- 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 28, 2019 – LAB- Semantic Description of Catalogues (with Richard Walter)
- 12.March 21, 2019. Are the pioneers women of contemporary art in Turkey more globalized than their male peers? (Perin Emel Yavuz)
- 13.Aphrodite-Vénus, ‘art femme par excellence’ (K. Bender)
- 14.Presentation of students’ work
- 15.CANCELED: Race, Ethnicity, Empathy. Radical Women. Latin American Art, 1960-1985 (Andrea GIUNTA)
- 16.the Union des Femmes Peintre et Sculpteurs (Catherine Gonnard)
The session will take place on April 18, 2019 in the IHMC room (45 rue d’Ulm, staircase D, 3rd floor), from 1:30 pm to 3:30 pm.
- Marina Mazze Cerchiaro (São Paulo University): “D’où viennent les femmes lauréates des biennales de Sao Paulo et Paris ? Une approche comparative sur les inégalités géographiques et de genre”
Étant donné que les valeurs artistiques sont variables, mais non arbitraires et qui sont conditionnés culturelle et historiquement, cette présentation interroge la distribution géographique et de genre des lauréats des biennales de São Paulo et Paris dans la période de 1951 à 1967.
Marina Mazze Cerchiaro est doctorante au programme d’Esthétique et Histoire de l’Art à l’Université de São Paulo et réalise un semestre d’échange à l’ENS Paris.
- Sophie Bodénes-Cohen (PSL/ ENS / Cogmaster): “Les représentations des dirigeants africains depuis la période des indépendances : une approche numérique et cognitive des circulations visuelles et sémantiques “.
The reappropriation of the propagandist representation of revolutionary leaders of the 1980s in Sub-Saharan Africa, in the revolutionary and popular art of the 2000- 2018 period, constitutes a micro-process of cultural evolution that can be modelled and quantified thanks to artificial intelligence. This phenomenon tends to converge the portraits of these idealized leaders into popular icons with recurring facial features and characteristics. The traits that recur are cognitive attractors that spread virally on social networks, constituting a phenomenon of cultural epidemiology. Through the development of artificial vision and deep learning algorithms, it is possible to visualize the emergence of the pattern and to understand its attraction factors, whether cognitive and visual bias or environmental attraction factors at work, shaping the evolution of the representation of these portraits. In this presentation, we will present pattern recognition algorithms, the results of their interpretations by color histograms, segmentation studies, a main component analysis and the study of the “average face” of African leaders, applying these algorithms on a database of more than 1000 portraits of Sankara, Selassie and Mandela to trace this diffusion phenomenon.
- Chiara Vitali Punto (ENS/ Master d’Histoire transnationale): “Le rôle croisé des biennales et de l’Unesco dans la mondialisation artistique : le Prix Unesco entre 1951 et 1968”.