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ArgumentaireQuelques ann&#233;es apr&#232;s la loi fran&#231;aise du &#171; Mariage pour tous &#187;, les associations LGBTQI sont anim&#233;es par de nouvelles luttes, autour de la PMA ou de la conservation de leurs archives. En s&#8217;appuyant sur ces dynamiques actuelles ou pass&#233;es, ce colloque souhaite interroger les liens entre arts, cultures et activismes LGBTQI et ouvrir pour ce faire un espace d&#8217;&#233;changes, de r&#233;flexions et de dialogues tant aux universitaires qu&#8217;aux acteur-rice-s de terrain.Nous entendons &#171; culture &#187; en son sens sociologique, c&#8217;est-&#224;-dire comme un ensemble d&#8217;objets, de pratiques et de traits sp&#233;cifiques &#224; un groupe social d&#233;fini ; c&#8217;est pourquoi nous nous int&#233;resserons aussi bien aux arts (th&#233;&#226;tre, cin&#233;ma, musique, arts plastiques, etc.) qu&#8217;aux cadres festifs, associatifs, militants, m&#233;diatiques qui accompagnent l&#8217;existence de communaut&#233;s LGBTI ou Queer.Notre perspective sur la politique et le militantisme ne se limite pas aux mobilisations l&#233;galistes, visant &#224; faire &#233;voluer les droits des personnes LGBTIQ (Lesbiennes, Gays, Bisexuel-le-s, Trans, Intersexes et Queer) au sens strict et juridique. Il s&#8217;agira &#233;galement de prendre en compte toute forme de visibilisation des questions LGBTQI ou de r&#233;sistance aux discriminations, que celles-ci se d&#233;veloppent dans un cadre visant &#224; faire &#233;voluer la loi, ou dans un contexte alternatif.Bien que les expressions &#171; Queer &#187; et &#171; LGBTI &#187; soient parfois utilis&#233;es comme synonymes, certains activistes Queer appellent pourtant &#224; se distinguer des politiques, milieux et associations institutionnels qu&#8217;ils consid&#232;rent comme assimilationnistes. Dans le champ des arts et de la culture, cette divergence se concr&#233;tise par exemple avec le mouvement musical Queercore, qui se d&#233;veloppe aux &#201;tats-Unis dans les ann&#233;es 1990 et se trouve &#224; l&#8217;origine d&#8217;un manifeste intitul&#233; &#171; Don&#8217;t be Gay &#187; publi&#233; dans le fanzine punk hardcore Maximum Rock&#8217;n&#8217;Roll.D&#8217;autres termes et modes d&#8217;expression, comme le camp (Newton, 1972) ont &#233;galement pu servir la r&#233;flexion sur les identit&#233;s culturelles LGBTQI et leurs dimensions politiques. Harvey (1998) &#233;crit ainsi, &#224; propos de la pi&#232;ce Angels in America de Kushner : &#171; Angels in America pr&#233;sente le camp comme un signe de r&#233;sistance et de solidarit&#233; gay face &#224; un large &#233;ventail de menaces &#224; l&#8217;encontre &#224; la fois des individus et de la communaut&#233; homosexuels, du SIDA aux discriminations, en passant par les hypocrisies de la culture dominante. Dans le texte de Kushner, le camp est investi d&#8217;une charge politique, qui s&#8217;inscrit dans la revendication d&#8217;une diff&#233;rence homosexuelle irr&#233;ductible et subversive &#187; (notre traduction).S&#8217;il faudra alors comprendre ces termes dans leurs sens multiples, il s&#8217;agira finalement surtout de nous int&#233;resser aux diff&#233;rences, aux points communs, aux limites, aux mises en tension et confrontations des pratiques artistiques et culturelles qu&#8217;ils d&#233;signent.Les recherches d&#233;j&#224; existantes sur les mouvements LGBTI et Queer ont pu &#234;tre pens&#233;es en diff&#233;rents termes &#8212; relevant &#233;galement de disciplines diff&#233;rentes que nous souhaitons faire dialoguer en proposant un projet inter-laboratoires.Duyvendak (1994) inscrit par exemple les recherches sur les mouvements LGBTQI dans la sociologie des nouveaux mouvements sociaux. Il en distingue alors deux types principaux, qui diff&#232;rent par leur motivation et leur rapport &#224; l&#8217;identit&#233;. Les mouvements instrumentaux op&#232;rent ainsi une distinction importante &#171; entre moyens et objectifs &#187; (1994 : 66), ils agissent &#171; pour obtenir une r&#233;action d&#8217;une autorit&#233; ou d&#8217;un adversaire &#187; (ibid.), tandis que les mouvements identitaires (subculturels ou contre-culturels) m&#234;lent buts et activit&#233;s : &#171; le processus de construction de l&#8217;identit&#233; est le bien collectif et c&#8217;est le fil conducteur de leur action &#187; (ibid.).Dans la m&#234;me lign&#233;e, Filieule (1998) distingue dans les associations LGBT du d&#233;but des ann&#233;es 1980 une &#171; tendance militante &#187; &#8212; celle du CUARH (Comit&#233; d&#8217;Urgence Anti-R&#233;pression Homosexuelle) ou de Gai Pied &#8212; d&#8217;une tendance subculturelle &#8212; celle du journal Samoura&#239; ou de la radio pirate Fr&#233;quence Gaie. Pour autant, ces deux cat&#233;gories ne sont pas strictement oppos&#233;es, et il arrive que certains mouvements empruntent aussi bien &#224; l&#8217;une qu&#8217;&#224; l&#8217;autre (Duyvendak, Op. Cit.) ; c&#8217;est pourquoi nous pourrons &#233;galement nous int&#233;resser &#224; leurs relations.Le g&#233;ographe Gordon Brent Ingram d&#233;veloppe quant &#224; lui d&#232;s 1997, dans le cadre de travaux sur l&#8217;espace public, le concept