Call for Papers & Applications

The claim for universal human rights is not restricted to proclamations of international conventions. On the contrary, the history of human rights has been intertwined with the history of images on many levels. Questions about photography and the emergence of human rights after WWII have lately strongly shaped academic debates. Also long before images have been subject or manifestoes of the debates on universal rights of all human kind. To the Nomoi research blog will be added a new "pictorial glossary", which aims to present research on the role of images within the history of human rights from early modern times until today.

Contributions should seek to combine aesthetics and legal history in different critical and contextualized readings of human rights discourses: How did and still do images stimulate discourses about human rights and their acceptance and what is their contribution to shape, implement and legitimize fundamental human rights or to initiate movements? How do they negotiate the subject positions of victims and agents, function as evidences of rights violations or as visual remembrances of such? Alternatively, how can images also violate human rights or manifest inequalities themselves when neglecting the dignity of individuals or groups?

These questions may be analyzed by usage of various kinds of visual media (print media, photography, caricatures, film, art and architecture but also more recent examples from the social media). The political agency of victims and their visual representations may be traced back to early modern times and different political contexts as for example during the struggles between the conquistadores and the native Americans. The arrival of photography as the basis of new forms of mass communication that emerged during the 1940s fostered a closer alignment of usage of photography and political debates concerning implementations and acceptance of human rights, but also led to ethical debates about limits of representability which continue until today. Moreover, as in recent history digitization shapes strongly the life of society, different visual languages and visual media developed. While photography for a long time promised to function as evidence to the violation of rights, the integrity of visual evidence in digital photography has been fundamentally questioned and added more complexities and definitional problems within the accepted rules of evidentiary procedure. It is also within these transformations of visuality that the power of the visual in light of human rights debates need to be discussed.

Articles should not exceed 6.000 characters (spaces included) and be handed in as a word document. The contributions should be written in English or German. Italian or French may be accepted according to prior agreement with the editors. Suggestions for topics may be made until 12 December 2019. Abstracts should be submitted by 31 December 2019. Publications will be provided with an International Standard Serial Number (ISSN). Please send your abstract proposal to: carolin.behrmann@khi.fi.it and lia.boersch@khi.fi.it.

The Minerva Research Project The Nomos of Images. Manifestation and Iconology of Law at the Kunsthistorisches Institut in Florenz lead by Dr. Carolin Behrmann is concerned with the history and life of images in legal contexts.

4A Lab is a joint program of the Kunsthistorisches Institut in Florenz, a research institute of the Max Planck Society, and the Stiftung Preußischer Kulturbesitz in collaboration with the Humboldt-Universität zu Berlin, the Forum Transregional Studies and other partners. The Stiftung Preußischer Kulturbesitz (Prussian Heritage Foundation) is an internationally outstanding cultural and scientific institution with unique museums, archives, libraries and research facilities; the Kunsthistorisches Institut in Florenz is a globally connected research institute, with a strong agenda in transcultural art histories.

4A Lab connects diverse disciplines, types of collections and multiple institutions in an innovative way. In particular, 4A Lab attempts to foster dialogues and exchanges between art history, archaeology, anthropology and aesthetics (4 A) as well as other disciplines concerned with objects, practices, environments and narratives (OPEN).

The research and fellowship program invites excelling doctoral and postdoctoral researchers to Berlin. The collaboration promotes methodological inquiries and close contact with objects, artworks, collections and archives.

This includes the collections of the Staatliche Museen zu Berlin (Berlin State Museums), i.e. the Aegyptisches Museum und Papyrussammlung (Egyptian Museum and Papyrus Collection), Antikensammlung (Museum of Classical Antiquities), Ethnologisches Museum (Museum of Ethnology), Gemaeldegalerie (Picture Gallery), Gipsformerei (Plaster Cast Workshop), Institut für Museumsforschung (Institute for Museum Research), Kunstbibliothek (Art Library), Kunstgewerbemuseum (Museum of Decorative Arts), Kupferstichkabinett (Cabinet of Prints and Drawings), Muenzkabinett (Numismatic Collection), Museum Europaeischer Kulturen (Museum of European Cultures), Museum für Asiatische Kunst (Museum of Asian Art), Museum für Islamische Kunst (Museum of Islamic Art), Museum für Vor- und Fruehgeschichte (Museum of Prehistory and Early History), Nationalgalerie (National Gallery, including Hamburger Bahnhof Museum of Contemporary Art), Skulpturensammlung und Museum für Byzantinische Kunst (Museum for Sculpture and Byzantine Art), Vorderasiatisches Museum (Museum of the Ancient Near East), as well as the holdings of the Zentralarchiv (Central Archive), the Ibero-American Institute, the State Institute for Musicology, the Secret State Archives and the State Library.

The program focuses on OPEN (objects, practices, environments, and narratives) in their historical, social and historiographical dimensions, including histories of collecting and display. It invites researchers to study the art, materiality, mediality, agency, ecology and mobility of objects and related discourses. Under such premises, the program aims to create a space for dialogue for university and museum scholars in order to strengthen transdisciplinary collaboration in the proximity of objects, to transcend the borders of the 4A disciplines, to combine their skills and to foster a conversation between more conceptual and more empirical approaches. The program aspires to promote transversal networking and critical reflections on historical and contemporary languages and terminologies.

