{"id":9690,"date":"2025-05-22T14:15:59","date_gmt":"2025-05-22T12:15:59","guid":{"rendered":"https:\/\/instytutpolski.pl\/paris\/?p=9690"},"modified":"2025-08-18T13:04:48","modified_gmt":"2025-08-18T11:04:48","slug":"tisser-creer-reinventions-de-lart-textile-de-1945-a-nos-jours-call-for-papers","status":"publish","type":"post","link":"https:\/\/instytutpolski.pl\/paris\/2025\/05\/22\/tisser-creer-reinventions-de-lart-textile-de-1945-a-nos-jours-call-for-papers\/","title":{"rendered":"Tisser\/Cr\u00e9er. R\u00e9inventions de l\u2019art textile de 1945 \u00e0 nos jours &#8211; CALL FOR PAPERS !"},"content":{"rendered":"\n<p><strong>APPEL \u00c0 COMMUNICATION<\/strong><br>\u00ab Tisser\/Cr\u00e9er. R\u00e9inventions de l\u2019art textile de 1945 \u00e0 nos jours \u00bb<\/p>\n\n\n\n<p>Organis\u00e9e par le mus\u00e9e Bourdelle et l\u2019Institut polonais de Paris les 8 et 9 d\u00e9cembre 2025 \u00e0 l\u2019occasion de l\u2019exposition \u00ab Magdalena Abakanowicz. La trame de l\u2019existence \u00bb pr\u00e9sent\u00e9e au mus\u00e9e Bourdelle (20 novembre 2025 &#8211; 12 avril 2026), cette journ\u00e9e d\u2019\u00e9tude a pour objectif de revenir sur l\u2019\u00e9mergence, \u00e0 partir de 1945, d\u2019une sc\u00e8ne artistique europ\u00e9enne et internationale qui choisit de mettre en forme le mat\u00e9riau textile.<\/p>\n\n\n\n<p><strong>Date limite : 15 juillet 2025<\/strong><\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\" \/>\n\n\n\n<p><strong>CALL FOR PAPERS<\/strong><br>\u00ab Weave\/Create: Reinventing Textile Art from 1945 to the Present \u00bb<\/p>\n\n\n\n<p>To mark the exhibition \u201cMagdalena Abakanowicz: The Fabric of Existence\u201d, on view at the Bourdelle Museum (20 November 2025 &#8211; 12 April 2026), the museum, in collaboration with the Polish Institute in Paris, is organising a study session on 8 and 9 December 2025. The aim is to analyse the emergence, from 1945 onwards, of European and international art scenes that sought to give form to fabric.<\/p>\n\n\n\n<p><strong>Deadline for submissions: Tuesday, 15 July 2025<\/strong><\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"768\" height=\"1024\" src=\"https:\/\/instytutpolski.pl\/paris\/wp-content\/uploads\/sites\/14\/2025\/05\/IMG_6749-768x1024.jpeg\" alt=\"\" class=\"wp-image-9692\" srcset=\"https:\/\/instytutpolski.pl\/paris\/wp-content\/uploads\/sites\/14\/2025\/05\/IMG_6749-768x1024.jpeg 768w, https:\/\/instytutpolski.pl\/paris\/wp-content\/uploads\/sites\/14\/2025\/05\/IMG_6749-225x300.jpeg 225w, https:\/\/instytutpolski.pl\/paris\/wp-content\/uploads\/sites\/14\/2025\/05\/IMG_6749-1152x1536.jpeg 1152w, https:\/\/instytutpolski.pl\/paris\/wp-content\/uploads\/sites\/14\/2025\/05\/IMG_6749-1536x2048.jpeg 1536w, https:\/\/instytutpolski.pl\/paris\/wp-content\/uploads\/sites\/14\/2025\/05\/IMG_6749-scaled.jpeg 1920w\" sizes=\"auto, (max-width: 768px) 100vw, 768px\" \/><\/figure>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\" \/>\n\n\n\n<p><\/p>\n\n\n\n<p><strong>Appel \u00e0 communication :&nbsp;<\/strong><\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p><em>\u00ab Je consid\u00e8re la fibre comme l\u2019\u00e9l\u00e9ment fondateur qui construit le monde organique de notre plan\u00e8te, comme le plus grand myst\u00e8re de notre environnement. C\u2019est \u00e0 partir de la fibre que sont construits tous les organismes vivants, le tissu des plantes, des feuilles et notre propre tissu. \u00bb<\/em><\/p>\n\n\n\n<p class=\"has-small-font-size\">Propos rapport\u00e9s, \u201cOn Fiber\u201d,&nbsp;<em>Magdalena Abakanowicz<\/em>,&nbsp;cat. exp., Londres, Tate Modern, 17 nov. 2022 &#8211; 21 juin 2023, Londres, Tate Publishing, 2022, p.9.&nbsp;<em>[Notre traduction]&nbsp;<\/em><\/p>\n<\/blockquote>\n\n\n\n<p>Au tout d\u00e9but des ann\u00e9es 1960, l\u2019artiste polonaise Magdalena Abakanowicz (1930 &#8211; 2017) d\u00e9laisse le plan du mur pour concevoir des \u0153uvres textiles suspendues dans l\u2019espace, appel\u00e9es&nbsp;<em>Abakans<\/em>, qui subvertissent le cadre des cat\u00e9gories artistiques. Ses exp\u00e9rimentations en fibres naturelles (chanvre, crin de cheval, lin, sisal) co\u00efncident avec l\u2019av\u00e8nement des mouvements artistiques tels que le&nbsp;<em>Fiber Art<\/em>&nbsp;aux Etats-Unis et la&nbsp;<em>Nouvelle tapisserie<\/em>&nbsp;en Europe. D\u2019autres artistes s\u2019engagent dans une transition similaire, passant d\u2019une surface bidimensionnelle \u00e0 un objet tiss\u00e9, interrogeant la dimension immersive du textile, \u00e0 l\u2019instar d\u2019Olga de Amaral, Jagoda&nbsp;Bui\u0107, Ritzi Jacobi, Ana Lupas, Wojciech Sadley, Sheila Hicks ou Harmony Hammond\u2026 Quelles sont les raisons \u2013 \u00e9conomiques, politiques, sociales, genr\u00e9es \u2013 qui encouragent les artistes, et notamment les femmes, \u00e0 s\u2019emparer ainsi de ce mat\u00e9riau \u00e0 partir des ann\u00e9es 1960-1970&nbsp;? Peut-on d\u2019ailleurs parler uniquement d\u2019un art textile lorsque le tissu est comprim\u00e9, moul\u00e9 ou recouvert de pl\u00e2tre&nbsp;? Les fronti\u00e8res entre tissage et modelage deviennent poreuses, et tout le d\u00e9fi r\u00e9side dans la mani\u00e8re de \u00ab&nbsp;sculpter&nbsp;\u00bb les formes molles.