Call for Papers

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Conference plan and thematic lines

Introduction

In the last few decades we have witnessed a conceptual revolution in the way we present museums as an authority for research, art management, exhibitions, and curation of all forms of art. This has shifted our perception about the works of art and the concept of art itself. It also makes us question which are the narrative of the museum nowadays. 

Art History and its methodological diversity (from a picture’s formality to its anthropology; from iconography to visual analysis) has allow us to build on a variety of discourses. Today more than ever, an intellectual reflection on traditional artistic categories is crucial to update them and the possibilities that museums have to offer as dynamic cultural institutions. Similarly, exhibition spaces often become a stage that encourages us to continuously re-interpret a museum’s or exhibition space’s function or definition.

We see the work of art is two-fold: it swings from being an almost sacred artistic object created at a historical point in time, to both producing and embodying a sacred experience for the viewer at a museum. There is a divergence between the audience a piece of art was originally conceived for, and the viewers for whom the same piece is exhibited years or decades later.

It is in this way that more recent exhibit shows at “social” and engaging museums also featured studies and surveys to advance audience research. As a result, a number of inclusive exhibitions have appeared, focusing on the diversity of human beings and where the centre of attention shifts from the artist or the piece to the spectator and its individuality. We still have to delve into studying how these innovative methods could transcend the limits of Art.

This thought has entailed new exhibition innovation strategies, usually led by technological and digital development. Thus, museum-applied ICT allow us to move past the boundaries of cultural and artistic knowledge through a series of resources that transcend the work of art itself and break traditional concepts of exhibition and divulgation.

1. Art: theory and history

What do we call Art? How should we study art works? Who defines and where lies the limit between what is Art or what is not? Why can we find certain objects in a museum but not others?

The very conceptualization of the term “Art” and the different epistemological and methodological perspectives of art in historical-artistic studies are coated by the different aesthetic and theoretical currents at the time they are proposed. From the very beginning of Art History as a discipline, a number of different approaches bring us closer to artistic fact (from early formalism or connoisseurship, to current approaches to image anthropology or visual culture). Artistic categories have hugely evolved throughout the 20th and 21st centuries –from the original to the copy and from the material to the immaterial– towards new forms of artistic media, thus raising to creative realities that would have been unthinkable for a 19th century intellectual. Combining different currents and relating theoretical proposals with artistic and museum management practices could be one of the keys to understanding the limits of art in museums.

We will take proposal aiming to clarify some of the current definitions of the concept of Art, as well as key interpretations of the different Art History methodologies related to the different aesthetic and theoretical currents that have contributed to Art History’s history in the museum. We will also value any project seeking to assess breaching or defend situations regarding both classical and contemporary theories about the concept and limitations of the artistic object.

COMUNICACIONES ACEPTADAS EN LA MESA

Título de la comunicación / Proposal Title Nombres / Authors Afiliación institucional / Institutional affiliation
Los estudios sensoriales y los museos en los límites del arte Ángel Pazos-López Universidad Complutense de Madrid
Museums of the Void: the Exhibitional Space as Empty Signifier Alexandra Irimia University of Western Ontario
Museos de música, música en los museos: entre la organología y la iconografía musical. Carmen M. Zavala Arnal, Jorge Ramón Salinas Universidad de Zaragoza
El artista como maestro: problemas del arte político Sergio Meijide Casas Universidad de Santiago de Compostela / Universidad Nacional de Educación a Distancia
Street art inside the museum? Alice Nogueira Alves Faculdade de Belas-Artes da Universidade de Lisboa
Rethinking Propagandistic Art: The Case of Romanian Socialist Realist Artists in the Contemporary Art Historical Discourse Roxana Modreanu University of Art and Design Cluj-Napoca
El cuerpo-lectura: libros como objetos y museos de producción Albert Corbí Llorens Facultad Bellas Artes. Universidad Complutense de Madrid
Destrucción del arte y el arte a través de la destrucción creativa Doroteya Yavorova Tzvetkova Universidad de Salamanca / Universidad de Sofia
A transcultural paradox? Defining contemporary Indian art Georgina Bexon Independent Scholar
Land art como punto de partida: una aproximación a las teorías de Robert Smithson para interpretar y analizar el rol de los museos en la postmodernidad Raúl Armando Amorós Hormazábal Universitá di Firenze

Key words

  1. Art Theory
  2. Methodologies
  3. Aesthetics
  4. Form
  5. Style
  6. Sociology of art
  7. Psychology of art
  8. Iconography
  9. Semiotics
  10. Anthropology
  11. Visual Culture
  12. Sensorial Studies

2. The museum: theory and history

What is a museum and what is it for? How should we approach a museum? What are a museum’s functions? What objects are admissible in a museum?

