Call for Papers -- On Likeness and Difference: Modern Art of Middle East and the Confines of Modernism (New York, 18-19 October)

[Jewad Selim, Untitled (The Gardener), c. 1950. Private Collection, Dubai. Photo courtesy of Meem Gallery, Dubai] [Jewad Selim, Untitled (The Gardener), c. 1950. Private Collection, Dubai. Photo courtesy of Meem Gallery, Dubai]

Call for Papers -- On Likeness and Difference: Modern Art of Middle East and the Confines of Modernism (New York, 18-19 October)

By : Jadaliyya Reports

On Likeness and Difference: Modern Art of Middle East and the Confines of Modernism
18-19 October 2013
Kevorkian Center, NYU

The third annual AMCA conference seeks to problematize the comparative method with which the paradigm of modernism approaches modern art of the Middle East. This paradigm is, after all, a formulation of the historical experience of Western Europe in the eighteenth and nineteenth centuries. It maps the development of bourgeois society to an apotheosis of form, and then situates the emergence of modernist concepts and styles at this juncture. As new artistic practices develop outside of Europe, artists producing work in apparently modernist styles are consistently read in comparison to their European counterparts, eclipsing their historical specificity and rendering them derivative.

The conference aims to interrogate this relation of comparison by opening up a set of interlocking questions about visual resemblances between works, uses of the concept of influence, and the availability of documentation that would enable the writing of a different historiography. Comparison is often premised on visual resemblances between the modern art of the Middle East and the modern art of Europe: “It looks like Picasso.” However, the identification of those resemblances is based on the epistemological fallacy that a likeness is evidence of a historical relation; it may look like Picasso but that does not necessarily indicate an influence. At stake in the lure of resemblance is not only methodological rigor; by inviting comparison, resemblances risk subordinating one art to another, obscuring its constitutive artistic problem and the historical context in which it was produced.

On the one hand, there is a need to reflect critically on comparison as a method in art history. How does this comparative approach generate claims about influence, and how is the concept of influence used asymmetrically, denoting in a European context an historical link but in the Middle East an imitation? What do we mean when we claim an ‘influence’? On the other hand, what is at issue here is the possibility of asking formalist questions outside any comparison. How can we think about work produced in what appears to be modernist styles without taking as a starting point a comparison with European modernism? And how can we critically address visual similarities and differences, not only with European modernism but also with art practices in other non-western contexts?

In order to move out of the relationship of comparison instituted by the paradigm of European modernism, we need to address the methodological problem that much of the modern art of the Middle East comes to us de-contextualized, stripped of the historical record that would enable us to place it in the context of its production. This is partly a consequence of the region’s wars, which have scattered art collections and destroyed archives. It is also the result of an archival tradition in which the documentary record for art practices is not centralized and systematized, but instead is dispersed in a number of different locations. In the absence of documentation, the artwork can only be comprehended on the basis of its visuality. Operating within the paradigm of modernism, this leads into the trap of comparison, where the artwork is evaluated in term of its similarities and differences to European modern art. This comparison only reinforces the alienation of the artwork from its documentary record, perpetuating the myth in the art world that “there is no archive.”

AMCA is currently accepting individual paper proposals (250--300 words) as well as panel proposals (400--500 words) that present specific case studies as possibilities for thinking outside the trap of comparison. We encourage papers dealing with specific studies of artworks, artists, manifestos, collectives, and discourses from the Arab world, Iran, and Turkey. Panel proposals should provide a brief overview of the panel stakes as well as a list of tentatively confirmed paper presenters and titles and suggested discussants. Graduate students are particularly encouraged to submit proposals.

All proposals must be submitted by 15 June 2013 to: info@amcainternational.org

A response will be given by early July 2013.

Organizers:

Saleem Al-Bahloly (UC Berkeley)
Dina Ramadan (Bard College)
Sarah Rogers (Independent Scholar)
Nada Shabout (AMCA President/ University of North Texas)
Salwa Mikdadi (AMCA President Elect/ Independent Curator)

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Past is Present: Settler Colonialism Matters!

On 5-6 March 2011, the Palestine Society at the School of Oriental and African Studies (SOAS) in London will hold its seventh annual conference, "Past is Present: Settler Colonialism in Palestine." This year`s conference aims to understand Zionism as a settler colonial project which has, for more than a century, subjected Palestine and Palestinians to a structural and violent form of destruction, dispossession, land appropriation and erasure in the pursuit of a new Jewish Israeli society. By organizing this conference, we hope to reclaim and revive the settler colonial paradigm and to outline its potential to inform and guide political strategy and mobilization.

