
University of Madeira, Funchal, Portugal | 4-6 December, 2023
Submission Deadline
15 June 2023
Notification of Acceptance
24 July 2023
The International Conference of Photography Studies, to be held on 4-6 December 2023 at Colégio dos Jesuítas, Universidade da Madeira, Funchal, Portugal, invites proposals on Photography and Site – Routes, Cartographies and Drifts. The conference aims to explore the ways in which photography has been used to map and represent territories, as well as documenting journeys, migrations and movements across landscapes. In addition to designating spatially defined territories, the notion of “site” has been associated with metaphorical and metonymic meanings, with historical, identity and relational dimensions, which replace or, at least, superimpose this more essential geographic dimension. Moreover, this overcoming of a more properly territorial circumscription is implicit in studies that relate photographic representation to geographic imagination, where photography emerges as a particularly apt means of defining spatiality. In this sense, from the digital revolution of the 21st century itself, where photography is inscribed as a plural practice and hybrid technique, the reconfiguration of this concept and others in its proximity, such as: that of lieux de mémoire (Pierre Nora), that of non-place (Marc Augé), or heterotopia (Michel Foucault). At the same time, we highlight the role of photography in artistic practices in different disciplinary areas, which privilege notions such as wandering, drifting and chance, namely, through the act of walking, either as an object or as a methodology or work process.
The deadline for the present call for proposals is 15th of June 2023. We invite proposals for 20-min presentations in Portuguese and English.
Site/Landscape: landscape as an autonomous photographic genre that asserted itself almost immediately since the beginning of the medium in relation to the idea of place; photography's ability to represent, emblematize or reify the idea of place, for example, in its association with the practice of tourism, place branding and in specific formats such as postcards; the role of photography in documenting human intervention in the natural world, whether in legitimising certain constructions/ventures or through an ecological critique.
Art, paths and drifts: authorial processes or practices that refer to thoughts on territory through notions of trajectory or established path, or, on the contrary, of drift or unpredictable wandering, without a charted destination; the mobilising of photography in the act of walking. Architecture, Urban photography and the flâneur: uses of photography in capturing the modern urban experience of the beginning of the 20th century or in a postmodern experience of the city; relationship between the technique and posture of the flâneur of wandering and observing a hectic reality.
Regional photographers: routes of Madeiran photographers, or with a practice in the Madeiran Archipelago, and approach to their trajectories and works; representativeness of their images in their relationship with different sites; photographic representation and Madeiran identities:insular, atlantic, macaronesian.
Digital media and new cartography: an approach to contemporary photography as a technique intertwined with other digital media in the visualisation of cartography (point clouds, machine/satellite images, drones, road trip photographic tradition, etc.); artistic practices that mobilise images generated by surveillance technologies, subverting functions and/or expanding potentialities.
Photographic mapping of transits and exchanges: projects that, similarly to the role attributed to photography by Allan Sekula in Fish Story (1988-195) in documenting the economy and distribution of goods on a global scale, address that same topic today; exploring the tension between visibility and invisibility of means, routes and distribution paths on a global scale. Photography and migrations: the role of photography and other technologies in recording the experiences of migrants, refugees and people on the move; thinking about the ability of photography to witness and document these experiences, in particular, through the intersections with sound and moving image.
Photography and literature: relationship between text and image in regards to notions of site; the photobook genre as a complement to, or rather a disruption of, travelogue conventions; use of photography in literature (novel and essay) as a form of framing or tension with the notion of (a) place.
b) The name of the author with current affiliation, contact details (email and mobile) and a short biographical note (around 200 words).
Notification of acceptance will be sent by 24th July 2023.
Margarida Medeiros: Nova University, Portugal
Teresa Flores: ICNOVA Institute of Communication of Nova University, Portugal
Sandra Camacho: ICNOVA Institute of Communication of Nova University, Portugal
Filippo de Tomasi: ICNOVA Institute of Communication of Nova University, Portugal
Emília Tavares: MNAC - The National Museum of Contemporary Art, Portugal
David Bate: University of Westminster, UK
Ana Mauad: University Federal Fluminense, Brazil
Anne Reverseau: Université Catholique de Louvain, Belgium
Jan Baetens: Faculty of Arts KU Leuven, Belgium
Ana Gandum: Direção Regional da Cultura, Madeira, Portugal & ICNOVA Institute of Communication of Nova University, Portugal
Rita Rodrigues: Chefe de Divisão de Estudos do Património - Direção Regional da Cultura
Vítor Magalhães: University of Madeira, Portugal
Ana Viseu: ICNOVA Institute of Communication of Nova University, Portugal
Dora Santos Silva: ICNOVA Institute of Communication of Nova University, Portugal
Ana Margarida Barreto: ICNOVA Institute of Communication of Nova University, Portugal
Ana Gandum: Direção Regional da Cultura, Madeira, Portugal & ICNOVA Institute of Communication of Nova University, Portugal
Sara Freitas: Direção Regional da Cultura, Madeira
Rita Rodrigues: Chefe de Divisão de Estudos do Património - Direção Regional da Cultura
Vítor Magalhães: University of Madeira, Portugal
Sandra Camacho: ICNOVA Instituto de Comunicação da Universidade Nova / Observatório EVAM
Vânia Vieira: Museu de Fotografia da Madeira – Atelier Vicente’s