<\/p>\n\n\n\n<p>Les r\u00e9flexions des artistes du minimalisme am\u00e9ricain (Donald Judd, Kenneth Noland, Carl Andre) entrent \u00e9galement en r\u00e9sonance avec les propositions de ces artistes, femmes ou hommes, du textile. D\u00e8s la fin des ann\u00e9es 1960, leurs cr\u00e9ations deviennent \u00e0 leur tour des \u00ab&nbsp;objets sp\u00e9cifiques&nbsp;\u00bb per\u00e7us dans un espace donn\u00e9 et intrins\u00e8quement li\u00e9s \u00e0 leurs environnements. Qu\u2019il s\u2019agisse des&nbsp;<em>Abakans&nbsp;<\/em>ou m\u00eame des&nbsp;<em>P\u00e9n\u00e9trables&nbsp;<\/em>de&nbsp;Jes\u00fas-Rafael&nbsp;Soto, ces \u0153uvres proposent des formes pionni\u00e8res d\u2019installation et deviennent&nbsp;<em>site-specific<\/em>, constamment remodel\u00e9es en fonction de leurs contextes de cr\u00e9ation. A ce titre, comment le mat\u00e9riau textile, une fois s\u00e9par\u00e9 du mur, propose-t-il une nouvelle mani\u00e8re d\u2019investir l\u2019espace, puisqu\u2019elle semble se recomposer \u00e0 l\u2019infini&nbsp;?&nbsp;<\/p>\n\n\n\n<p>Par ces recompositions successives, l\u2019\u0153uvre textile d\u00e9crit un processus \u00e9volutif comparable \u00e0 celui d\u2019une croissance organique. Ce caract\u00e8re biologique est tr\u00e8s pr\u00e9sent dans le travail d\u2019Abakanowicz, qui interroge l\u2019analogie f\u00e9conde entre tissu vivant et tissu inerte. La qualit\u00e9 textur\u00e9e de ses \u0153uvres suppose une fascination&nbsp;<em>haptique<\/em>, qui appelle un contact, un toucher. Abakanowicz n\u2019a jamais cess\u00e9 d\u2019affirmer une relation d\u2019identification entre son travail et sa propre peau. Elle n\u2019est d\u2019ailleurs pas la seule artiste \u00e0 utiliser des mat\u00e9riaux mous pour repr\u00e9senter un corps fragment\u00e9, o\u00f9 le textile remplace le fluide, comme c\u2019est le cas chez Eva Hesse, Lynda Benglis ou Louise Bourgeois. Quelle place est donn\u00e9e au corps dans cette utilisation du mat\u00e9riau textile, notamment chez les artistes femmes&nbsp;?&nbsp;<\/p>\n\n\n\n<p>Aujourd\u2019hui, les artistes contemporains d\u00e9veloppent et \u00e9largissent ces liens entre le corps et le tissu dans leurs pratiques vari\u00e9es&nbsp;: broderies, patchwork, couture deviennent des porteurs de messages sociaux, politiques et f\u00e9ministes, surtout apr\u00e8s la pand\u00e9mie de Covid-19. Le tissu est d\u00e8s lors utilis\u00e9 comme un mat\u00e9riau devenu le support d\u2019activit\u00e9s collectives, th\u00e9rapeutiques ou engag\u00e9es.&nbsp;<\/p>\n\n\n\n<p>Non cantonn\u00e9es \u00e0 un champ de recherche sp\u00e9cifique, les propositions de communication pourront s\u2019appuyer sur les th\u00e9matiques suivantes, sans s\u2019y limiter&nbsp;:&nbsp;<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li><strong>Approches th\u00e9oriques\u00a0:<\/strong>\u00a0historiographie des mouvements de l\u2019art textile bi- et tridimensionnel (<em>Fiber Art<\/em>,\u00a0<em>Textile Art<\/em>,\u00a0<em>Wall Hangings<\/em>\u2026) ; th\u00e9ories de l\u2019art textile et approches interdisciplinaires (histoire de l\u2019art, psychologie, philosophie, sociologie\u2026)\u00a0; r\u00f4le et origine des traditions populaires, pratiques artisanales et sensibilit\u00e9s locales dans le d\u00e9veloppement de l\u2019art textile\u00a0; m\u00e9taphores, symboliques et mythologies associ\u00e9es au textile.<\/li>\n\n\n\n<li><strong>Approches mat\u00e9rielles\u00a0et techniques\u00a0:<\/strong>\u00a0explorations mat\u00e9rielles du textile dans la cr\u00e9ation artistique apr\u00e8s 1945\u00a0; aspects techniques (travail de tissage, travail de broderie, de couture\u2026)\u00a0; nouvel int\u00e9r\u00eat pour le cordage, le tissu, les fibres naturelles\u00a0; questions li\u00e9es \u00e0 la conservation et restauration de cet art textile.<\/li>\n\n\n\n<li><strong>Dans l\u2019atelier :\u00a0<\/strong>caract\u00e8re collectif du travail textile\u00a0\u00e0 travers l\u2019ouverture de nouvelles formations, de cours particuliers dans les \u00e9coles d\u2019art et les manufactures\u00a0; place des assistants tisserands et leur r\u00f4le d\u00e9terminant dans la cr\u00e9ation textile monumentale.<\/li>\n\n\n\n<li><strong>Sculptures textiles :\u00a0<\/strong>\u00e9tudes du mat\u00e9riau et de ses possibilit\u00e9s plastiques, de la souplesse, de l\u2019\u00e9lasticit\u00e9 des mat\u00e9riaux\u00a0; interrogations autour du mat\u00e9riau-peau, de la mollesse en sculpture\u00a0; r\u00e9flexions autour de l\u2019\u00e9chelle et de la sculpture-textile monumentale.<\/li>\n\n\n\n<li><strong>R\u00e9gionalisme \/ universalisme du textile, pour une histoire mondiale de l\u2019art textile\u00a0:\u00a0<\/strong>d\u00e9passer la lecture moderniste de l\u2019abstraction textile afin d\u2019aborder le contexte politique et social de ces cr\u00e9ations (Europe de l\u2019Est, Am\u00e9rique du Sud, etc).<\/li>\n\n\n\n<li><strong>Questions de genre\u00a0:\u00a0<\/strong>l\u2019affranchissement du m\u00e9dium et l\u2019affranchissement des artistes femmes\u00a0; la place du mat\u00e9riau textile dans l\u2019historiographie des artistes femmes.