Call for Papers – It Begins with a Story: Artists, Writers, and Periodicals in Asia


Image: Collage including Signals: August 1964–March 1966, ed. David Medalla. Courtesy of Asia Art Archive.

The submission deadline has been extended to 25 April 2017. 

Date: Thu, 11–Sat, 13 Jan 2018
Venue: The University of Hong Kong
Organizers: Asia Art Archive in collaboration with The University of Hong Kong

This symposium asks how periodicals across the twentieth century have fostered conversations about art and emergent forms of visuality in Asia. We are interested in how periodicals constitute genealogies of language and nomenclatures around the modern, the contemporary, the indigenous, the nation, arts and crafts, and tradition.

Light, affordable, and foldable, periodicals travelled with unprecedented speed from writer and artist to printer, and from mail service to reader. These circuits of ideas, practices, and readerships created (and were created by) new sites of experimentation in print technologies, illustration, graphic design, and forms literary and artistic. Their portability opened possibilities for the translation and transposition of ideas across media, language, culture, and geography.

‘Periodical time’—the monthly, the fortnightly, the weekly, or at times, the single issue—became a way of serving and forming diverse publics, with spaces including popular, cultural, and literary magazines; newspapers; self-published zines; artist-run magazines; and journals.

For some artists and intellectuals, the print platform remains appealing for its visual, archival, discursive, and dissemination functions. We seek to understand how periodicals map, compile, translate, and republish texts as they define what it means to be modern and contemporary in specific locales.

This symposium invites contributions anchored around periodicals from Asia published between 1900 to the present.

Possible topics include, but are not limited to:

1. How did periodicals shape and disseminate debates around discourses on modernism, aesthetics, the avant-garde, and the contemporary in Asia? How were these related to broader affinities such as those of the non-West, the post-colonial, the indigenous, or the alternative?

2. How might we chart the contexts and economies of their production, conditions of publication, circuits of distribution, and networks of readership? What kinds of material content and collection did the form of the periodical make possible?

3. In what ways did periodicals serve as sites of exhibition? What were the languages of visuality constituted within them via images of artwork, advertisements, covers, design and typography, and the very form of the periodical?

4. What intersections between art and writing did periodicals enable? How did the periodical form facilitate experiments in language and new genres of writing? Who were the writers who made significant contributions to periodicals, and what new imaginaries around art did they introduce?

5. What are the implications of digitization for the study of periodicals? How has large-scale digitization of periodicals opened new ways of seeing, perceiving, annotating, and researching the fields of modern and contemporary art?

 

SUBMISSION GUIDELINES

Material may be submitted in English or Chinese. Please submit the following by Tuesday, 25 April, to symposium@aaa.org.hk (use the subject line: Art Periodicals Symposium):

1. A 200-word abstract
2. A two-page curriculum vitae with e-mail, phone number, and mailing address

Incomplete or late submissions will not be considered. Final papers must be in English or Chinese. There may be funding for speakers, subject to availability.

 

Supported by the S. H. Ho Foundation Limited and the C. K. & Kay Ho Foundation


Organizers

ALL KEYWORDS

Afghanistan, Alternative Space, American History, Animation, Anthology, Architecture, Archive, Art Administration, art history, artist’s book, Asian American, Automation, Autonomy, Bangladesh, Cambodia, ceramic art, Chance, China, Chinatown, cities, collage, Collecting, Collective, Collectivity, Communism, conceptual photography, Cultural Revolution, culture, Curating, Cutlural Revolution, Design, Diaspora, Displacement, Documentary, Domestic Labor, Drawing, Economics, Education, encyclopedia, EPOXY, Exhibition History, Experimental Music, Feminism, Fiction, Form, Gender, Geography, ghosts, Godzilla, Graphic Novel, Gwangju Biennale, histories, Hong Kong, Identity, Imaging, Imitation, Index, India, Infrastructure, ink, ink painting, Installation, installation art, Institution, Internet, Island, Japan, Khmer Rouge, Korea, Labor, Land, Language, Locality, Madagascar, Malaysia, mapping, Memory, Mexico, Migrant Workers, Miniature Painting, Minimalism, mixed media, Model Opera, Moving Image, Music, mythology, nationalism, Nations, New Media Art, New York City, North Africa, oil, oil painting, painting, paintings, Pakistan, Pakistani, Pedagogy, people, Perennial exhibition, Performance, performance art, Philippines, Photography, Pop Culture, Pop Music, prints, Protest, Public Space, Publication, Realism, Revolution, Sci-Fi, Science, Sculpture, Shamanism, Singapore, Socialist Realism, sound, South Asia, Southeast Asia, Sri Lanka, Surveillance, System, Taiwan, Thailand, the Middle East, Theater, Tomato Grey, Tradition, Tunisia, United States, Video Art, Vietnam, Violence, War, watercolor, woman artist, women artists, woodcuts, Zhejiang Academy, Zine

