Art policy, Sociology of art, Cultural sociology

– Restitution, Return, Repatriation

In conjunction with the articles in transfer, corresponding research data sets can be published via the Open Research Data platform heiData. For further information on this and regarding submissions, text categories, peer-review as well as our Style Sheet, please see the journal-website or contact us under redaktion.transfer@uni-bonn.de.

The submission deadline for Volume 5 (2026), No. 1 is 15th January 2026.

Contact Information

Dr. Florian Schönfuß

transfer – Zeitschrift für Provenienzforschung und Sammlungsgeschichte / 

Journal for Provenance Research and the History of Collection

Rheinische Friedrich-Wilhelms-Universität Bonn

Forschungsstelle Provenienzforschung, 

Kunst- und Kulturgutschutzrecht

Kunsthistorisches Institut

Rabinstraße 1

53111 Bonn (Germany)

florian.schoenfuss@uni-bonn.de

Contact Email

redaktion.transfer@uni-bonn.de

URL

https://journals.ub.uni-heidelberg.de/index.php/transfer/index

Seeking 1-2 scholars to co-present in LASA 2026 panel “Memoria en llamas: Archivos, fuego y narrativas de la pérdida”

We are currently seeking 1–2 scholars to co-present at the Latin American Studies Association (LASA) Congress in Paris, 2026, for a panel we are organizing titled:

“Memoria en llamas: Archivos, fuego y narrativas de la pérdida”

This panel will explore libraries and archives lost to fire, focusing on how such events can be interpreted through the analysis of archival silences—silences shaped not only by political or institutional forces, but also by environmental challenges, especially fire. We are interested in work that considers how fire transforms the archive, how destruction becomes part of its record, and how these narratives intersect with ecological, historical, and cultural contexts.

If your research engages with these themes, we invite you to join us in examining the intertwined histories of archives, preservation, and fire.  

Please send a brief abstract (150–200 words) and short bio to camilaordoricab@utexas.edu or zt3@nyu.edu by august 25th, 2025.

Contact Information

Camila Ordorica – camilaordoricab@utexas.edu

Zeb Tortorici – zt3@nyu.edu 

Contact Email

camilaordoricab@utexas.edu

URL

CFP (session): Neglected Heritage and Hidden Narratives in Central and Eastern Europe from 1860 to 1950

Modern states of Central and Eastern Europe have written strong narratives of national identities based on the idea of cultural and ethnic homogeneity. Formerly part of the Habsburg, Russian and Ottoman Empires, they sought detachment from the Imperial past even if their history and identity were decisively shaped by it. This session aims to reflect on how the material heritage of marginalised groups has been appropriated, neglected and destroyed, but also on how it survived despite the official policies. It further focuses on the art historiography and on what was written in and written out of official narratives. Proposals are invited on any type of material heritage and writings that shed light on the survival and neglect of the minority’s heritage in Central, Eastern Europe and the neighbouring regions. Potential questions to be addressed are: How have new narratives of national art and architecture excluded other narratives? How were the diverse artistic traditions of the Roma communities racialised as less-developed foreign cultures throughout Eastern Europe, from Czechia to Greece? What happened under new nation-states to the cultural diversity of majority-Muslim regions such as Dobrogea and Crimea or with the Ottoman heritage of Yugoslavia? How was the material heritage of various “non-official” communities preserved and promoted despite states’ desires?

Contact Information

Cosmin Tudor Mine

Contact Email

cosmin.minea@phil.muni.cz

URL

https://caa.confex.com/caa/2026/webprogrampreliminary/Session16745.html

CFP: 31st International Conference on the History of Cartography: Bridging the Past and Present in Cartography

Call for Papers
31st International Conference on the History of Cartography
Bridging the Past and Present in Cartography
Prague & Brno, Czechia | 7–11 July 2026
www.ichc2026.org

The Faculty of Science of Charles University, the Institute of History of the Czech Academy of Sciences, the Moravian Library in Brno, the Faculty of Science of Masaryk University, and the Czech Geographical Society, under the auspices of the Czech Cartographic Society, are pleased to invite proposals for papers and posters for the 31st International Conference on the History of Cartography. ICHC is the only academic conference solely dedicated to advancing knowledge of the history of maps and mapmaking, regardless of geographical region, language, period or topic. ICHC promotes free and unfettered global cooperation and collaboration among cartographic scholars from many academic disciplines, curators, collectors, dealers and institutions through illustrated lectures, presentations, exhibitions, and a social program. In order to expand awareness of issues and resources, each conference is sponsored by a leading educational and cultural institution.

The biennial conferences are organized in conjunction with Imago Mundi CIO. ICHC 2026 builds upon Czechia’s robust tradition of research in the history of cartography and related disciplines, a tradition that has flourished for more than a century.

Proposal submission now open: Please submit proposals for paper and poster presentations at www.ichc2026.org

Under the broad rubric of Bridging the Past and Present in Cartography, ICHC 2026 welcomes paper and poster presentations on the following themes.

1) Maps and Tourism

Encompasses the role of maps and related works in promoting tourism to regions or particular destinations and in the experience of touristic places.

2) Maps as Artefacts

Investigates the nature of maps as cultural objects that circulate within the marketplace and other networks, and that are variously collected and preserved within institutions of memory (GLAM).