<\/li>\n<\/ul>\n\n\n\n<p><strong>Comit\u00e9 scientifique et organisation&nbsp;:&nbsp;<\/strong><br>Oph\u00e9lie Ferlier Bouat, conservatrice en chef du patrimoine, directrice du mus\u00e9e Bourdelle<br>J\u00e9r\u00f4me Godeau, commissaire d\u2019exposition, historien de l\u2019art, mus\u00e9e Bourdelle<br>Lili Davenas, conservatrice peintures et arts graphiques, mus\u00e9e Bourdelle<br>Natalia Barbarska, responsable de projets, Institut polonais de Paris<\/p>\n\n\n\n<p>Les propositions de communication contenant un titre, un r\u00e9sum\u00e9 (300 mots maximum) et une notice biographique (150 mots max) sont attendues aux adresses suivantes&nbsp;:<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li><a href=\"mailto:lili.davenas@paris.fr\">lili.davenas@paris.fr<\/a><\/li>\n\n\n\n<li><a href=\"mailto:natalia.barbarska@instytutpolski.pl\">natalia.barbarska@instytutpolski.pl<\/a><\/li>\n<\/ul>\n\n\n\n<p><strong>Date limite&nbsp;: 15 juillet 2025<\/strong><\/p>\n\n\n\n<p>Chaque communication durera 20 minutes \u2013 hors table-ronde &#8211; et pourra faire l\u2019objet d\u2019une captation film\u00e9e.&nbsp;<\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\" \/>\n\n\n\n<h3 class=\"wp-block-heading\">Study session:&nbsp;<em>Weave\/Create: Reinventing Textile Art from 1945 to the Present&nbsp;<\/em><\/h3>\n\n\n\n<p><strong>Call for Papers:<\/strong><\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p><em>\u201cI see fiber as the basic element constructing the organic world on our planet, as the greatest mystery of our environment. It is from fiber that all the living organisms are built, the tissue of plants, leaves and ourselves.\u201d<\/em><\/p>\n\n\n\n<p class=\"has-small-font-size\">\u201cOn Fiber\u201d,&nbsp;<em>Magdalena Abakanowicz<\/em>,&nbsp;cat. exp., Londres, Tate Modern, 17 nov. 2022 &#8211; 21 juin 2023, Londres, Tate Publishing, 2022, p.9.<\/p>\n<\/blockquote>\n\n\n\n<p>In the early 1960s, Polish artist Magdalena Abakanowicz (1930-2017) moved away from traditional wall tapestry to create suspended textile forms known as Abakans. These works challenged and redefined conventional categories of art. Her experimentation with natural fibres (hemp, horsehair, flax, sisal) paralleled emerging movements such as Fiber Art in the United States and&nbsp;<em>Nouvelle tapisserie<\/em>&nbsp;in Europe. Other artists, including Olga de Amaral, Jagoda Bui\u0107, Ritzi Jacobi, Ana Lupa\u0219, Wojciech Sadley, Sheila Hicks, and Harmony Hammond, undertook similar transitions: they moved from flat surfaces to woven objects, exploring the immersive potential of textiles.<\/p>\n\n\n\n<p>In the early 1960s, Polish artist Magdalena Abakanowicz (1930-2017) moved away from traditional wall tapestry to create suspended textile forms known as&nbsp;<em>Abakans<\/em>. These works challenged and redefined conventional categories of art. Her experimentation with natural fibres (hemp, horsehair, flax, sisal) paralleled emerging movements such as Fiber Art in the United States and&nbsp;<em>Nouvelle tapisserie<\/em>&nbsp;in Europe. Other artists, including Olga de Amaral, Jagoda Bui\u0107, Ritzi Jacobi, Ana Lupa\u0219, Wojciech Sadley, Sheila Hicks, and Harmony Hammond, undertook similar transitions: they moved from flat surfaces to woven objects, exploring the immersive potential of textiles<\/p>\n\n\n\n<p>How does a textile, once liberated from the wall, redefine the occupation of space, appearing to perpetually rearrange itself? Through these successive reconfigurations, textile works suggest an evolutionary process akin to organic growth. This biological dimension is strongly present in Abakanowicz\u2019s oeuvre, which explores the complex analogy between living and inert tissue. The tactile quality of her pieces evokes a haptic fascination, inviting contact and touch. Abakanowicz explicitly linked her work to her own skin. She was not alone in using soft materials to evoke the fragmented body\u2014textiles standing in for bodily fluids, as in the work of Eva Hesse, Lynda Benglis or Louise Bourgeois. What role does the body play in this textile-based artistic language, particularly for women artists?<\/p>\n\n\n\n<p>Today, contemporary artists continue to explore the relationship between body and fabric in diverse practices. Embroidery, patchwork, and sewing have become vehicles for social, political, and feminist expression\u2014particularly in the wake of the COVID-19 pandemic. Fabric is now employed as a medium for collective, therapeutic, and activist practices.<\/p>\n\n\n\n<p>We invite proposals across disciplines and geographies. Suggested themes include (but are not limited to):<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li><strong>Theoretical approaches:<\/strong>\u00a0Historiography of two- and three-dimensional textile art movements (Fiber Art, Textile Art, Wall hangings, etc.); theories of textile art and interdisciplinary perspectives (Art history, psychology, philosophy, sociology, etc.); the role and origins of popular traditions, craft practices, and local identities in the development of textile art; metaphors, symbolism, and mythology of textiles.<\/li>\n\n\n\n<li><strong>Material and technical approaches:\u00a0<\/strong>Exploration of textile materials in art since 1945; technical practices (weaving, embroidery, sewing, etc.); renewed interest in ropes, fabrics, and natural fibers; conservation and restoration of textile artworks.<\/li>\n\n\n\n<li><strong>In the workshop:<\/strong>\u00a0The collective nature of textile creation, including the emergence of new training programmes and private courses in art schools and studios; the roles of assistant weavers in the making of monumental textile works.