du &#171; queerscape &#187; qu&#8217;il d&#233;finit comme &#171; un aspect du paysage social (&#8230;) incarnant un ensemble de processus s&#8217;&#233;rigeant &#224; l&#8217;encontre de ceux qui blessent, r&#233;duisent, isolent, enferment dans des ghettos ou annihilent &#187; les minorit&#233;s sexuelles. Ce concept a depuis &#233;t&#233; adapt&#233; &#224; des &#233;tudes portant sur des objets ou pratiques artistiques comme le cin&#233;ma (voir par exemple Gras-Velazquez, 2012 ; Keshti, 2009 ; Leung, 2001 ; Kim, 2017 ; Marchetti 2017), ou dans une moindre mesure la musique (voir notamment Clifford-Napoleone, 2015, 2016), ainsi qu&#8217;&#224; des recherches sur les m&#233;dias (par exemple Schwartz, 2016).Ces r&#233;f&#233;rences montrent une profusion d&#8217;objets et d&#8217;&#233;v&#233;nements &#224; analyser. Dans le prolongement de ces projets, nous souhaitons engager le d&#233;veloppement d&#8217;un r&#233;seau de chercheurs et chercheuses au sein de l&#8217;Universit&#233; de Lorraine et au-del&#224;. Nous entendons de cette mani&#232;re aborder les th&#233;matiques susmentionn&#233;es en dialogue avec des acteurs et actrices de terrain et proposons pour ce faire de suivre trois axes de recherches et d&#8217;intervention, d&#233;velopp&#233;s ci-apr&#232;s. Nous pr&#233;cisons pour chacun d&#8217;eux des exemples de terrains que pourront investir les recherches port&#233;es par le r&#233;seau universitaire et associatif form&#233; autour de ce projet, pour autant cette liste n&#8217;a vocation ni &#224; &#234;tre exhaustive ni &#224; constituer un inventaire de th&#233;matiques devant obligatoirement &#234;tre trait&#233;es.Pour l&#8217;ensemble des axes, nous encourageons &#233;galement les propositions de contributions s&#8217;inscrivant dans une perspective intersectionnelle (pour plus d&#8217;informations &#224; ce sujet, se r&#233;f&#233;rer &#224; Crenshaw, 1989). Nous accorderons une attention particuli&#232;re aux interventions qui &#233;tudient la mani&#232;re dont les identit&#233;s LGBTQI interagissent avec la race (au sens social) ou la classe, comme l&#8217;ont par exemple fait Victor Ukaegbu (2007) lors de ses recherches sur le th&#233;&#226;tre Queer issu de la diaspora Africaine dans la Grande-Bretagne d&#8217;apr&#232;s-guerre, ou encore Andreana Clay (2007) dans ses travaux sur la carri&#232;re de l&#8217;artiste hip hop, afro-am&#233;ricaine et bisexuelle, Me&#8217;Shell Ndegeocellos dont les &#339;uvres ont influenc&#233; toute une g&#233;n&#233;ration de personnes Queer et f&#233;ministes racis&#233;es.Les liens entre arts, cultures et politiques LGBTQI&#160;Nous nous int&#233;resserons tant aux politiques institutionnelles et aux cadres artistiques officiels (cr&#233;ations expos&#233;es dans des mus&#233;es, centre d&#8217;arts, diffus&#233;es dans des th&#233;&#226;tres nationaux ou des cin&#233;mas) qu&#8217;alternatifs (collectifs militants, squats, pratiques artistiques amateurs). Nous nous appuierons sur des travaux comme ceux de Skadi Loist (2015) qui s&#8217;int&#233;resse dans sa th&#232;se de doctorat aux festivals de films LGBT et Queer, ou de Xavier Lemoine (2001) qui se penche quant &#224; lui sur le th&#233;&#226;tre Queer aux &#201;tats-Unis, ou encore de Robert Mills (2008) qui th&#233;orise le &#171;&#160;mus&#233;e queer &#187;. Pour autant les mouvements LGBTI et Queer appellent aussi &#224; se d&#233;velopper dans des espaces alternatifs et subculturels : Philipp Meinert (2018) raconte ainsi l&#8217;histoire des acteurs LGBTQI de la sc&#232;ne punk et Amber R. Clifford-Napoleone (2015), Florian Heesch et Niall Scott (2016) s&#8217;int&#233;ressent, dans une perspective similaire, &#224; la musique metal. Sans se limiter &#224; la musique, nous pourrons nous pencher sur le &#171; Queer street art movement &#187;. Des dynamiques semblables sont observables dans le domaine du sport, avec du c&#244;t&#233; institutionnel les Gay Games, et de l&#8217;autre des collectifs informels comme le projet Unity Queer Skateboarding qui a vocation &#224; rassembler des personnes LGBTQI autour de la pratique du skateboard. Il s&#8217;agira de nous demander si ces objets et ces pratiques peuvent circuler d&#8217;un paradigme underground ou subculturel vers une culture mainstream, voire institutionnelle.&#160;Enfin, nous pourrons &#233;galement nous confronter &#224; des formes d&#8217;activismes de consommateur‑rice-s. Ces derni&#232;res ann&#233;es, les fans d&#8217;une s&#233;rie ou d&#8217;une licence se sont &#224; plusieurs reprises mobilis&#233;-e-s pour &#171; sauver &#187; des objets culturels pr&#233;sentant des personnages et des intrigues LGBTQI dont la production devait &#234;tre arr&#234;t&#233;e. Le cas le plus notoire est &#224; ce titre sans doute celui de la s&#233;rie Sense 8, mais d&#8217;autres ont connu des formes similaires de mobilisation, comme One Day At A Time. Sans mentionner le cas d&#8217;Harry Potter, dont la question de l&#8217;homosexualit&#233; de Dumbledore a engendr&#233; de nombreux d&#233;bats et pol&#233;miques. &#160;L&#8217;histoire des luttes LGBTQI et son actualit&#233;&#160;Au cin&#233;ma, &#224; la t&#233;l&#233;vision ou au th&#233;&#226;tre, de Philadelphia (Demme, 1993) &#224; 120 