3) The Third Dimension: Representing Elevation on Maps

Explores the particular strategies developed to represent the earth’s crumpled surface of hills and valleys for specific tasks, from military and geological mapping to forest management.

4) Mapping the Past: Historical Cartography at the Turn of the Digital Era 

Pursues interdisciplinary and critical perspectives on the ideological implications of new digital technologies in mapping the past, including the risks of distortion and of the instrumentalisation of historical content for political or ideological purposes.

And any other aspect of the history of cartography

Papers: Paper presentations will comprise 15 minutes for presentation, followed by a short discussion.

Posters: Posters will be installed for a dedicated session on the second morning of the conference and will remain on display through the remainder of the conference.

Panel proposals: We welcome the proposal of organized sessions. However, proposals for paper presentations, whether by one or more presenters, must be submitted and evaluated individually. Therefore, if a proposed paper is intended for an organized session, please include the information at the end of the submission form. The session’s organizer must also submit a separate proposal for the session that lists all the papers and presenters.

Workshops: In addition to the academic programme, four thematic workshops will be organised.

Scholarships: The Kislak Family Foundation will provide scholarship opportunities for up to 5 participants. More information at https://ichc2026.org/fellowship/.

Conference Language: The language of the conference is English, and all proposals and presentations must be prepared and delivered accordingly.

Key Dates:

  • Opening of the call for papers: 15 July 2025
  • Deadline for submission of proposals: 14 November 2025
  • Notification of acceptance: 15 January 2026
  • Early Bird Registration: until 15 April 2026

Estimated Registration Fees:

  • Regular: 340 EUR
  • Students: 150 EUR

Conference Venues: ICHC 2026 will convene in the historical campus of the Faculty of Science, Charles University in Prague (Albertov); the Moravian Library in Brno; and the Faculty of Science, Masaryk University (Brno). Participants will have the opportunity to engage with key cartographic collections and take part in thematic exhibitions, guided tours, field trips, and social events.

Inquiries: ichc2026@hiu.cas.cz

The International Conferences on the History of Cartography: 

London (1964, 1967); Brussels (1969); Edinburgh (1971); Warsaw (1973); Greenwich (1975); Washington, DC (1977); Berlin (1979); Pisa, Florence, Rome (1981); Dublin (1983); Ottawa (1985); Paris (1987); Amsterdam (1989); Uppsala, Stockholm (1991); Chicago (1993); Vienna (1995); Lisbon (1997); Athens (1999); Madrid (2001); Cambridge, MA, Portland, ME (2003); Budapest (2005); Bern (2007); Copenhagen (2009); Moscow (2011); Helsinki (2013); Antwerp (2015); Belo Horizonte (2017); Amsterdam (2019); Bucharest (2022); Lyon (2024); Prague, Brno (2026)

Contact Information

The Czech Geographical Society / Česká geografická společnost, z. s.
Albertov 6, 128 00 Praha 2, Czechia 

Contact Email

ichc2026@hiu.cas.cz

URL: https://ichc2026.org/

CFP: A Critical Study of Training in the Field of Heritage

A Critical Study of Training in the Field of Heritage
Deadline for submission of proposed contributions: September 15, 2025

Plan

Special issue editors (scientific coordination):
Call for proposals
General framework and issues considered
Axis 1 – In Situ: training in the right place at the right time
Axis 2 – Into the heart of heritage training
Axis 3 – Trials as revelations, self-celebratory narratives examined
Contribution proposals (abstracts)

Special issue editors (scientific coordination):

Christian Hottin : conservateur en chef du patrimoine, direction générale des Patrimoines et de l’Architecture, membre du CTHS, membre associé d’Héritages (UMR 9022)

Gaspard Salatko : enseignant statutaire en sciences sociales à l’École supérieure d’art d’Avignon, membre du projet ANR « Sacralités par destination. Mises en récits et mises en scène des matérialités de Notre-Dame de Paris – SACRADE »

Michelle L. Stefano : Folklife Specialist, American Folklife Center, Library of Congress; adjunct professor, Cultural Heritage Management Master’s Program, Johns Hopkins University, Washington, DC

Call for proposals

This call for contributions invites attention to institutions and programs which, through training, contribute to the development of authorized discourses on heritage. Authorized discourses and views on heritage are expressed in a variety of ways. They are enshrined in international and national legislation and policy, and are promoted and staged by museums and institutions for the conservation of sites and monuments, among others. They are also at the heart of knowledge transmission processes that organize the permanence or variation of the right ways of saying, seeing, or doing heritage. A critical analysis of these mechanisms must therefore include a study of the institutions of higher education that help train future professionals in the field: What grammars of heritage are taught? How, and by whom, are the modalities of its treatment defined, and according to what horizons of expectations, as well as for what purposes and audiences?

In the last decades of the 20th century, as heritage became a category of public action defined in significant part by international standards, and as an economic resource in line with the growth of mass tourism, training in heritage professions – either at the university level or in specialized schools that had long been exclusive and/or elitist – became increasingly widespread. At the time they were founded, these courses were strongly rooted in the ways in which higher education was organized via different national traditions. Like all university programs, they have recently undergone a process of codification, standardization, and normalization that, while making them more easily comparable, also encourages their promoters to diversify and certify them: the challenge now, in a global context of increased competition between universities, is to make their programs more attractive.