<\/li>\n\n\n\n<li><strong>Textile sculpture:<\/strong>\u00a0Studies of sculptural potential in textile materials; the flexibility and softness of textiles; the relationship between material and skin; scale and monumentality in textile sculpture.<\/li>\n\n\n\n<li><strong>Regionalism and universalism in textile art:<\/strong>\u00a0Toward a global history of textile art that transcends modernist narratives, addressing the political and social contexts of these creations (Eastern Europe, South America, etc.).<\/li>\n\n\n\n<li><strong>Gender perspectives:<\/strong>\u00a0The emancipation of textiles as a medium and of women as artists; the role of textiles in the historiography of female artists.<\/li>\n<\/ul>\n\n\n\n<p><strong>Scientific and Organising Committee:<\/strong><br>Oph\u00e9lie Ferlier Bouat, Chief Heritage Curator, Director of Bourdelle Museum<br>J\u00e9r\u00f4me Godeau, Exhibition Curator and Art Historian, Bourdelle Museum<br>Lili Davenas, Curator of Paintings and Drawings, Bourdelle Museum<br>Natalia Barbarska, Visual Arts Project Manager, Polish Institute in Paris<\/p>\n\n\n\n<p><strong>Submission Guidelines<\/strong><\/p>\n\n\n\n<p>Please send your paper proposal (including a title, a 300-word abstract, and a 150-word biographical note) to :<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li><a href=\"mailto:lili.davenas@paris.fr\">lili.davenas@paris.fr<\/a><\/li>\n\n\n\n<li><a href=\"mailto:natalia.barbarska@instytutpolski.pl\">natalia.barbarska@instytutpolski.pl<\/a><\/li>\n<\/ul>\n\n\n\n<p><strong>Deadline for submissions: Tuesday, 15 July 2025<\/strong><\/p>\n\n\n\n<p>Presentations should last 20 minutes (except for roundtable discussions) and may be recorded.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>APPEL \u00c0 COMMUNICATION\u00ab Tisser\/Cr\u00e9er. R\u00e9inventions de l\u2019art textile de 1945 \u00e0 nos jours \u00bb Organis\u00e9e par le mus\u00e9e Bourdelle et l\u2019Institut polonais de Paris les 8 et 9 d\u00e9cembre 2025 \u00e0 l\u2019occasion de l\u2019exposition \u00ab Magdalena Abakanowicz. La trame de l\u2019existence \u00bb pr\u00e9sent\u00e9e au mus\u00e9e Bourdelle (20 novembre 2025 &#8211; 12 avril 2026), cette journ\u00e9e [&hellip;]<\/p>\n","protected":false},"author":150,"featured_media":9692,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"inline_featured_image":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[26,20],"tags":[],"class_list":["post-9690","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-arts-visuels","category-evenements"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v24.6 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Tisser\/Cr\u00e9er. R\u00e9inventions de l\u2019art textile de 1945 \u00e0 nos jours - CALL FOR PAPERS ! - Instytut Polski w Pary\u017cu<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/instytutpolski.pl\/paris\/2025\/05\/22\/tisser-creer-reinventions-de-lart-textile-de-1945-a-nos-jours-call-for-papers\/\" \/>\n<meta property=\"og:locale\" content=\"pl_PL\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Tisser\/Cr\u00e9er. R\u00e9inventions de l\u2019art textile de 1945 \u00e0 nos jours - CALL FOR PAPERS ! - Instytut Polski w Pary\u017cu\" \/>\n<meta property=\"og:description\" content=\"APPEL \u00c0 COMMUNICATION\u00ab Tisser\/Cr\u00e9er. R\u00e9inventions de l\u2019art textile de 1945 \u00e0 nos jours \u00bb Organis\u00e9e par le mus\u00e9e Bourdelle et l\u2019Institut polonais de Paris les 8 et 9 d\u00e9cembre 2025 \u00e0 l\u2019occasion de l\u2019exposition \u00ab Magdalena Abakanowicz. La trame de l\u2019existence \u00bb pr\u00e9sent\u00e9e au mus\u00e9e Bourdelle (20 novembre 2025 &#8211; 12 avril 2026), cette journ\u00e9e [&hellip;]\" \/>\n<meta property=\"og:url\" content=\"https:\/\/instytutpolski.pl\/paris\/2025\/05\/22\/tisser-creer-reinventions-de-lart-textile-de-1945-a-nos-jours-call-for-papers\/\" \/>\n<meta property=\"og:site_name\" content=\"Instytut Polski w Pary\u017cu\" \/>\n<meta property=\"article:published_time\" content=\"2025-05-22T12:15:59+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2025-08-18T11:04:48+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/instytutpolski.pl\/paris\/wp-content\/uploads\/sites\/14\/2025\/05\/IMG_6749-scaled.jpeg\" \/>\n\t<meta property=\"og:image:width\" content=\"1920\" \/>\n\t<meta property=\"og:image:height\" content=\"2560\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"barbarskan\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Napisane przez\" \/>\n\t<meta name=\"twitter:data1\" content=\"barbarskan\" \/>\n\t<meta name=\"twitter:label2\" content=\"Szacowany czas czytania\" \/>\n\t<meta name=\"twitter:data2\" content=\"11 minut\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"event\",\"@id\":\"https:\/\/instytutpolski.pl\/paris\/2025\/05\/22\/tisser-creer-reinventions-de-lart-textile-de-1945-a-nos-jours-call-for-papers\/\",\"url\":\"https:\/\/instytutpolski.pl\/paris\/2025\/05\/22\/tisser-creer-reinventions-de-lart-textile-de-1945-a-nos-jours-call-for-papers\/\",\"name\":\"Tisser\/Cr\u00e9er. 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R\u00e9inventions de l\u2019art textile de 1945 \u00e0 nos jours \u00bb\\nOrganis\u00e9e par le mus\u00e9e Bourdelle et l\u2019Institut polonais de Paris les 8 et 9 d\u00e9cembre 2025 \u00e0 l\u2019occasion de l\u2019exposition \u00ab Magdalena Abakanowicz. La trame de l\u2019existence \u00bb pr\u00e9sent\u00e9e au mus\u00e9e Bourdelle (20 novembre 2025 - 12 avril 2026), cette journ\u00e9e d\u2019\u00e9tude a pour objectif de revenir sur l\u2019\u00e9mergence, \u00e0 partir de 1945, d\u2019une sc\u00e8ne artistique europ\u00e9enne et internationale qui choisit de mettre en forme le mat\u00e9riau textile.