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Full Programme FULL PROGRAMME [no title] — NORDIK XII Copenhagen 2018 PROGRAMME OVERVIEW WEDNESDAY 24 October 16.00–18.00 SMK (National Gallery) Optional reception THURSDAY 25 October 9.00–9.30 Coffee in front of Auditorium (23.0.50) 9.30–11.00 23.0.50 (THE LARGE AUDITORIUM) Welcome and Keynote Temi Odumosu 11.00–12.30 23.0.50 (THE LARGE AUDITORIUM) A Farewell to Critique? Reconsidering Critique as Art Historical Method #1 — What’s at stake? 27.0.09 (AUDITORIUM) Decolonial Aesthetics: A View from the North #1 — De/Colonial Landscapes 27.0.17 (AUDITORIUM) Futures from the Past? Scandinavian Exhibition Histories #1 — Nordic peripheries 27.0.47 (LECTURING ROOM) Life: On Art Animation and Biology #1 — Animating form 27.0.49 (LECTURING ROOM) To be [titled], or not to be [titled]? Art History and its “well-(un)known” masters #1 — Medieval(ists) case studies: Masters - Names 27.1.47 (LECTURING ROOM) Untitled Spaces: Scenography and Nordic Art History #1 — Scenographic thinking and memory 27.1.49 (LECTURING ROOM) Nature, non-human and ecology in modern art, architecture and environmental planning #1 — Nature, non-human and ecology in modern and contemporary art 12.30–14.00 Lunch 1 [no title] — NORDIK XII Copenhagen 2018 PROGRAMME OVERVIEW 14.00–15.30 23.0.50 (THE LARGE AUDITORIUM) A Farewell to Critique? Reconsidering Critique as Art Historical Method #2 — Art Historiography and critique 27.0.09 (AUDITORIUM) Art and Design in Translation: The circulation of objects people and approaches #1 — Nordic Identities for International Consumption 27.0.17 (AUDITORIUM) A Whiter Shade of Pale, A Whiteness Perspective on Nordic Visual Culture #1 — [no title] — I 27.0.47 (LECTURING ROOM) Showing not telling. Art institutional practices of inclusions/exclusions #1 – Inclusive practices in the art museum: experience, language and poetry 27.0.49 (LECTURING ROOM) Life: On Art Animation and Biology #2 – Life as image and principle 27.1.47 (LECTURING ROOM) Nature, non-human and ecology in modern art, architecture and environmental planning #2 — Nature, non-human and ecology in modern and contemporary architecture and environmental planning 27.1.49 (LECTURING ROOM) (In)hospitalities #1 – Practicing spaces of hospitality 15.30–16.00 Coffee in front of Auditorium (23.0.50) 16.00–17.30 23.0.50 (THE LARGE AUDITORIUM) Keynote Event Towards a New Understanding of Artistic Praxis (or How I learned that potatoes have agency) Charlotte Bydler / Åsa Sonjasdotter 2 [no title] — NORDIK XII Copenhagen 2018 PROGRAMME OVERVIEW FRIDAY 26 October 10.30–11.00 Coffee in front of Auditorium (23.0.50) 11.00–12.30 23.0.50 (THE LARGE AUDITORIUM) Mixed Media #1 — Between Matter and Materiality 27.0.09 (AUDITORIUM) A Farewell to Critique? Reconsidering Critique as Art Historical Method #3 — Critique and the post critical 27.0.17 (AUDITORIUM) Futures from the Past? Scandinavian Exhibition Histories #2 — Negotiating History 27.0.47 (LECTURING ROOM) Decolonial Aesthetics: A View from the North #2 – De/Colonial Display 27.0.49 (LECTURING ROOM) To be [titled], or not to be [titled]? Art History and its “well-(un)known” masters #2 — Anonymus - Archetype: Attribution in Early Modern understanding 27.1.47 (LECTURING ROOM) Untitled Spaces: Scenography and Nordic Art History #2 — Scenographic staging and architecture 27.1.49 (LECTURING ROOM) Medieval Nordic Art and the Un-nameable 12.30–14.00 Lunch 3 [no title] — NORDIK XII Copenhagen 2018 PROGRAMME OVERVIEW 14.00–15.30 23.0.50 (THE LARGE AUDITORIUM) Mixed Media #2 — Curating Materiality 27.0.09 (AUDITORIUM) A Farewell to Critique? Reconsidering Critique as Art Historical Method #4 — Other options 27.0.17 (AUDITORIUM) Art and Design in Translation: The circulation of objects people and approaches #2 — The Cosmopolitan in Turn-of-the-Century Nordic Design 27.0.47 (LECTURING ROOM) Decolonial Aesthetics: A View from the North #3 – De/Colonizing Institutions and Heritage 27.0.49 (LECTURING ROOM) Showing not telling. Art institutional practices of inclusions/exclusions #2 — Alternative methods, alternative facts: education, encouragement and interpretation 27.1.47 (LECTURING ROOM) Art Artists and Art Institutions in Times of War and Conflicts #1 — Exhibiting Political and National Positions during and after the Second World War 27.1.49 (LECTURING ROOM) (In)hospitalities #2 – Gestures, representations, tools 15.30–16.00 Coffee in front of Auditorium (23.0.50) 16.00–17.30 23.0.50 (THE LARGE AUDITORIUM) Keynote Nordic Stories of Modern Art 1945-1960. Exploring the Postwar Fine Art Fields in Denmark, Finland, Iceland, Norway and Sweden Marta Edling 19.00–21.00 NORDIK Dinner, Copenhagen University, City, Grand Hall (Ticket price DKK 500, only a few tickets left) 4 [no title] — NORDIK XII Copenhagen 2018 PROGRAMME OVERVIEW SATURDAY 27 October 9.00–10.30 23.0.50 (THE LARGE AUDITORIUM) Mixed Media #3 — Materiality in Individual Artistic Practices 27.0.09 (AUDITORIUM) A Whiter Shade of Pale — Whiteness Perspective on Nordic Visual Culture #2 — [no title] — II 