For teachers and students alike, these training courses are places where discourses on heritage are demarcated, structured, and standardized, although sometimes tinged with different national traditions and influences. Students are familiarized with the economic and professional environment of their chosen field. And, with the support provided by professionals from heritage establishments, as teachers or internship tutors, they also lay the foundations for their own network of professional contacts.

Furthermore, although varying from country to country, these training courses are linked to research institutions of all disciplinary horizons that have contributed, over the same period, to establishing heritage as an object of academic study. As a result, a social sciences perspective on heritage training requires us to abandon – at least for a moment – the presumed universalist aims of authorized heritage discourses and outlook, and to approach these processes from a casuistic angle, attentive to the local contexts that organize the transmission of professional discourse, gestures, and outlooks.

General framework and issues considered

The issue brings needed attention to the critical study of wide-ranging programs in institutions of higher education dedicated to training future scholars and professionals in the cultural heritage discipline and sector. Contributions can shed critical light on the following perspectives, among others, in relation to the initial establishment, development, and/or continued facilitation (and modification) of heritage training programs over time:

  • Political contexts and influences, whether at international, national, or more local levels;
  • Historical contexts and influences;
  • Disciplinary contexts and influences, including foundational theories and/or scholarship used;
  • Geographical, including increasingly global, contexts and influences;
  • Components of programs, such as curricula, methodologies, skills taught, and expected learning outcomes;
  • The balance between theory and practice, and the practical or ‘applied’ emphasis of instruction and student placement in the sector;
  • Current challenges and related effects, including economic pressures; and
  • Commemorative discourses and activities pertaining to certain longstanding institutions and programs.

The following outlines thematic axes within which contributions can fall.

Axis 1 – In Situ: training in the right place at the right time
In particular, the issue seeks to examine the circumstances that led to the creation of training courses dedicated to heritage professions and scholarship, with all possible variations in scale and influence. As such, we welcome contributions that explore the development of such training and heritage programs from a political perspective, such as with the emergence of the earliest formations in a global framework that saw the affirmation of nation-states in fierce competition with one another, both in Europe and in their colonial expansion territories.

Moreover, examinations can focus on the scientific context, such as in relation to disciplinary influences, including prominent theorization or discourse, at the time of program establishment, including art history, archaeology, ethnology, and museology, as examples. Similarly, examinations may explore disciplinary influences in how programs may have developed (or changed) over time, such as with respect to related advancements in law or economics, as well as in the hard sciences. In addition, contributions may also shed light on the gradual affirmation of allied disciplines that were intended to be both techniques for treating (e.g. conserving and preserving) certain categories of cultural property and fields of research and work in their own right, such as museum studies, archival theory and practice, library science, and later ‘heritage studies’ or ‘heritage sciences’ (defined less by their own methodology than by their object). Indeed, particular attention may be paid to the role that the teaching of museology has played – in France and elsewhere – in preceding and, in a way, paving the way for heritage studies over the past several decades.

Finally, the geopolitical context and associated influences may also be the focus of examinations. For instance, needed are analyses of the strategies for establishing programs on a global scale and with a global scope, where in the past certain institutions were established during periods of colonial/imperial domination, and more recently, they may be subject to market competition between universities, including via the growth of online (virtual) degree-granting or certification programs. Relatedly, examinations may concentrate on the impact of international heritage policies, such as promoted by UNESCO, on the organization and content of teaching.

From this angle, raised are also debates on the search for the most appropriate positioning for these programs and courses: are universities most suitable, or should they be as close as possible to curatorial and other heritage conservation, preservation, and dissemination institutions (e.g. operating from within them)? On a similar note, important questions are also raised on the circulation of knowledge, of those who transmit it and those who receive it, among and between training programs and other heritage institutions, organizations, and centers of activity.

Axis 2 – Into the heart of heritage training
Of equal importance are analyses that delve into the heart of heritage training schemes to examine their operation and various components. Aspects of heritage programs include:

the methods used to select students, such as in terms of the skill level required, the learning outcomes expected, and the ways in which they are assessed;

their curricula, such as the disciplines drawn on and taught and the exercises considered for their canonical value (e.g. engagement with certain scholarship, condition reports);

the balance between theory and practice, with particular attention paid to the question of internships, and the place given to scientific research in the course of training; and

the conditions under which students enter the job market, and any follow-up carried out by the institution about their career development and working life.

Indeed, among the most characteristic features of many of courses are their ‘practical’ or ‘applied’ approaches to studying and working within the heritage sector in various capacities, as well as the desire of those in charge to pass on managerial skills to students. Here, questions are raised on how, and to what extent, do managerial discourses and practices influence the way in which these courses, historically rooted in the humanities, are designed and delivered?

Moreover, particular attention can be paid to the material conditions for acquiring and transmitting heritage knowledge, know-how and interpersonal skills, such as the location of teaching facilities, layout of workshops, laboratories, documentation centers, development of distance learning opportunities. Furthermore, the examination of small ‘workshops’ – e.g. field schools and other intensive, short courses – involved in the production of heritage discourse should extend to their integration in political, administrative, and academic networks, as well as at national and international levels.

