APHA divulgação

ENCONTRO | I Congresso Luso-Brasileiro de Artes Decorativas "Do Contexto da Criação ao Cenário da Fruição" | 17 a 20 de junho | Porto.

Urge a reflexão e o desenvolvimento da investigação em torno das Artes Decorativas, civis e religiosas, tanto em Portugal como no Brasil, ainda que o termo hoje pareça datado e limitado a certos períodos e os seus estudos tenham sido ampliados com contributos da cultura material e visual. Este universo temático alargado, que vai das artes móveis às artes aplicadas, dos objetos artesanais aos de autoria coletiva ou desconhecida, é complexo e dialogante, nele interatuando artistas, artífices, espaços, encomendantes e clientes. Espraiando-se por zonas geográficas distintas e, simultaneamente, condicionadoras, possuíram enquadramentos epocais e sociais que lhes determinaram, muitas vezes, um fruir específico a partir de suas estéticas peculiares. Há a considerar, ainda, as questões da sua museografia e de aspectos da conservação e restauro das obras que permitem ver outras perspetivas das suas identidades.

Este congresso procurará debater uma diversidade de temas, indo dos usos sociais dos objetos (e suas trajetórias) aos estudos tipológicos e de caso, dos distintos tipos de fontes aos ornatos, dos materiais à clientela, das influências estrangeiras às inovações singulares, em ambos os lados do Atlântico, buscando melhor compreender, a partir do compartilhamento das pesquisas, as peças que povoaram os ambientes de vida, tanto em Portugal como no Brasil.

Esta 1.ª edição do congresso terá por base o mote que lhe serve de arranque e que parte do enquadramento da criação das obras e dos seus obreiros, estendendo-se aos cenários e contextos dos seus diferentes tipos de uso, propondo mapear e reunir investigadores que se têm dedicado ao estudo das Artes Decorativas.

+info/fonte:

Congresso Luso-Brasileiro de Artes Decorativas O congresso procurará debater uma diversidade de temas, indo dos usos sociais dos objetos (e suas trajetórias) aos estudos tipológicos e de caso, dos distintos tipos de fontes aos ornatos, dos materiais à clientela, das influências estrangeiras às inovações singulares, em ambos os lados do A...

ENCONTRO | Simpósio "Josefa de Óbidos: Painter of the Portuguese Baroque" | 03 de julho | National Gallery, Londres | Reino Unido.

Josefa de Ayala, better known as Josefa de Óbidos (1630–1684), is the only female artist to stand as the defining figure of an entire national tradition. Her paintings, associated with the visual culture of Baroque Portugal, are remarkable for their intimacy, technical refinement and spiritual feeling.

This half-day symposium brings together leading scholars to explore Josefa de Óbidos’s art from multiple perspectives: touching on artistic exchange in Iberia, female artists working during the 17th century and Portugal’s global material culture.

This event coincides with the National Gallery’s exhibition on Francisco de Zurbarán, one of Spain’s leading 17th-century painters. Josefa, who was born in Seville but worked in Portugal, bridged traditions from both locations in her art, and especially in her celebrated Agnus Dei paintings, which suggest Zurbarán’s influence.

The symposium also celebrates the recent publication of Carmen Ripollés’s book on Josefa – the first monograph on this important artist in English.

Generously supported by Fundação Gaudium Magnum - Maria e João Cortez de Lobão and organised in collaboration with its director, Valentina Rossi, the event welcomes specialist and general audiences alike.

Speakers
Susana Varela Flor is a researcher at the Instituto da História da Arte, Faculdade de Ciências Sociais e Humanas, Universidade Nova de Lisboa.

Salvador Salort-Pons is the Mary Anne and Eugene A. Gargaro Jr. Director, President, and CEO of the Detroit Institute of Arts.

Charlotte Chastel-Rousseau is Chief Curator of Spanish and Portuguese Paintings and Frames at the Musée du Louvre, Paris.

Carmen Ripollés is Professor, Schnitzer School of Art + Art History + Design at Portland State University in Oregon.

Daniel Sobrino Ralston is the CEEH Associate Curator of Spanish Paintings at the National Gallery.

