[oberlist] DE* cfp/radio: Radio as art (Bremen, June 5-7, 2014)

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Date: Tue, 07 Jan 2014 08:08:56 +0100
From: Andreas Broeckmann <broeckmann at leuphana.de>
Subject: [spectre] CFP: Radio as art (Bremen, 5-7 Jun 14)
To: spec <spectre at mikrolisten.de>
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From: Sarah Rothe <kontakt.studienzentrum at weserburg.de>
Date: Jan 6, 2014
Subject: CFP: Radio as art (Bremen, 5-7 Jun 14)

Bremen, June 5-7, 2014
Deadline: Feb 14, 2014

Call for Papers

International Conference
“RADIO AS ART – Concepts, Spaces, Practices: Radio Art between Media
Reality and Art Reception”
  In the age of Twitter and online communication, the perspective on
radio’s role as a popular broadcasting medium – and a medium that has
also served since the 1960s as a platform for artistic concepts – is
changing. Acoustic signals, voice, sound, articulation, music and
spatial networking are dispositifs of radiophonic transmission which –
since Futurism and by way of Fluxus and Concrete (auditory) Poetry –
have brought forth a great number of artistic practices. Up to and into
the digital present in the visual arts, radio has been and is employed
and explored as an apparatus-based structure as well as an (alternative)
model for performance and perception. Whereas on the one hand
aesthetical experiments with broadcasting technology triggered
collective processes of exchange and cooperation internationally, on the
other hand artists discovered radio as a means of disseminating artistic
concepts, often also with subversive means and resistive subtexts.

At the same time, from the art-historical perspective, radiophonic art
long occupied a peripheral position in the spectrum of ephemeral forms
of expression. True, there was a wide diversity of radio art
materializations in the form of interaction and installation contexts as
well as the integration of the latter in performative processes and
social discourses in which the recipients were given the opportunity to
participate actively, for example in the Ligna artist group’s
Radioballet of 2002. Yet the acoustic and radiophonic contributions
eluded the – primarily visually based – knowledge parameters of
art-historical methods which had been shaped for the most part by the
study of pictures.

To what extent can the terms coined by post-structuralism and in the
fields of media, theatre and curatorial studies contribute to
deciphering the complexity of radiophonic art concepts and their
response aesthetics? In what way does integration in exhibition contexts
serve to restructure primarily dissemination-oriented radio art
practices, and how do the constitutive components of radiophonic
artworks change through these forms of documentary “arrest”? What
geopolitical contexts animate artists – and animated them in the past –
to work with radiophonic media? Do radio art projects participate in the
formation of new forms of community (in the sense of a “Mit-Sein”
[“being-with”] as defined by Jean-Luc Nancy)? And how is the abuse of
radio art for propagandistic purposes and the impact of the same on a
displaced radio public reflected artistically? What role does radio art
play for the on-going transformation of aesthetic orders within the
framework of a trans-media-oriented and (trans-) cultural global art
development? For in the convergence of broadcast, reception,
interaction, installation and exhibition, radio art points beyond the
media definition of radio, which is always determined in part by
politics and society. Within this context, radiophonically disseminated
art forms bear a relationship to the interconnections between
technology, voice, body and cultural and geopolitical formation likewise
discussed in cultural and gender studies. Radio art concepts undermine
the spatially regulated dispositifs of art reception and the related
locations of the museum and the private reception context. Through the
blurring of spatial boundaries with the public sphere, new horizons open
and widen, horizons that address the collective, historically anticipate
the concept of the network, and to an extent reconnect them with the
local circumstances, as in the works of Marko Peljhan.

The sections of the conference will be devoted to various aspects of
this spatial-media-based as well as socio-cultural and
response-aesthetic framework. The first section will raise the question
as to radio art’s various production, presentation and perception
spaces. The second section will concentrate on theoretical concepts of
an art-theoretical and cultural-studies-based approach to radio art.
Network structures and cooperation models in artistic working processes
will form the focus of the third section. In the fourth section, the
political and societal foundations and influences of radio art will be
discussed.

Throughout its sections, the international conference “RADIO AS ART –
Spaces, Concepts, Practices: Radio Art between Media Reality and Art
Reception” will link conceptual, recipient-response-related,
conservatorial and sociocultural issues to matters of relevance to radio
art’s mediation. Within a broadly defined reference framework, the
results of the research project Radio Art: On the Development of a
Medium between Aesthetics and Socio-Cultural Reception History will be
put forth for discussion in a circle of international experts.
Submissions from art historians, media scholars, art educators,
curators, cultural studies specialists, ethnologists and artists are
welcome.

Your short biography and abstract for a 20-minute lecture in English
should not exceed 350 words.

Conference language: English
Deadline for abstracts: 14 Februrary 2014
Notification by: 1 March 2014

Contact: Jee-Hae Kim / Franziska Rauh / Sarah Rothe
kontakt.studienzentrum at weserburg.de

Conference location: Bremen, University Guest House, Auf dem Teerhof 58

Presented by: Centre for Artists’ Publications, Bremen / Universität
Bremen / Universität zu Köln
Sponsored by the Volkswagen Foundation

Reference / Quellennachweis:
CFP: Radio as art (Bremen, 5-7 Jun 14). In: H-ArtHist, Jan 6, 2014.
<http://arthist.net/archive/6672>.

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