\\nDate limite : 15 juillet 2025\\nCALL FOR PAPERS\u00ab Weave\/Create: Reinventing Textile Art from 1945 to the Present \u00bb\\nTo mark the exhibition \u201cMagdalena Abakanowicz: The Fabric of Existence\u201d, on view at the Bourdelle Museum (20 November 2025 - 12 April 2026), the museum, in collaboration with the Polish Institute in Paris, is organising a study session on 8 and 9 December 2025. The aim is to analyse the emergence, from 1945 onwards, of European and international art scenes that sought to give form to fabric.\\nDeadline for submissions: Tuesday, 15 July 2025\\nAppel \u00e0 communication : \\n\u00ab Je consid\u00e8re la fibre comme l\u2019\u00e9l\u00e9ment fondateur qui construit le monde organique de notre plan\u00e8te, comme le plus grand myst\u00e8re de notre environnement. C\u2019est \u00e0 partir de la fibre que sont construits tous les organismes vivants, le tissu des plantes, des feuilles et notre propre tissu. \u00bb\\nPropos rapport\u00e9s, \u201cOn Fiber\u201d, Magdalena Abakanowicz, cat. exp., Londres, Tate Modern, 17 nov. 2022 - 21 juin 2023, Londres, Tate Publishing, 2022, p.9. [Notre traduction] \\nAu tout d\u00e9but des ann\u00e9es 1960, l\u2019artiste polonaise Magdalena Abakanowicz (1930 - 2017) d\u00e9laisse le plan du mur pour concevoir des \u0153uvres textiles suspendues dans l\u2019espace, appel\u00e9es Abakans, qui subvertissent le cadre des cat\u00e9gories artistiques. Ses exp\u00e9rimentations en fibres naturelles (chanvre, crin de cheval, lin, sisal) co\u00efncident avec l\u2019av\u00e8nement des mouvements artistiques tels que le Fiber Art aux Etats-Unis et la Nouvelle tapisserie en Europe. D\u2019autres artistes s\u2019engagent dans une transition similaire, passant d\u2019une surface bidimensionnelle \u00e0 un objet tiss\u00e9, interrogeant la dimension immersive du textile, \u00e0 l\u2019instar d\u2019Olga de Amaral, Jagoda Bui\u0107, Ritzi Jacobi, Ana Lupas, Wojciech Sadley, Sheila Hicks ou Harmony Hammond\u2026 Quelles sont les raisons \u2013 \u00e9conomiques, politiques, sociales, genr\u00e9es \u2013 qui encouragent les artistes, et notamment les femmes, \u00e0 s\u2019emparer ainsi de ce mat\u00e9riau \u00e0 partir des ann\u00e9es 1960-1970 ? Peut-on d\u2019ailleurs parler uniquement d\u2019un art textile lorsque le tissu est comprim\u00e9, moul\u00e9 ou recouvert de pl\u00e2tre ? Les fronti\u00e8res entre tissage et modelage deviennent poreuses, et tout le d\u00e9fi r\u00e9side dans la mani\u00e8re de \u00ab sculpter \u00bb les formes molles.\\nLes r\u00e9flexions des artistes du minimalisme am\u00e9ricain (Donald Judd, Kenneth Noland, Carl Andre) entrent \u00e9galement en r\u00e9sonance avec les propositions de ces artistes, femmes ou hommes, du textile. D\u00e8s la fin des ann\u00e9es 1960, leurs cr\u00e9ations deviennent \u00e0 leur tour des \u00ab objets sp\u00e9cifiques \u00bb per\u00e7us dans un espace donn\u00e9 et intrins\u00e8quement li\u00e9s \u00e0 leurs environnements. Qu\u2019il s\u2019agisse des Abakans ou m\u00eame des P\u00e9n\u00e9trables de Jes\u00fas-Rafael Soto, ces \u0153uvres proposent des formes pionni\u00e8res d\u2019installation et deviennent site-specific, constamment remodel\u00e9es en fonction de leurs contextes de cr\u00e9ation. A ce titre, comment le mat\u00e9riau textile, une fois s\u00e9par\u00e9 du mur, propose-t-il une nouvelle mani\u00e8re d\u2019investir l\u2019espace, puisqu\u2019elle semble se recomposer \u00e0 l\u2019infini ? \\nPar ces recompositions successives, l\u2019\u0153uvre textile d\u00e9crit un processus \u00e9volutif comparable \u00e0 celui d\u2019une croissance organique. Ce caract\u00e8re biologique est tr\u00e8s pr\u00e9sent dans le travail d\u2019Abakanowicz, qui interroge l\u2019analogie f\u00e9conde entre tissu vivant et tissu inerte. La qualit\u00e9 textur\u00e9e de ses \u0153uvres suppose une fascination haptique, qui appelle un contact, un toucher. Abakanowicz n\u2019a jamais cess\u00e9 d\u2019affirmer une relation d\u2019identification entre son travail et sa propre peau. Elle n\u2019est d\u2019ailleurs pas la seule artiste \u00e0 utiliser des mat\u00e9riaux mous pour repr\u00e9senter un corps fragment\u00e9, o\u00f9 le textile remplace le fluide, comme c\u2019est le cas chez Eva Hesse, Lynda Benglis ou Louise Bourgeois. Quelle place est donn\u00e9e au corps dans cette utilisation du mat\u00e9riau textile, notamment chez les artistes femmes ? \\nAujourd\u2019hui, les artistes contemporains d\u00e9veloppent et \u00e9largissent ces liens entre le corps et le tissu dans leurs pratiques vari\u00e9es : broderies, patchwork, couture deviennent des porteurs de messages sociaux, politiques et f\u00e9ministes, surtout apr\u00e8s la pand\u00e9mie de Covid-19. Le tissu est d\u00e8s lors utilis\u00e9 comme un mat\u00e9riau devenu le support d\u2019activit\u00e9s collectives, th\u00e9rapeutiques ou engag\u00e9es. \\nNon cantonn\u00e9es \u00e0 un champ de recherche sp\u00e9cifique, les propositions de communication pourront s\u2019appuyer sur les th\u00e9matiques suivantes, sans s\u2019y limiter : \\nComit\u00e9 scientifique et organisation : Oph\u00e9lie Ferlier