+info/fonte: https://www.nationalgallery.org.uk/events/josefa-de-obidos-painter-of-the-portuguese-baroque-03-07-2026?fbclid=IwY2xjawSDmSlleHRuA2FlbQIxMQBzcnRjBmFwcF9pZBAyMjIwMzkxNzg4MjAwODkyAAEeLmvV3ziJkpyBlvEBBiAM9jHKu35IgjAvBS20sLDX05UZJPIG7-eo3_owk4c_aem_66Ssaia9sqTkD3n2A-zpJg

ENCONTRO | 28 de maio | Conferências Inaugurais do Ciclo de Colóquios PEREGRINATIO – Research network for the study of pilgrimage in the Middle Ages | 28 de maio | On-line.

O encontro inaugural do I Ciclo de Colóquios «Encontros PEREGRINATIO», a realizar no dia 28 de maio de 2026, entre as 15h e as 18h, será dedicado ao tema “Narrativas”, reunindo os investigadores Elvira Fidalgo Francisco (Universidade de Santiago de Compostela), Carlos Clamote Carreto (NOVA FCSH) e Paulo Catarino Lopes (NOVA FCSH). Esta primeira sessão tem, assim, por objetivo refletir sobre as formas narrativas associadas à prática da peregrinação em contexto medieval.

Programa:
"La peregrinación en la Edad Media según el Liber Sancti Jacobi",
Elvira Fidalgo.
"Guillaume d’Orange nos caminhos de Santiago: o espaço (des)estruturador da ficção",
Carlos Carreto.
"Caminhar pela Fé. Viagem, devoção e escrita",
Paulo Catarino Lopes.

Moderadora: Isabel Barros Dias.
Organização: PEREGRINATIO – Research network for the study of pilgrimage in the Middle Ages; Centro de Estudos de História Religiosa; Instituto de Estudos Medievais (IEM-NOVA FCSH).

O encontro será transmitido via Zoom.

+info/fonte:
https://iem.fcsh.unl.pt/evento/encontros-peregrinatio-2026-narrativas/?fbclid=IwY2xjawSDkLZleHRuA2FlbQIxMABicmlkETByZ0ZMTkdMRWdzUWZjTGRxc3J0YwZhcHBfaWQQMjIyMDM5MTc4ODIwMDg5MgABHvfsuicrNHk276pWmgd1nGQktTjZQTdLRU7EYciu9lB1VaofYCxDKWx7EPAa_aem_q4-h2s3o3zBfBg4pn3hL-w

Encontros PEREGRINATIO 2026 - Narrativas | Instituto de Estudos Medievais O encontro inaugural, a realizar no dia 28 de maio de 2026 (quinta-feira), entre as 15h00 e as 18h00, será dedicado ao tema “Narrativas”, reunindo os investigadores Elvira Fidalgo Francisco (Universidade de Santiago de Compostela), Carlos Clamote Carreto (NOVA FCSH) e Paulo Catarino Lopes (NOVA...

ENCONTRO | IX Congresso Internacional da Society for the Medieval Mediterranean: “Pequenos Mundos, Grandes Mundos: Perspetivas do Mediterrâneo Medieval" | 22 a 25 de junho | Colégio Almada Negreiros, Universidade Nova de Lisboa.

O IEM organiza o encontro, sob o tema “Pequenos Mundos, Grandes Mundos: Perspetivas do Mediterrâneo Medieval”, interpretado de forma ampla, literal ou figurada, e abordado a partir de diversas disciplinas: História, Arqueologia, Estudos Literários, Linguística, História da Arte, Estudos Religiosos, entre outras.

+info/fonte:

2026 - Lisbon — Society for the Medieval Mediterranean The medieval Mediterranean comprised a plethora of different and diverse 'worlds': literally from small farmsteads and cloistered religious communities to large cities and networks of trade; and conceptually from worldviews that comprehended little beyond their immediate locale to those who journeye...

ENCONTRO | Conferência de Thomas Da Costa Kaufmann 29 de maio | Reitoria da Universidade de Lisboa.

