- 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 contemporary art turn in Turkey took place in the 1970s and 1980s under the action of artists in the wake of the Istanbul Academy of Fine Arts. After training abroad, many of them bring back a corpus of texts about art by American and European authors into the curriculum, which they translate themselves, and gradually integrate new practices into the artistic scene, notably through exhibitions and publications. These pioneers from three generations distinguished themselves by a gender diversity that is undeniable in the development of contemporary art in Turkey, where women artists play an important role not only on the local but also on the international scene. This presentation focuses on the integration of women pioneers of contemporary art, assuming that their degree of recognition in international artistic networks exceeds, for some, that of male artists. This hypothesis is based on the observation of a group of five women artists (Füsun Onur, Tomur Atagök, Gülsün Karamustafa, Ayşe Erkmen, Inci Eviner) who show their works in major international biennials and who are represented in museum collections. A quantitative study of these three generations of artists, both male and female, will lead to measure their degree of recognition, taking as criteria training, exhibitions and acquisitions by major collections. A qualitative study of works and discourses will seek to understand why and how these five women artists achieved such recognition.
Perin Emel Yavuz (CNRS, IC Migrations) is an art historian and theoretician. A doctor of EHESS, she devoted her thesis to photographic and textual narrativity in contemporary European and American art of the 1970s. Her current research focuses on exploring the emergence of contemporary art in Turkey and the former Czechoslovakia. Since 2014, she has co-facilitated the research group on visual arts in the Maghreb and the Middle East, 19th-21st century. (www.arvimm.hypotheses.org).
March 21, 2019, Ecole normale supérieure, 45 rue d’Ulm. IHMC room (staircase D, 4th floor), 1:30-3:30 pm.