Battements par Minute (Campillo, 2017), l&#8217;histoire des luttes li&#233;es aux mouvements LGBTQI a fait l&#8217;objet de nombreuses repr&#233;sentations : citons par exemple Milk (Van Sant, 2008), Pride (Warchus, 2014), ou encore Angels in America (d&#8217;abord pr&#233;sent&#233;e sous forme de pi&#232;ce de th&#233;&#226;tre &#8212; Kushner, 1991 ; puis adapt&#233;e en s&#233;rie t&#233;l&#233;vis&#233;e - Nichols, 2003). Comment certaines &#339;uvres, cr&#233;ations, happenings deviennent alors patrimoine d&#8217;une culture LGBTQI ? Au-del&#224; des objets en eux-m&#234;mes, leurs conditions de monstration ou au contraire leur occultation soulignent des enjeux relatifs aux questions de visibilit&#233;. Dans quelles mesures certain-e-s acteurs et actrices, certain-e-s artistes ont &#233;t&#233; silenci&#233;-e-s (y compris &#224; titre posthume) et quelles strat&#233;gies de r&#233;paration ont pu par la suite &#233;merger ? Ceci devrait aussi nous amener &#224; interroger le poids de la normativit&#233; (par exemple de la blanchit&#233;) au sein m&#234;me des espaces LGBTQI, comme l&#8217;ont not&#233; Carmen H. Logie et Marie-Jolie Rwigema (2014) lors de leur enqu&#234;te dans les communaut&#233;s de femmes lesbiennes, bisexuelles et Queer racis&#233;es &#224; Toronto. &#160;En outre, bien que la probl&#233;matique soit plus ancienne et r&#233;currente dans l&#8217;histoire des mouvements LGBTQI fran&#231;ais, la sortie de 120 Battements par Minute (Campillo) en 2017 s&#8217;est transform&#233;e en occasion pour les militant-e-s parisien-ne-s de fonder un collectif d&#233;di&#233; &#224; la question des archives LGBTQI. Celui-ci fait suite &#224; des ann&#233;es de n&#233;gociations inter-associatives avec la mairie de Paris en vue de la cr&#233;ation d&#8217;un centre de conservation. Dans la logique de cette dynamique, devenue cruciale au sein des mouvements, collectifs et associations LGBTQI, nous nous proposons d&#8217;interroger les archives et leurs liens avec la formation de culture(s) LGBTQI et l&#8217;articulation d&#8217;une histoire militante. Il s&#8217;agit de voir les archives &#224; la fois comme des objets culturels, constitutifs d&#8217;un patrimoine LGBTQI, mais aussi comme des sources historiques, nous renseignant sur des mani&#232;res de faire, d&#8217;&#234;tre, sur les revendications des mouvements, et sur leurs &#233;volutions au fil du temps. Comment les militant-e-s des causes LGBTQI regardent-ils ces archives aujourd&#8217;hui ? Quelles connaissances les jeunes militant-e-s ont-ils de ces archives ? Quelles histoires des pratiques militantes, culturelles, associatives et de leur &#233;volution au sein des mouvements LGBTQI ces archives peuvent-elles nous permettre de retracer ? Quel rapport les acteur-rice-s actuel-le-s des mouvements LGBTQI entretiennent-ils et elles avec l&#8217;histoire de ceux-ci ? Quelle place y occupe la question des archives, localement et nationalement ?&#160;Les corps LGBTQI et les corpor&#233;it&#233;s militantes dans les arts et la culture&#160;Dans Ce que le sida m&#8217;a fait, Elisabeth Lebovici d&#233;crit la place cons&#233;quente investie par les artistes au sein de groupes activistes tels qu&#8217;ACT UP. Au-del&#224; d&#8217;une approche singuli&#232;re et affective des archives, l&#8217;autrice souligne la force intrins&#232;que de la repr&#233;sentation par et pour les minorit&#233;s. Le corps de l&#8217;artiste, lorsqu&#8217;il cristallise les enjeux et l&#8217;urgence de luttes politiques, se fait vecteur d&#8217;une &#233;mancipation individuelle au potentiel n&#233;anmoins collectif. Ainsi, ces pratiques, qui ne sauraient se limiter &#224; des esth&#233;tiques, mais qu&#8217;il convient &#233;galement d&#8217;envisager comme des strat&#233;gies militantes, s&#8217;enracinent dans une histoire des luttes (Lebovici, 2017) et attestent de la place singuli&#232;re de l&#8217;individu dans les mobilisations collectives comme artistiques : les trajectoires personnelles, au prisme de l&#8217;art comme de l&#8217;action militante, font corps avec la communaut&#233;. Dans La Gentrification des esprits (2018), Sarah Schulman trace des liens entre l&#8217;&#233;pid&#233;mie du sida &#224; New-York dans les ann&#233;es 90, la gentrification et les conditions des pratiques artistiques (th&#233;&#226;trales, performatives et photographiques en particulier) des minorit&#233;s touch&#233;es par ces deux crises. Le caract&#232;re profond&#233;ment corporel de ces productions est manifeste et les pratiques artistiques militantes donnent la plupart du temps une place nodale au(x) corps. Les questions relatives &#224; la posture dans l&#8217;espace public, &#224; l&#8217;apparence et aux attitudes corporelles militantes pourront &#234;tre abord&#233;es. Dans des dynamiques similaires, la charge de l&#8217;affect, tant dans les pratiques artistiques que dans l&#8217;activit&#233; de la recherche fera l&#8217;objet de discussions.Par ailleurs, l&#8217;analyse &#233;labor&#233;e par Renaud Bret Vitoz dans son Introduction, penser le queer avant le queer (XVIe-XVIIe si&#232;cles) (voir Plana et Sounac, 2015 : 205-211) nous conduit &#224; percevoir dans le champ de la cr&#233;ation artistique un corpus que nous