IDENTIDADE(S) DO AZULEJO EM PORTUGAL

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IDENTITY(IES) OF THE AZULEJO IN PORTUGAL

[foto / photo: Fábio Ricardo]

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[foto / photo: Fábio Ricardo]

[foto / photo: Fábio Ricardo]

[foto / photo: Fábio Ricardo]

[foto / photo: Fábio Ricardo]

[foto / photo: Fábio Ricardo]

[foto / photo: Fábio Ricardo]

[foto / photo: Fábio Ricardo]

[foto / photo: Fábio Ricardo]

IDENTIDADE(S) DO AZULEJO EM PORTUGAL

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IDENTITY(IES) OF THE AZULEJO IN PORTUGAL

IDENTIDADE(S) DO AZULEJO EM PORTUGAL

O AzLab#42 especial irá decorrer no Anfiteatro III. Veja no mapa como chegar!

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IDENTITY(IES) OF THE AZULEJO IN PORTUGAL

 

ATTENTION! This special session of AzLab will be held in the Amphitheatre III. See the map to know how to get there!

PROGRAMME

IDENTITY(IES) OF THE AZULEJO IN PORTUGAL

October 4, 2018 | Faculdade de Letras, Universidade de Lisboa | Anf. III

10h00-10h15 — Opening session

10h15-10h50 — Keynote speaker | Inaugural conference | AZULEJOS PORTUGUESES E OUTRAS ARTES NACIONAIS | Nuno Rosmaninho [Universidade de Aveiro]

10h50-11h10 — IN PORTUGUESE… AND SPANISH, ENGLISH, DUTCH, FRENCH… THE IDENTITY OF PORTUGUESE AZULEJOS WITHIN EUROPEAN HISTORIOGRAPHY |Alexandra Gago da Câmara [Universidade Aberta | CHAIA – UE | ARTIS – FLUL | CITAR-UCP] and Rosário Salema de Carvalho [Az – Rede de Investigação em Azulejo (ARTIS-IHA/FLUL)]
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11h10-11h40 — Coffee break
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11h40-12h10 — Keynote speaker | HOMELAND SQUARES: JOAQUIM DE VASCONCELOS (1849-1936) IDENTITY PANELS | Sandra Leandro [UE | Instituto de História da Arte – FCSH, Universidade NOVA de Lisboa]

12h10-12h30 — SANTOS SIMÕES AND THE IDENTITIES OF AZULEJO IN PORTUGAL | João Pedro Monteiro [Museu Nacional do Azulejo]
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12h30-13h00 — Discussion
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13h00-14h30 — LUNCH
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14h30-15h00 — Keynote speaker | IDENTITIES IN FRONT OF THE MIRROR: TILES IN PORTUGAL AND VALENCIA | Jaume Coll Conesa [Museo Nacional de Cerámica y de las Artes Suntuarias “González Martí”]

15h00-15h20 — TILES AND IDENTITY BY PATTERN CLASSIFICATION | Maria de Fátima Vale de Gato Santos Rodrigues [Departamento de Matemática – FCT NOVA and CMA] and Pedro Jorge Santos Freitas [Departamento de História e Filosofia das Ciências – FCUL and CIUHCT]

15h20-15h40 — PUBLICITY TILE PANELS IN PORTUGAL: A SINGULARITY WITHIN IDENTITY | Cristina Carvalho [Casa-Museu Medeiros e Almeida]
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15h40 -16h00 — Coffee break
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16h00-16h20 — THE AZULEJO AS COLONIAL SYMBOL OF POWER: A DECONSTRUCTION THROUGH SUGAR AND ART | Shelley Miller [Independent artist]

16h20-16h40 — CONTEMPORARY AZULEJO: AN IDENTITY ISSUE? | Inês Leitão [Az – Rede de Investigação em Azulejo (ARTIS-IHA/FLUL)]
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16h40-17h00 — Discussion, final remarks and farewell

ABSTRACTS  |  BIOGRAPHIES

INSCRIÇÕES ABERTAS | REGISTRATION NOW OPEN

IDENTIDADE(S) DO AZULEJO EM PORTUGAL

 
Já pode fazer o download do formulário de inscrição. A participação na conferência é gratuita mas a inscrição é obrigatória. Por favor, preencha todos os campos e envie o formulário, até dia 20 de Setembro, para redeazulejo@letras.ulisboa.pt.

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IDENTITY(IES) OF THE AZULEJO IN PORTUGAL

Click here to download the registration form. Attendance in the conference is free, but the registration form is required. Please send this form no later than September 20, 2018 to redeazulejo@letras.ulisboa.pt.