Axis 3 – Trials as revelations, self-celebratory narratives examined
Times of great economic, political, and social challenge, as we are in now, can also provide valuable opportunities to analyze the identity of an institution or social group. In the case of heritage training, programs, and courses, we are thinking in particular of: jurisdictional conflicts between professions operating in the same sector, but linked to different training courses; administrative reforms that have the direct or indirect effect of devaluing certain diplomas in relation to others; recruitment or job market crises, of which the reasons can be multiple; or even relocation of programs, which are often the result of material constraints that have become weakening factors, but that always constitute moments of great institutional stress.

In particular, we welcome examinations on issues and developments in the wake of the 2020 pandemic, as well as the development of online heritage programs over recent decades. What impact are these having on the heritage training market? Such studies reveal the evolution of training programs in a higher education sector that is increasingly subject to competitive pressures: upward or downward trajectories; crises overcome at the cost of mergers; and conquest of new markets, among others.

As for the oldest and most recognized heritage training programs, including those that have spanned centuries, they too are entering the age of commemoration. It is in this occasion that the historical narratives of celebration are produced, often with rigor but not always with distance. Just as in times of hardship, these moments of self-celebration – from which, as a matter of principle, all forms of tension must be absent, so as to not spoil the party – should be questioned: what narratives of origin are being put forth and taking center stage? Which figures are particularly celebrated, and who is forgotten? How and where do we celebrate, and where are the blind spots and skeletons in the closet?

By exploring these different axes, this issue of In situ au regard des sciences sociales will examine how each heritage training program responds to the question, “What does it mean to be a school?”, with original answers, drawing on founding narratives, continuities and also points of rupture in relation to the universalist aims of what ‘heritage’ is or what should be passed on. In this respect, it’s important to emphasize that a call for papers on the history of sociology of heritage training will, almost necessarily for many potential respondents, include a dimension of self-analysis, both reflexive and critical. Similarly, dialogue between researchers and heritage professionals can be a fruitful avenue for research, as long as the pitfall of ‘feedback’ is avoided. International openness is encouraged when responding to this call, as is a comparative approach between training courses in different countries. Cross-cutting thematic approaches are preferred; however, case studies focusing on a certain school or program, an instructor or groups of instructors, students or groups of current students are also welcome. Contributions may address both initial and continuing training, and the relationships between the two.

Contribution proposals (abstracts)
The journal of the Ministry of Culture of France, In situ au regard des sciences sociales (In Situ in the Social Sciences), is seeking contributions to the special issue, A Critical Study of Training in the Field of Heritage, to be published in early 2027.

Abstracts will be subject to a blind review by journal/issue editors and editorial board members, after which authors will be invited to submit the full contribution by March 1, 2026.

500-word abstract deadline: September 15, 2025

If you would like to contribute to this issue, please send an abstract of no more than 500 words, along with a short CV, by September 15, 2025.

By email: insitu.arss@culture.gouv.fr

By mail:

Ministère de la Culture

Direction générale des Patrimoines et de l’Architecture,

Revue In Situ. Au regard des sciences sociales

à l’attention de Nathalie Meyer

182, rue Saint-Honoré

75001 Paris – FRANCE

The texts of the articles corresponding to the selected proposals are expected by March 1, 2026. Texts may be written in French or in a native language. The proposed articles must contain a new contribution of research, hypothesis, or updates; they cannot reproduce the entirety of a text already published.

It will be published in its original version and in its French translation. The length of the articles will be between 3000-7000 words, including notes and bibliography (references cited).

Guidelines for authors regarding the number of pages, illustrations, the inclusion of notes and links, etc., are available on the journal’s website:

https://journals.openedition.org/insituarss/310

CFP: Colonial Objects: Material Culture of Italian Colonialism

Colonial Objects: Material Culture of Italian Colonialism

Bibliotheca Hertziana – Max Planck Institute for Art History, Rome
December 4-5, 2025
Italian Academy, Columbia University, New York
March 26, 2026

Abstract deadline: September 5, 2025

Italian museums and private homes hold a substantial number of objects intertwined with the history of colonialism. Their conservation raises questions about their cultural and political significance, alongside debates regarding their provenance and the practices surrounding their restitution. Furthermore, these objects still circulate widely — through auctions, marketplaces, and passed down through family inheritances. Despite this pervasive presence, the growing scholarship on Italian colonialism has not placed material culture at the center of analysis.

Indeed, although Italian colonial visual culture, exhibition history, and museum collections garner increasing scholarly attention, the objects themselves often remain on the margins of inquiry. Furthermore, no specific methodology has been developed for the study of colonial material culture, resulting in a gap in both historical and art historical research.

Bearing traces of their makers and owners, objects act upon bodily experience, affect, and emotions. Our aim is to address the production and circulation of colonial objects to understand their active role in shaping colonial imaginaries, visual culture, and imperial ideologies, and their contribution to the formation of tropes surrounding race, gender, class, and nationhood, both in Italy and abroad. Focusing on the dialectical relationship between the facture of objects and the meanings they produce, we are thus interested in exploring how colonial objects shape memories and ideas, and how their circulation during colonial rule as well as their current preservation yield insights into the negotiations of colonial legacies by colonizers and colonized subjects alike.

