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Submit proposal October 1-2, 2020 | Cádiz, Spain 2nd International Conference on Arts and Cultures GKA ARTS 2020 Next deadline: FEBRUARY 17 GKA ARTS 2020 HIGHLIGHTED THEME Cinema as subversive art: avant-garde, resistance and rearrangements More information GKA ARTS 2020 Host University


2nd International Conference on
Arts and Cultures
Ocotber 1-2
- - -
Cádiz, Spain

Cinema as subversive art: avant-garde, resistance and rearrangements
Key Dates Proposal submission Registration Highlighted theme Keynote speakers Host University Travel and Accommodation Scholarships Accepted proposals

Key Dates

Conference: October 1-2, 2020.

First Call for Papers until December 9, 2019
Second Call for Papers until February 17, 2020
Third Call for Papers until May 18, 2020
FINAL Call for Papers until August 18, 2020
Super Discount Rate until December 20, 2019
Early Rate until March 2, 2020
Standard Rate until June 1, 2020
FINAL Rate until September 1, 2020

Congress: October 1-2, 2020.

1st CFP until December 9, 2019
2nd CFP until February 17, 2020
3rd CFP until May 18, 2020
FINAL CFP until August 18, 2020
Super Discount Rate until December 20, 2019
Early Rate until March 02, 2020
Standard Rate until June 01, 2020
FINAL Rate until September 01, 2020

Highlighted Theme

Cinema as subversive art: avant-garde, resistance and rearrangements

When defining the work The cinema as a subversive art of the Austrian-born film critic Amos Vogel, the II International Conference on Arts and Cultures uses the same title of this work as a reference, not to limit itself to those desires or tastes of Viennese by censored films for its disturbing content and with explicitly sexual or violent images, but for seeing in the cinema, in addition to the above, an inciting, answering, transforming, avant-garde and critical art. In short, it is to appreciate from the beginning of the cinema its competences to be art and its capacity as a catalyst for socio-cultural changes, at national and international level.

Together with the discussion of the thematic subversion of the medium in front of other artistic ways, the editions against ideologies and aesthetics will be evaluated, which also appear in a cinema that exchanges or manipulates our conscious and unconscious, demystifies visual taboos and modifies the visions of existing values ​​and institutions. In turn, the technological forms will be analyzed, including the new digital and virtual configurations that the cinema has used to represent and question science, politics, philosophy, modern art, among others.

Within all the above, in addition to film productions, other manifestations born in the heat of this art will be included, such as the video clip, video games, video art, net-art, among others.

Recurring Themes

Art, Culture, and Society

  • Development of universal art: contexts, historical framework, and symbolic-expressive productions.
  • Influences of cultural forms on artistic practice: meanings and associations in the History of Art. Philosophical and religious aspects. The creative act and spiritual power.
  • Esthetic manifestations of cultures in their historical and geographical context: styles, function, and circulation. Interdisciplinary systems of interpretation.
  • Stylistic and iconographic aspects linked to socio-cultural processes. Systems of representation.
  • Ruptures and continuities: peak and dissolution of the Avant-gardes. Postwar Art and the shaping of contemporary art. Artistic movements.
  • Performance or action art.
  • Urban art. Environmental sciences and contemporary art. Pop Art. Land Art and Earth Art.
  • New art forms: technology and science. Bioart. Strandbeest. The Aerocene Project. Cyborg arts. Networks, digital media, and interactive forms.
  • The human body as art object and platform. Gender and sexuality. Expressive materials.
  • Technology and the democratization of art. Video installations. Electronic arts. Creative industries. Interventions in urban spaces.
  • Design and creativity. Design thinking.
  • Visual and plastic languages. Architecture. Sculpture. Painting. Engraving. Drawing.
  • Creative writing applied to the field of art: literature, storytelling, dramaturgy, and fiction. The art-literature relationship.
  • Musical arts: techniques, resources, and musical production. Genres and composition. Theory, functions, and stylistic elements. Interpretation and diversity. Electroacoustic media.
  • Dance: techniques, choreographic expression, and popular music.
  • Theater arts: scenography, lighting, and stage direction. Acting: vocal, corporal, and rhythmic dimensions. Actor training and methods. Expressive technical work.
  • History and theory of film. Esthetics and audiovisual language. Documentary film.
  • Contemporary film and up-and-coming film-making.
  • Illustration and animation.
  • Artistic photography, image, and new audiovisual esthetics.
  • Decorative and industrial arts.

