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ANTENNAE

THE JOURNAL OF NATURE IN VISUAL CULTURE

 

ANTENNAE

THE JOURNAL OF NATURE

IN VISUAL CULTURE

SUBMISSIONS GUIDELINES

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ISSUE 3

V.1 AUTUMN 2007

ISSUE 3

V.2 AUTUMN 2007

ISSUE 4

WINTER 2007

EDITORIAL POLICIES and INFORMATION FOR AUTHORS

Antennae calls for submissions on a rolling basis. Submissions are open to visual arts, academic and non-academic texts.

 

Please note that we are only able to consider submissions relevant to the list of future publication subjects listed on the left of this page. Initially make contact with Editor in Chief Giovanni Aloi by sending an email to antennaeproject@gmail.com outlining your proposal in no more than 500 words and sending no more than 5 low res images.

 

Antennae is a peer reviewed journal and therefore all academic essays will be subject to consideration from Antennae's board.

Original manuscripts will be considered for publication. Information that has been published or is being considered for publication elsewhere will not be accepted unless discussed with the Editor. Manuscripts that appear to meet the aims of the Journal will be reviewed by the Editor before a decision is made on publication. Authors who have a new concept for on-line presentation are invited to contact the Editor to initiate a dialog. Initial submissions are limited to a 300 words abstract.

 

Style Manuscripts should conform to acceptable language usage. Abbreviations must be limited primarily to those in general usage. The Editor encourages the use of more than one pathway of presentation of materials which might allow the reader greater flexibility in viewing.

 

By submitting your article for publication, you grant Antennae the copyright to reproduce the work and associated images in electronic format or in paper format derived from the on-line work. If the work has been solicited or commissioned by Antennae, the intellectual property for such contribution needs to be discussed with the editorial board. If such category of work is published in Antennae, and this also represent the first published instance for the work, a written request for a re-print needs to be forwarded to the Editor in order to obtain authorisation for partial or full reproduction of the work. Interview questions written for Antennae and relative answers supplied by interlocutors become, upon publication, intellectual property of Antennae and a written request for a re-print needs to be forwarded to the Editor in order to obtain authorisation for partial or full reproduction in other publications.

 

Original articles can only be submitted in English. Send your manuscript in digital format in Microsoft Word documents only.

 

Extensive use of images is encouraged. The standard size for images is 300 dpi. Indicate the appropriate location of your figures within your text.

 

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ANTENNAE

THE JOURNAL OF NATURE

 

ART and NATURAL HISTORY

Topic 1

'Taxa', Isabella Kirkland, 1999-2004

Over the past two decades, contemporary art has, surprisingly, developed a substantial engagement with the methodologies and aesthetics of natural history. From the insistent presence of taxidermy in the gallery space, the ongoing curation of wunderkammers, scientific cabinets, and the resurgence of botanical herbaria, to the ubiquitous presence of wet specimens, the gallery space has offered many opportunities to re-think our complex and often contradictory relationship with nature.

 

We are currently traversing a cultural period in which the pillars of western civilization are crumbling fast: natural history has been one of the most defining disciplines in the formation of western civilization, for not only has it provided a detailed and rationalized classification of the living world around us, but it has also played important and most often subtle normative roles in defining humanity, in marking the line that separates the human from the animal, in assessing humanity’s superiority over nature, and even in establishing race and gender hierarchies.

 

Since we have colonized, contaminated, cross-bred, domesticated, and re-landscaped to such scale that no essential and purist idea of nature can be upheld, and the foundations of our very existence as human-animals amongst other animals are now being radically questioned.

 

Over two distinct but related issues, Antennae will explore the work artists, historians, naturalists

naturalists, and philosophers who critically engage with the discourses of art and science driven by a desire to better comprehend the roles both play in defining new conceptions of the world we live in.

 

The first instalment of this project, titled ‘Making Nature’ originates from an exhibition of the same name held at Wellcome Collection in London (December 2016 – May 2017) curated by Honor Beddard who will also be co-editor of this issue. Organised around four themes – ‘Ordering’, ‘Displaying’, ‘Observing’ and ‘Making’ – the exhibition examined how we have sought and understood scientific explanation for the similarities and differences we perceive between human and non-human animals. It explored the origins of taxonomy and its contemporary legacy. It examined how natural history museums, zoos and wildlife documentaries create representations of nature that frame our ideas about other animals. Like taxonomy, they arrange the natural world, whether through realistic displays of preserved specimens, the dramatic staging of living animals or the careful editing of film footage.

