Panel title: Collage, montage et fragmentation en Asie orientale / Collage, montage and fragmentation in East Asia
Chairs: Marie Laureillard (Université Lyon 2) & Isabelle Charrier (Institut d’Asie orientale)
Session Languages: French – English
Deadline: 30 September 2022
We are glad to post a call for individual papers for the session “Collage, montage and fragmentation in East Asia” in the next IAWIS conference.
Abstract
When one thinks of collage, an artistic creation technique based on the combination of various elements and materials, the names of Picasso and Braque immediately come to mind. The pictorial layer of the painting has been transformed by the presence of papers, glued fabrics or other materials. The written text of newspaper fragments was naturally mixed with the image. Then Cubism, Dadaism and then Surrealism seized upon it to bring the dream and the beyond of reality into painting. It was then that surrealist painters such as Ei Kyû and Kitawaki Noboru and Japanese photographers such as Yamamoto Kansuke stepped into the breach. Collage, more than a technique, became an end in itself, as with Okanoue Toshiko (born 1928). At the same time, in China, the urban modernity of the Republican period (1912-1949) gave rise to a fragmentary perception of the world, which manifested itself in photographic montage (Lang Jingshan, 1892-1995) or certain surrealist or Dada-like compositions in the style of George Grosz or John Heartfield, and which was reflected in the literary writing of the neo-sensationalist current (cf. the short stories of Mu Shiying, 1912-1940). Beyond the modern experiments that have established the practice of collage and assemblage, certain older artefacts (Japanese byôbu screens, Chinese bapo, etc.) display astonishing compositions characterised by a discontinuity in unity, which quite naturally question the notions of support and surface dear to Anne-Marie Christin (L’image écrite, 1995), and even the links between text and image. What is the role of the figures in this dislocated space? How can we think about these juxtapositions of disparate elements in an Asian context? What is the effect on the viewer? The aim of this session will be to explore the poetics of collage in East Asia from a broad temporal perspective. The reflection on the practices of visual and verbal collage or on their relationships will be carried out according to various approaches from the visual arts as well as from the history of writing, literature, aesthetics or semiotics in the area under consideration or with a comparative view.
For the applications, please contact the chairs of the panel.