[category\u00a0conference \/ symposium]<\/p>\n
Ch\u00e8res et chers coll\u00e8gues,<\/p>\n
Veuillez trouver ci-joint le programme pr\u00e9visionnel d\u2019un colloque programm\u00e9 \u00e0 la rentr\u00e9e les 7, 8 et 9 octobre 2021<\/strong> au Mus\u00e9e Paul Eluard de la ville de St Denis, portant sur la mise en r\u00e9cit de l\u2019esclavage dans les mus\u00e9es europ\u00e9ens. Ce colloque r\u00e9unira conservateurs et directeurs de mus\u00e9es, universitaires et artistes et entrera dans la programmation de l\u2019\u00e9v\u00e9nement AFRICA 2020 du Mus\u00e9e.<\/p>\n Bien cordialement,<\/p>\n Anne-Claire Faucquez COLLOQUE INTERNATIONAL<\/strong><\/p>\n Colonial Slavery in European Museums: Arts and Representations<\/em><\/strong><\/p>\n L’esclavage colonial dans les mus\u00e9es europ\u00e9ens : mises en r\u00e9cit et regards d’artistes<\/em><\/strong><\/p>\n 7 – 8- 9 Octobre 2021<\/strong><\/p>\n Mus\u00e9e Paul \u00c9luard, Ville de Saint Denis<\/strong><\/p>\n Organisatrices: Anne-Claire Faucquez (Universit\u00e9 Paris 8), Androula Michael (Universit\u00e9 de Picardie Jules Verne), Ren\u00e9e Gosson (Bucknell University, USA)<\/p>\n *****<\/p>\n JEUDI 7 OCTOBRE MATIN<\/strong><\/p>\n Mot de bienvenue par Anne Yanover <\/strong>(directrice du Mus\u00e9e Paul \u00c9luard)<\/em><\/p>\n Ouverture du colloque par les organisatrices<\/p>\n INTRODUCTION<\/strong><\/p>\n Fran\u00e7oise Verg\u00e8s<\/strong>, (politologue, historienne),<\/em> \u201cThe Slave in the Museum, Fugitivity and Futurity\u201d<\/p>\n PART I – MUSEUMS IN PERSPECTIVE\/LES MUSEES EN PERSPECTIVE<\/strong><\/p>\n QUESTIONING THE ORIGINS OF MUSEUMS\/QUESTIONNER L\u2019ORIGINE DES MUS\u00c9ES<\/strong><\/p>\n Caroline Donnellan<\/strong>, (Boston University Study Abroad London<\/em>), \u201cThe Slave in the Museum: The Slave in the City\u2019\u201d<\/p>\n Sarah Thomas<\/strong>, (Birkbeck, University of London)<\/em>, \u201cSlavery, Patronage and the Love of Art: Recovering slave-ownership in the British art museum\u201d<\/p>\n THE CITY AS MUSEUM\/LA VILLE COMME MUS\u00c9E<\/strong><\/p>\n Cynthia Lytle<\/strong>, (Independent Scholar<\/em>), "The City as a Museum: Berlin and the Struggle for Recognition"<\/p>\n Dienke Hondius<\/strong>, (Vrije Universiteit Amsterdam)<\/em>, \u201cAddressing Slavery on Locations in Europe: The Mapping Slavery research project approach\u201d<\/p>\n Sue Giles<\/strong>, (Retired, former Senior Curator British Empire & Commonwealth Collection, Bristol<\/em>), \u201c\u2018Bristol and slavery: acknowledging the past in the museum\u201d<\/p>\n INTERVENTION D\u2019ARTISTE : Nicola Lo Calzo, "On the use of photography to address the memory of slavery : the Cham project and the legacy of Benedict the Moor\u201d <\/strong><\/p>\n *****<\/p>\n APRES-MIDI<\/strong><\/p>\n PART II – THE NARRATIVIZATION OF SLAVERY\/LA MISE EN RECIT DE L\u2019ESCLAVAGE<\/strong><\/p>\n QUESTIONING THE EXISTING NARRATIVES\/QUESTIONNER LES R\u00c9CITS EXISTANTS<\/strong><\/p>\n Ulrike Schmieder<\/strong>, (Leibniz University Hanover)<\/em>, "Colonial slavery in museums and temporary exhibits in European Capitals (Paris, Madrid, London, Lisbon)"<\/p>\n M\u00e9lanie Moreau<\/strong>, (Mus\u00e9e de la Rochelle<\/em>), \u201cLe mus\u00e9e du Nouveau monde, pr\u00e9curseur hier ; et aujourd\u2019hui ?