Radical Inclusivity Symposium
Radical Inclusivity, which will be held on May 3rd, from 10:30 am to 1:30 pm CET, is a symposium discussing and challenging the current status quo in the art world, and how it needs to change.
This symposium calls to dimensions of the art world that have been historically suppressed, underrepresented, and delegitimized, in order to give them voices. Radical Inclusivity is an open call to examine new forms of artistic realities willing to be grounded in situated experiences.
Graduate students at Paris College of Art are welcoming multidisciplinary proposals challenging the status quo and seeking a reorganization of hierarchy through empowering perspectives from communities less often heard.
The call for proposals is now closed. Thank you to everyone who submitted a proposal to the 2021 Paris College of Art Symposium.
You can find below the schedule for the event. It’s open to all.
10:30 — Opening: Klaus Fruchtnis – Associate Dean of Graduate Studies
General introduction and program presentation – Pauline Chasseray, Supervisor of the Graduate Students’ Symposium
10:45 — Keynote: Questioning Neutrality Collective
“Teaching to transgress Toolbox” aims to find and share ideas for teaching in progressive, decolonial/intersectional feminist/anti-discriminatory ways. Their topic is called “Questioning the Notion of Neutrality” in art school. It addresses the knowledge and references that are passed on in the university, the “neutrality” of the teacher, and critically questions what “neutrality” is.
11:15-12:15 — Questioning Neutrality Workshop
This workshop aims to explore the question of neutrality, giving tools to find and share ideas for teaching in progressive, decolonial/intersectional feminist/anti-discriminatory ways.
BREAK
12:30 — Learning transition – Léa Ponchel, Pedagogic coordinator – Master AIRE Learning Sciences, Université de Paris, Centre de Recherches Interdisciplinaires, Paris, France
As coordinator of the Learning Sciences Master program in the innovative ecosystem that is the CRI, Léa Ponchel runs a curriculum that focuses on how learning transition transforms our way to learn and also the way we work, manage, collaborate, and create. With a strong focus on project and research methodologies, working on students from all backgrounds in education is an approach in its own right.
12:45 — Thinking inclusive curatorial practices – Anna Liesching, Curator of Art, Ulster Museum – National Museums NL. Belfast, Ireland
Responsible for the national collection of prints and drawings, Anna Liesching looks after the Arts Council of Northern Ireland Collection of contemporary art and shares responsibility for the Troubles Art Collection and Archive. As a curator, she is trying to disrupt the collecting and displaying of works in the institution through an intersectional and dynamic approach. Her intervention also aims to reflect on what exists already in the collections she cares for through a “radical” lens.
13:00 — Reclaiming life drawing – Hélène Fromen, artist and researcher, MFA in Drawing at PCA – Paris
In her practice and research, Helen Fromen attempts to reclaim drawing practice in a transfeminist inclusive perspective, as a space of collective emancipation. Using gender studies and queer methodologies as the framework of her research, she is leading field studies about drawing practices, mainly through the queer life drawing workshop Modèle vivant.e in Paris.
13:15 — The Role of the Artist in a Post-George Floyd Society: What Now? – Tyanna Buie, artist and Assistant Professor, College of Creative Studies, Detroit, MI.
Tyanna Buie discusses the outcome of the panel discussion/exhibition and the benefit of an artistic approach to radical diversity and inclusion. These questions aim to ponder over the role of the artist in a post-George Floyd society, to think how we could make our society more inclusive overall.
13:30 — Closing
Join us for this event by clicking on the link at the bottom of the page.
“Vision is always a question of the power to see – and perhaps of the violence implicit in our visualizing practices.” —Donna Haraway, Situated Knowledges, 1988
In 1988, Donna Haraway questioned objectivity, partial and disembodied perspective in knowledge production: ways of seeing in order to imply ways of knowing. Feminist politics have confronted the power of the male gaze—specifically the western male gaze—through the idea of situated knowledge producing possible unexepected openings. This critical approach of the gaze is tangential to many different social movements struggling for autonomy: gender-queer politics, intersectionality, racial and colonial discrimination, ageism, ableism, environmentalism, non-human politics, etc. Visual practices in the art world today are still ruled by a dominant system which has historically repressed various groups of people. How does this question of inclusivity in the art world pertain to the current context of burgeoning social movements and the divisive nature of the global pandemic? How can the notion of “radical inclusivity” be interpreted in visual practices? We aim to discuss inclusivity in art in order to connect it to a larger human experience and challenge its current iteration through dominant systems.