The goal of this conference is to promote an interdisciplinary discussion of the relationships between image, history and memory. The presented papers will address images in their various roles: as witnesses to history, as means of materializing memories, as active creators of history or as producers of the contents of memory.
The conference discussion will focus on these issues from a regional perspective that will highlight questions about ways in which historical images fit into the dynamics of remembrance in Central and Eastern Europe, but they will make references to other historical, political and cultural regions of Europe and of the world.
Ernst van Alphen
Ernst van Alphen is Professor of Literary Studies at Leiden University in the Netherlands. His publications include Francis Bacon and the Loss of Self (Harvard UP, 1993), Caught By History: Holocaust Effects in Contemporary Art, Literature, and Theory (Stanford UP, 1997), Art in Mind: How Contemporary Images Shape Thought (University of Chicago Press, 2005), Staging the Archive: Art and Photogrpahy in Times of New Media (Reaktion Books, 2014). Next year his new book Failed Images Will appear with VALIZ Publishers.
Mieke Bal is a cultural theorist, critic, video artist and occasional curator. She works on gender, migratory culture, psychoanalysis, and the critique of capitalism. Her 38 books include a trilogy on political art: Endless Andness (Bloomsbury, 2013) on abstraction, Thinking in Film (Bloomsbury, 2013) on video installation, and Of What One Cannot Speak (University of Chicago Press, 2010) on sculpture. Her work comes together in A Mieke Bal Reader (University of Chicago Press, 2006). In 2016 In Medias Res: Inside Nalini Malani’s Shadow Plays (Hatje Cantz) was published, and in Spanish, Tiempos trastornados (AKAL, 2016) on the politics of visuality. Her video project Madame B, with Michelle Williams Gamaker, is widely exhibited: in 2017 in Museum Aboa Vetus & Ars Nova in Turku, and combined with paintings by Munch in the Munch Museum in Oslo. Her most recent film is Reasonable Doubt, on René Descartes and Queen Christina of Sweden (2016). www.miekebal.org [photo: Rena Li]
Robert Hariman is a professor of rhetoric and public culture in the department of communication studies at Northwestern University. He is the author of Political Style: The Artistry of Power (University of Chicago Press, 1995) and of two co-authored books on photojournalism: No Caption Needed: Iconic Photographs, Public Culture, and Liberal Democracy (University of Chicago Press, 2007), and most recently, The Public Image: Photography and Civic Spectatorship (University of Chicago Press, 2016). His other publications include edited volumes on popular trials, political judgment, political realism, and the texture of political action, as well as journal articles on parody, allegory, banality, and other modes of public address. His work has been translated into French and Chinese. Hariman posts periodically at nocaptionneeded.com, his co-authored blog on photojournalism, politics, and culture.
Constantin Parvulescu writes on the audiovisual representation of financial services, the cinema of Eastern Europe, and film and history. He coordinates the research project Finance and the Moving Image, and is the editor of the forthcoming Global Finance on Screen: From Wall Street to Side Street (Routledge, 2017). He is the author of Orphans of the East: Postwar Eastern European Cinema and the Revolutionary Subject (Indiana University Press, 2015) and the co-editor of A Companion to the Historical Film (Blackwell-Wiley, 2013). Presently, he is research fellow at the Institute for Culture and Society, University of Navarra and guest lecturer at the University of St. Gallen.
Wojciech Suchocki, PhD, art historian, professor at the Adam Mickiewicz University; since 2010 director of the National Museum in Poznań. For his PhD thesis, Suchocki analysed the art of Polish painter Piotr Michałowski; his postdoctoral publications include W miejscu sumienia. Śladem myśli o sztuce Martina Heideggera [In Place of Conscience. In the Wake of Martin Heidegger’s Thinking on Art] (Wydawnictwo Naukowe UAM, 1996). He is a former member of the Division of History and Theory of Research on Art at the Institute of Art History at the Adam Mickiewicz University. Suchocki is head of the research programme Atanazy Raczyński (1788-1874). Zabezpieczenie, naukowe opracowanie i krytyczna edycja piśmienniczej spuścizny wielkopolskiego arystokraty, dyplomaty, historyka i kolekcjonera sztuki [Atanazy Raczyński (1788-1874). Preservation, Scientific Elaboration, and Critical Edition of Literary Legacy of Aristocrat, Diplomat, Historian and Art Collector from Wielkopolska], as well as a member of the Programme Board of the National Institute for Museums and Public Collections. He was awarded with the silver Medal for Merit to Culture – Gloria Artis.
Art historian and a Professor at the Adam Mickiewicz University in Poznań, where he lectures at the Institute of Art History. His interests include 20th century art history, contemporary art and art criticism in the 18th-20th centuries. He has received grants and fellowships from Cambridge University, The Getty Grant Program, Rochester University, and Edinburgh University. In 2008 he was teaching as a visiting Professor at the Hebrew University in Jerusalem and in 2012 at the Academy of Arts in Tallinn. Between 2012 and 2015 Juszkiewicz was a leader of a research project on Polish documentaries on art 1945-1989. He is the editor of publications including Melancholia Jacka Malczewskiego [The Melancholy of Jacek Malczewski] (Wydawnictwo Poznańskiego Towarzystwa Przyjaciół Nauk, 2002) and Perspektywy współczesnej historii sztuki [Perspectives on Contemporary Art History] (Wydawnictwo Naukowe UAM, 2009), as well as the author of several books: Wolność i metafizyka. O tradycji artystycznej twórczości Marcela Duchampa [Freedom and Metaphysics. On Artistic Tradition of Marcel Duchamp’s Art] (Wydawnictwo Poznańskiego Towarzystwa Przyjaciół Nauk, 1995); Od rozkoszy historiozofii do „gry w nic”. Polska krytyka artystyczna czasu odwilży [From the Bliss of Historiosophy to the ‘Game of Nothing’. Polish Art Criticism of the Post-Stalinist ‘Thaw’] (Wydawnictwo Naukowe UAM, 2005); Cień modernizmu [The Shadow of Modernism] (Wydawnictwo Naukowe UAM, 2013) and numerous texts in: Artium Quaestiones, Centropa, Rocznik Historii Sztuki, and the Journal of Victorian Culture.
- European Network Remembrance and Solidarity (ENRS);
- Ministry of Science and Higher Education, Republic of Poland;
- Department of Art and Visual History, Humboldt-Universität zu Berlin;
- Institute of Arts History, Adam Mickiewicz University in Poznań;
- History Department, Adam Mickiewicz University in Poznań;
- Social Memory Laboratory, Institute of Sociology, University of Warsaw;
- Department of Visual Culture, Academy of Fine Arts in Warsaw;
- The Committee on Art Studies of the Polish Academy of Sciences
- Prof. Wojciech Bałus (Polish Academy of Sciences);
- Prof. Kazimierz Ilski (Adam Mickiewicz University in Poznań);
- Prof. Csaba György Kiss (ENRS Academic Council);
- Prof. Michaela Marek (Humboldt University of Berlin);
- Dr Joanna Wawrzyniak (University of Warsaw)
- Prof. Piotr Juszkiewicz (Adam Mickiewicz University in Poznań)
- Prof. Mariusz Bryl,
- Prof. Stanisław Czekalski,
- Dr Jakub Dąbrowski,
- Dr hab. Michał Haake,
- Dr hab. Łukasz Kiepuszewski,
- Dr hab. Dorota Malczewska-Pawelec,
- Dr Małgorzata Pakier (ENRS),
- Prof. Piotr Witek,
- Prof. Tadeusz Żuchowski
Guidelines for international discourse on history and memory: