INHA, Auditorium Jacqueline Lichtenstein

This symposium aims to explore the interactions at work between Louise Bourgeois and Alina Szapocznikow and, through them, question the creative dynamics of women artists in places of production and exhibition during the 1960s and 1970s with regard to their consequences with social issues of the memory process.

Keywords: Memory, Heritage, Surrealism, Art and society, Feminism(s), Production, Creative process, Strategy, Relation, “Cordée”, Emulation, Systems theory, Cybernetics, Connections, Simultaneity, Convergences, Construction of imaginaries, Contexts, Face-to-face, Reconciliations and distinctions, Interactions.

Argument

From the arrival of Louise Bourgeois in Paris on the occasion of the hanging of La Fée Couturière in the gardens of the Rodin Museum for the Salon de la Jeune Sculpture in 1965 to the death of Alina Szapocznikow in 1973, the two artists maintained relationships built on admiration and competition. Both actively claimed their independence through creative

experiments, trips to places of production and exhibition, development of networks of critics and gallery owners. Considering that they drew a conscious or unconscious inspiration from their lives, does the biographical prism shed light on the tensions within their works? How does their meeting fit in the history of women’s confidence in post-war contemporary art? Does it also allow us to renew the gaze on their works as well as on the possible genealogies and exchanges between women artists?

Through their interactions, the conference aims to consider the activity and the status of women artists in society with regard to what gives structure to the worlds of art: institutions, distribution networks, production circuits, market but also dialogues between artists. While the “cordées” made of emulation and questioning of Pablo Picasso with Georges Braque, Henri Matisse, Auguste Rodin or Alberto Giacometti have been widely studied and exhibited, those of women artists remain largely unexplored. Could the interactions between Louise Bourgeois and Alina Szapocznikow be a paradigm for a new dynamic approach to the works of women artists?

The analysis of their exchanges during this period makes it possible to study in more detail this decisive moment in their careers and in post-war sculpture when, allowing themselves to look at numerous creative practices (surrealist, biomorphic, antique, abstract, pop), the two female artists freed themselves from movements and developed personal practices, sometimes offbeat, ironic, and humorous, always deliberately subjective and radical.

Based on the backgrounds of Alina Szpapocsnikow and Louise Bourgeois, the papers proposals may fall within the following thematic axes:

• Artistic Communities in Italy

Keywords: Henraux, Nicoli, Carrara Biennale, Pietrasanta, Querceta, Community of artists, Artists residencies, Marble technique, Antiquity (fragments), Renaissance / Baroque, arts and crafts, gypsotheque, new figuration, Giuseppe Marchiori, Maria Papa, Alicia Penalba, Barbara Hepworth.

• Post-war Memories

Keywords: Surrealism 1945 – 1969, Postwar period, Eccentric Abstraction, Psychological Morphology, Unconscious, Trauma, Roberto Matta, Arshile Gorky, Jean Fautrier, Toyen, Dorothea Tanning, Germaine Richier, Erna Rosenstein.

• Biomorphism(s)

Keywords: Henry Moore, Jean Arp, Joan Miro, Magdalena Abackanowicz, Eva Hesse, Biology, Morphogenetic theories, Nature and culture, Art and life, Creative Analogy, Casting, Models.

• The Pop Question

Keywords: Media, Objects, Collages, Industrial Elements, New Materials, Cultural Studies, Multiple, Design.

• Being Feminist Against Her Own Body

Keywords: Personal and Collective feminism, Implicit and Explicit Feminism, Proto-feminism, Feminism and Politics, Intimacy, Body representation, Portrait, Self-portrait, Body Art, Eroticism, Libido, Psychoanalysis, Antipsychiatry.

· The American Dream

Keywords: Promised Land, Hope, Globalization, American Hegemony, New world, Bruised Europe, Networks, Conceptualism, Lucy Lippard.

Moreover, the proposals that would explore the dialogues between women artists on this same period of time (1965-1973) would be considered if they help to better understand the specificity of each relationship and their role in artistic creation.

The symposium will be held in French and in English and with the collaboration of The Estate of Alina Szapoznikow / Piotr Stanislawski / Galerie Loevenbruck, Paris / Hauser & Wirth and The Easton Foundation

Calendar :

– May 30, 2022: deadline for sending proposals

– June 17, 2022: announcement of the selected proposals

– October 7 – 8, 2022: conference

Methods of submitting proposals and sending dates:

The proposals for papers, in French or English (400 words), should be accompanied by a title and a brief biographical notice. They must be sent no later than May 30, 2022 in Word format to: symposium.Inbetween@gmail.com

We will notify those whose proposals have been submitted on June 10, 2022. A selection of papers may be published.

Organization Committee: Hélène Gheysens, Université Paris 1 – Panthéon Sorbonne, ED441, Laboratory for Social and Cultural Art History (HiCSA); Valentin Gleyze – Université Rennes 2 – UR HCA : Histoire et critique des arts

Scientific Committee: Pascal Rousseau, Université Paris 1 – Panthéon Sorbonne, ED441, Laboratory for Social and Cultural Art History (HiCSA), Ecole des Beaux-arts de Paris ; Jean-Pierre Criqui, National Museum of Modern Art, Centre Georges Pompidou ; Camille Morineau, AWARE – Archives of Women Artists, Research and Exhibitions.