27.0.17 (AUDITORIUM) Art and Design in Translation: The circulation of objects people and approaches #3 — Translations and Mistranslations 27.0.47 (LECTURING ROOM) Queer Art: Artists and Identity: Nordic and Global Contexts 27.0.49 (LECTURING ROOM) Networks and Collaborations in Nordic Architectural Culture #1 — Institutional Formations 27.1.47 (LECTURING ROOM) Untitled Spaces: Scenography and Nordic Art History #3 — Multisensory scenographic immersion 27.1.49 (LECTURING ROOM) Remembering — Art History and Curatorial Practices in Nordic Post-War Exhibition Studies 10.30–11.00 Coffee in front of Auditorium (23.0.50) 5 [no title] — NORDIK XII Copenhagen 2018 PROGRAMME OVERVIEW 11.00–12.30 23.0.50 (THE LARGE AUDITORIUM) Mixed Media #4 — Materiality in Specific Media 27.0.09 (AUDITORIUM) Post democratic culture and culture in Post democracy 27.0.17 (AUDITORIUM) Futures from the Past? Scandinavian Exhibition Histories #3 — Countering Oblivion 27.0.47 (LECTURING ROOM) Art and Spirituality in a Secular Society 27.0.49 (LECTURING ROOM) Networks and Collaborations in Nordic Architectural Culture #2 — Professional Exchange 27.1.47 (LECTURING ROOM) Art Artists and Art Institutions in Times of War and Conflicts #2 — Artists and Nordic Networks in the Years of Conflict from the 1910s to the 1940s 27.1.49 (LECTURING ROOM) (In)hospitalities #3 — Film screening and discussion 12.30–13.00 Closing remarks: Presentation of the new Board of NORDIK, see you in 2021 in NORWAY 6 [no title] — NORDIK XII Copenhagen 2018 PROGRAMME D etails Keynote presentations THURSDAY 25 October 9.30–11.00 23.0.50 (THE LARGE AUDITORIUM) Keynote Event Temi Odumosu 16.00–17.30 23.0.50 (THE LARGE AUDITORIUM) Keynote Event Towards a New Understanding of Artistic Praxis (or How I learned that potatoes have agency) Charlotte Bydler / Åsa Sonjasdotter FRIDAY 26 October 16.00–17.30 23.0.50 (THE LARGE AUDITORIUM) Keynote Nordic Stories of Modern Art 1945-1960. Exploring the Postwar Fine Art Fields using Relational Methods Marta Edling KEYNOTE INTRODUCTION Even if, as Anna Brzyski remarks, “the critique of canonicity has become…commonplace” and art historians agree upon the “historic existence of multiple, temporally and geographically situated canonical formations", the question remains what difference this makes? If the differentiation of the canon is accomplished by the use of the “mechanics of the canonical system” (Bryzki 2007) is "canon-busting" (Smith 2007) really the effect? One possible answer is negative. Global art history e.g. does not represent any true change, James Elkins argues (2007), only an expansion of the old model. It offers "regional differences" that are "variations on the basic model" of Western art history. On the other hand, one could give an affirmative answer. The outcome of this fragmentation of the old model is a discipline challenged by variety of different agendas, and a multi-faceted pluralism. The vitality of the discipline today is indeed the result of many years of critique of the gender, colonial and capitalist bias of earlier preferences. The self-critical awareness of the "canon's function as a mechanism of oppression, a guardian of privilege, a vehicle of exclusion" (Brzyski 2007) is today a default setting of the discipline. What is clear, irrespective of what answer one prefers, is that the "mechanics" of canon- formation comes with a consensus on the necessity of value-systems. In this sense nothing has busted. Put another way, canon-critique do not necessarily call into question the process of evaluation and selection that canon-formation presuppose. What is at stake is rather which objects should be chosen (Deepwell 1998, Preziosi 1998, Locher 2012, Karlholm 2014). 1 [no title] — NORDIK XII Copenhagen 2018 PROGRAMME D etails Keynote presentations Now, if an evaluative approach lays down conditions for our research, what underlying assumptions on value come with the "interpretive agendas" and "scholarly protocols" (Elkins 2015)? What preconceived conceptions on what constitutes pertinent properties are tacitly implied in studies on overlooked, peripheral or seemingly odd materials? And is it at all possible to escape from the “the inherently evaluative approach” (Brzyski 2007) that all canon formation entails? Can we accomplish a non- or, a-canonical art history? Do we want to? Should we want to? In my presentation I will discuss how the problem of the canon became a vital question when I started researching art from the "semi-periphery” (Bydler 2004, Ring Petersen 2015) of the Nordic countries 1945-1960. I will discuss how 'discordant' features of the art and the archival data made it clear that I had to find approaches that would allow me to research it outside of the grids of "the center-periphery frame" (Joyeux-Prunel 2015) and the "aesthetic standard" of modernist scholarship (Harrison 2003). It forced me to find art historical research that had challenged these protocols and to take on the methodological problem of selection.
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