With the twofold goal of, on the one hand, interrogating Italian colonial objects, and, on the other, testing material culture theories through case studies that are politically charged and deeply entangled with colonial ideology, we are organizing two international conferences to be held in Rome (Bibliotheca Hertziana, 4-5 December 2025) and in New York (Italian Academy, 26 March 2026).

Rather than merely cataloguing colonial objects, then, these conferences seek to rethink the history of Italian colonialism by focusing on material culture. Therefore, we invite scholars across all disciplines to submit proposals that center on a specific artistic, artisanal, or industrial object, as a means to delve into critical issues concerning Italian colonial history: In what ways did material culture shape the fantasies and experiences of colonialism? How did various constituencies perceive and interact with colonial ideology? What representations of the colonies themselves and of colonialism as a practice emerge through material culture?

We welcome critical analyses of objects that propose unexpected, alternative, or conflicting narratives of Italian colonialism.  Possible case studies can pertain to the fields of art history, military history, economics, industry, education, fashion, design, media, consumption, and tourism, as well as everyday artifacts and utensils.  

As the starting point for this investigation, one might consider a range of questions stemming from material culture studies, including (but not limited to) the following:

●      Materiality: What are the visual, material, and formal qualities of the object and their affordances? What responses are evoked by its sensuous qualities? How does it relate to the visual culture of its time? What are its stylistic references? Does it aim to be aesthetically captivating?

●      Production: Who designed and produced these objects, and where? What materials, and techniques or technologies were used to make them? Can we retrace exchanges in imperial and trans-imperial spaces?

●      Circulation: To whom did these objects belong? How and where were they originally displayed (domestic environment, public space, etc.)? Were they part of a collection? What transnational journeys did they undertake to reach their current location?

●      Use: For what purpose were these objects intended? Has it changed over time and in different socio-political contexts, or in relation to the evolving needs and aspirations of their owners?

●      Reproduction and remediation: Were these objects one-of-a-kind or manufactured in large quantities? Did they enter the market, and if so how were they advertised? Were they remediated through different media, and how widely did these circulate in the metropolitan and colonial context?

●      Afterlife: How did the life of the object change after the official end of colonialism? Has it been restored, repurposed, or altered? How accessible has it been since then? How, if at all, is it currently displayed? Has its provenance been verified? Have there been any restitution claims or debates? If so, what impact has the restitution process had on the object and its context?

Please send a proposal of a maximum of 500 words (in Italian or English, accompanied by a short bibliography and at least one image of the object in question) and ashort bio to colonialobjects@gmail.com by September 5, 2025. Paper drafts will be pre-circulated two weeks before each conference to foster in-person debates and exchanges.

The organization will partly cover travel and accommodation expenses. For environmental reasons, speakers will be asked to attend the venue closest to them (either Rome or New York). Online participation will also be possible.

Both conferences originate from a collaboration between the research unit Decolonizing Italian Visual and Material Culture of the Weddigen Department of the Bibliotheca Hertziana – Max Planck Institute for Art History, the Contemporary History section of the German Historical Institute in Rome, and the Italian Academy of Advanced Studies in America, Columbia University, New York, with the generous support of the Ragusa Foundation for the Humanities.

Organizers:     Carmen Belmonte (Università degli Studi di Padova/Bibliotheca Hertziana- MPI)

Laura Moure Cecchini (Università degli Studi di Padova)

Nicola Camilleri (Maynooth University)

Bianca Gaudenzi (Libera Università di Bolzano/Wolfson College, University of Cambridge)

Locations:        Bibliotheca Hertziana – Max Planck Institute for Art History, Rome

December 4-5, 2025

Italian Academy, Columbia University, New York

March 26, 2026

Contact Information

Laura Moure Cecchini

Associate Professor, Università degli Studi di Padova

laura.mourececchini@unipd.it

Contact Email

colonialobjects@gmail.com

CFP: Re:assemblages Symposium (Lagos, 4-5 Nov 25)

Re:assemblages Symposium (Lagos, 4-5 Nov 25)

Alliance Française de Lagos, Lagos, Nigeria, Nov 4–05, 2025
Deadline: Aug 15, 2025

Guest Artists Space Foundation and Yinka Shonibare Foundation

Provocation: What does it mean to think with African and Afro-diasporic art archives as living, contested, and future-shaping spaces?

The 20th century can be read as a formative ecotonal space—an unsettled, generative borderland where networks fractured and reformed, collaborations ignited, and tensions gave way to new modes of relation. Within this compressed terrain, distinct ecologies of African and Afro-diasporic thought and practice took shape, producing postcolonial libraries, and archives that carried with them emergent aesthetic and epistemic registers—unfinished, insurgent, and alive with possibility.

Marking the inaugural symposium of the Re:assemblages programme, this two-day gathering brings together the African Arts Libraries (AAL) Lab and Affiliates Network, archivists, curators, scholars, artists, librarians, and wider audiences to contemplate how postcolonial African and Afro-diasporic art archives and libraries act as ecotonal sites, their everyday lives, and futures.