 

The second instalment, titled ‘Post-Nature’, will more substantially focus on contemporary artists’ whose practice centres around the ways in which contemporary artists have been using the epistemic tools of natural history to map and expose the unnaturalness of nature, its constructed essence, and its representational strategies.

Cabinets of curiosities and aesthetics of truth

The influence of private collectors

Colonialism and natural history

Materiality and natural history

Taxidermy

Dioramas

Botanical Gardens

Herbaria

Politics of Conservation

Menageries

Entomology

Film and Photography in Natural History (including natural history and wildlife documentaries)

Wet specimens

Herbaria

Curating natural history

Natural history, race, and gender

Taxonomy and specimens

Natural history illustration

Amateur naturalists

Natural history societies and nature as a leisure pursuit

 

TOPICS CONSIDERED INCLUDE, BUT ARE NOT LIMITED TO:

Antennae is a peer-reviewed, non-funded, independent, quarterly academic journal. All rights of featured content of website and PDF publication are reserved. Editor in Chief: Giovanni Aloi. 2018

Taxa, Isabella Kirkland, 1999-2004

PROPOSALS

 

Academic Essays = 6,000 to 10,000 words (please provide a resume)

Artists' Portfolio = Five to six images (JPG or TIFF format at least 300dpi) accompanied by statemtent of 1000 words, maximum

Interviews = 8,000 words, maximum

Fiction = 8,000 words, maximum

Roundtable discussions = 5,000 words

Reviews = 1,500 words

 

SOUND

 

Submit in MP3 format only. Please provide an artists' statement about your sound experimentations, compositions or music. Your sound submission will be made available on the Antennae website for a limited time only

 

MOVING IMAGE

 

Maximum 20 minutes in length

Include a biography and text about your work. We will ask you to present it in writing and/or discuss your practice prior to publication

DEADLINES

15th of August, 2018: Abstracts due  (Please submit a 350 words abstract along with a CV and one or two images)

15th of September, 2018: Selection process is finalized and feedback sent

1st of February, 2019: Submissions of final pieces

 

Please email any questions to Giovanni Aloi, Editor in Chief of Antennae: The Journal of Nature in Visual Culture  

antennaeproject@gmail.com

antennae.org.uk

 

IN VISUAL CULTURE

CALL FOR PAPERS

We are accepting submissions for upcoming issues focusing on the following topics:

 

UNCONTAINABLE NATURES:

Southeast Asian Ecologies and Visual Culture

Topic 2

For this issue of Antennae: Journal of Nature in Visual Culture, the editorial team seeks submissions from writers, artists, curators, and cultural theorists working with nature, ecology, and post-humanistic philosophy in Southeast Asia.  

 

The past few decades have seen a resurgence of forms of containment in Southeast Asia, whether political (new governmental exclusions and repressions) or epistemological (new scientific understandings of nature). More acutely, certain governments and non-governmental organizations have utilized and underwritten a politics of nature, instrumentalizing nature for their own ends. This issue will gather papers and artistic contributions that contest this new reality. How have recent “scientific” understandings of nature in the region reaffirmed capitalism? How is nature uncontained and uncontainable in Southeast Asia?

 

It is a truism to say that the extended region of Southeast Asia – which encompasses the Western shores of the South China Sea, the Eastern shores of the Indian Ocean and the archipelagoes of Indonesia and the Philippines – has its own diverse yet particular ecologies. Nor is it any surprise to find various permutations of climate disasters and climate crimes in the region, from deforestation, haze, land reclamation, mudslides, to seas of plastic and flooding. This issue will propose new ways of thinking about nature as politically and epistemologically uncontainable, ungovernable, and irreducible. How have artists thought and practiced in interconnected lifeworlds – making ecology (a) practice – via an engagement with regional geographies, cultures and histories? How have artists drawn on indigenous animisms or the colonial production of “nature” to create an eco-politics of the present?