\u201d<\/p>\n Christian Block<\/strong>, (Mus\u00e9e d\u2019Aquitaine)<\/em>, \u201cLes mots pour le dire\u201d<\/p>\n Anna Khalonina<\/strong>, (Universit\u00e9 de Paris)<\/em>, \u201cTravail discursif au mus\u00e9e : le cas de nouveaux titres d\u2019\u0153uvres \u00e0 l\u2019exposition \u2018Le mod\u00e8le noir de G\u00e9ricault \u00e0 Matisse\u2019 au mus\u00e9e d\u2019Orsay (2019)\u201d<\/p>\n Sarah Ligner et Ga\u00eblle Beaujean<\/strong>, (Mus\u00e9e du Quai Branly)<\/em>, "Histoire de la traite des esclaves et de l\u2019esclavage dans les espaces d\u2019exposition au mus\u00e9e du Quai Branly-Jacques Chirac"<\/p>\n Christine Chivallon, <\/strong>(Directrice d\u2019\u00e9tudes au CNRS, Laboratoire Carib\u00e9en de Sciences Sociales, LC2S-UMR 8053<\/em>) \u00ab Le Palais de la Porte Dore\u0301e : D\u2019une trilogie improbable a\u0300 l\u2019ombre de la Nation franc\u0327aise \u00bb<\/p>\n ERASING THE MEMORY OF SLAVERY\/EFFACER LA M\u00c9MOIRE DE L\u2019ESCLAVAGE<\/strong><\/p>\n Carolina Rito<\/strong>, (Coventry University)<\/em>, "The Museum of the Discoveries and the contested colonial legacies"<\/p>\n Claire Laguian<\/strong>, (Universit\u00e9 Gustave Eiffel)<\/em>, "Les \u00celes Canaries comme laboratoire atlantique de l\u2019esclavage colonial et la traite n\u00e9gri\u00e8re : de l\u2019invisibilisation mus\u00e9ographique \u00e0 la cr\u00e9ation artistique"<\/p>\n Antonio Almeida<\/strong>, (Universit\u00e9 de Nantes)<\/em>, "Images d\u2019une ville et mise en discours de l’histoire coloniale et esclavagiste : Lisbonne, XV-XXI si\u00e8cles"<\/p>\n *****<\/p>\n VENDREDI 8 OCTOBRE<\/strong><\/p>\n PART III – ARTEFACTS, SCENOGRAPHY AND ARTS\/ARTEFACTS, SCENOGRAPHIE ET ARTS<\/strong><\/p>\n MUSEUMS AND ARTEFACTS\/MUS\u00c9ES ET ARTEFACTS<\/strong><\/p>\n Rafa\u00ebl Thi\u00e9baut<\/strong>, (Postdoctoral researcher at the Mus\u00e9e du quai Branly)<\/em>, "Trade items as evidence for slave trade : the case of firearms in Madagascar at the Mus\u00e9e du quai Branly"<\/p>\n Christina Welch and Niall Finneran<\/strong>, (University of Winchester)<\/em>, "Chatoyer\u2019s Ladle: a museum artefact that speaks to the hidden history of the Garifuna, an African-Caribbean people"<\/p>\n THE SCENOGRAPHY: HOW TO NARRATIVIZE?\/LA SC\u00c9NOGRAPHIE: COMMENT METTRE EN R\u00c9CIT?