Conférence "The Melancholy (In)visibility of Landscape"

Mark Cheetham (Université de Toronto, dépt d'histoire de l'art), fera une conférence sur "The Melancholy (In)visibility of Landscape", mercredi 6 mars 2024 à 17h, accessible par le lien Zoom suivant:

https://univ-lille-fr.zoom.us/j/92567815747?pwd=VjdOOWlNcW5UNFJ1dlhXZUtHMmF4dz09

Cette conférence fait partie du projet Landscape (Module Jean Monnet financé par l'Union Européenne), et de son séminaire "Regards croisés sur le paysage", portés par le Département de Philosophie, Faculté des Humanités de l'Université de Lille. 

Pour tout renseignement, contacter anne-christine.habbarduniv-lillefr

Présentation de la conférence:

"Three vignettes of landscapes will be presented in this seminar. Vignettes can be visual, textual, and
intermedial. Apparently only supplemental, they also reveal important issues, including those
arising in the potent third spaces of what Liliane Louvel theorizes as ‘iconotexts.

1. Landscape as ‘land’ (including atmosphere, water, and ice), a material presence that is available to our human senses and can be depicted, manipulated, and performed in conventional and new aesthetic formats.

2. Landscape as sensible yet effectively unavailable (invisible, inaudible) and thus a challenge to artforms reliant on reproduction and circulation of (usually) visual information.

3. Landscape in public institutional contexts, especially university curricula (as a ‘subject’ to be studied, taught, and re-presented in publications) and in museum contexts. Akin to many contemporary artists, researchers contend with their own impotence in the face of landscape that is changing at what seems to be an accelerating, anthropogenically induced pace.

In these three interlocking contexts, both visible and invisible landscape – as it has morphed into ecoart, ecocritical art history, and ecologically-centred exhibitions – is frequently accompanied by melancholy on the part of its artistic creator, curator, or scholar. We experience a sense of planetary loss that can be related to but is more profound than the loss inevitable through artistic reproduction and mass circulation (the diminution of authenticity or aura). Melting ice is a common and powerful example, one of many cruel ironies, in Lauren Berlant’s haunting nomenclature, that preoccupy many today."