Internationalism and Cultural Exchange 1870-1920 (ICE)

ICE是一个跨学科的网络，在一个关键的历史时刻研究国际主义意识形态和文化交流的过程。19世纪末和20世纪初的特点是民族主义、帝国主义和战争的兴起。但它们也以国际合作运动、国际基础设施发展和跨国生活方式的实验为标志。艺术是民族主义与国际主义对话的核心。艺术家们被期望在民族传统的建设中发挥自己的作用，但他们的生活和实践往往是世界性的。然而，尽管国际主义思想充满活力，艺术领域的历史研究在很大程度上还是被民族传统所占据。ICE对这种强调提出了挑战。它建立在最近由ICE召集人和其他人（会议、出版物、合作、展览）发起的倡议的基础上，旨在就艺术学科在不断扩大的跨国历史领域中的作用进行持续和集体的讨论。我们项目的主题结构提出了一种建设性的替代国立学校模式，为对文化规范、年表、运动和艺术家生活的激进重新评估腾出空间。我们的调查有三个方面：“国际主义网站”、“世界公民”和“语言与翻译”。他们研究了最后的艺术家如何重新想象社会，发展自己的基础设施和交流模式，以超越国界。跨越边界在几个方面是项目的基础：网络是跨学科的，比较了一系列的艺术形式；它涉及英国和海外不同大学之间的合作，以及大学和研究活跃的博物馆之间的合作；它的主题是国际性的；它促进了新研究在教学中的应用。该网络将通过一系列日间讲习班运作，最终将举行为期两天的全体会议。这些活动将促进一个由维护良好的网站和邮件列表支持的研究社区的发展。根据与Peter Lang的合同，精选的会议记录将作为专门系列书籍的一部分出版。博物馆和画廊近年来开创了跨文化研究艺术史的先河，它们也密切参与了这个项目。我们的目标是通过泰特美术馆的合作伙伴和其他高级策展人的参与，为跨文化展览提供创意。该项目的目标是长期的，远远超出了网络奖的两年期限。为此，我们将为一个更大的合作项目寻求资金。该网络将为学术界、公共部门和更广泛的公众带来广泛的利益。这个项目在概念和参与者方面都是国际性的。它使一组精选的顶尖学者能够合作，并与来自不同国家、学科和机构类型的同事进行持续的辩论。我们对“漫长的经济衰落期”（1870-1920）国际主义的关注有望改变对全球化发展至关重要的时代的理解。因此，它促成了一场超越当时文化史关注的辩论，朝着一个紧迫的当代问题发展。政策制定者和国际组织将从更好地理解文化国际主义的起源中受益，感兴趣的普通公众以及在日益分散的艺术世界中工作的当代艺术家也将受益。ICE将在国际主义及其变体（世界主义、跨国主义、全球主义）的背景下开启对艺术的新解读。在此过程中，它将有助于更大的公共传播项目(例如：展览)，以促进更广泛的文化福祉。

ICE is an interdisciplinary network which examines internationalist ideologies and processes of cultural exchange at a crucial historical moment. The late nineteenth and early twentieth centuries were characterised by rising nationalism, imperialism and war. But they were also marked by movements for international cooperation, a developing international infrastructure, and experiments in transnational ways of living. The arts were central to this dialogue between nationalism and internationalism. Artists were expected to play their part in the building of national traditions, but their lives and practices were often cosmopolitan. Yet, despite the vigour of internationalist thinking, historical enquiry in the arts has been largely preoccupied with national traditions. ICE challenges that emphasis. It builds on recent initiatives by ICE convenors and others (conferences, publications, collaborations, exhibitions) to deliver a sustained and collective discussion about the role of arts-based disciplines in the expanding field of transnational history. The thematic structuring of our project proposes a constructive alternative to the model of national schools, making room for a radical reassessment of cultural canons, chronologies, movements, and artists' lives. There are three strands to our enquiry: 'Sites of Internationalism', 'World Citizens' and 'Language and Translation'. They examine the ways in which artists at the fin de siècle reimagined society, developing their own infrastructures and modes of communication in order to transcend national borders. The crossing of boundaries is fundamental to the project in several ways: the network is interdisciplinary, comparing a range of art forms; it involves collaboration between different universities in the UK and overseas, and between universities and research-active museums; its subject-matter is international; and it promotes the application of new research to teaching. The network will operate through a series of day workshops, culminating in a two-day plenary conference. These events will promote the development of a research community, supported by a well-maintained website and mailing list. Selected proceedings will be published as part of a dedicated book series under contract with Peter Lang. Museums and galleries, which in recent years have pioneered cross-cultural approaches to the History of Art, are closely involved with the project. We aim to generate ideas for cross-cultural exhibitions through the involvement of our partner at Tate Britain and other senior curators. The aims of the project are long-term, extending well beyond the two-year period of the networking award. To this end, we will seek funding towards a larger collaborative project. The network will deliver widespread benefits to academics, the public sector and the wider public. The project is international, both in concept and participants. It enables a selected group of leading scholars to collaborate, and to engage in sustained debate with colleagues from different countries, disciplines and types of institution. Our focus on internationalism at the 'long fin de siècle' (1870-1920) promises to transform understanding of an era which was crucial to the development of globalisation. It therefore contributes to a debate which goes beyond the concerns of cultural history in the period, towards a pressing contemporary problem. Policy makers and international organisations would benefit from a better understanding of the origins of cultural internationalism, as would interested members of the general public, and contemporary artists operating in an increasingly diasporic art world. ICE will initiate new readings of art in the context of internationalism and its variants (cosmopolitanism, transnationalism, globalism). In the process, it will contribute to larger projects of public dissemination (eg. exhibitions) which enhance wider cultural well-being.