Turning human activity into heritage and conceptualizing it as an item fit for a museum has gained ground in museum theory, encompasses ever more disciplines, and develops new approaches in agreement with our society’s concerns and demands. We must face these challenges with solutions that would cover the definition, preservation, and research of our heritage. To do this we first need to reflect on the history of our museums, the conceptualization of an exhibit or a collection, to the progressive transformation of the museum spaces we know today. Similarly, it is crucial to lay out a critical and objective vision the differences and parallels that exist between different types of museums, without forgetting private collection and the phenomenon of mass museums.

We will consider papers that tackle the different historical and theoretical sides of museums, especially those focusing on the central concepts of artistic production, their valuation, on collecting as the origin of the modern museum, on authorship and authenticity of exhibited works of art, as well as on the latest curatorial studies tendencies, etc.

COMUNICACIONES ACEPTADAS EN LA MESA

Título de la comunicación / Proposal Title Nombres / Authors Afiliación institucional / Institutional affiliation
Night at the Museum Andrea Olsen Lam Independent Scholar
Trying to live in the museum world Inessa Kouteinikova Independent Scholar
Voice and the Museum: artists' interventions in the Scottish National Gallery of Modern Art Jonathan Carson, Rosie Miller
«Carson & Miller»
Central Saint Martins, University of the Arts London - University of Salford
Museum about museum within a museum. Challenges for meta-curating Martyna Dziekan Museum of American Art, Berlin
Recodificando la identidad: Museos y Antigüedad en la Florencia postunitaria Jonatan Jair López Muñoz Universidad Complutense de Madrid
Por un museo de pequeños gestos: los límites de las publicaciones de los artistas en los museos de arte contemporáneo Elisa Noronha Centro de Investigação Transdisciplinar Cultura, Espaço e Memória - CITCEM/FLUP/UPORTO
Exhibición expandida: ¡más allá del objeto! Alejandro Garay Pineda B·origen / Universidad Pontificia Bolivariana
Achille Bonito Oliva y el sistema del arte: La teoria di turno y los museos de arte contemporáneo. Noemi María Feo Rodríguez Universidad de la Laguna
Experimentar el museo: La exposición como obra de arte Maite Ibáñez Giménez Universidad de Valencia
Museum(s), photograph(s), fragment(s), history(s). The fragments collection in the Stefano Bardini museum in Florence and their displays over time. 1883-2009 Annalea Tunesi Independent Scholar
Transmitir a las masas, una misión fundadora. Les arts decoratifs de París: de la exposición de colecciones hasta espacio museístico Nora Segreto Université Sorbonne - Paris IV
Beyond the categories: reflections on the influence of the museum structure on the practices regarding conservation of contemporary art Aga Wielocha University of Amsterdam
The Museum of Contemporary Art Eduardo Westerdahl in Puerto de La Cruz: The history of a pioneer project (1953-1965) Angeles Alemán Gómez Universidad de Las Palmas de Gran Canaria
Exhibiting Judaica in 19th Century France: Historical Origins & Museological Frontiers Stephanie Nadalo Parsons Paris, The New School University
Mérida, ciudad-museo. El arte sin límites en el Yacimiento Arqueológico de Augusta Emerita. Cristina Eugenia Íscar Gamero Universidad de Extremadura
El estudio de artista en el espacio museistico: El estudio de Francis Bacon en la Hugh Lane Gallery en Dublín Monika Keska Universidad de Granada
La descolonización del museo en América Latina: identidad y mirada Eva Natalia Fernández Universidad Autónoma de Querétaro
Working Internationally on Exhibitions in the Digital Era Bernadine Brocker Wieder Vastari, Christie's Education, University of Glasgow

 

Key words

  1. Museums
  2. Museology
  3. Museograpgy
  4. Curators
  5. Heritage
  6. Originality
  7. Apropiation
  8. Value
  9. Aquisition
  10. Authenticity
  11. Collecting
  12. Exhibition

3. Museums for Society: Audiences, Education, and Identities

Who is a museum for? What do we think about museums at a personal level? What role do museums play in society? How does society condition the type and discourse of a museum?