 

Ultimately, Uncontainable Natures seeks to push against the ever-recurring specter of anthropocentrism. From China to Singapore, technological “fixes” to climate change tend to reinstall human centrality. How have artists and exhibitions critically engaged anthropocentric tropes of colonial natural history or modern representations of the natural world? How have non-human actors intervened in or subverted modern orders of representation? How do pre-modern nonhuman agents or spirit ecosystems animate contemporary art practices in urban Asia? How have artists working with biology and new technologies in Southeast Asia troubled anthropocentric hubris, expanding our understanding of what it means to be human? How have they challenged deep-seated notions of “life,” and questioned capitalistic vitalisms of various kinds? How has our current ecological crisis brought about new porous understandings of the entanglement of nature and culture in the Southeast Asian region?

uncontainable3

GUEST EDITORIAL TEAM

Dr. Nora Annesley Taylor is the Alsdorf Professor of South and Southeast Asian Art at the School of the Art Institute of Chicago. She is the author of Painters in Hanoi: An Ethnography of Vietnamese Art (Hawaii 2004 and Singapore 2009). She is also editor of Studies in Southeast Asian Art: Essays in Honor of Stanley J. O'Connor (Cornell SEAP 2000) and co-editor of Modern and Contemporary Southeast Asian Art, An Anthology (Cornell SEAP 2012) as well as numerous essays on Modern and Contemporary Vietnamese and Southeast Asian Art on topics ranging from art historiography, performance, gender and memory.

Dr Kevin Chua is Associate Professor of Art History at Texas Tech University, USA, where he writes and teaches on 18th and 19th century European art, and Modern and Contemporary Southeast Asian art. He obtained his PhD in the History of Art from the University of California at Berkeley, and has published widely on tigers in colonial Singapore, Nanyang painting of the 1950s, Simryn Gill, Donna Ong, Ho Tzu Nyen, Jeremy Sharma, Guo Liang Tan, Charles Lim, and the Migrant Ecologies Project. His work has appeared in Representations, Art History, Art Journal, Third Text, Yishu, and FOCAS: Forum on Contemporary Art and Society.

Lucy Davis is a visual artist, art writer and founder of The Migrant Ecologies Project. www.migrantecologies.org. Her international publishing, and multi-award winning film and exhibition practice encircles natures and cultures, materialities and memories, primarily but not exclusively in Southeast Asia. Alongside Migrant Ecologies publications, Lucy has been a Southeast Asia Contributor for ANTENNAE, The Journal of Nature in Visual Culture and has contributed to: Why Look at Plants?; Performance Research; Mountains and Rivers (without) End: An Anthology of Eco–Art History in Asia; Intercalations 3 Reverse Hallucinations in the Archipelago; Considering Animals; The DOCUMENTA #12 READER; BROADHSEET Art & Culture; Art Asia Pacific; Inter-Asia Cultural Studies; NU The Nordic Art Review. Lucy was Founding Editor of the journal FOCAS Forum on Contemporary Art & Society 2000-2007. She was also founding faculty member of the School of Art Design & Media Nanyang Technological University 2005-2016. In 2016 she was forced to leave Singapore in 2016 following a government intervention in her residency status. From 1 August 2018 Lucy will be Professor of Practice in the Master’s Degree Programme in Visual Cultures, Curating and Contemporary Art at Aalto University, Finland.

Climate change, past and present

Political economics of nature

Species loss

Rights to land, air and water

Materialities

Ethno-biologies/botanies/ecologies

Ghosts, spirits, specters

Spirit lives of objects

Feminist, LGBTQ/ intersectional recuperations of ‘traditional’ eco-lore

Non-human ecological agents: animals, plants, mountains, forests, oceans

Ecological ramifications of recent archaeological research (for example the Sulawesi cave paintings) and associated art historical shifts

Non-visual sensual ecologies and knowledges: sonic, haptic, energetic fields

Urban nature cultures

New migrant species, viruses or bacteria

Critical technological interconnectivities

Critical internet ecologies and cosmologies

Science fictional and speculative ecologies

Southeast Asian eco-hack-and-tinkerings

Politics and cultures of waste

TOPICS CONSIDERED INCLUDE, BUT ARE NOT LIMITED TO:

DEADLINES

31st of August, 2018: Abstracts due (Please submit a 350 words abstract along with a CV and one or two images)

31st of October 2018: Selection process is finalized and feedback sent

31st of March, 2019: Submissions of final pieces

 

Please email any questions to Giovanni Aloi, Editor in Chief of Antennae: The Journal of Nature in Visual Culture  

antennaeproject@gmail.com

antennae.org.uk