<\/strong><\/p>\n Vanessa Alayrac,<\/strong> (Universit\u00e9 de Lille)<\/em>, \u201cStrat\u00e9gies visuelles et narratives pour repr\u00e9senter l\u2019esclavage au London Museum Docklands : mus\u00e9ographie, regards crois\u00e9s, esth\u00e9tique de la r\u00e9ception"<\/p>\n Nata\u0161a Raschi<\/strong>, (Universit\u00e9 de P\u00e9rouse)<\/em>, "L’esclavage colonial et les livrets mus\u00e9aux pour les enfants: analyse linguistique et textuelle" (Mus\u00e9e de l\u2019Homme, Quai Branly, Nantes, Lorient)<\/p>\n Lisa Connell<\/strong>, (University of West Georgia)<\/em>, \u201cBodies of Memories in Guadeloupe\u2019s M\u00e9morial ACTe\u201d<\/p>\n Eveline Sint Nicolas<\/strong>, (Rijskmuseum, Amsterdam)<\/em>, Afaina de Jong<\/strong>, (Afarai)<\/em>, Architect of the exhibition in the Rijksmuseum, \u201cThe Slavery Exhibition at the Rijksmuseum, a project of many voices\u201d<\/p>\n INTERVENTION D\u2019ARTISTE : Fran\u00e7ois Piquet<\/strong>, "Retours d\u2019Exp\u00e9riences de Cr\u00e9olisation\u201d<\/strong><\/p>\n THE ROLE OF ARTS IN THE NARRATIVIZATION OF SLAVERY\/LE R\u00d4LE DES ARTS DANS LA MISE EN RECIT DE L\u2019ESCLAVAGE<\/strong><\/p>\n Mariana de Campos Fran\u00e7ozo and Carolina Monteiro<\/strong>, (Leiden University)<\/em>, \u201cDutch Brazil and the Memory of Slavery in Art Exhibitions: Between Exoticism and Silence\u201d<\/p>\n Antonio Pinto, <\/em><\/strong>(Chercheur au Projet M\u00e9moires, Enfants d’empires et postm\u00e9moires europ\u00e9enes\/CES Universit\u00e9 de Coimbra, Portugal),<\/em> \u201cDiversit\u00e9 et relation dans les \u0153uvres de la post m\u00e9moire\u201d<\/p>\n Jeanne Gabriel-Villeneuve<\/strong>, (Conservatrice du Patrimoine)<\/em>, "Le r\u00f4le de l’art dans les expositions temporaires ou permanentes sur l’esclavage colonial"<\/p>\n INTERVENTION D\u2019ARTISTE : Fabienne Kanor<\/strong><\/p>\n *****<\/strong><\/p>\n SAMEDI 9 OCTOBRE<\/strong><\/p>\n PART IV – MUSEUMS IN ACTION\/LES MUS\u00c9ES EN ACTION<\/strong><\/p>\n MUSEUMS AND HISTORY \/ MUS\u00c9ES ET HISTOIRE<\/strong><\/p>\n Trevor Burnard<\/strong>, (Wilberforce Institute<\/em>), \u201cThe power and the authority of the archive: combatting the erasure of the enslaved in the presentation of eighteenth century Jamaica in public history\u201d<\/p>\n Stephen Mullen<\/strong>, (University of Glasgow),<\/em> \u201cAcknowledging Scotland\u2019s connections with Transatlantic Slavery: Reparatory History in Action?\u201d<\/p>\n Karwan Fatah-Black<\/strong>, (Leiden University<\/em>), \u201cAcademic research and knowledge production in Dutch Museums\u201d<\/p>\n INTERVENTION D\u2019ARTISTE : Moridja Kitenge Banza<\/strong><\/p>\n COMMUNITY ENGAGEMENT AND ACTIVISM\/ENGAGEMENT DE LA COMMUNAUT\u00c9 ET ACTIVISME<\/strong><\/p>\n Charles Forsdick<\/strong>, (University of Liverpool<\/em>), \u201cThe genealogies of the museum of slavery: memory, activism, art\u201d<\/p>\n Cathie Jayakumar<\/strong>, (Queen Mary University of London<\/em>), \u201cThe significance of grassroots black artists and activists\u2019 works in the museological development of the International Slavery Museum, Liverpool\u201d<\/p>\n Jean-Fran\u00e7ois Manicom<\/strong>, (Lead Curator of transatlantic Slavery & Legacies, <\/em>International Slavery Museum), <\/em>\u201cInternational Slavery Museum de Liverpool: une approche Artiviste\u201d<\/p>\n Wendeline