The Re:assemblages Symposium invites inquiry into the ecologies of African and Afro-diasporic art libraries and archives energised by the radical potential of The Short Century, a temporal arc spanning 1945 to 1994 that centers Africa in postwar decolonisation, new diasporic formations, and the modernist movement of the 20th century. The symposium asks: 
– What forms of care, friction, and futurity emerge in the gaps, silences, and transitional zones of the postcolonial archive and library? 
– How might we read these spaces not as sealed enclosures, but as ecotonal formations? 
– How can we cultivate publishing ecologies within them that disrupt extractive knowledge regimes and nurture situated ways of learning?

Symposium Themes and Provocations 
The symposium is framed by the conceptual currents of Re:assemblages 2025–26—Ecotones, Annotations, The Living Archive, and The Short Century, each offering methods to inhabit postcolonial art archives and libraries, their gaps, inventories, silences, and thresholds.

Ecotones are transitional zones—spaces between distinct ecosystems, knowledge systems, and epistemologies. Deriving from the Greek tonos (tension) and eco (home), Ecotones asks: 
– What does it mean to inhabit the boundary, the in-between? 
– What knowledge is generated at points of contact, friction, and leakage? 
– How can archives, spaces shaped by colonial histories, diasporic flows, and post-independence reimaginings be read as ecotones? 
– How might ecotonal approaches help surface marginalized voices, and foster new reading ecologies, and ecotonal practices of publishing?

Annotations takes as its point of departure the marginalia, footnotes, redactions, and fragments that often surround, rather than centre, dominant historical narratives. Here, annotation is not merely a supplement, but a method. Influenced by the speculative rigour of Saidiya Hartman’s critical fabulation and John Keene’s poetic logic, this theme embraces annotation as a radical archival gesture: a way of writing beside, between, or against the grain. Initially conceived to activate the archives of pan-African festivals FESMAN, Zaire ’74, PANAF, FESTAC ’77, Annotations draws on various frames to ask: 
– How can annotation operate as a feminist, intertextual, and multisensory method? 
– What does it mean to annotate across silences, across generations, across space? 
– How can annotation serve as an act of resistance, a tool of memory, and a speculative strategy for working across archives—especially those that are fragile, informal, or deliberately incomplete?

The Living Archive challenges static, institutional models by emphasizing process, activation, and embodied memory. Here, the archive is not simply a place of preservation and linear histories, but a site of performance, encounter, and transformation. Artists and cultural workers draw from and contribute to archives in ways that are iterative, unstable, and alive. The Living Archive draws on artistic-led methods to ask: 
– How have artists inhabited museum collections, libraries, and archives? 
– What new languages and forms emerge when archives are accessed through gesture, voice, kinship, or editorial experimentation? 
– What gestures and practices are required to keep an archive alive?

(The Short Century: Symposium contributions under this theme will be presented by US based fellows of The Short Century Intensive, a research fellowship hosted by G.A.S. Foundation and Yinka Shonibare Foundation, with support from the Terra Foundation for American Art.)

Submission Guidelines 
We welcome proposals responding to the themes, Ecotones, The Living Archive, and Annotations, especially those that go beyond traditional academic formats. Contributions may take the form of talks and panels, performances or readings, listening sessions or screenings, workshops or roundtables, or collaborative, and intermedia presentations.

Please submit the following materials via the Application Form (https://forms.zohopublic.eu/yinkashonibarefoundation/form/CallForPapersReassemblagesSymposium202526/formperma/IxSHtFlylwPAXokwh8jGlIglobYZUCY2EVFpg9rH3yY) by 15 August 2025: 
– Abstract (300–500 words): Include a clear title. Indicate the theme you are responding to (Ecotones, The Living Archive, or Annotations). Outline the form and content of your contribution. 
– Supporting Material (3-5 items): Relevant images, video/audio samples, or links connected to 
your abstract. Please include captions and brief descriptions. 
– Biography (max. 250 words) 
– Website (and or links to professional work) 
– Curriculum Vitae – PDF, 3 pages maximum.

Selected participants will be notified in the first week of September. Selection will be made by our Advisory Committee, with preliminary shortlisting conducted by the Planning Committee.

Contact and FAQs 
For questions and inquiries, please contact: library@guestartistsspace.com.

We will offer travel and accommodation grants for five Africa-based participants. While we cannot cover travel and accommodation for other contributors, we will provide invitation letters to assist with funding and visa applications.

The symposium is scheduled to coincide with Lagos Art Week and ART X Lagos, a city-wide platform for contemporary art from Lagos and beyond, encompassing exhibition openings, art fairs, public programmes, and related cultural events.

About 
Re:assemblages is a roaming body and multi-year programme designed to foster experimentation and collaboration within African art libraries. In 2025–26, its second chapter opens with a provocation: What does it mean to think with African and Afro-diasporic art archives as living, contested, and future-shaping spaces? The programme forges vital connections between artists, publishers, and research institutions in Africa, while responding to the urgent need for a global forum to advance dialogue around archives that remain under-resourced, dispersed, and shaped by enduring colonial legacies that continue to determine their access, preservation, and visibility.