qualifierions de proto-queer (Aliaga, 2011 : 157). En se m&#233;fiant de tout anachronisme, il est ind&#233;niable que le regard que nous portons aujourd&#8217;hui sur certaines &#339;uvres ne peut se d&#233;faire de bagages th&#233;oriques particuliers et il pourra &#234;tre pertinent d&#8217;en souligner le caract&#232;re potentiellement pr&#233;curseur comme de saisir les enjeux de leurs &#233;ventuelles red&#233;couvertes et relectures.Enfin, la qualit&#233; trans-historique du texte de Renate Lorenz Art queer, une th&#233;orie freak (2018) t&#233;moigne quant &#224; lui de la plasticit&#233; de sa recherche et de sa volont&#233; d&#8217;explorer de nouvelles perspectives temporelles de l&#8217;art. La construction d&#8217;une r&#233;flexion autour des corps LGBTQI peut, au-del&#224; d&#8217;un adossement iconographique, trouver dans des &#339;uvres ant&#233;rieures des analogies avec des sph&#232;res de revendications plus contemporaines. Ainsi, les travaux relevant d&#8217;une approche de l&#8217;histoire de l&#8217;art comme pratique &#233;mancipatrice (Lorenz, 2018 : 3) peuvent &#234;tre envisag&#233;s.Modalit&#233;s de contributionsL&#8217;appel est ouvert jusqu&#8217;au 15 mars 2020aux jeunes chercheur-e-s (masterant-e-s, doctorante-s, jeunes docteur-e-s), mais &#233;galement aux enseignant-e-s chercheur-e-s et chercheur-e-s de toutes disciplines.Les propositions de communication, de 300 mots maximum et accompagn&#233;es d&#8217;une courte notice bio-bibliographique, devront &#234;tre envoy&#233;es conjointement &#224; :louise.barriere@univ-lorraine.frmelodie.marull@live.frLe colloque aura lieu les 11 et 12 juin &#224; l'Universit&#233; de Lorraine, sur le campus du Saulcy (Metz)Le colloque sera accompagn&#233; d&#8217;une exposition qui se tiendra &#224; la galerie 0.15 // Essais Dynamiques situ&#233;e &#224; Metz, du 20 Mai au 12 Juin. Celle-ci sera &#233;galement int&#233;gr&#233;e au programme des Rainbow Weeks, festival des fiert&#233;s LGBTQ.Des propositions artistiques (&#339;uvres plastiques ou audiovisuelles, performances, etc.) en lien avec les th&#233;matiques pr&#233;sent&#233;es par cet appel peuvent donc &#234;tre soumises &#233;galement.Dans ce cas, nous vous invitons &#224; joindre :- un descriptif de la ou des &#339;uvre(s) propos&#233;e(s), id&#233;alement accompagn&#233; de photos.- une br&#232;ve notice biographique.La s&#233;lection sera r&#233;alis&#233;e par les responsables de la galerie et le comit&#233; d&#8217;organisation du colloque.Comit&#233; d'organisationLouise Barri&#232;re &#8211; Doctorante, Musiques Populaires. 2L2S &#8211; Univ. LorraineM&#233;lodie Marull &#8211; Docteure, Arts. Chercheuse associ&#233;e, CREM &#8211; Univ. LorraineComit&#233; scientifiqueKarine Espineira (Docteure en Sociologie, LEGS &#8211; Univ. Paris 8)Isabelle Gavillet (MCF Info-Com, CREM &#8212; Univ. Lorraine)Olivier Goetz (MCF HDR &#201;tudes Th&#233;&#226;trales, 2L2S &#8211; Univ. Lorraine)Claire Lahuerta (PR Arts Plastiques, CREM &#8211; Univ. Lorraine)Xavier Lemoine (MCF Civilisation Am&#233;ricaine &#8211; LISAA &#8211; Univ. Paris-Est Marne-La-Vall&#233;e)Maria Nengeh Mensah (Professeure Travail Social, Recherches et &#201;tudes f&#233;ministes - UQAM)Muriel Plana (PR &#201;tudes Th&#233;&#226;trales &#8211; LLA CREATIS &#8212; Univ. Toulouse Jean Jaur&#232;s)Massimo Prearo (Docteur Sciences Politiques &#8211; EHESS)Nelly Quemener (MCF Info-Com, IRMECCEN &#8212; Univ. Paris 3 Sorbonne Nouvelle)Bibliographie indicativeBaroque, Fray &#38; Eanelli Tegan (trad) (2016), Vers la plus queer des insurrections, Paris&#160;: LibertaliaBurk, Tara Jean-Kelly (2015). Let The Record Show: Mapping Queer Art and Activism in New York City, 1986-1995. Th&#232;se de doctorat.Clay, Andreana (2007). Like an Old Soul Record: Black Feminism, Queer Sexuality, and the Hip-Hop Generation. Meridians: feminism, race, transnationalism 8(1), 53-73. Duke University Press. Clifford-Napoleone, Amber R. (2015). Queerness in heavy metal: Metal Bent. London &#38; New York: Routledge.Clifford-Napoleone, Amber R. (2016). Metal, masculinity and the queer subject. In Heavy Metal, Gender and Sexuality (pp. 63-76). Routledge.Clifford-Napoleone, Amber R. (2018). Queering Kansas City Jazz: Gender, Performance, and the History of a Scene. University of Nebraska Press.Duyvendak, Jan Willem (1994), Le poids du politique. Nouveaux mouvements sociaux en France. Paris : L'Harmattan.Fillieule, Olivier (1998). Mobilisation gay en temps de sida. Les &#233;tudes gay et lesbiennes, 81-97.Fillieule, Olivier, &#38; Duyvendak, Jan Willem (1999). Gay and lesbian activism in France: Between integration and community-oriented movements. The global emergence of gay and lesbian politics: National imprints of a worldwide movement, 184-213.Gras-Vel&#225;zquez, Adrian (2012). Queering and De-queering the Home: Private and Public Space in Contemporary Spanish Cinema. The International Journal of the Humanities, 9, 257-68.Harvey, Keith. (1998). Translating camp talk: Gay identities and cultural transfer. The Translator, 4(2), 295-320.Ingram, Gordon Brent, Bouthillette, Anne-Marie, &#38; Retter, Yolanda (Eds.). (1997). Queers in space: Communities, public places, sites of resistance. Bay Press.Kheshti, Roshana (2009). Cross‐Dressing and Gender (Tres) Passing: The Transgender Move as a Site of Agential Potential in the New Iranian Cinema. Hypatia, 24(3), 158-177.Kim, Ungsan (2017). Queer Korean cinema, national others, and making of queer space in Stateless Things (2011). Journal of Japanese and Korean Cinema, 9(1), 61-79.Lebovici, Elisabeth (2017), Ce que le sida m'a fait : Arts et activisme &#224; la fin du XXe si&#232;cle, JRP Ringier, &#201;ditions Maison Rouge.Leperlier, Fran&#231;ois (2006). Claude Cahun, l&#8217;exotisme int&#233;rieur, Paris : Fayard, 2006.Leung, Helen Hok-sze (2001). Queerscapes in Contemporary Hong Kong Cinema. positions: east asia cultures critique 9(2), 423-447. Duke University Press.