A alocução do historiador da arte Thomas Da Costa Kaufmann decorre no âmbito da cerimónia de atribuição do título de Doutor Honoris Causa ao próprio. Pela mesma ocasião, a professora Maria João Neto (ARTIS - FLUL) fará uma intervenção.

Entrada livre, mediante inscrição obrigatória até às 18h do dia 27 de maio.

+info/fonte:

Atribuição do título de Doutor Honoris Causa a Thomas Da Costa Kaufmann A Faculdade de Letras da Universidade de Lisboa oferece 17 licenciaturas, 22 Mestrados, 20 Doutoramentos e 4 Cursos de Especialização, combinando as suas principais áreas disciplinares: Ciências da Linguagem, História, Filosofia, e Literaturas, Artes e Culturas.

ENCONTRO | Apresentação do Livro "A Idade do Papel", vol. 2 | Autor: Miguel Figueira Faria | 28 de maio | Biblioteca da Imprensa Nacional | Lisboa.

Este estudo é um importante contributo para o conhecimento da história da cultura visual em Portugal, em particular dos usos quotidianos da imagem entre o Iluminismo e os alvores do Liberalismo. A vasta e rigorosa recolha documental e iconográfica desvenda os percursos da imagem impressa, da cultura popular à cultura erudita, dos lazeres ao ensino.

Entrada livre.

+info/fonte: https://www.facebook.com/photo/?fbid=1836498184389661&set=pb.100040884916945.-2207520000

Este estudo é um importante contributo para o conhecimento da história da cultura visual em Portugal, em particular dos usos quotidianos da imagem entre o Iluminismo e os alvores do Liberalismo. A vasta e rigorosa recolha documental e iconográfica desvenda os percursos da imagem impressa, da cultura popular à cultura erudita, dos lazeres ao ensino.

A Idade do Papel – Vol II
28 de maio | 18h30
Biblioteca da Imprensa Nacional
Rua da Escola Politécnica, 135
1250-100 Lisboa

Entrada livre

CALL | Inscribing Love between Catastrophe and Regeneration – in Words, Images, and further Materialities | Data limite: 31 de maio.

CLUP, Faculdade de Letras, Universidade do Porto. CLUP - Centre for Linguistics, University of Porto, Faculty of Arts and Humanities, University of Porto, Oct 6–07, 2026.

This conference will be the third in the Inscribing Love series, a project launched in 2024 by PD Dr. Annika Nickenig (Freie Universität Berlin) and Dr. Jenny Koerber (University of Hamburg) at the Centre for the Study of Manuscript Cultures (CSMC), Hamburg, devoted to the Materialisation of Affects in a Global Perspective. This inaugural event was followed by the second conference in the series, Inscribing Love: The Medial, Multimodal and Material Manifestations of Love from Below and Above, organized by Prof. Dr. Eva L. Wyss and Piera Mazzaglia at the University of Koblenz. This year’s conference, Inscribing Love between Catastrophe and Regeneration in Words, Images and Further Materialities, invites explorations of and contemplations on the dual nature of love in both everyday life and times of socio-political upheaval. We propose an investigation of love not merely as an emotion, but as a structural tension, the “order” that sustains human equilibrium and the “disorder” that precipitates internal and external catastrophe.

We seek to examine the “inscription of love” through the lens of those who have mapped its most volatile territories. As Roland Barthes notes in A Lover’s Discourse: Fragments (1977), the amorous catastrophe is an extreme situation: “...a situation experienced by the subject as irremediably bound to destroy him” (p. 48). When the image of the other vanishes, the subject enters a “non-site,” a state of factitious mourning where one’s very structure as a lover is lost. This vulnerability is echoed by bell hooks, who reminds us that “The practice of love offers no place of safety. We risk loss, hurt, pain. We risk being acted upon by forces outside our control” (2001, 153). If love is a site of risk, it is also the ultimate site of revelation and survival. James Baldwin (1963, 95) observed that “Love takes off the masks that we fear we cannot live without and know we cannot live within”, suggesting that the “catastrophe” of love is often a necessary shedding of the ego. Ultimately, as Viktor Frankl recorded from the depths of the most literal human catastrophes, “The salvation of man is through love and in love... a man who has nothing left in this world still may know bliss... in the contemplation of his beloved” (2006[1959], 37).