The programme is curated by Naima Hassan and coordinated by Samantha Russell, with contributions from Maryam Kazeem, Ann Marie Peña, and Jonn Gale, and funding from the Terra Foundation of American Art. 

For further details, view the concept note here (https://www.yinkashonibarefoundation.com/Portals/0/Reassemblages%202025-26%20Programme%20Concept.pdf). Previous outcomes of the 2024 edition can be found here (https://www.guestartistsspace.com/Reassemblages).

Organised by Guest Artists Space Foundation & Yinka Shonibare Foundation.

Advisory Committee
Dr. Beatrix Gassmann de Sousa, Natasha Ginwala, Dr. Rangoato Hlasane, Patrick Mudekereza, Serubiri Moses, and Dr. Oluwatoyin Zainab Sogbesan.

Planning Committee
Moni Aisida, Jonn Gale, Naima Hassan, Belinda Holden, Maryam Kazeem, Siti Osman, Samantha Russell, and Ann Marie Peña.

Re:assemblages 2025–26 is generously supported by the Terra Foundation for American Art and Afreximbank under the auspices of the Afreximbank Art Program.

Contact Information

Naima Hassan

Re:assemblages Curator

Associate Curator and Archivist

G.A.S. Library and Picton Archive

Contact Email

library@guestartistsspace.com

URL: https://www.guestartistsspace.com/News/call-for-papers-reassemblages-symposium-2025

CFP: Lessing’s Materials/Materialities, Philadelphia

Lessing’s Materials/Materialities

Lessing Society Sponsored Panel 

ASECS Annual Meeting, Philadelphia, PA, April 9-11, 2026 

In May 1770, Lessing assumed the office of librarian at the ducal library at Wolfenbüttel, known today as the Herzog August Bibliothek, a position he held until his death in 1781. As librarian, he was responsible for reorganizing the library’s holdings, which consisted of over 100,000 volumes, and for expanding the library’s collection on a very limited budget, which he accomplished by selling off or exchanging duplicates (Doublettentausch). Although born of necessity, this concern with the materiality and exchange value of the book mirrors the frequency with which material goods and objects are foregrounded in Lessing’s oeuvre, including rings (Minna von Barnhelm, Nathan der Weise), letters (Miß Sara Sampson), textiles (Nathan der Weise), and paintings and sculptures (Emilia Galotti, Laokoön). Today, our understanding of Lessing’s biography and his cultural significance continues to be shaped by the materiality of objects displayed in archives and collections in Wolfenbüttel, Kamenz, and beyond. In both Lessing’s oeuvre and in the collections and archives that frame his legacy, the (in)authenticity of an object’s provenance is central to its interpretation – most notably in the Ring Parable, in which the symbolic overdetermination of the three rings is linked to their exchangeability. 

This panel draws attention to the role of material objects and materiality in Lessing’s life, works and reception. Inquiries could address topics such as:

  • Representations of material objects, collections, and collectors in Lessing’s works (e.g., the rings in Nathan der Weise, the Laokoön sculpture, the painting of Emilia Galotti)
  • Library and museum collections connected with Lessing, such as the Herzog August Bibliothek, the Lessinghaus Wolfenbüttel, and the Lessing-Museum Kamenz
  • The materiality of books, periodicals, and correspondence (e.g., paper, marginalia, writing utensils, ephemera)
  • Inventories and the (re)classifying of objects, e.g., Lessing’s reorganization of the library in Wolfenbüttel 
  • Dupes, frauds, and fakes; exchanges and exchangeability (e.g., the Doublettentausch, the three rings in the Ring Parable) 
  • Lessing’s involvement with theater and its material objects (props, costumes, actors’ debts)
  • Money, gambling, and lottery tickets 
  • Correspondences and collections of letters 
  • Materiality and the spirit/matter distinction in Lessing’s theological writings 

Please send a 250-word abstract and a short CV to Mary Helen Dupree (mhd33@georgetown.edu) and Francien Markx (fmarkx@gmu.edu) by September 15, 2025. 

Redaktion: Constanze Baum – Lukas Büsse – Mark-Georg Dehrmann – Nils Gelker – Markus Malo – Alexander Nebrig – Johannes Schmidt

Diese Ankündigung wurde von H-GERMANISTIK [Lukas Büsse] betreut – editorial-germanistik@mail.h-net.msu.edu

Contact Information

Mary Helen Dupree, mhd33@georgetown.edu

Francien Markx, fmarkx@gmu.edu

Contact Email

mhd33@georgetown.edu

CFP: Inter- and Transcultural Heritage. Conflicts, Overlaps, Coexistence

November 6-7, 2025

Lucian Blaga University of Sibiu, as part of the FORTHEM Alliance, invites scholars, researchers, and practitioners to submit proposals for the upcoming Cultural Heritage Lab International Conference, dedicated to exploring cultural heritage within, across, and beyond the European Union’s borders. This year’s theme investigates the dynamics of intercultural, interethnic, and social interactions—especially in regions where boundaries (geographical, political, linguistic, or symbolic) are fluid and contested.

