Dispersed Identities: Sexuality, Surrealism and the Global Avant-Gardes
February 3-4, 2012, The University of Melbourne
The Centre for the Study of Surrealism and its Legacies, The School of Culture and Communication at the University of Melbourne, and the Australian Institute of Art History present Dispersed Identities: Sexuality, Surrealism and the Global Avant-Gardes is a conference which brings together questions of sexuality and gender with a broader discussion of the geographies of modern and contemporary culture. Speakers will focus on the legacy of surrealism and cognate avant-garde movements in the visual arts. A guiding principle of the conference is that one cannot speak about the global reach of modern and contemporary visual culture without bringing in questions of sexuality.
Topics dealt with include the connections between geographic, sexual and artistic outsiderness; processes of dislocation and displacement and their relationship to the surrealist tradition and contemporary art; the exilic or nomadic condition in art; dysfunctional masculinity within the avant garde canon and its relation to the construction of gender in the colonial and postcolonial world.
Guest Speaker – Juan Davila: Friday, February 3, 6:30pm – 8pm, Hercus Theatre, David Caro Building
Paper Sessions: Saturday, February 4, 9:30am – 5pm, Laby Theatre, David Caro Building
Speakers include: Janine Burke, Rex Butler, Michael Chapman, Nicholas Chare, Juan Davila, David Lomas, Michael Richardson, Natalya Lusty, Raymond Spiteri and Anthony White.
The conference will be held at the University of Melbourne, Parkville Campus. Attendance at the conference is free of charge and open to all. Students at all levels and the general public are welcome to attend and participate.
For more information:
Anthony White – Email: email@example.com +61 3 8344 3408
School of Culture and Communication http://culture-communication.unimelb.edu.au/
Dispersed Identities is part of the Surrealism and Sexuality project at The Centre for the Study of Surrealism and its Legacies and supported by a grant from the Arts and Humanities Research Council