- 1.Introduction – One year on Women and their Global Circulation (B. Joyeux-Prunel & L. Saint-Raymond)
- 2.Sabrina Moura : « On returns, exiles and belongings: the notion of diaspora through the work of Maria Magdalena Campos-Pons”
- 3.Women in the Artl@s Databases (Béatrice Joyeux-Prunel)
- 4.Around Ana Mendieta. With Esther Ferrer and Shelley Rice. November 8, 1:30 PM!!
- 5.Artists’ Widows and the posthumous lives of works (1945-1980) – Julie Verlaine
- 6.Séverine Sofio: Artists, gender and borders at the turn of the 19th c.
- 7.Artl@s’Lab : Tracing women in international exhibitions (B. Joyeux-Prunel)
- 8.January 10, 2019 – LAB: How to study the international circulation of women artists? Women in the Artl@s catalogue database (B. Joyeux-Prunel & Léa Saint-Raymond))
- 9.24 January 2019 – LAB: Geomapping the international circulations of women artists (B. Joyeux-Prunel)
- 10.February 7, 2019. Japanese Catalogues and Art History. An encounter with Pr. Torahiko Terada and his students from Tokyo University
- 11.February 21, 2019 – LAB- Women Mediators and Networks in the Transnational Circulation of Art. A Digital Approach (B. Joyeux-Prunel)
- 12.March 21, 2019. The pioneers of contemporary art in Turkey (Perin Emel Yavuz)
- 13.Aphrodite-Vénus, ‘art femme par excellence’ (K. Bender)
- 14.Presentation of students’ work
- 15.Race, Ethnicity, Empathy. Radical Women. Latin American Art, 1960-1985
This session is an exceptional opportunity to welcome our partners from the University of Tokyo to Paris, thanks to the visit of Professor Torahiko Terada. Come in large numbers! We will hear several communications:
“Figurative diversity in Japanese catalogues” – Prof. Torahiko TERADA (University of Tokyo)
According to Anne-Marie Christin (Histoire de l’écriture. De l’idéogramme au multimedia, 2012), the particularity of the alphabet consists in “breaking the links that then retained all the writings to their support as to their essential complement […] by freeing itself from the visible and manipulable space that had always governed writing, it had become an instrument of almost abstract classification, and therefore more reliable”. In doing so, according to Christin, “the writing betrays the visible while pretending to pay homage to it”. Writing was born, in fact, from a “crossbreeding” of two modes of communication that every human society had used since prehistoric times: speech and image. The first allows the community to maintain its structures and heritage, while the second, which gives access to an invisible universe belonging to the gods, guarantees communication between man and divine existence. Japanese writing, which mixes 3 writing systems – the Chinese character of the ideogram and the hiragana and katakana, two syllabaries developed from it – or even 4 writing systems – the Western alphabet, in addition – influences the making of the Japanese “catalogue”, a space par excellence mixing writing and image. This paper is a reflection on the figurative diversity in Japanese catalogues that reveals a happy relationship between text and image.
Professor at the University of Tokyo (Graduate school of Arts and Sciences, Department of Interdisciplinary Cultural Studies, Comparative Literature and Culture Course), Torahiko TERADA is co-author of various publications (Text and image, tribute to Anne-Marie Christin, Suiseisha, 2018, Paris, une des capitales du XIXe siècle, Chikurinsha, 2016, etc.) in Japanese, French, and English, on the question of the relationship between text and image.
IHMC room, 45 rue d’Ulm (staircase D, 3rd floor), 13h30-15h30.