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DTSTAMP:20260821T151308
DTSTART;TZID=America/Detroit:20260924T080000
DTEND;TZID=America/Detroit:20260924T170000
SUMMARY:Conference / Symposium:Geophilosophies (3): Cross-Cultural Thinking in Precarious Times
DESCRIPTION:In this era of global disorientation\, marked by unfolding ecological crises\, ongoing wars fueled by technological competition\, the idea of dialogical engagement and even more so the idea of cross-cultural thinking\, feels like a nostalgic dream. In the wake of the international order’s dismantling and the ruinous acceleration of techno-capitalism\, social discontent has been channeled into extreme nationalisms that promise a ‘homecoming’ at the expense of outsiders\, immigrants\, refugees. Adding to these woes\, intellectual efforts to challenge the ‘dogmatic images’ of thinking that have ruled by elevating particular epistemologies to the level of ‘global thought\,’ are being increasingly stymied by capitulant institutions. Yet\, it is precisely in such precarious times that cross-cultural thinking seems more necessary than ever\, not least as an antidote to the ongoing segregation of knowledges and thought-systems currently underway.\n    	\nThis conference is part of a series of events organized under the Geophilosophies initiative. As a project Geophilosophies not only calls attention to thought-systems that continue to be erased\, discredited\, or ignored by dominant cultures\, but more importantly\, encourages the kind of deep conceptual encounter between different traditions of thought with the capacity to effect real psychic\, social and ecological change. We define cross-cultural thinking as the kind of engagement that strives for maximum communication\, unlike the concept of ‘border crossing’ which we see as a vestige of nation-state sovereignty. Thus defined\, cross-cultural thinking is transversal and ecosophical by nature\, inasmuch as it strives for modes of thinking grounded in lived practices and experiences that effortlessly bring incompatible concepts and entities into new associations characterized by their mutual self-transformation. On this note\, we invite presentations that re-examine unexplored avenues in cross-cultural philosophical thinking\, aiming to repair fractured connections between self\, society and world amid today’s global turmoil. We are particularly interested in experimental methodologies that explore: (i) the nature of contact zones between concepts\, praxes\, and worldviews\; (ii) the co-imbrication of one’s subjectivity in cross-cultural encounters. We encourage risk-taking\, for example\, by resisting the kind of knowledge specializations that may prevent genuine engagement between differences and that work through two or more traditions of thought to create an ‘in-between’ idiom that is at home in its homelessness.\n \nPursued in collaboration with the Uberoi Foundation\, an organization that is dedicated to cross-cultural exchange and expanding awareness of diverse traditions\, this conference promises to break new ground in the development of ways of thinking that simultaneously draw upon ancient human wisdoms while also being informed by the urgency of the present global moment\, bringing a diasporic consciousness to a world seduced by the alluring false comfort of restrictive nationalisms.
UID:148503-21904381@events.umich.edu
URL:https://events.umich.edu/event/148503
CLASS:PUBLIC
STATUS:CONFIRMED
CATEGORIES:Asian Languages And Cultures,conference,Philosophy,Workshop
LOCATION:Rackham Graduate School (Horace H.) - Assembly Room
CONTACT:
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BEGIN:VEVENT
DTSTAMP:20260806T162236
DTSTART;TZID=America/Detroit:20260924T080000
DTEND;TZID=America/Detroit:20260924T170000
SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky
DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky  portrayed his subjects with empathy\, dignity\, and admiration.  \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange.
UID:149975-21907485@events.umich.edu
URL:https://events.umich.edu/event/149975
CLASS:PUBLIC
STATUS:CONFIRMED
CATEGORIES:ukraine,russia,Art
LOCATION:Weiser Hall - Room 1010
CONTACT:
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BEGIN:VEVENT
DTSTAMP:20260918T042117
DTSTART;TZID=America/Detroit:20260924T090000
DTEND;TZID=America/Detroit:20260924T103000
SUMMARY:Workshop / Seminar:2026 National Postdoc Appreciation Week
DESCRIPTION:National Postdoc Appreciation Week (NPAW) 2026 is an annual event sponsored by the National Postdoctoral Association. The week honors the research\, innovation\, and vital contributions of postdoctoral fellows. This year’s theme is celebrating 150 years of the U.S. postdoc position. 