&#160;Logie Carmen H. &#38; Rwigema Marie-Jolie (2014). &#8220;The Normative Idea of Queer is a White Person&#8221;: Understanding Perceptions of White Privilege Among Lesbian, Bisexual, and Queer Women of Color in Toronto, Canada. Journal of Lesbian Studies, 18:2, 174-191.Loist, Skadi (2015), Queer Film Culture: Performative Aspects of LGBT/Q Film Festivals, Th&#232;se de doctorat en philosophie, Universit&#233; de Hambourg, Allemagne.Lorenz, Renate &#38; Bortolotti, Marie-Mathilde (2018), Art queer: une th&#233;orie freak, Paris : B42.Marchetti, Gina (2017). Handover Bodies in a Feminist Frame: Two Hong Kong Women Filmmakers' Perspectives on Sex after 1997. Screen Bodies, 2(2), 1-24.&#160;Meinert, Philipp (2018). Homopunk History. Mayence: Ventil Verlag.Plana, Muriel, &#38; Sounac, Fr&#233;d&#233;ric (dir) (2015). Esth&#233;tique(s) queer dans la litt&#233;rature et les arts : sexualit&#233;s et politiques du trouble. EUD-Editions Universitaires Dijon.R&#252;egg, Jana (2018). From Content to Context: A Comparative Analysis of the Covers of Translated Versions of Sara Stridsberg's Beckomberga. DiGeSt, Journal of Diversity and Gender Studies&#160;, 5(2), 23-44.Schwartz, Andi. (2016). Critical Blogging: Constructing Femmescapes Online. Ada: A Journal of Gender, New Media, and Technology, No.9.Schulman, Sarah. (2018). La Gentrification des esprits, Paris : B42.Summers, Claude (Ed.). (2012). The Queer Encyclopedia of Music, Dance, and Musical Theater. Cleis Press Start.Ukaegbu, Victor (2007) Grey silhouettes: black queer theatre on the post-war British stage. In: Godiwala, D. (ed.) Alternatives Within the Mainstream II: Queer Theatres in Post-war Britain. Newcastle: Cambridge Scholars Press. pp. 322-338.ArgumentIn France, a few years after the law authorizing same-sex marriage, LGBTQ associations are now facing new struggles, fighting for access to assisted procreation or the creation of a communal archive center. Drawing on these dynamics, this conference aims at interrogating the bonds between LGBTQ forms of arts, cultures and activisms. We look forward to opening a space for academics and grassroots activists, whether they be engaged in institutional collectives or not, to exchange, reflect and dialogue. LGBTQ-related topics appear to be often overlooked in French research networks. We aim to make it more visible and richer, and make it dialogue with local, national and international networks of academics and activists."Culture&#8221;, here, has to be understood in its sociological sense, that is as an accrual of objects, practices, and features related to a defined social group. We will address both arts (theatre, cinema, music, fine arts, etc.) and festive, associative, activist, media fields that come along the existence of LGBTI and queer communities. Our perspective on politics and activism isn&#8217;t limited to legalist and assimilationist movements, that strictly aim to juridically make LGBTQ rights evolve. We wish to explore any form of LGBTQ resistance or visibility, may they develop in a legal frame or in an alternative context.Indeed, while the terms &#8220;Queer&#8221; and &#8220;LGBT&#8221; are sometimes used as synonyms, some queer activists also claim for their distinction toward institutional politics, milieux and associations, that they designate as &#8220;assimilationist&#8221;. In the field of arts and culture, the Queercore music movement has embodied this distinction, as it developed in the United States in the 1990s and originated the &#8220;Don&#8217;t be Gay&#8221; manifesto, originally published in the punk hardcore fanzine Maximum Rock&#8217;n&#8217;Roll.Camp is another form of expression that has served the definition of LGBTIQ representation and its political dimension. Described as a form of gay aesthetic that deals with humor and self-mockery, camp, as it appears in the theatre piece Angels in America written by Kushner, is described by Harvey (1998) as:"a sign of gay resistance and solidarity in the face of a whole array of threats to the gay individual and his community, from AIDS to the discriminations and hypocrisies of the dominant culture. In Kushner&#8217;s text, camp is invested with a political charge predicated upon an irreducible and subversive gay difference."We will therefore have to understand these terms in their multiple senses, but, moreover, we will have to address the differences, the common points, the limits, and the tensions and confrontations of the artistic and cultural practices they designate.Previous research on LGBT and queer movements have used various terms to underpin their thoughts &#8211;each corresponding to an academic field.Duyvendak&#8217;s (1994) research falls within new social movements sociology. He distinguishes two main types of LGBTQ movements, each drawing on their own motivations and understanding of identity. &#8220;Instrumental movements&#8221; proceed to a strong distinction between their means and objectives. They act in order to get authority or an adversary to react. Meanwhile, identity movements (subcultural or counter-cultural) intertwine goals and activities: &#8220;the process of indentity making is a collective good and the guiding thread of their action.