Flores and Priya Swamy<\/strong>, (National Museum of World Cultures, the Netherlands), <\/em>\u201cReparative Possibilities on Display: Exhibiting Inheritances of Dutch Colonialism in the Caribbean and its Diaspora\u201d<\/p>\n Susanna Jorek<\/strong>, (Universit\u00e4t Leipzig)<\/em>, "New Narratives and Collaborations: Black History in Bristol Museums"<\/p>\n THE FUTURE OF MUSEUMS\/L\u2019AVENIR DES MUS\u00c9ES<\/strong><\/p>\n Myriam Cottias<\/strong>, (directrice du Centre International de Recherches sur les esclavages et post-esclavages, CIRESC<\/em>), \u201cFaut-il un mus\u00e9e europ\u00e9en de l\u2019esclavage?\u201d<\/p>\n INTERVENTION D\u2019ARTISTE : Barth\u00e9l\u00e9my Toguo<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":" [category\u00a0conference \/ symposium] Ch\u00e8res et chers coll\u00e8gues, Veuillez trouver ci-joint le programme pr\u00e9visionnel d\u2019un colloque programm\u00e9 \u00e0 la rentr\u00e9e les […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_uag_custom_page_level_css":"","site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","ast-disable-related-posts":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[99],"tags":[375,393,394,262],"class_list":["post-1999","post","type-post","status-publish","format-standard","hentry","category-cfp","tag-arts","tag-europe","tag-museum","tag-slavery"],"jetpack_featured_media_url":"","uagb_featured_image_src":{"full":false,"thumbnail":false,"medium":false,"medium_large":false,"large":false,"1536x1536":false,"2048x2048":false},"uagb_author_info":{"display_name":"Admin","author_link":"https:\/\/afea.fr\/news\/author\/yanb\/"},"uagb_comment_info":0,"uagb_excerpt":"[category\u00a0conference \/ symposium] Ch\u00e8res et chers coll\u00e8gues, Veuillez trouver ci-joint le programme pr\u00e9visionnel d\u2019un colloque programm\u00e9 \u00e0 la rentr\u00e9e les […]","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/afea.fr\/news\/wp-json\/wp\/v2\/posts\/1999"}],"collection":[{"href":"https:\/\/afea.fr\/news\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/afea.fr\/news\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/afea.fr\/news\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/afea.fr\/news\/wp-json\/wp\/v2\/comments?post=1999"}],"version-history":[{"count":0,"href":"https:\/\/afea.fr\/news\/wp-json\/wp\/v2\/posts\/1999\/revisions"}],"wp:attachment":[{"href":"https:\/\/afea.fr\/news\/wp-json\/wp\/v2\/media?parent=1999"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/afea.fr\/news\/wp-json\/wp\/v2\/categories?post=1999"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/afea.fr\/news\/wp-json\/wp\/v2\/tags?post=1999"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\nMCF Histoire et Civilisation am\u00e9ricaine
\nDirectrice adjointe du Centre De Langues "p\u00f4le anglais"
\nResponsable MEEF 2nd degr\u00e9 parcours anglais
\nUniversit\u00e9 Paris 8
\nacfaucquez.wordpress.com<\/a>
\nhttps:\/\/univ-paris8.academia.edu\/AFaucquez<\/a><\/p>\n