Autor: GKS

Deadline: March 7, 2022

Université du Québec à Montréal, Montreal, Quebec, May 25–28, 2022

https://canada-architecture.org/this-years-conference/

The Society for the Study of Architecture in Canada is now accepting paper proposals for its annual conference. Our conference will feature an opening reception evening on Wednesday, paper sessions Thursday through Saturday, tours, and a concluding banquet. Several events are planned.

Researchers, professionals and students from any discipline whose work relates to the built environment in Canada can submit a proposal by sending an abstract of not more than 250 words, accompanied by a one-page CV, to seac.2022.ssac@gmail.com. Please indicate which session from the following list your proposal addresses. Further details can be found in the Call for Papers.

• Architecture and heritage of the everyday
• Dis-placements: Spatial Stories of Migration
• Spaces for women then and now
• Religious architecture: new questions / new approaches
• Queering Canada’s Built Environment
• Industrialization in the field of building in Canada between 1850 and 1930
• Designing for accessibility
• Heritage for Whom? Conserving Community Spaces
• Globalizing Architectural Scholarship
• Citizens, history, and heritage
• Research by design: a tool of innovation in city making
• Rethinking major urban public parks
• Strategies for Urban Revival and Renewal in Canadian Cities and Towns
• Seeing, hearing, experiencing, tasting architecture…
• Current Research

Please send submissions no later than March 7, 2022.

Paper proposals will be assessed by a scientific committee including session chairs and members of the Society. Depending on available funds, financial support for the travel expenses of students may be provided following the conference.

June 4,  2022
National Gallery of Canada, Ottawa

Deadline: March 25, 2022

Three heads were better than one: AA Bronson, Felix Partz, Jorge Zontal. As members of General Idea (1969–1994), this trio – who thought of themselves more like a rock band than as an artist collective – have had a huge impact on the international contemporary art world.

The conceptual apparatus of their flagship enterprise, The 1984 Miss General Idea Pavillion, though destroyed, has left a large imprint on culture. General Idea were a mirror of their times and a view on the future. They were cultural anthropologists, like Claude Lévi-Strauss; semiologists, like Roland Barthes; media savants, like Marshall McLuhan; and queer literary outsiders, like William Burroughs. They created a complex system that functioned as myth. Fact and fiction always blended in their work. So did irony and critique. They inhabited contemporary mass cultural and media formats with witty sophistication: the beauty pageant, LIFE magazine, television production. Their 1984 Miss General Idea Pageant was a parody of the ritual elevation and demotion of art stars, figured within the dominatrix persona and temporary reign of The Spirit of Miss General Idea. The Pavillion was an architecture elevated through language, constructed purely as a performative fiction. They said it, they did it. General Idea were social figures: artists with berets, businessmen with plans. One moment they were architects designing and building the Pavillion, then they were archaeologists sifting through its ruins. As cultural parasites they could mutate with the times. Little did they know that eventually their viral methods would be mirrored in a real-world crisis: AIDS.