One of the main concerns about museums today is reflecting on the universal nature of accessing the contents of our heritage. In this regard, the public’s experience, the visitor’s psychology, and the role of the audience become topics which must not only be addressed in the museum’s reality, but also fully assimilated and exemplified within specific cases.

We will thus prioritize papers addressing current study cases about the relationship between museums and society: analysis of museums’ audiences and their role in collections and exhibits; the museum and gender studies; inclusive social diversity or personal disability situations; educational museums, approaches to teaching and learning; identity issues; meeting experiences between generations, migrants, ethnic and cultural groups; or the representation in museums of traumatic experiences and memories resulting from war or exile, etc.

COMUNICACIONES ACEPTADAS EN LA MESA

Título de la comunicación / Proposal Title Nombres / Authors Afiliación institucional / Institutional affiliation
Taboos for Museum Visitors: The Limits of Audience Engagement in Today’s Museums Nausikaä El-Mecky HSE – Heidelberg University & PH Heidelberg
Mediación y comunicación externa en equipamientos de gestión del arte Borja Ibañez Viño Estudiante Universidad Complutense de Madrid
El público en el museo. Los estudios de público: métodos y ámbitos de investigación. Resultados y aplicaciones en la formulación de las políticas de público. Mari Carmen Hernández Perelló Universitat de València
Touching Art: visitors’ meaning making at the art museum Dimitra Christidou University of Oslo, Deparment of Education
¿Son los museos no lugares? Ramón Melero Guirado Investigador Independiente
El museo como elemento líquido Juan Gonçalves Faculdade de Belas-Artes / Universidade de Lisboa
New York City's Art Museum and Activism: The Evolving Relationship Martyna Majewska DESA Unicum, Warsaw / The Courtauld Institute of Art, London
Seduciendo audiencias: los orígenes del marketing de empatía en el Centro Botín Luis Walias Rivera Proyecto Innova Museum
El reto de la accesibilidad cognitiva en los museos universitarios Tamara Bueno Doral, Irene González Hernando, Rosaura Navajas Seco Universidad Complutense de Madrid
El giro educativo en los museos de arte contemporaneo Aneta Budynek Universidad Nacional de Educación a Distancia
El museo como escenario de expresión de lo individual a lo colectivo: una experiencia con personas con Síndrome de Asperger María Victoria Martín-Cilleros, Miguel Elías Sánchez Sánchez Universidad de Salamanca
El museo como vía de prevención de la violencia contra las mujeres Marián López Fdz. Cao, Carolina Peral Universidad Complutense de Madrid
Itinerarios museográficos del trauma y la memoria emocional Marián López Fdz. Cao, Carolina Peral Universidad Complutense de Madrid
El giro educativo del arte como herramienta para la transformación social en los nuevos museos del siglo XXI Ricardo González García Universidad de Cantabria
Los museos universitarios ante los retos de la sociedad del siglo XXI. Identidad, educación y difusión. Luis Méndez Rodríguez Universidad de Sevilla
Two Approaches to the Social Role of Museums: Xi Jinping and Uli Sigg Nicola Foster The Open University
Presenting museums in modern publicly-accessible encyclopedias. Ralitza Gueleva Bulgarian Encyclopedia - Bulgarian Academy of Sciencies
The Role of the Arts in a Non-Collecting, STEM Focused Children's Museum Orlando Graves Bolaños The DoSeum, San Antonio's Museum for Kids
Mobiliario y ausencia de descanso. Evolución y recorridos expositivos Lucía Lorenzo Mendo, Juan Carlos Pavón García, Marta Martínez LIME Laboratorio de investigación y experimentación museográfica.

 

Key words

  1. Visitors
  2. Education
  3. Narrative
  4. Identity
  5. Diversity
  6. Gender
  7. Generations
  8. Social inclusion
  9. Disability
  10. Memory
  11. Trauma
  12. Therapy

4. The Innovative Museum in the Digital Era

Should museums adapt to 21st century’s media? What is the role of the museum in a society of information? Technology for museums, or museums for technology?

