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Ikonotheka, no. XXXII: Queer Heritage: Central Europe and Beyond
Deadline: May 30, 2021 Robert Kusek
Call for Papers
Ikonotheka | Journal of the Institute of Art History University of Warsaw
Editors-in-chief: Zuzanna Sarnecka and Wojciech Szymański
For its XXXI issue Ikonotheka invites scholars to send article proposals on the topic
"Queer Heritage: Central Europe and Beyond"
Guest editors: Wojciech Szymański (University of Warsaw) and Robert Kusek (Jagiellonian Univer- sity in Krakow)
In that phrase “a queer desire for history,” I meant a desire for a different kind of past, for a history that is not straight. (Carolyn Dinshaw)
Over the last several decades, a “queer desire for history” famously formulated by Carolyn Din- shaw in her 1999 study Getting Medieval has resulted in a major revaluation and re-interpretation of the past from the point of view of gay and lesbian, as well as queer studies. Heritage, aptly described by Sharon Macdonald as “meaningful pasts that should be remembered”, and the many disciplines it entails – including history of art and architecture – have not remained immune to the process of queering the past. In what appears as largely “queer-philic” Western historiography and public history, one has recently witnessed a number of attempts that have aimed at not only remembering the queer past but also creatively and productively engaging with it – from Matthew M. Reeve’s ground-breaking investigation of the Gothic style and queer sexuality (Gothic Architec- ture and Sexuality in the Circle of Horace Walpole, 2020) and Tate Britain’s pioneering examina- tion of queer visual culture (Queer British Art 1961–1967, 2017), to an array of projects unearthing LGBTQ histories embedded in historic buildings, museum collections, and urban/rural lands- capes(Historic England’s “Pride of Place” or National Trust’s “Prejudice and Pride”).
In the light of the above, one might be tempted to ask about the presence of the “queer historical impulse” in Central Europe – especially its art and architecture, their respective histories, as well as visual culture. What is the history and status of queer heritage in the region? What are the meth- ods of its investigation – particularly when confronted with a paucity of sources and institutional queerphobia? What has been the response to the LGBTQ past among art and architecture histo- rians, as well as scholars in the fields of museum, visual, and cultural studies? Is the queer past
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Central Europe’s dissonant or difficult heritage par excellence – incongruous and discrepant, pro- ducing disharmonies and conflicts? Or, alternatively, has it led to the discovery of a different kind of visual past and a different kind of art history – including new interpretations, approaches, and revisions. Finally, what is Central Europe’s relationship with global/Western queer heritage and what its contribution to the latter might be?
We invite proposals to the 32nd volume of “Ikonotheka” which hopes to provide answers to the above-listed questions and to address the issue of queer heritage in Central Europe and else- where.
Suggested themes include but are not limited to:
- queer heritage – definitions, methods, approaches - queer art and architecture, and their respective histories - queer(ing) art history
- the queer Gothic in Central Europe
- art, architecture, and non-heteronormative sexualities in the long 18th century - queer fin de siècleand the Decadent movement and their legacies in Central Europe - queer communism/socialism and the art of socialist realism
- queer centres and peripheries – queer metropolises (e.g. London, Paris, St Petersburg) and Cen- tral European queer capitals (e.g. Berlin, Budapest, Vienna)
- historic houses/sites and LGBTQ histories
- queer topographies – places and spaces (e.g. baths, swimming pools, parks and gardens) - queer(ing) museums and their collections – exhibitions, artefacts, curatorial practices - Central European queer heritage as contested/dissonant heritage
- homosensuality in Central European visual cultures - camp and queer aesthetics
- queer artists in Central Europe – queer lives, communities of taste, art colonies DEADLINES
for the abstract: 30 May 2021(notification by 30 June 2021) for the article: 30 November 2021
Abstracts should be sent to ikonotheka@uw.edu.pl SUBMISSION| Guidelines and Dates
Deadline for the abstracts: 30 May 2021, with successful notification by 30 June 2021. Abstracts should not exceed 300 words and include the author’s short biographical note with current aca- demic affiliation (up to 150 words). The deadline for the final contributions will be 30 November 2021. Publication date: late 2022.
The expected length of individual contributions is approximately 6000 words. All submitted papers will be subject to a double-blind peer review process.
ABOUT THE JOURNAL
“Ikonotheka” is a journal of the Institute of Art History University of Warsaw on the history and the- ory of the arts. “Ikonotheka” was founded in 1987 by Professor Jan Białostocki, with the first vol- ume published in 1990. The journal seeks to demonstrate a wide range of approaches to the study of the art of the past and of the contemporary artistic practice. It encourages its authors to employ different methodologies and welcomes investigations into previously understudied art his-
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torical topics. The authors are invited to consider both mainstream and lesser-known artists and/or artworks. The journal publishes solely original texts that have not been previously pub- lished elsewhere. The journal is annual and undergoes a double-blind peer review, which is carried out both for paper and digital (open access) editions.
For more information, including guidelines for authors visit www.ikonotheka.pl
Reference:
CFP: Ikonotheka, no. XXXII: Queer Heritage: Central Europe and Beyond. In: ArtHist.net, Mar 18, 2021 (accessed Feb 27, 2022), <https://arthist.net/archive/33616>.