&#8221; Alongside with Duyvendak, Filieule (1998) distinguishes, within the world of LGBTQ associations of the early 1980s, an &#8220;activist tendency&#8221; and a &#8220;subcultural tendency&#8221;. Nevertheless these categories aren&#8217;t strictly enemies, and movements might borrow just as well from one as from the other (Duyvendak, Op. Cit.). We might thus as well look at their relationship.Geographer Gordon Brent Ingram developed in 1997 the concept of &#8220;Queerscape&#8221; as he works on public space. Queerscape is"(...) not only a landscape (as based on the Flemish root schap) with sexual minorities. A queerscape is also an aspect of the landscape, a social overlay, where the interplays between assertion and marginalization of sexualities are in constant flux and the space for sexual minorities is decentered in terms of increasingly supporting stigmatized activities and identities. Queerscapes embody processes that counter those that directly harm, discount, isolate, ghettoize, and assimilate. A queerscape is, therefore, a cumulative kind of spatial unit, a set of places, a plane of subjectivities constituting a collectivity, which involve multiple alliances of lesbians, gay men, bisexuals, and transsexuals and which support a variety of activities, transactions, and functions. At least for some time to come, a queerscape nearly always overlaps with and is surrounded by social groups where heterosexuality is the 'norm.' Like the landscape, the queerscape is a cultural construct that provides a territorial basis for considering opportunities for and persistent disparities in access to public space and various respective services and amenities, as well as options for personal and collective expression." (Ingram, 1997).From there on, the concept has also been adapted to film studies (for example, see Gras-Velazquez, 2012; Keshti, 2009; Leung, 2001; Kim, 2017; Marchetti, 2017), to popular music studies (Clifford-Napoleone, 2015, 2016), or media studies (Schwartz, 2016).All of these references come with a myriad of topics and events, well likely to be analyzed. We encourage you to follow three streams of research. For each of them, we mention examples of topics and field your research might look at. Nonetheless, this list has no vocation to be exhaustive nor mandatory.We also wish to receive propositions of contributions addressing and questioning the intersection of different identity groups and their respective struggles (for more information on the concept of intersectionality, refer to Crenshaw, 1989 or Hill Collins, 2016). We will give a particular attention to papers that investigate how queerness interacts with race or class, as it was for example analysed by Victor Ukaegbu (2007) during his researches on the black queer theatre from post- war Britain, or in Andreana Clay&#8217;s (2007) work on Me'Shell Ndegeocello&#8217;s career as a bisexual black hip-hop artist and her influence on a whole generation of queer feminists of color.Bridging LGBTQ arts, cultures and politics.We aim to address institutional politics and official artistic frames (museum, national theaters, cinema theaters), as well as alternative fields (squats, amateur practices, informal activist groups). On the one hand, we draw our references from Skadi Loist&#8217;s (2015) PhD thesis on LGBT/Q film festivals, Xavier Lemoine&#8217;s (2001) works on USA queer theatre, or Robert Mills&#8217; (2008) theories on the &#8220;queer museum&#8221;. On the other hand, we wish to recall that LGBT and Queer movements also developed within subcultural and alternative spaces. Philipp Meinert (2018) therefore relates the history of LGBTQ punks, Amber R. Clifford-Napoleone (2015), Florian Heesch and Niall Scott (2016) look, in the same way, at metal musics. Not to limit our investigations to music, we might as well study the &#8220;Queer street art movements&#8221;. Moreover, similar dynamics have also been observed in sports: from the institutional side of the Gay Games, to the alternative field with collective such as &#8220;Unity Queer Skateboarding&#8221; that gathers queer people around the skateboarding scene.We, for example, wish to receive submissions that address the circulation of these practices between an underground or subcultural paradigm and a mainstream or institutional culture. Finally, submissions might also look at consumer activism. These last few years, fans of a TV show or a license have rallied together to &#8220;save&#8221; cultural object starring LGBTQ characters of intrigues, whose production