In this context, we suggest the concept of catastrophe (katastrophē) in its Aristotelian sense, as formulated in the Poetics: not as a disaster or calamity, but as the moment of the dramatic denouement in which the sequence of events reaches its final resolution. It is at this culminating point of the action that tragedy also fulfils its cathartic function, arousing in the spectator emotions of fear and empathy whose experience leads to catharsis (katharsis).

A key aim of the conference is to explore the extent to which the various experiences of crisis and catastrophe, on the one hand, and rescue or repair, on the other, are linked to specific media and materialities of representation and techniques of remembrance.

We invite submissions that analyse the “inscription of love” in the contexts of catastrophe, salvation, and regeneration, across a wide spectrum of genres and media forms, including:
• Digital & Ephemeral: Social media posts, instant messaging, and the “liquid” discourse of modern dating.
• Institutional & Curative: The language of self-help, therapeutic discourse, and the “ordering” of emotional chaos.
• Artistic & Literary: Poetry, prose, photography, visual arts, and material artifacts as sites where the order/disorder dialectic is performed.
• Temporal & Spatial: Exploring and transforming the space “before” and “after” the breakdown, practices of remembrance, projections into the future, measures of prevention or compensation.
• The “Urgent” Archive: Letters, journals, graffiti, and testimonies from contexts of actual physical catastrophe (war, natural disasters, etc.), where love is the final remaining structure.

Target Disciplines: Linguistics, Cultural History, Art History and Visual Culture, Literary and Cultural Studies, Sociology, and Philosophy.

Target Approaches and Methods: Linguistic, visual, and material analysis methods.

Presentations formats: 20 minutes talk followed by 10 minutes for discussion; Short oral communication - 5 minutes; Posters.

Submission Deadline: 31st May 2026.
Notification of Acceptance: 15th June 2026.
Conference Dates: 6th - 7th October 2026.
Modality: In person.

Registration with paper standard rate: 50.00€;
Registration with paper special rate (post-graduate students): 25.00€; Participation as listener: free of charge and free of registration; CLUP members: free of charge.

Barthes, R. (1977). A lover’s discourse: Fragments (R. Howard, Trans.). Hill and Wang.
hooks, b. (2001). All about love: New visions. William Morrow.
Baldwin, J. (1963). The fire next time. Dial Press.
Frankl, V. E. (2006). Man’s search for meaning. Beacon Press. (Original work published 1959)

+info/fonte:

The LINGUIST List The LINGUIST List, International Linguistics Community Online.

CALL | The Internationalisation of African Art | Data limite: 15 de junho.

Loughborough University, London campus, Oct 15–16, 2026.

We are witnessing unprecedented interest in African modern and contemporary art through surging sales, increased institutional recognition, and the emergence of new collectors. The significant growth of auction sales, art fairs, and biennales is matched by enhanced museum attention to art and artists connected to Africa. This conference explores the epistemic cultures and collecting infrastructures pertaining to African art that are emerging from contemporary market activities. The aim of the conference is to stimulate new academic discourses about African modern and contemporary art and to consolidate the growing academic focus on emerging art markets in the global south. We welcome proposals for 20-minute presentations on topics relevant to these themes, including, but not limited to:

• Alternative systems of validation and valuation: The roles and approaches of alternative agents (both historic and contemporary) in driving attention towards hitherto neglected forms of creativity from Africa.
• State Policy: State policies play a fundamental role in the production, visibility and circulation of art. Yet policies for art and culture have not always been a focus of interest within African states. Presentations might examine the impact (of absence) of state policies on the production, visibility, circulation and validation of art in Africa.
• Markets and collectors: This theme seeks papers that explore the history, role, and agency of institutions and collectors in directing attention to the arts of Africa.
• Decolonisation and financialisation: Issues concerning decolonisation have engendered a broader cultural shift towards recognising and appreciating cultural production by the global majority. At the same time, the challenge of decreasing public funding is shifting art world power towards the market. We seek papers that explore relationships between decolonisation and financialisation in a global art world.
• Mobility and the advantage of place: Theorists have emphasised the impact of location on the production and valuation of art, including the idea that diaspora African artists enjoy advantages over those based in Africa. In what ways have mobility and place differentiated the practices, experiences and careers of artists working in and outside Africa?
• Digital Shifts: Since the Covid-19 pandemic, there has been an increasing use of online platforms and digital technologies in the advertising, sale, and mediation of art. We seek papers that explore the impact of such technologies on the circulation of African modern and contemporary art.
• Adaptation of exogenous models: Art market models are often adapted from international to local art worlds. What models and supporting theoretical frameworks have been adapted from the West in the development of local markets for art in Africa?