Digital and media development, as well as their continuous progress and update, call for a debate about the horizons and limits of applying technology to the museum environment. New forms of exhibition in the era of digital humanities and the paths they create for society to access museum knowledge must be analyzed correctly as the interaction vehicles they are because they play a fundamental role in transmitting the message that determines the way we think of an art work.

We will evaluate projects addressing subjects such as the digital breach, open access in museums, the transcendence of the digital media and the internet in museum policies, business-to-museum relations in order to face museums’ needs in our current economy, the different types of museums that have emerged as a response to an increasingly globalized society, etc.

COMUNICACIONES ACEPTADAS EN LA MESA

Título de la comunicación / Proposal Title Nombres / Authors Afiliación institucional / Institutional affiliation
Towards non-logocentric regimes in museums: learning through sound Alcina Cortez INET-MD, Universidade Nova de Lisboa, Lisnon, Portugal
Everything e Inside: el jugador y el espectador como objetos David Aguilera Ferragut Universidad de Barcelona
Luz, tecnología y desmaterialización: un «universo propio de significación perceptiva» Leticia Crespillo Marí Universidad de Málaga
Realidad Aumentada en el museo Sandra Medina Bueno Universidad de Málaga
De exposiciones interactivas a muestras transmedia Nuria Rodríguez Calatayud, Álvaro Sanchis Gandia, David Heras Evangelio, Melani Lleonart García Universidad Politécnica de Valencia
Virtual Objects: André Breton’s Surrealist Museum Online Christina Rudosky University of North Carolina - Chapel Hill
Optomultiplicidad: Generación de nuevas perspectivas en la muestra expositiva Marta Martínez Prieto LIME Laboratorio de investigación y experimentación museográfica
Indagando sobre la construcción de un espacio expositivo transnacional a través del análisis de grandes conjuntos de datos de acceso abierto Nuria Rodríguez Ortega Universidad de Málaga
Ex Mira Lanza: the new Street Art Museum that is revolutionising the very concept of Art Collection in Rome Adriana De Angelis University of Roma Tre
Comunicación en el espacio expositivo: estrategias y recursos artísticos. Una aproximación virtual. Nerea Gil Muñoz de la Nava, Guadalupe Cerezuela Sáenz de Buruaga, Marina Suárez Fernández LIME Laboratorio de investigación y experimentación museográfica

Key words

  1. Digital Museums
  2. Virtual Museums
  3. Digital Humanities
  4. ICT
  5. Digital Divide
  6. Communication
  7. Media
  8. Technology
  9. Digitization
  10. Cataloguing
  11. Open Access
  12. Internet

5. Singular Cases in Current Museology

Posters sesion.

We will also collect and provide visibility to designs, activities, innovation and development projects, masters’ degrees’ capstone projects, doctoral thesis, etc. about Art History in the form of posters. Applying these projects to museums will showcase activities and strategies to reflect on the question of the limits of art in a museum, and more specifically, those activities and strategies pertaining to a particular collection or institution.

We will seek to draw a panoramic picture between all these communications to allow for a geographic diversity (regional versus national focus, small exhibits versus great museums), visitors’ dynamics between city and suburban areas, originality, and pioneering activities for the current museological discourse. This section will therefore be a space to exclusively specific cases that will grant practicality to the theoretical topic addressed in the other thematic areas of our Congress.

PÓSTERES ACEPTADOS EN LA MESA

Título de la comunicación / Proposal Title Nombres / Authors Afiliación institucional / Institutional affiliation
Contemporary art in a gallery of ancient art: Alberto Burri at the Museum of Capodimonte, 1978 Francesca Santamaria Phd Scuola Superiore Normale di Pisa; Scholarship Museo Nazionale di Capodimonte
Proyecto museográfico para la obra de Manolo Millares Miguel Ángel Esparza Méndez Universidad de Las Palmas de Gran Canaria
Conservation-Restoration at the Portuguese Museums Ana Guerin, Ana Bailão, Elsa Pinho Faculdade de Belas Artes da Universidade de Lisboa
Del muro a la unidad espacial: una nueva estructura expositiva Ana Paulina Hernández Lara, Sara Urriza Nolan LIME Laboratorio de investigación y experimentación museográfica.
La eliminación de obstáculos para la difusión de la cultura material: Accesibilidad de los museos arqueológicos españoles para personas discapacitadas. Diego Merino Del Valle Universidad Nacional de Educación a Distancia
El paisaje militar de la ruina moderna como museo expandido Rafela Nicolau Universidad Complutense de Madrid
24 cuadros por segundo: Cine en los museos. Daniel Gascó García Asociación Valenciana de Críticos de Arte (AVCA)
Adaptación del equipamiento escénico al espacio expositivo. Jesús Rodríguez Pedrosa LIME Laboratorio de investigación y experimentación museográfica.
Suelos técnicos. La integración espacial del mobiliario Juan Carlos Pavón García, Lucía Lorenzo Mendo, Marta Martinez LIME Laboratorio de investigación y experimentación museográfica.
La vitrina 3.0 - el vidrio inteligente como elemento interactivo dentro de las exposiciones David Gallardo López, Silbia Idoate, Patricia Navarro LIME Laboratorio de investigación y experimentación museográfica.
Arte, tecnología e interpretación Pilar Saez Lacave Universidad Blaise Pascal, Clermont Ferrand
Pupinization – From Virtual Museum to Interactive Exhibition and Back Ljudmila Djukic Hyde Park International School

