22/11/2024
๐๐ฎ๐น๐น ๐ณ๐ผ๐ฟ ๐๐๐ฏ๐บ๐ถ๐๐๐ถ๐ผ๐ป๐: ๐๐๐ฝ๐ต๐ฒ๐ป ๐๐ผ๐๐ฟ๐ป๐ฎ๐น ๐๐๐๐๐ฒ ๐ฐ: ๐ฆ๐ผ๐ฐ๐ถ๐ผ-๐ฒ๐ฐ๐ผ๐น๐ผ๐ด๐ถ๐ฐ๐ฎ๐น ๐ฝ๐ฟ๐ฎ๐ฐ๐๐ถ๐ฐ๐ฒ
Online version: t.ly/b_Up1
Deadline: 20 January 2025
Submission email: [email protected]
Hyphen Journal is inviting submissions across a range of formats and from diverse disciplines on the theme of socio-ecological practice. We are looking for contributions that articulate and activate the intersections between the social, ecologies and research-practice in open-ended ways.
As one point of departure for this call, the notion of social practice has been current for some time in artistic production, with reference to approaches that include relational aesthetics (Nicolas Bourriaud), dialogic art (Grant Kester) or participatory art (Claire Bishop), among others. In the artistic context, social practice refers to methodologies that extend outwards from the artistโs studio in order to engage with concrete social situations, often seeking to develop forms of long-term involvement with localised communities or places with the aim of addressing existing social problems.
We seek to expand on this several ways: to begin, at the current moment, marked by ever-expanding polycrises and their devastating, unevenly distributed effects, we recognise the need for understanding forms of social practice as always already ecological, and the entanglements that this involves deserve being addressed in their full complexity. This extended mode of investigation also inflects notions of practice as research, which, while being rooted in artistic research-practice in the context of Hyphen Journal, are prone to overflow disciplinary boundaries and coalesce into a multitude of encounters between disparate research methodologies, forms of knowledge production, socio-ecological practices, aesthetics and politics.
At the same time, notions of socio-ecological practice branch out into expansive histories and webs of kinship whose multitudinous threads include Indigenous cosmologies and ethics as articulated, for example, in the words of Davi Kopenawa, Patty Krawec or Georges E. Sioui; the political thought of Murray Bookchin with its emphasis on the inseparability of social and ecological relations in the pursuit of freedom; the many currents of ecofeminist thought and practice that gather in the wake of Franรงoise d'Eaubonneโs originary intervention; the work of artist collectives such as Ogawa Pro who worked across filmmaking and farming, those from the South Korean Minjung art movement who opposed autocratic rule and advocated for political change, or the Argentine Ala Plรกsticaโs social assemblages resisting river pollution caused by large-scale development; as well as numerous other practitioners, researchers and thinkers.
In this spirit, we seek propositions that approach research as a creative practice or creative practice as research, whether this takes its cue from artistic, activist, cosmological, philosophical, scientific or other forms of investigation, or indeed any additional fields or transversal movements across these. What we encourage are practices that question existing conventions of representation and their implicit hierarchies, upend ontological or epistemological certainties and closures, and develop thought through expansive modalities that can include encounters with embodied, haptic, sensory, experiential, intersubjective, social or ecological cognition.
This call has been inspired by curator Sunyoung Ohโs project Song of the Wind, an artist residency that took place on the South Korean island Yaksan-myeon in Wando-gun, where kelp farming is the main economic activity, and which sought to activate the social-ecological-practice nexus that this issue of Hyphen Journal is concerned with. A section of the issue will be made up of contributions that specifically relate to Song of the Wind, while the rest of the issue will consist of materials submitted to this open call.