called it a day. The most notorious case is, of course, Sense 8, the Netflix TV show, but others, such as One Day At A Time, have known a similar story. Not to mention the Harry Potter case, and the big question around Dumbledore&#8217;s homosexuality that has generated a lot of debates and controversy.The histories of LGBTQ struggles and their up-to-dateness.Cinema, television, theatre... From Philadelphia (Demme, 1993) to 120BPM (Campillo, 2017), the history of LGBTQ struggles has been largely represented. We could also mention Milk (Van Sant, 2008), Pride (Warchus, 2014), or even Angels in America (first as a theatre piece &#8211; Kushner, 1991 -, and then as a TV show &#8211; Nichols, 2003). How did some art works, creations, happenings happen to form the heritage of a LGBTQ culture? Looking beyond the objects themselves, their exhibition circumstances, or on the contrary their concealment, emphasize visibility-related issues. To what extent, have some artists or stakeholders of LGBTQ history been hidden (post-mortem included)? What compensation strategies have later arisen? This should also lead to interrogate the strength of normativity within queer spaces, as noticed Carmen H. Logie and Marie-Jolie Rwigema (2014) during their investigations within lesbian, bisexual and queer women of color&#8217;s community in Toronto.Moreover, while the question is older and recurring in the history of French LGBTQ movements, the production of the movie 120 BPM, in 2017, quickly became an occasion for Parisian activists to build a collective dedicated to LGBTQ community archives. The group&#8217;s creation follows years of inter-associative negotiation with Paris&#8217; city council, for the purpose of creating a conservation center. Alongside with this dynamic, we aim to look at archives and their roles in the formation of LGBTQ culture(s). In that sense, we look at archives as both cultural objects, part of an LGBTQ legacy, and as historical sources that inform us on the lifestyles, behaviors and claims that come along social movements, and their evolution in time. How do present activists look at these sources? To what extent do younger activists know and have access to these archives? What history of activist, cultural and associative practices do they tell us?LGBTQ bodies and activist embodiments in arts and culture.In Ce que la sida m&#8217;a fait (What AIDS has done to me), Elisabeth Lebovici describes the consequent space that artists took in activist groups such as ACT UP. Beyond a singular and affective approach of the archives, she emphasizes the inherent force of minority representations. The artist&#8217;s body, as it highlights the issues and the emergency of political struggles, conveys a form of individual emancipation, whose potential remains nonetheless communal. Therefore, these practices, that aren&#8217;t limited to aesthetics but have to be thought as activist strategies, are rooted in a History of fights (Lebovici, 2017) and testify that the body stands at a singular place within collective and artistic mobilizations. Following that line, the place of affects, both within artistic practices and research activities, might be discussed.Moreover, Renaud Bret Vitoz develops an elaborated analyze in his article &#8220;Penser le queer avant le queer (XVIe-XVIIe siècles)&#8221; (&#8220;Theorizing queer before queer (16th-17th centuries)&#8221;), and gives us the chance to understand, within art history, a corpus that we could qualify as &#8220;proto-queer&#8221;. Avoiding anachronisms, we can&#8217;t nowadays look at some works without thinking of specific later-elaborated theories. We wish to address their seminal aspect and understand the issues of their potential rediscoveries and reinterpretations.Finally, the trans-historical quality of Renate Lorenz&#8217;s Queer Art, A freak theory, testifies of the plasticity of her research, and her will to explore new time perspectives on art. The construction of a reflexion on LGBTQ bodies might connect ancient works with contemporary claims. Therefore, we also encourage you to submit works that rely on an emancipatory approach of art history (Lorenz, 2018: 2).Submission guidelinesWe invite graduate students, early career researchers as well as more established scholars from all relevant fields and disciplines to send us their paper proposalsby March the 15th.Proposals should be no more then 300 words. They should be accompanied by a short biography and sent to both these contacts:louise.barriere@univ-lorraine.frmelodie.marull@live.frThe conference will happen on the 11th and 12th June 2020, in Metz &#8211; France.An art exhibit will happen alongside with the conference, at the campus gallery, from May the 20th to June the 12th. It will also be part of the &#8220;Rainbow Weeks&#8221;, the local LGBTIQ Pride Festival.We therefore also wish to receive proposal for art pieces (visual and audiovisual piece of art, performance, etc.) related to the topics listed in this call for papers.In this case, we invite you to send us:- A description of the piece(s) you would like to exhibit and, if possible, pictures.