Key words

  1. Specific museum
  2. Art project
  3. Research project
  4. Innovation project
  5. Teaching project
  6. PhD Thesis
  7. MA Dissertation
  8. Collections
  9. Exhibitions
  10. Nation
  11. Region
  12. Dispersion

Speakers' profiles

Professors and researchers

...of the different disciplines about theory and Art History, aesthetics, history, musicology, museology, archaeology, heritage management, communication, education, sociology, engineering, informatics and information technologies, as well as any other disciplines related which possess research experience in any of the lines proposed.

Researchers in training

...Master and PhD students of the quoted areas, as long as they have developed a research in any of the problematics that will be held in the Conference.

Professionals of the museums

...galleries and art centres, institutions and cultural enterprises that may contribute with their practical work experience to the different sessions organised in the event.

Forms of intervention

ORAL COMMUNICATION

(8-12 minutes maximum)

Will lay out papers focused in lines 1-4.

  • The communications may be grouped in panels or specific tables according to the scientific committee's criteria. This may be in the line proposed by the authors or it may be changed to a more convenient one.

  • A Windows computer will be provided. It counts with spotlight, internet connection and office computerization. Participants will be allowed to make use of their own audiovisual means, installing them before their intervention. Any other technical requirement must be communicated in advance to the Scientific-Organising Committee.

  • After each communication group a debate with the speakers and the attendants will be held in order to exchange ideas about the topics discussed.
SCIENTIFIC POSTERS

(with public exhibition)

 Only for works focused on line 5.

  • Posters design is free, but it must be edited in vertical DIN A0 format (841 x 1189 mm). The poster must include in its design the Conference banner (JPG), Consortium MUSACCES logo (JPG) and those of the authors' affiliation institutions as well. The latter must be clearly recognisable.

  • Authors must print and carry their poster in person at the beginning of the first session so the Secretary will be able to exhibit it in the panels provided.

  • Posters will be visible during the second session of the Conference in the common spaces set up. In the program there would be a time scheduled for the oral presentation to those participants interested.

General participation rules

Both for oral communications and posters

  • The official languages of the Conference will be Spanish and English, being both of them accepted for the interventions.
  • The authors must send a brief résumé of the projects only via this form before July 30th 2017. The form will automatically send a copy to the email address provided by the main author of the communication.
  • By the beginning of September, the Scientific-Organising Committee get in contact with the authors of the accepted communications. Improvements in the communications can be suggested.
  • At least one of the authors must attend the Conference in person not being allowed the virtual intervention. The registration can be done once the acceptance of the contribution is communicated.
  • In works by several authors, only those registered in the Conference and having paid the corresponding fees will receive the certification of their contribution.
  • We will offer to the speakers the opportunity to participate in the inaugural dinner on the 28th with the keynote speakers, paying in person the cost in the Secretariat. For this, the secretaries will send to the speakers more information by email some days before of the start of the congress.

Monographic book

The Conference will not publish the proceedings of the meeting. The organisation has decided to edit a scientific monograph in the form of a digital and printed book where a selection of the contributions will be gatheredell in the form of short chapters. This selection will be led by the system of blind peer system. The norms for participating will be communicated afterwards, once the agreements with the publishing editorial are closed. The printed book may be reserved during the process of registration with an advantageous price.

Submit your communication now!

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