Global migration, forced polyglossia, and renewed regional tensions that often result in military conflicts and the encroachment of far-right movements on the global polity have become telltale signs of “living in the end times,” as Slavoj Žižek would have it. This has transformed heritage into both a site of conflict and a field of negotiation, whereas the simple dichotomy imposed by structural discrepancies such as core vs. periphery, North vs. South, East vs. West, etc. cannot by any means account for the nuanced changes in how cultural heritage is perceived, curated, and lived. These new tendencies compel us to interrogate whether or not cultural heritage has always possessed an intercultural character and has always resulted from the negotiations of different perspectives and power dynamics.

In this context, our conference aims to create a space for critical reflection on the intersections, frictions, and alliances formed in the in-betweenness of cultural spaces and in the peripheries—areas which are often overlooked yet abound in cultural hybridities and shared legacies.

We welcome contributions from fields including cultural and heritage studies, anthropology, archaeology, sociology, history, linguistics, political science, art history, literature, digital humanities, economics, media and religious studies, drama, film, the performing arts, and memory studies. Interdisciplinary approaches are welcome and encouraged.

Contributors are invited to submit their abstracts on (but not limited to) the following themes:

  • Inter- and transcultural memory and heritage in borderlands;
  • The politics of cultural preservation and erasure in multicultural societies;
  • Heritage in conflict zones and the afterlife of heritage;
  • Minority narratives and “discarded” national identities;
  • “Minor” languages and cultures and their relationship to cultural hegemony;
  • Syncretism vs. conservatism in EU peripheries;
  • East-West/ North-South divides: migration, displacement, and their link to cultural heritage;
  • “The West and the Rest”: Postcolonial and decolonial approaches to cultural heritage;
  • Combined and uneven heritagisation: urban vs. rural heritage;
  • The (digital) afterlife of cultural heritage: discard, rubbish, digital avatar, etc.;

Submission Guidelines:

Please submit an abstract of 250–300 words, along with a short biographical note (max. 100 words), to Ovio Olaru and Daniela Stanciu-Păscărița (ovio.olaru@ulbsibiu.rodaniela.stanciu@ulbsibiu.ro) by 20.07.2025. For effectiveness, please include “Cultural Heritage Lab conference submission” into the title of your email.

The conference will be held in English and French and will take place exclusively on-site.

We look forward to your contributions!

Kind regards,

The organisers.

The “Inter- and transcultural Heritage: Conflicts, Overlaps, Coexistence” conference is organised within the EU-funded project “Establishing a Laboratory of Cultural Heritage in Central Romania” (ELABCHROM) (https://grants.ulbsibiu.ro/elabchrom/conference-2025/)

Contact Information

Andrei Terian; andrei.terian@ulbsibiu.ro

Ovio Olaru; ovio.olaru@ulbsibiu.ro

Daniela Stanciu-Păscărița; daniela.stanciu@ulbsibiu.ro

Contact Email

ovio.olaru@ulbsibiu.ro

URL: https://grants.ulbsibiu.ro/elabchrom/conference-2025/

CFP: Bibliographic Society of Australia and New Zealand Conference: Whose Work Is It Anyway?

Conference Dates: 18–21 November, 2025

CFP Deadline: August 1, 2025

Conference information: https://bsanz2025.wordpress.com/ 

Description:

A book is the product of multiple actors (author, agent, printer, editor, publisher), and once a book exists, its life beyond the printer depends on a whole series of additional actors (distributors, booksellers, purchasers, reviewers, prize committees, second-hand sellers, collectors, libraries).  This conference focuses on all of these processes, at different times and in different places.  Whether we regard these agents as part of a full circuit of connections or fortuitous players that may interact haphazardly, we should not conceive of the book as simply a unified container of ideas, though books often try to appear that way.  Papers that examine how any of these interactions impact on or account for the power of the book are welcome.  We especially welcome studies that examine points at which Darnton’s circuit is disrupted or rerouted in unexpected directions.  And ‘book’ encompasses all written communication: in manuscript, periodical or monograph form, physical or virtual.

The 2025 Annual Conference is now open for submissions. To participate, please submit a 250–300 word abstract along with a brief biographical blurb for the online programme. Submissions close on Friday, 1 August, with acceptance decisions by mid-August to facilitate travel plans. Presenters must be members of the BSANZ at the time of the conference. Registration fees will include a welcome reception on the evening of the 18th and morning and afternoon teas and lunch on the 19th and 20th. The Librarians’ Day on Friday the 21st will not have a separate registration fee and it will be possible to attend at least part of that day via Zoom if you are unable to join us in Dunedin.

In addition to plenary sessions, we envision 6 90-minute panels across the two days. Each panel may take the form of 3 20-minute papers with Q&A following or a roundtable format with a group of speakers each presenting very briefly to open a topic for discussion. It may also be possible to organise a panel for early-career scholars who may prefer to present shorter research talks. We are also happy to receive proposals for an entire panel. So please feel free to propose a format that works best for your topic or interests and we will see what we are able to arrange.

To submit an abstract, please send a word processor file (Word, Pages, etc) rather than a PDF, as we will be editing abstracts for a consistent style for the programme. Feel free to include an image for your topic if you wish, since the programme will be digital. We will not include pictures of speakers in the programme. Send abstracts as an email attachment to books@otago.ac.nz. (If the link [a mailto link] is blocked by your provider, just copy or type the email address the old-fashioned way.). Feel free to send any questions to that same address.