ARTISTS, CRITICS, CURATORS, AND OTHER CONTRIBUTORS

Alexandra Chang, Alexandra Munroe, Alf Chang, Amy WOOD, Annysa Ng, Arin Rungjang, Ashley Billingsley, Ashok Sukumaran, Bani Abadi, Bani Abidi, Barbara London, Bing Lee, Birgit DONKER, Boris Groys, Brinda Kumar, Cai Guoqiang, CAMP, Cao Fei, Casey Tang, Chang Chao Tang, Chen Chieh-jen, Chen Tong, Chen Wei-ching, Chen Xiaomei, Christoph NOE, Christopher Phillips, Chương-Đài Võ, Cici Wu, Cooperativa Cráter Invertido, Cosmin Costinas, David Smith, Desire Machine Collective, Dinh Q Le, Dooeun Choi, Ei Arakawa, Eleanor Heartney, Erin Gleeson, Eugene Wang, Fang Lu, Farah Wardani, Fei Dawei, FENG Yuan(馮原), Frédéric Dialynas Sanchez, fwf, Gao Shiming, Gianni Jetzer, Glenn Phillips, Go Hirasawa, Hammad Nasar, Heman Chong, Herb Tam, Hiroko Tasaka, Hitomi Iwasaki, Ho Tzu Nyen, Howie Chen, Huang Chien-Hung, Huang Hua-Chen, HUANG Xiaopeng, I-Hua Lee, Il Lee, Ingrid Chu, Jaeyong Park, Jane DeBevoise, Jean-Hubert Martin, Jennifer Davis, Jewyo Rhii, Joan Lebold Cohen, Joanne, John Pirozzi, Julian Ross, Jun Yang, June Yap, Kaho Albert Yu, Katherine Grube, Kim Yong-Ik, Kit Yi Wong, Koki Tanaka, Korakrit Arunanondchai, Lee Kit, Lee Mingwei, Lee Weng Choy, Lesley Ma, Li Ming, Li Ran, Li Xiaofei, Liang Jianhua, Lin Yilin, LinDa Saphan, Liu Ding, Liu Shiyuan, Lyno Vuth, Maline Yim, Mao Chenyu, MAP Office, Margaret Lee, Margo Machida, Mariam Ghani, Marvin Taylor, Meiya Cheng, Mel Bochner, Michelle Wong, Michelle Yun, Murtaza Vali, Museum of Unknown, Nadim Abbas, Naeem Mohaiemen, Nate Hun, Nico Baumbach, Nikhil Raunak, Ocean Leung, Onejoon Che, Pad.ma, Pak Sheung Chuen, Pan An-yi, Park Chankyong, Pi Li, Polit-Sheer-Form Office, Prem Krishnamurthy, Qiu Anxiong, Qiu Deshu, Qiu Zhijie, Rabbya Naseer, Rania Ho, Raqs Media Collective, Reiko Tomii, Richard Vine, Rina Banerjee, Roslisham Ismail a.k.a. Ise, Ruijun Shen, Ryan Lee Wong, Saadia Toor, Sabih Mohd Ahmed, Samsom Young, Samson Young, Sareth Svay, Sean Anderson, Sen Uesaki, Shaina Anand, Sharmini Pereira, Shiraga Kazuo, Shuddhabrata Sengupta, Sohl Lee, Sopheap Pich, Stephanie Comilang, Su Yu-Hsien, Sung Hwan Kim, Sunghee Lee, Tabaimo, Takahiko Iimura, Takeshi Ikeda, Tang Kwok Hin, Teresa Kwong, Theresa Hak Kyung Cha, Tiffany Chung, Tobias Madison, Trần Minh Đức, Uli Sigg, Wang Jianwei, Wang Jing, Wang Wei, William LIM, Work on Work, Wu Shanzhuan, Xiaoyu Weng, Xin Wang, Xu Bing, Xu Tan, YANG Jiechang, Ying Kwok, YOUNG-HAE CHANG HEAVY INDUSTRIES, Yung MA, Zhang Hongtu, Zhang Peili, Zheng Shengtian, Zhou Tao, Zoe Butt