- A short biography.The organizing committee and the art gallery managers will make a selection.Organizing committeeLouise Barrière (PhD Candidate in Popular Music, 2L2S &#8211; Université de Lorraine)Dr. Mélodie Marull (PhD in Arts, CREM &#8211; Université de Lorraine)Scientific committeeDr. Karine Espineira (PhD in Sociology, LEGS &#8211; Université Paris 8) Dr. Isabelle Gavillet (Associate Professor in Media Studies, CREM &#8211; Université de Lorraine) Dr. Olivier Goetz (Associate Professor in Theatre Studies, 2L2S &#8211; Université de Lorraine) Prof. Dr. Claire Lahuerta (Professor in Visual Arts, CREM &#8211; Université de Lorraine) Dr. Xavier Lemoine (Associate Professor in American Studies &#8211; Université Paris-Est Marne-La-Vallée) Prof. Dr. Maria Nengeh Mensah (Professor in Feminist Studies &#8211; Université du Québec À Montréal)Prof. Dr. Muriel Plana (Professor in Theatre Studies &#8211; LLA CREATIS &#8211; Univ. Toulouse Jean Jaurès) Dr. Massimo Prearo (PhD in Political Studies &#8211; EHESS / University of Verona) Dr. Nelly Quemener (Associate Professor in Media Studies, Irmeccen &#8211; Univ. Paris 3 Sorbonne Nouvelle)References listBaroque, Fray &#38; Eanelli Tegan (trad) (2016), Vers la plus queer des insurrections, Paris&#160;: LibertaliaBurk, Tara Jean-Kelly (2015). Let The Record Show: Mapping Queer Art and Activism in New York City, 1986-1995. Th&#232;se de doctorat.Clay, Andreana (2007). Like an Old Soul Record: Black Feminism, Queer Sexuality, and the Hip-Hop Generation. Meridians: feminism, race, transnationalism 8(1), 53-73. Duke University Press. Clifford-Napoleone, Amber R. (2015). Queerness in heavy metal: Metal Bent. London &#38; New York: Routledge.Clifford-Napoleone, Amber R. (2016). Metal, masculinity and the queer subject. In Heavy Metal, Gender and Sexuality (pp. 63-76). Routledge.Clifford-Napoleone, Amber R. (2018). Queering Kansas City Jazz: Gender, Performance, and the History of a Scene. University of Nebraska Press.Duyvendak, Jan Willem (1994), Le poids du politique. Nouveaux mouvements sociaux en France. Paris : L'Harmattan.Fillieule, Olivier (1998). Mobilisation gay en temps de sida. Les &#233;tudes gay et lesbiennes, 81-97.Fillieule, Olivier, &#38; Duyvendak, Jan Willem (1999). Gay and lesbian activism in France: Between integration and community-oriented movements. The global emergence of gay and lesbian politics: National imprints of a worldwide movement, 184-213.Gras-Vel&#225;zquez, Adrian (2012). Queering and De-queering the Home: Private and Public Space in Contemporary Spanish Cinema. The International Journal of the Humanities, 9, 257-68.Harvey, Keith. (1998). Translating camp talk: Gay identities and cultural transfer. The Translator, 4(2), 295-320.Ingram, Gordon Brent, Bouthillette, Anne-Marie, &#38; Retter, Yolanda (Eds.). (1997). Queers in space: Communities, public places, sites of resistance. Bay Press.Kheshti, Roshana (2009). Cross‐Dressing and Gender (Tres) Passing: The Transgender Move as a Site of Agential Potential in the New Iranian Cinema. Hypatia, 24(3), 158-177.Kim, Ungsan (2017). Queer Korean cinema, national others, and making of queer space in Stateless Things (2011). Journal of Japanese and Korean Cinema, 9(1), 61-79.Lebovici, Elisabeth (2017), Ce que le sida m'a fait : Arts et activisme &#224; la fin du XXe si&#232;cle, JRP Ringier, &#201;ditions Maison Rouge.Leperlier, Fran&#231;ois (2006). Claude Cahun, l&#8217;exotisme int&#233;rieur, Paris : Fayard, 2006.Leung, Helen Hok-sze (2001). Queerscapes in Contemporary Hong Kong Cinema. positions: east asia cultures critique 9(2), 423-447. Duke University Press.&#160;Logie Carmen H. &#38; Rwigema Marie-Jolie (2014). &#8220;The Normative Idea of Queer is a White Person&#8221;: Understanding Perceptions of White Privilege Among Lesbian, Bisexual, and Queer Women of Color in Toronto, Canada. Journal of Lesbian Studies, 18:2, 174-191.Loist, Skadi (2015), Queer Film Culture: Performative Aspects of LGBT/Q Film Festivals, Th&#232;se de doctorat en philosophie, Universit&#233; de Hambourg, Allemagne.Lorenz, Renate &#38; Bortolotti, Marie-Mathilde (2018), Art queer: une th&#233;orie freak, Paris : B42.Marchetti, Gina (2017). Handover Bodies in a Feminist Frame: Two Hong Kong Women Filmmakers' Perspectives on Sex after 1997. Screen Bodies, 2(2), 1-24.&#160;Meinert, Philipp (2018). Homopunk History. Mayence: Ventil Verlag.Plana, Muriel, &#38; Sounac, Fr&#233;d&#233;ric (dir) (2015). Esth&#233;tique(s) queer dans la litt&#233;rature et les arts : sexualit&#233;s et politiques du trouble. EUD-Editions Universitaires Dijon.R&#252;egg, Jana (2018). From Content to Context: A Comparative Analysis of the Covers of Translated Versions of Sara Stridsberg's Beckomberga. DiGeSt, Journal of Diversity and Gender Studies&#160;, 5(2), 23-44.Schwartz, Andi. (2016). Critical Blogging: Constructing Femmescapes Online. Ada: A Journal of Gender, New Media, and Technology, No.9.Schulman, Sarah. (2018). La Gentrification des esprits, Paris : B42.Summers, Claude (Ed.). (2012). The Queer Encyclopedia of Music, Dance, and Musical Theater. Cleis Press Start.Ukaegbu, Victor (2007) Grey silhouettes: black queer theatre on the post-war British stage. In: Godiwala, D. (ed.) Alternatives Within the Mainstream II: Queer Theatres in Post-war Britain. Newcastle: Cambridge Scholars Press. pp. 322-338.