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Her offentliggør vi call for papers og andre væsentlige meddelelser omkring Passepartouts tidskrifter; temanumre og Uden titel.

Hvis du ønsker at indsende bidrag til et temanummer eller Uden titel, så anbefaler vi, at du først orienterer dig under Om tidsskriftet, Indsendelser og Til forfattere.

  • Call for papers: Passepartout #46: Skin

    2024-04-05

    Edited by Edward Alan Payne, Laura Katrine Skinnebach, and Gry Lind Merrild Hansen

    Skin is contradictory. It is the site of creation and destruction, transformation and regeneration. On the one hand, the skin is the largest organ and outermost covering of the human body, protecting the internal organs from external assaults. It forms a shield against harmful microorganisms and chemicals, and it regulates the body temperature while simultaneously containing the body’s vital fluids. The skin is a resistant membrane which can heal and renew itself by replacing old cells with new ones. On the other hand, skin is vulnerable. It is porous and can be attacked or decomposed by illness, microbes, and bacteria. It is soft and thin, and can easily be penetrated, lacerated, broken, flayed, burned, and scarred. Skin can also harden, crack, peel, flake, stretch, wrinkle, blush, blemish, and blister.

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  • Call for papers—Passepartout #45: Trending Textiles

    2022-09-13

    Edited by Ane Preisler Skovgaard, Carina Hundsdahl, Ingrid Lunnan Nødseth and Natascha Beringer

    Passepartout #45 will be focusing on a subject, a medium, and a technology which is simultaneously ancient and trending: Textiles. The material’s history is closely linked to the history of humanity, and archaeological finds show that the manufacture of textiles has taken place for millennia. Thus, the material and the technology associated with its production have had ample opportunity to leave their mark on human cultures. Furthermore, the manufacture of textiles is a time and resource consuming activity which means that societies that produce textiles are also characterized by this work on many different levels. The material’s ability to shape the cultures in which it was produced is, for example, clearly expressed in our language, which is rich with textile metaphors and references to textile manufacturing. A popular example of this is the word text, which has its origin in the Latin texere, meaning "to weave".

    In recent years, we have seen an increasing interest in textiles within the academic world, but also within the art world. Artists have explored the potentials and character of the material in new ways, and art exhibitions with both younger and older works of textile art have made the material highly visible within art museums. In connection with the corona pandemic, we have similarly experienced how yarns and old textile techniques found their way into many private homes, and social media testify to a huge interest in textile crafts and home-made slow fashion across generations. Textiles are, in short, a highly topical theme within both contemporary art, and cultural and historical studies. With this themed issue, we want to investigate what is behind the material’s great popularity in contemporary society. In short, we are curious to understand what the material represents to us, what it does to us, and what it is fundamentally capable of. With this issue, we hope to be able to contribute to our overall understanding of the material’s unique character, and to our knowledge of how it has influenced and interacted with people in a broader perspective.

    We want proposals for articles that examine textiles as material, medium and metaphor, historically and today. We are interested in contributions that deal with textile’s special properties or affordances, its value in and influence on different societies, and in general how it affects and interacts with people. We invite perspectives from within gender studies, philosophy of technology, and new materialism, but we are also interested in other perspectives. Lastly, we are interested in proposals that treat the current popularity of the textile medium within contemporary art.

    Deadline for abstracts:
    28th November 2022. Max. 400 words to passepartouttekstil@gmail.com

    Deadline for articles:
    30th July 2023

    Passepartout is a Danish peer reviewed art journal published since 1993. We accept articles in Danish, English, Swedish, and Norwegian. Find our website at passepartout.co.

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  • Call for papers: Passepartout #44: Blood

    2022-08-16

    Edited by Camilla Skovbjerg Paldam, Pernille Leth-Espensen, Daniel Emami Riis and Laura Katrine Skinnebach.

    Blood is connected to both life and death. It flows in our veins and is a precondition for our lives. But when blood trickles, runs, or squirts from wounded skin, it is also associated with violence, accidents, and death. Moreover, the presence or absence of blood is closely connected to fertility and reproduction, from menarche to menopause, from pregnancy to birth. Blood is one of the most ritualized and symbolized bodily substances and possesses an array of different meanings, which are brought into play in culture and art. Blood forms part of, or is depicted in, art across time: from cave paintings, relics, manuscripts, paintings, and film to menstruation art, performance art, and bioart. It plays a central role in religious rituals and consequently in religious art: in the Judaic blood sacrifice and circumcision, in the Christian Eucharist as well as in a variety of religious rites across cultures. Blood in visual culture may be provocative or instigate fear or awe, but it is also related to emotions such as tenderness, love, sex, and grief. As a substance it is still able to provoke heated debate, as exemplified by recent discussions on free bleeding.

    Blood may connote community and solidarity, for instance through conceptions of blood kinship, blood rituals, or blood donation. But ideas of differences in blood have also been employed to create boundaries between classes, ethnic groups, or genders. We have expressions such as blue blood, pure blood, and impure blood. The importance of blood is also shown in the many words and metaphors including blood such as blood sacrifice, bloodline, blood brothers, blood money, and bloodshed. One may have blood on one's hands, call for blood, or something can make one's blood boil or turn cold. In many cultures, it is believed that the anima or vital force resides in the blood and may be passed on to others by sharing or drinking blood. Several religions either prescribe or prohibit exchanges of blood between humans and animals. Blood has also played an essential role in the development of the way we understand the body in the history of science, from the so-called humoral theory of Antiquity, William Harvey's discovery of the circulation of blood in 1628, and to the blood sample as a source of information on health and disease or as a source of DNA.

    In this theme issue of Passepartout, we invite reflections upon the role of blood in art and visual culture. We seek contributions which address the materiality of blood, blood as sign, blood as sensuous or bodily phenomena, as the fluid of life and death. We invite articles that address how art and visual culture understands blood, use blood, thematize and actualize blood in a variety of cultural and historical contexts. We call for contributions that examine the anthropology of blood and its material, cultural, and historical meanings as a substance of both biology and culture.

    Deadline for abstracts:
    August 26, 2022. Max. 400 words to ple@djk.nu

    Deadline for articles:
    April 1, 2023

    Passepartout is a Danish peer reviewed art journal published since 1993. We accept articles in Danish, English, Swedish, and Norwegian. Find our website at passepartout.co.

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