UID:149939-21907415@events.umich.edu
URL:https://events.umich.edu/event/149939
CLASS:PUBLIC
STATUS:CONFIRMED
CATEGORIES:Sessions
LOCATION:Michigan Room, 2nd floor
CONTACT:
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BEGIN:VEVENT
DTSTAMP:20260915T161734
DTSTART;TZID=America/Detroit:20260924T090000
DTEND;TZID=America/Detroit:20260924T163000
SUMMARY:Exhibition:Art Exhibit: Hands on Fire
DESCRIPTION:Jim Cogswell: Hands on Fire\n\n**August 31 to October 9\, 2026**\n**Public Reception: Friday\, September 18\, 4:30 to 6:30 pm**\n\nJim Cogswell’s Hands on Fire is a solo exhibition of mixed media drawings at the Residential College Gallery at the University of Michigan in Ann Arbor. The exhibition features sixty works on paper completed between 2024 and 2026.\n\nThis body of work responds to Greek Cypriot filmmaker Michael Cacoyannis’ cinematic adaptations of three tragedies by Euripides dealing with the Trojan War and its aftermath: Electra (1962)\, The Trojan Women (1971)\, and Iphigenia (1977). The work is in close conversation with Vinyl Euripides (2022)\, Cogswell’s adhesive vinyl installation on three floors of the Michael Cacoyannis Foundation in Athens\, Greece\, which also responded to the cinematic trilogy. By following Cacoyannis’ adaptations\, Cogswell builds on a cross-cultural history of restaging these tragedies to examine the human suffering caused by war\, imperial overreach\, and abuse of power\; and the dehumanizing consequences of revenge as a course of justice.\n\nWithin each drawing multiple scenes from the three narratives are overlaid within single frames\, suggesting the unseen entanglements that bind these ancient stories into such a persistent vision of our human position.\n\nThe grid of paintings encircling the gallery proposes a linear narrative but delivers instead a sequence that loops and turns on itself\, a stuck frame that stutters until bursting in flames. The grid also evokes the net that is a central feature of the series--the web of fate and circumstance that governs each of our lives\, that determines who we are and what is possible for us at any given moment in history.\n\nThe drawings are also characterized by a repeated motif of hands as consuming flames. Hands have unlimited expressive and narrative potential. They testify to the centrality of making in the development of human cognition. They are reminders of the constructed world and the laborers responsible for bringing it into being. We use hands as a form of communication to shape and express our inner states. Hands teach us to feel and to reason\, to count and to indicate. They give us agency\, as creators but also as destroyers. They give form to our willingness to act in the world\, in greed or compassion.\n\n---\n\n**This exhibition is made possible with funding from the Stamps School of Art & Design and the University of Michigan Office of Research.**\n\nFrom the Artist\n\nI am grateful to the Modern Greek Program in the Department of Classical Studies\, College of Literature\, Science\, and the Arts at the University of Michigan\, for their ongoing support for my research and the dissemination of this project.
UID:152223-21913382@events.umich.edu
URL:https://events.umich.edu/event/152223
CLASS:PUBLIC
STATUS:CONFIRMED
CATEGORIES:artists,Art History,art and design,art,Visual Arts,History,free,Exhibition,Classical Studies,artists and curators,Arts Initiative,arts at michigan,arts
LOCATION:East Quadrangle - RC Art Gallery
CONTACT:
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BEGIN:VEVENT
DTSTAMP:20260827T142116
DTSTART;TZID=America/Detroit:20260924T090000
DTEND;TZID=America/Detroit:20260924T170000
SUMMARY:Exhibition:Ballad for Rodney
DESCRIPTION:The Institute for the Humanities’ presentation of Cosmo Whyte’s* Ballad for Rodney* (2024) is organized as part of Whyte’s upcoming solo exhibition at the Stamps Gallery entitled *Cosmo Whyte: Under the Quiet\, Beyond the Eye*.\n\nThis “curtain painting” operates simultaneously as painting and sculpture\, inviting the viewer to physically engage with the surface\, passing through to another layer underneath. \n\nAbout the artist\nCosmo Whyte (b. 1982\, St. Andrew\, Jamaica) is an interdisciplinary artist who employs drawing\, installation\, and sculpture to create conceptual work exploring interstitial subjectivity through an engagement with both intimate and public archives\, as well as Black spatiality and forms of resistance. He received his MFA from the University of Michigan. In 2022\, he joined the UCLA School of the Arts and Architecture as an assistant professor.\n\n\nWhyte’s work has been exhibited nationally and internationally\, including at MOCA Georgia\, Atlanta\, GA\; Museum of Contemporary Art\, Chicago\, IL\; The High Museum of Art\, Atlanta\, GA\; The Drawing Center\, New York\, NY\; Atlanta Contemporary\, Atlanta\, GA\; Centre Georges Pompidou\, Paris\, France\; and the National Gallery of Jamaica\, Kingston\, Jamaica\, among others. His work is in public museum collections including the High Museum\, Atlanta\, GA\; Museum of Contemporary Art\, Chicago\, IL\; International African American Museum\, Charlotte\, NC\; MOCA Georgia\, Atlanta\, GA\; National Gallery of Jamaica\; Pérez Art Museum Miami\, among others. Whyte lives and works between Montego Bay\, Jamaica and Los Angeles\, CA.
UID:150287-21908787@events.umich.edu
URL:https://events.umich.edu/event/150287
CLASS:PUBLIC
STATUS:CONFIRMED
CATEGORIES:Visual Arts,Humanities,Art
LOCATION:202 S. Thayer - Institute for the Humanities Osterman Common Room, #1022
CONTACT:
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