Bouat, conservatrice en chef du patrimoine, directrice du mus\u00e9e BourdelleJ\u00e9r\u00f4me Godeau, commissaire d\u2019exposition, historien de l\u2019art, mus\u00e9e BourdelleLili Davenas, conservatrice peintures et arts graphiques, mus\u00e9e BourdelleNatalia Barbarska, responsable de projets, Institut polonais de Paris\\nLes propositions de communication contenant un titre, un r\u00e9sum\u00e9 (300 mots maximum) et une notice biographique (150 mots max) sont attendues aux adresses suivantes :\\nDate limite : 15 juillet 2025\\nChaque communication durera 20 minutes \u2013 hors table-ronde - et pourra faire l\u2019objet d\u2019une captation film\u00e9e. \\nStudy session: Weave\/Create: Reinventing Textile Art from 1945 to the Present \\nCall for Papers:\\n\u201cI see fiber as the basic element constructing the organic world on our planet, as the greatest mystery of our environment. It is from fiber that all the living organisms are built, the tissue of plants, leaves and ourselves.\u201d\\n\u201cOn Fiber\u201d, Magdalena Abakanowicz, cat. exp., Londres, Tate Modern, 17 nov. 2022 - 21 juin 2023, Londres, Tate Publishing, 2022, p.9.\\nIn the early 1960s, Polish artist Magdalena Abakanowicz (1930-2017) moved away from traditional wall tapestry to create suspended textile forms known as Abakans. These works challenged and redefined conventional categories of art. Her experimentation with natural fibres (hemp, horsehair, flax, sisal) paralleled emerging movements such as Fiber Art in the United States and Nouvelle tapisserie in Europe. Other artists, including Olga de Amaral, Jagoda Bui\u0107, Ritzi Jacobi, Ana Lupa\u0219, Wojciech Sadley, Sheila Hicks, and Harmony Hammond, undertook similar transitions: they moved from flat surfaces to woven objects, exploring the immersive potential of textiles.\\nIn the early 1960s, Polish artist Magdalena Abakanowicz (1930-2017) moved away from traditional wall tapestry to create suspended textile forms known as Abakans. These works challenged and redefined conventional categories of art. Her experimentation with natural fibres (hemp, horsehair, flax, sisal) paralleled emerging movements such as Fiber Art in the United States and Nouvelle tapisserie in Europe. Other artists, including Olga de Amaral, Jagoda Bui\u0107, Ritzi Jacobi, Ana Lupa\u0219, Wojciech Sadley, Sheila Hicks, and Harmony Hammond, undertook similar transitions: they moved from flat surfaces to woven objects, exploring the immersive potential of textiles\\nHow does a textile, once liberated from the wall, redefine the occupation of space, appearing to perpetually rearrange itself? Through these successive reconfigurations, textile works suggest an evolutionary process akin to organic growth. This biological dimension is strongly present in Abakanowicz\u2019s oeuvre, which explores the complex analogy between living and inert tissue. The tactile quality of her pieces evokes a haptic fascination, inviting contact and touch. Abakanowicz explicitly linked her work to her own skin. She was not alone in using soft materials to evoke the fragmented body\u2014textiles standing in for bodily fluids, as in the work of Eva Hesse, Lynda Benglis or Louise Bourgeois. What role does the body play in this textile-based artistic language, particularly for women artists?\\nToday, contemporary artists continue to explore the relationship between body and fabric in diverse practices. Embroidery, patchwork, and sewing have become vehicles for social, political, and feminist expression\u2014particularly in the wake of the COVID-19 pandemic. Fabric is now employed as a medium for collective, therapeutic, and activist practices.\\nWe invite proposals across disciplines and geographies. Suggested themes include (but are not limited to):\\nScientific and Organising Committee:Oph\u00e9lie Ferlier Bouat, Chief Heritage Curator, Director of Bourdelle MuseumJ\u00e9r\u00f4me Godeau, Exhibition Curator and Art Historian, Bourdelle MuseumLili Davenas, Curator of Paintings and Drawings, Bourdelle MuseumNatalia Barbarska, Visual Arts Project Manager, Polish Institute in Paris\\nSubmission Guidelines\\nPlease send your paper proposal (including a title, a 300-word abstract, and a 150-word biographical note) to :\\nDeadline for submissions: Tuesday, 15 July 2025\\nPresentations should last 20 minutes (except for roundtable discussions) and may be recorded.\"},{\"@type\":\"ImageObject\",\"inLanguage\":\"pl-PL\",\"@id\":\"https:\/\/instytutpolski.pl\/paris\/2025\/05\/22\/tisser-creer-reinventions-de-lart-textile-de-1945-a-nos-jours-call-for-papers\/#primaryimage\",\"url\":\"https:\/\/instytutpolski.pl\/paris\/wp-content\/uploads\/sites\/14\/2025\/05\/IMG_6749-scaled.jpeg\",\"contentUrl\":\"https:\/\/instytutpolski.pl\/paris\/wp-content\/uploads\/sites\/14\/2025\/05\/IMG_6749-scaled.jpeg\",\"width\":1920,\"height\":2560},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/instytutpolski.pl\/paris\/2025\/05\/22\/tisser-creer-reinventions-de-lart-textile-de-1945-a-nos-jours-call-for-papers\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/instytutpolski.pl\/paris\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Tisser\/Cr\u00e9er. 