Organizers: Dr Jonathan Adeyemi ([email protected]) and Dr Kathryn Brown ([email protected]).

This conference is generously supported by the Leverhulme Trust and Loughborough University.

+info/fonte:

CFP: The Internationalisation of African Art (15–16 Oct 2026) Location: Loughborough University, London campus Dates: 15–16 October 2026 Organizers: Dr Jonathan Adeyemi ([email protected]) and Dr Kathryn Brown ([email protected]) Deadline for propos…

CALL | World Heritage in Action | Data limite: 15 de junho.

INTERNATIONAL CONFERENCE "WORLD HERITAGE IN ACTION: CRITERIA, RESPONSIBILITIES, AND EMERGING CHALLENGES", Batalha Monastery, Portugal, Oct 29–31, 2026.

We invite researchers, practitioners, policymakers and community representatives to submit original contributions that explore, interrogate and advance the ongoing debate around the protection, management and valorisation of World Heritage. At a time when heritage sites face mounting pressures — from climate change and over-tourism to geopolitical instability, inequitable governance and rapid urban transformation — this conference offers a timely forum for critical, cross-disciplinary reflection.

Papers may take the form of empirical research, case studies, theoretical frameworks or policy analyses. We particularly encourage contributions that bridge disciplinary boundaries — bringing together perspectives from architecture, urban planning, law, anthropology, history, ecology, and the social sciences — and that engage critically with the conventions, instruments and institutions that shape World Heritage governance.​​​​​​​​​​​​​

PANELS​​​​​:
Monuments;
Cities;
Cultural landscapes;
Archaeological sites.

The language of the conference is English, to encourage both constructive communication between participants and international dissemination.
Each presentation will have 15 minutes, followed by 5 minutes for debate.​​​

Authors of selected papers will be offered the opportunity to submit their work for publication in ARTis ON, a peer-reviewed indexed journal, subject to the journal's editorial guidelines and review process. Submissions for publication must comply with the journal's author instructions, available at
artis-on.letras.ulisboa.pt

Please note that all essays must be written in English and must be submitted only online, via the ARTis ON journal platform.

During the submission process, the title of your essay must include "WH" at the beginning, alluding to the international conference; in other words, something like "WH - Title of the essay".

Final manuscripts should be submitted no later than December 30, 2026.​​​​​​

+info/fonte: https://artisihaflul.wixsite.com/worldheritage/call-for-papers

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IMPORTANT DATES​​​​

Deadline for submission to the conference: June 15, 2026

Notification of acceptance and next steps: June 30, 2026

Registration (early bird): August 31, 2026

Registration (regular): October 15, 2026

Deadline for submission of essays: December 31, 2026​​​​​​​​​​

​
Proposals must be submitted to the following email address: [email protected]. In the subject line, please write:
World Heritage Congress.

Proposals will be selected by the Scientific Committee, based on their merit according to the following criteria: relevance, innovation, scientific quality, and pertinence of the theme.

​​​All authors whose communications are accepted must be present at the Congress.

Attendance is in person only; no virtual participation will be offered.​​

If you have any queries about the Conference, please feel free to contact us: [email protected]​​

+info/fonte: https://artisihaflul.wixsite.com/worldheritage/call-for-papers

CALL FOR PAPERS | Worldheritage We invite researchers, practitioners, policymakers and community representatives to submit original contributions that explore, interrogate and advance the ongoing debate around the protection, management and valorisation of World Heritage. At a time when heritage sites face mounting pressures — f...