Management of culture and the arts

  • Policies and legislation on culture and the arts. Cultural stewardship.
  • Museums. Galleries. Collections. Fairs and antique dealers. Leading cities and international Antiquariato. Management styles and major issues.
  • Biennials in the context of globalization. Function of museums and art collections in the 21st century: new management narratives.
  • Art circuits. Institutions and agents.
  • Marketing, art and culture. Sponsorship and patronage. Market segmentation and positioning.
  • Strategic approaches. Art project design and evaluation.
  • Policies on culture and the arts: role of government, economy, and financing.
  • Public and private management models. Comparative studies.
  • Intellectual property and copyright in the global society: works of art as object of intellectual protection.
  • The issue of domain with regard to works of art.
  • Cultural industries. Crowdfunding, micro-patronage, or collective financing.
  • Management of Cultural Policies and Institutions.
  • Documentation, Registry and Archives.
  • Management and Event Planning.
  • Applied Finance to Art and Culture.
  • Management of Organizations in the Fields of Culture and Arts.
  • Legislation for Artistic Management.
  • Management of International Organizations.
  • Cooperation Projects and Artistic-Cultural Self-management.
  • Educational Management in Artistic Institutions.
  • Management and Communication in the Contemporary World. Creativity, Art and Innovation: Advertising, Cinema, Journalism, Digital Communication, Videogames, Cultural Management, Applied Arts, New Technologies.
  • Human Resources Administration and Psychosociology of Organizations.
  • Cultural Policies. Communication and Institutional Image.
  • Management of Artistic Languages: Visual Arts Manuals, Literary Genres, Theater and Dance, Crafts and Folklore, Musical Languages, Visual Arts, Multimedia Arts and Digital Arts.
  • Curatorship of Artistic Heritage and Editorial Curatorship.
  • Museums and Historical-Artistic Heritage: History of Collecting. Collections Management.
  • Management and artistic production. Emerging artists: Relationship with the media and with the public. Legitimation and Circuits.

Cultural and artistic heritage

  • Expertise and preservation of cultural and artistic heritage History of preservation and restoration.
  • Historicity of restoration activities: criteria and theoretical principles.
  • Restoration of cultural assets: artistic techniques. Historicity and theoretical principles.
  • Appraisal, intervention-restoration of cultural assets. Preventive conservation.
  • The World Heritage: protective measures and contributions to sustainable development.
  • The destruction of cultural heritage in conflict zones: landmark resolutions and conventions. International legal framework. The World Heritage Convention.
  • Management of Cultural Heritage Assets. Plundering and illegal trafficking of works of art.
  • Cultural heritage and sustainable tourism. Cultural heritage and Development.
  • Cultural heritage and artistic practice as aspects of community identity and unity.
  • Museology and museography: research, documentation, and preservation.
  • Administrative styles and types of museums. Comparative studies.
  • History of art: multidisciplinary, interdisciplinary, and transverse studies.

Curating, history of art, and the art market

  • History of art. Exhibition spaces, institutions, and agents of the art circuit. Museums, art galleries, and unconventional spaces. International art exhibitions.
  • Curating. Curators’ tales. Managing, planning, and setting up exhibits.
  • The curator’s role: curatorial and explanatory discourses. Developing brochures, formulating concepts and associative keys.
  • Platforms, registration, and exhibition.
  • Artistic heritage: collective memory and identity.
  • Art and interculturality: influences and innovation. Social and cultural relevance of artistic heritage.
  • Circulation of works, the public, and the art market.
  • Renowned and up-and-coming artists. Biographical and documental studies.
  • Creative groups (or artists collective). Residencies in artistic production: collaboration, research, and action. Culture factories. Major issues, challenges, and opportunities.
  • Contests, workshops, and salons.
  • Art and Education. Art education. Universities and places of learning: plans, programs, and academic offerings.
  • Contemporary art, aesthetics and combined languages.

Theory of art and contemporary esthetic

  • Historiography and theory of art. Comparative theory of the Arts. Theoretical approaches with regard to art and cultural diversity.
  • Contemporary theories of art and culture. The history of art as grand narrative. Esthetic trends.
  • Issues in Esthetics and postmodernism’s critical stance.
  • Iconological and iconographic studies of works of art. Methodologies in art research. Major issues in contemporary art.
  • Art and technique. Art philosophy and esthetic. Art and creativity.
  • Thought, esthetic, and artistic practices.
  • Forms, functions, and meaning in art.
  • The sociology of art.
  • Works of art: morphological and esthetic criteria.
  • Auratic and post-auratic art.
  • Art since the “end of art.” The new spectator.
  • Art criticism: methods and rhetoric of the image.
  • Critical acclaim for contemporary art.
  • Problems of modern art and contemporary art. Art and Globalization.
  • Languages and Genres of Art.
  • Art in the Age of Post-Truth.

Art, technology, and the media

  • Electronic arts. Digital design. Interactive art.
  • Televisual esthetics. Promotion and popularizing of art: specialized publicity and audiovisual media
  • Objects, installations, photography, and video.
  • Multimedia and digital arts.
  • Images in the global order: asymmetries and access. Differentiating factors: core-periphery.
  • Digitization of images. Art in print.
  • Virtual museums. New languages applied to promotion of the arts: virtualization of the artistic heritage. The public’s role: esthetic experience and participation.
  • Educational exhibits: actions, functions, and services.
  • Print, televisual, and audiovisual publicity.
  • Social networks as a means of promoting-disseminating art.
  • Networks, digital media, and interactive forms in art.
  • New transmedia narratives: storytelling.
  • Participatory culture on the web. Associated information technologies. Crowdsourcing. Applications in the cultural milieu: art, museums, and libraries.
  • Popular cultures and the media.