๐ช๐ฒ ๐ฎ๐ฟ๐ฒ ๐ฐ๐ฎ๐น๐น๐ถ๐ป๐ด ๐ณ๐ผ๐ฟ ๐ฒ๐
๐ฝ๐ฒ๐ฟ๐ถ๐บ๐ฒ๐ป๐๐ฎ๐น, ๐ฝ๐ฟ๐ฎ๐ฐ๐๐ถ๐ฐ๐ฒ-๐ฏ๐ฎ๐๐ฒ๐ฑ ๐ฎ๐ป๐ฑ ๐๐ต๐ฒ๐ผ๐ฟ๐ฒ๐๐ถ๐ฐ๐ฎ๐น ๐ฟ๐ฒ๐๐ฒ๐ฎ๐ฟ๐ฐ๐ต ๐ถ๐ป๐ฐ๐น๐๐ฑ๐ถ๐ป๐ด, ๐ฏ๐๐ ๐ป๐ผ๐ ๐น๐ถ๐บ๐ถ๐๐ฒ๐ฑ ๐๐ผ, ๐๐ต๐ฒ ๐ณ๐ผ๐น๐น๐ผ๐๐ถ๐ป๐ด:
โข experimental, personal, creative and discursive written pieces of varying length, including poetry, typographic pieces, field notes or reflections on fieldwork;
โข collaborations across disciplines, between artists, writers, filmmakers, activists, architects, scientists etc.;
โข video, animation, photography, illustration, drawings/sketches, sound, music, internet art, gifs, podcasts, computer games and other formats of creative media;
โข pieces written in a standard academic format and adhering to academic conventions.
๐๐๐ถ๐ฑ๐ฒ๐น๐ถ๐ป๐ฒ๐ ๐ณ๐ผ๐ฟ ๐๐๐ฏ๐บ๐ถ๐๐๐ถ๐ผ๐ป
Deadline: 20 January 2025
We are looking for submission of completed drafts
Please include a 100โ150-word abstract and a 100-word biography.
We recommend practice-based submissions to be accompanied by a text of at least 1000 words.
The maximum length for academic texts is 8000 words (excluding bibliography).
Media such as video, sound, photography, etc., can be submitted via an online hosting platform such as YouTube or Vimeo, or via online file transfer.
We welcome informal inquiries relating to the special issue or possible contributions. Please direct any inquiries to [email protected].
Editor-in-Chief: Matthias Kispert
Guest editors: Sunyoung Oh, Tessa Peters
Editorial collective: Frankie Hines, monika jaeckel, Arne Sjรถgren
๐ฅ๐ฒ๐ณ๐ฒ๐ฟ๐ฒ๐ป๐ฐ๐ฒ๐
Bag, Sunyoung (ed.) (2019). Revisiting minjung: new perspectives on the cultural history of 1980s South Korea. Ann Arbor, MI: University of Michigan Press.
Bishop, Claire (2012). Artificial hells: participatory art and the politics of spectatorship. London: Verso.
Bookchin, Murray (1982). The ecology of freedom: the emergence and dissolution of hierarchy. Palo Alto, CA: Cheshire Books.
Bourriaud, Nicolas (1998). Relational aesthetics. Trans. S. Pleasance and F. Woods with the participation of M. Copeland. Dijon: Les Presses du Rรฉel.
d'Eaubonne, Franรงoise (2022). Feminism or death: how the womenโs movement can save the planet. Trans. R. Hottell. London: Verso.
Kester, Grant (2011). The one and the many: contemporary collaborative art in a global context. Durham, NC: Duke University Press.
Kopenawa, Davi and Bruce Albert (2013). The falling sky: words of a Yanomami shaman. Trans. N. Elliott and A. Dundy. Cambridge, MA: The Belknap Press of Harvard University Press.
Krawec, P. (2022). Becoming kin: an Indigenous call to unforgetting the past and reimagining our future. Minneapolis, MN: Broadleaf Books.
Sioui, G.E. (1992). For an Amerindian autohistory: an essay on the foundation of a social ethic. Trans. S. Fischman. Montreal & Kingston: McGill-Queenโs University Press.
Voelcker, B. (2021). โField work: Ogawa Productions as farmerโfilmmakersโ. The Moving Image Review & Art Journal (MIRAJ), 10 (1), 50โ71. doi.org/10.1386/miraj_00063_1.