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R\u00e9inventions de l\u2019art textile de 1945 \u00e0 nos jours \u00bb\nOrganis\u00e9e par le mus\u00e9e Bourdelle et l\u2019Institut polonais de Paris les 8 et 9 d\u00e9cembre 2025 \u00e0 l\u2019occasion de l\u2019exposition \u00ab Magdalena Abakanowicz. La trame de l\u2019existence \u00bb pr\u00e9sent\u00e9e au mus\u00e9e Bourdelle (20 novembre 2025 - 12 avril 2026), cette journ\u00e9e d\u2019\u00e9tude a pour objectif de revenir sur l\u2019\u00e9mergence, \u00e0 partir de 1945, d\u2019une sc\u00e8ne artistique europ\u00e9enne et internationale qui choisit de mettre en forme le mat\u00e9riau textile.\nDate limite : 15 juillet 2025\nCALL FOR PAPERS\u00ab Weave\/Create: Reinventing Textile Art from 1945 to the Present \u00bb\nTo mark the exhibition \u201cMagdalena Abakanowicz: The Fabric of Existence\u201d, on view at the Bourdelle Museum (20 November 2025 - 12 April 2026), the museum, in collaboration with the Polish Institute in Paris, is organising a study session on 8 and 9 December 2025. The aim is to analyse the emergence, from 1945 onwards, of European and international art scenes that sought to give form to fabric.\nDeadline for submissions: Tuesday, 15 July 2025\nAppel \u00e0 communication : \n\u00ab Je consid\u00e8re la fibre comme l\u2019\u00e9l\u00e9ment fondateur qui construit le monde organique de notre plan\u00e8te, comme le plus grand myst\u00e8re de notre environnement. C\u2019est \u00e0 partir de la fibre que sont construits tous les organismes vivants, le tissu des plantes, des feuilles et notre propre tissu. \u00bb\nPropos rapport\u00e9s, \u201cOn Fiber\u201d, Magdalena Abakanowicz, cat. exp., Londres, Tate Modern, 17 nov. 2022 - 21 juin 2023, Londres, Tate Publishing, 2022, p.9. [Notre traduction] \nAu tout d\u00e9but des ann\u00e9es 1960, l\u2019artiste polonaise Magdalena Abakanowicz (1930 - 2017) d\u00e9laisse le plan du mur pour concevoir des \u0153uvres textiles suspendues dans l\u2019espace, appel\u00e9es Abakans, qui subvertissent le cadre des cat\u00e9gories artistiques. Ses exp\u00e9rimentations en fibres naturelles (chanvre, crin de cheval, lin, sisal) co\u00efncident avec l\u2019av\u00e8nement des mouvements artistiques tels que le Fiber Art aux Etats-Unis et la Nouvelle tapisserie en Europe. D\u2019autres artistes s\u2019engagent dans une transition similaire, passant d\u2019une surface bidimensionnelle \u00e0 un objet tiss\u00e9, interrogeant la dimension immersive du textile, \u00e0 l\u2019instar d\u2019Olga de Amaral, Jagoda Bui\u0107, Ritzi Jacobi, Ana Lupas, Wojciech Sadley, Sheila Hicks ou Harmony Hammond\u2026 Quelles sont les raisons \u2013 \u00e9conomiques, politiques, sociales, genr\u00e9es \u2013 qui encouragent les artistes, et notamment les femmes, \u00e0 s\u2019emparer ainsi de ce mat\u00e9riau \u00e0 partir des ann\u00e9es 1960-1970 ? Peut-on d\u2019ailleurs parler uniquement d\u2019un art textile lorsque le tissu est comprim\u00e9, moul\u00e9 ou recouvert de pl\u00e2tre ? Les fronti\u00e8res entre tissage et modelage deviennent poreuses, et tout le d\u00e9fi r\u00e9side dans la mani\u00e8re de \u00ab sculpter \u00bb les formes molles.\nLes r\u00e9flexions des artistes du minimalisme am\u00e9ricain (Donald Judd, Kenneth Noland, Carl Andre) entrent \u00e9galement en r\u00e9sonance avec les propositions de ces artistes, femmes ou hommes, du textile. D\u00e8s la fin des ann\u00e9es 1960, leurs cr\u00e9ations deviennent \u00e0 leur tour des \u00ab objets sp\u00e9cifiques \u00bb per\u00e7us dans un espace donn\u00e9 et intrins\u00e8quement li\u00e9s \u00e0 leurs environnements. Qu\u2019il s\u2019agisse des Abakans ou m\u00eame des P\u00e9n\u00e9trables de Jes\u00fas-Rafael Soto, ces \u0153uvres proposent des formes pionni\u00e8res d\u2019installation et deviennent site-specific, constamment remodel\u00e9es en fonction de leurs contextes de cr\u00e9ation. A ce titre, comment le mat\u00e9riau textile, une fois s\u00e9par\u00e9 du mur, propose-t-il une nouvelle mani\u00e8re d\u2019investir l\u2019espace, puisqu\u2019elle semble se recomposer \u00e0 l\u2019infini ? \nPar ces recompositions successives, l\u2019\u0153uvre textile d\u00e9crit un processus \u00e9volutif comparable \u00e0 celui d\u2019une croissance organique. Ce caract\u00e8re biologique est tr\u00e8s pr\u00e9sent dans le travail d\u2019Abakanowicz, qui interroge l\u2019analogie f\u00e9conde entre tissu vivant et tissu inerte. La qualit\u00e9 textur\u00e9e de ses \u0153uvres suppose une fascination haptique, qui appelle un contact, un toucher. Abakanowicz n\u2019a jamais cess\u00e9 d\u2019affirmer une relation d\u2019identification entre son travail et sa propre peau. Elle n\u2019est d\u2019ailleurs pas la seule artiste \u00e0 utiliser des mat\u00e9riaux mous pour repr\u00e9senter un corps fragment\u00e9, o\u00f9 le textile remplace le fluide, comme c\u2019est le cas chez Eva Hesse, Lynda Benglis ou Louise Bourgeois. Quelle place est donn\u00e9e au corps dans cette utilisation du mat\u00e9riau textile, notamment chez les artistes femmes ? \nAujourd\u2019hui, les artistes contemporains d\u00e9veloppent et \u00e9largissent ces liens entre le corps et le tissu dans leurs pratiques vari\u00e9es : broderies, patchwork, couture deviennent des porteurs de messages sociaux, politiques et f\u00e9ministes, surtout apr\u00e8s la pand\u00e9mie de Covid-19. Le tissu est d\u00e8s lors utilis\u00e9 comme un mat\u00e9riau devenu le support d\u2019activit\u00e9s collectives, th\u00e9rapeutiques ou engag\u00e9es. \nNon cantonn\u00e9es \u00e0 un champ de