The Israeli-Palestinian conflict is often described as unique and exceptional with little resemblance to other historical or ongoing colonial conflicts. Yet, for Zionism, like other settler colonial projects such as the British colonization of Ireland or European settlement of North America, South Africa or Australia, the imperative is to control the land and its resources -- and to displace the original inhabitants. Indeed, as conference keynote speaker Patrick Wolfe, one of the foremost scholars on settler colonialism and professor at La Trobe University in Victoria, Australia, argues, "the logic of this project, a sustained institutional tendency to eliminate the Indigenous population, informs a range of historical practices that might otherwise appear distinct--invasion is a structure not an event."[i]

Therefore, the classification of the Zionist movement as a settler colonial project, and the Israeli state as its manifestation, is not merely intended as a statement on the historical origins of Israel, nor as a rhetorical or polemical device. Rather, the aim is to highlight Zionism`s structural continuities and the ideology which informs Israeli policies and practices in Palestine and toward Palestinians everywhere. Thus, the Nakba -- whether viewed as a spontaneous, violent episode in war, or the implementation of a preconceived master plan -- should be understood as both the precondition for the creation of Israel and the logical outcome of Zionist settlement in Palestine.

Moreover, it is this same logic that sustains the continuation of the Nakba today. As remarked by Benny Morris, “had he [David Ben Gurion] carried out full expulsion--rather than partial--he would have stabilised the State of Israel for generations.”[ii] Yet, plagued by an “instability”--defined by the very existence of the Palestinian nation--Israel continues its daily state practices in its quest to fulfill Zionism’s logic to maximize the amount of land under its control with the minimum number of Palestinians on it. These practices take a painful array of manifestations: aerial and maritime bombardment, massacre and invasion, house demolitions, land theft, identity card confiscation, racist laws and loyalty tests, the wall, the siege on Gaza, cultural appropriation, and the dependence on willing (or unwilling) native collaboration and security arrangements, all with the continued support and backing of imperial power. 

Despite these enduring practices however, the settler colonial paradigm has largely fallen into disuse. As a paradigm, it once served as a primary ideological and political framework for all Palestinian political factions and trends, and informed the intellectual work of committed academics and revolutionary scholars, both Palestinians and Jews.

The conference thus asks where and why the settler colonial paradigm was lost, both in scholarship on Palestine and in politics; how do current analyses and theoretical trends that have arisen in its place address present and historical realities? While acknowledging the creativity of these new interpretations, we must nonetheless ask: when exactly did Palestinian natives find themselves in a "post-colonial" condition? When did the ongoing struggle over land become a "post-conflict" situation? When did Israel become a "post-Zionist" society? And when did the fortification of Palestinian ghettos and reservations become "state-building"?

In outlining settler colonialism as a central paradigm from which to understand Palestine, this conference re-invigorates it as a tool by which to analyze the present situation. In doing so, it contests solutions which accommodate Zionism, and more significantly, builds settler colonialism as a political analysis that can embolden and inform a strategy of active, mutual, and principled Palestinian alignment with the Arab struggle for self-determination, and indigenous struggles in the US, Latin America, Oceania, and elsewhere.

Such an alignment would expand the tools available to Palestinians and their solidarity movement, and reconnect the struggle to its own history of anti-colonial internationalism. At its core, this internationalism asserts that the Palestinian struggle against Zionist settler colonialism can only be won when it is embedded within, and empowered by, the broader Arab movement for emancipation and the indigenous, anti-racist and anti-colonial movement--from Arizona to Auckland.

SOAS Palestine Society invites everyone to join us at what promises to be a significant intervention in Palestine activism and scholarship.

For over 30 years, SOAS Palestine Society has heightened awareness and understanding of the Palestinian people, their rights, culture, and struggle for self-determination, amongst students, faculty, staff, and the broader public. SOAS Palestine society aims to continuously push the frontiers of discourse in an effort to make provocative arguments and to stimulate debate and organizing for justice in Palestine through relevant conferences, and events ranging from the intellectual and political impact of Edward Said`s life and work (2004), international law and the Palestine question (2005), the economy of Palestine and its occupation (2006), the one state (2007), 60 Years of Nakba, 60 Years of Resistance (2009), and most recently, the Left in Palestine (2010).

For more information on the SOAS Palestine Society 7th annual conference, Past is Present: Settler Colonialism in Palestine: www.soaspalsoc.org

SOAS Palestine Society Organizing Collective is a group of committed students that has undertaken to organize annual academic conferences on Palestine since 2003.

 


[i] Patrick Wolfe, Settler Colonialism and the Transformation of Anthropology: The Politics and Poetics of an Ethnographic Event, Cassell, London, p. 163

[ii] Interview with Benny Morris, Survival of the Fittest, Haaretz, 9. January 2004, http://cosmos.ucc.ie/cs1064/jabowen/IPSC/php/art.php?aid=5412