For more detailed information, please visit www.khi.fi.it/4A-Lab

4A LAB Annual theme 2020/2021: Plants II

In recent years, human understanding of the biology of plants has significantly changed. Neurobiologists have described vegetal life in new ways to a wider public, stressing the fact that plants not only have a sensorial apparatus, sex, but that they are also mobile – even though their motion is mostly slow – and even react to music. Plants, it would seem, have agency and they are endowed with forms of collective intelligence, a faculty that is located in plant networks, roots and ramifications. Plants, their ecology and the human interactions with plants therefore should be studied in new light, in a planetary perspective, from the beginnings of human history, as part of the Anthropocene. This includes research on the manifold aesthetic and artistic practices related to or based on plants.

While plants are important factors in human history, humans are leaving their imprint on the history and ecology of plants. The absence, presence and temporalities of vegetal life have always had an impact on settlements as well as urbanization processes. Moreover, plants are dominant elements in the human transformation of landscapes and environments. They are central for the history of colonialism, especially in the form of plantations. They are also protagonists in the making of – real and imagined – gardens across cultures. Plants interact with the human body and its sensorial, perceptive and biochemical apparatus, be it by means of drugs or via food and air. Flowers and fruit are significant elements or even agents in a history of smell and perfume. Plants are not only indispensable for the future of nutrition, they also come with a long past of cultivation processes that includes bioengineering.

For all of these reasons, plants and plant life have been a constant field of investigation and knowledge production, be it by practitioners such as farmers, or by scholars and amateurs. The understanding of plants can be gendered or socially and culturally distinctive, with specific knowledge systems relating to certain plant environments. They come together with classification systems, taxonomies, forms of collecting and display, as in the case of botanical gardens. Not only knowledge, but also aesthetic categories have been (and will continue to be) an eminent factor in the processes of the perception, description, cultivation and appreciation of plants. Artistic production and aesthetic practices based on or relating to plants are thus fields that deserve further exploration across time and space, be they historically driven by religious approaches, political interests, romanticizing views, modernist thought or eco-activism.

Artworks can rely on plants via materials like wood, pigments or dyes, textiles and canvases. Plants are protagonists in herbaria, drawings or photographs or in still life painting. They appear on tiles and pots or in architecture and all kinds of decoration. In fact, plant life or plant morphology forms the basis of the theory and the practices of ornament (or ornamentation), and might be discussed also in terms of a theory of beauty. Seeds, germination, growth are only some of the concepts or metaphors induced by plant life. Moreover, plants serve as protagonists in literature, in poetry and music as well as in religious contexts across cultures and geographies, as part of rituals or of religious veneration (bamboo, lotus, maize, pomegranate, yam, vines, sacred trees or forests). These cultural practices can be part of larger social, political and economic developments or constellations. In fact, plants and crops are major components in economies and thus are often at the center of social tensions or transregional conflicts.

The program welcomes projects from a wide range of topics relating to plants that place emphasis on aesthetic processes, history of thought, and material culture, from the 4A disciplines but also from philosophical or literary studies, in a transregional perspective.

Candidates

Applicants should have obtained their master's degree or their doctorate (within the last seven years prior to their application) in one of the relevant disciplines. Applications are welcome from all regions, with various disciplinary formations, such as Art History, Aesthetics, Archaeology, Anthropology/Ethnology, History and neighboring fields dealing with artifacts, artistic production, material culture, and aesthetic practices relating to objects, images, languages and architectures. Applicants should be interested in engaging in reflexive and transdisciplinary research. 4A Lab fellows are given the opportunity to pursue their individual research projects within a transdisciplinary and transregional context. They are expected to engage in the program activities, such as regular seminars, workshops and conferences. In the overall context of the 4A Lab program and the framework of the Prussian Cultural Heritage Foundation, the fellows will be part of a creative, intellectually stimulating and discursive environment. The Kunsthistorisches Institut in Florenz is an equal opportunity employer and particularly encourages applications from women and disabled persons.

Fellowships

The fellowship starts on 1 October 2020 (9 months). In particular cases, shorter or longer fellowship terms may be considered. A possible extension of the doctoral fellowships up to an overall maximum of two years can be negotiated. The fellowships (including travel expenses) follow the guidelines of the Max Planck Society. Organizational support regarding visas, insurances, housing, etc. will be provided. Successful applicants become 4A Lab Fellows at the Kunsthistorisches Institut in Florenz and at the Stiftung Preußischer Kulturbesitz and are expected to take up residence in Berlin. The working language is English.

Application Procedure

To apply, please send the following documents exclusively by e-mail as one PDF file (max. 2 MB):

  • Curriculum vitae (in English)
  • Project description (no longer than five pages, in English)
  • Sample of scholarly work (an article, conference paper or dissertation chapter, ca. 20 pages)
  • Names and contact information of two referees (including their e-mail addresses)

The complete application should be submitted by 30 January 2020 and sent to 4a_lab@khi.fi.it.

Successful candidates will be notified by April 2020.

Contact

4A Lab
Sigismundstrasse 4
10785 Berlin / Germany
E-Mail: 4a_lab@khi.fi.it 

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