recherche sp\u00e9cifique, les propositions de communication pourront s\u2019appuyer sur les th\u00e9matiques suivantes, sans s\u2019y limiter : \nComit\u00e9 scientifique et organisation : Oph\u00e9lie Ferlier Bouat, conservatrice en chef du patrimoine, directrice du mus\u00e9e BourdelleJ\u00e9r\u00f4me Godeau, commissaire d\u2019exposition, historien de l\u2019art, mus\u00e9e BourdelleLili Davenas, conservatrice peintures et arts graphiques, mus\u00e9e BourdelleNatalia Barbarska, responsable de projets, Institut polonais de Paris\nLes propositions de communication contenant un titre, un r\u00e9sum\u00e9 (300 mots maximum) et une notice biographique (150 mots max) sont attendues aux adresses suivantes :\nDate limite : 15 juillet 2025\nChaque communication durera 20 minutes \u2013 hors table-ronde - et pourra faire l\u2019objet d\u2019une captation film\u00e9e. \nStudy session: Weave\/Create: Reinventing Textile Art from 1945 to the Present \nCall for Papers:\n\u201cI see fiber as the basic element constructing the organic world on our planet, as the greatest mystery of our environment. It is from fiber that all the living organisms are built, the tissue of plants, leaves and ourselves.\u201d\n\u201cOn Fiber\u201d, Magdalena Abakanowicz, cat. exp., Londres, Tate Modern, 17 nov. 2022 - 21 juin 2023, Londres, Tate Publishing, 2022, p.9.\nIn the early 1960s, Polish artist Magdalena Abakanowicz (1930-2017) moved away from traditional wall tapestry to create suspended textile forms known as Abakans. These works challenged and redefined conventional categories of art. Her experimentation with natural fibres (hemp, horsehair, flax, sisal) paralleled emerging movements such as Fiber Art in the United States and Nouvelle tapisserie in Europe. Other artists, including Olga de Amaral, Jagoda Bui\u0107, Ritzi Jacobi, Ana Lupa\u0219, Wojciech Sadley, Sheila Hicks, and Harmony Hammond, undertook similar transitions: they moved from flat surfaces to woven objects, exploring the immersive potential of textiles.\nIn the early 1960s, Polish artist Magdalena Abakanowicz (1930-2017) moved away from traditional wall tapestry to create suspended textile forms known as Abakans. These works challenged and redefined conventional categories of art. Her experimentation with natural fibres (hemp, horsehair, flax, sisal) paralleled emerging movements such as Fiber Art in the United States and Nouvelle tapisserie in Europe. Other artists, including Olga de Amaral, Jagoda Bui\u0107, Ritzi Jacobi, Ana Lupa\u0219, Wojciech Sadley, Sheila Hicks, and Harmony Hammond, undertook similar transitions: they moved from flat surfaces to woven objects, exploring the immersive potential of textiles\nHow does a textile, once liberated from the wall, redefine the occupation of space, appearing to perpetually rearrange itself? Through these successive reconfigurations, textile works suggest an evolutionary process akin to organic growth. This biological dimension is strongly present in Abakanowicz\u2019s oeuvre, which explores the complex analogy between living and inert tissue. The tactile quality of her pieces evokes a haptic fascination, inviting contact and touch. Abakanowicz explicitly linked her work to her own skin. She was not alone in using soft materials to evoke the fragmented body\u2014textiles standing in for bodily fluids, as in the work of Eva Hesse, Lynda Benglis or Louise Bourgeois. What role does the body play in this textile-based artistic language, particularly for women artists?\nToday, contemporary artists continue to explore the relationship between body and fabric in diverse practices. Embroidery, patchwork, and sewing have become vehicles for social, political, and feminist expression\u2014particularly in the wake of the COVID-19 pandemic. Fabric is now employed as a medium for collective, therapeutic, and activist practices.\nWe invite proposals across disciplines and geographies. Suggested themes include (but are not limited to):\nScientific and Organising Committee:Oph\u00e9lie Ferlier Bouat, Chief Heritage Curator, Director of Bourdelle MuseumJ\u00e9r\u00f4me Godeau, Exhibition Curator and Art Historian, Bourdelle MuseumLili Davenas, Curator of Paintings and Drawings, Bourdelle MuseumNatalia Barbarska, Visual Arts Project Manager, Polish Institute in Paris\nSubmission Guidelines\nPlease send your paper proposal (including a title, a 300-word abstract, and a 150-word biographical note) to :\nDeadline for submissions: Tuesday, 15 July 2025\nPresentations should last 20 minutes (except for roundtable discussions) and may be recorded."},{"@type":"ImageObject","inLanguage":"pl-PL","@id":"https:\/\/instytutpolski.pl\/paris\/2025\/05\/22\/tisser-creer-reinventions-de-lart-textile-de-1945-a-nos-jours-call-for-papers\/#primaryimage","url":"https:\/\/instytutpolski.pl\/paris\/wp-content\/uploads\/sites\/14\/2025\/05\/IMG_6749-scaled.jpeg","contentUrl":"https:\/\/instytutpolski.pl\/paris\/wp-content\/uploads\/sites\/14\/2025\/05\/IMG_6749-scaled.jpeg","width":1920,"height":2560},{"@type":"BreadcrumbList","@id":"https:\/\/instytutpolski.pl\/paris\/2025\/05\/22\/tisser-creer-reinventions-de-lart-textile-de-1945-a-nos-jours-call-for-papers\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/instytutpolski.pl\/paris\/"},{"@type":"ListItem","position":2,"name":"Tisser\/Cr\u00e9er. 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