ABSTRACTS

IDENTITY(IES) OF THE AZULEJO IN PORTUGAL

October 4, 2018 | Faculdade de Letras, Universidade de Lisboa | Anf. III

IN PORTUGUESE… AND SPANISH, ENGLISH, DUTCH, FRENCH… THE IDENTITY OF PORTUGUESE AZULEJOS WITHIN EUROPEAN HISTORIOGRAPHY
Alexandra Gago da Câmara | Universidade Aberta | CHAIA – UE | ARTIS – FLUL | CITAR-UCP
Rosário Salema de Carvalho | Az – Rede de Investigação em Azulejo [ARTIS-IHA/FLUL]

The link between Portuguese tile decorations and the notion of identity(ies) is rooted today in a very wide context, leading to the extensive use of azulejos as cultural and narrative symbols, with very different aims. The purpose of the present article is go back in time, to the mid 19th century, and to debate the role played by European historiography in the emergence of the azulejo as an “identitarian” art form, considering its unique characteristics and the main moments and agents that have contributed to the creation and consolidation of this phenomenon.

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HOMELAND SQUARES: JOAQUIM DE VASCONCELOS (1849-1936) IDENTITY PANELS
Sandra Leandro | UE | Instituto de História da Arte – FCSH, Universidade NOVA de Lisboa

«We will have an exhibition of ancient tiles that will dazzle» – these were the convincing words of Joaquim de Vasconcelos about the ceramic exhibition that he organized in 1882 at the Crystal Palace in Oporto. Joaquim de Vasconcelos (Oporto, 1849-Oporto, 1936) was an exceptional Polemist-Art Historian and Museologist. Graduated in Germany, he became one of the most outstanding representatives of the German-speaking culture of his time. He had the courage to start all kinds of artistic studies, presenting interpretations against myths, legends and dogmas, which made him a myth and a romantic hero, founder on a scientific basis of the Art History in Portugal. His position, e.g., against Manuelino (style associated with the reign of D. Manuel in the 16th century) was not popular, as he collided with the strong power of a myth that fueled the growing nationalism of the “Ultra-lusos.” (Ultra-Lusitanians). And it was not only on this issue that he faced what he considered «wrongly patriotic views». In the Museu Industrial e Comercial do Porto (Industrial and Commercial Museum of Oporto) that inaugurated in 1886 and had so much importance in his life and work, Vasconcelos considered the erudite industry of the tile. How? This is what we will try to see in this intervention.

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TILES AND IDENTITY BY PATTERN CLASSIFICATION
Maria de Fátima Vale de Gato Santos Rodrigues | Departamento de Matemática – FCT NOVA and CMA
Pedro Jorge Santos Freitas | Departamento de História e Filosofia das Ciências – FCUL and CIUHCT

Walled tiles can be figurative or patterned. Whereas the figurative tiles can better be described by theme or author, tile patterns are traditionally classified using more abstract rules that describe either the motif or the pattern itself. In this paper, we present a traditional mathematical classification of plane patterns, the Washburn and Crowe Algorithm, and use it to identify or distinguish tile patterns. We present a complete mathematical classification of the tile patterns present in all places of public access in the Almada region and show how this classification can help recover damaged tiled walls and floors, in order to preserve our heritage. We extend this mathematical analysis to 20th century patterns and quasipatterns, hoping to show that this classification can add to our knowledge of the identity of these patterns.

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PUBLICITY TILE PANELS IN PORTUGAL: A SINGULARITY WITHIN IDENTITY
Cristina Carvalho | Casa–Museu Medeiros e Almeida

In mid-19th century when tiles turn to the outside of the buildings, covering façades, a singularity in tile production came to light: their use as advertising or publicity support.  In an absolute novelty from the 3rd quarter of the 19th century on, very simple signs made of tiles start to inform about products, shops, workshops, services. Since then, until mid-20th century, this sort of production never stopped, being able to update itself to new artistic styles following, graphic arts and publicity concepts evolution. Work of unknown artists as well of consecrated painters / designers evolved from the simple lettering to the most exuberant colourful figurative representations. Despite its decline from mid-20th century on, this sort of panels never completely disappeared and continued to be produced until the present day, proving to be a singularity within tile production, being part of the Portuguese artistic identity.

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THE AZULEJO AS COLONIAL SYMBOL OF POWER:  A DECONSTRUCTION THROUGH SUGAR AND ART
Shelley Miller | Independent artist

I create murals that look like azulejos, depicting caravels and many decorative features seen in traditional azulejos, but my murals are made entirely of sugar. I make the sugar tiles and hand paint them with edible inks. I am interested in the azulejo, specifically with imagery of ships, as a symbol of colonial power and of national pride (the Nation of Portugal), but only for the means to subvert this pride.  I developed this work in Brazil, addressing the country’s history of colonization and the slave trade that supported Portugal’s sugar empire. I continue to use the blue tile reference, even outside the context of Brazil, because I want to reference the general construct of colonization and slavery, showing how oppression has found new forms. I install my ephemeral murals on city walls, where they wash away, fade, crumble and decay, animating a more realistic version of history.

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CONTEMPORARY AZULEJO: AN IDENTITY ISSUE?
Inês Leitão | Az – Rede de Investigação em Azulejo [ARTIS-IHA/FLUL]

The idea of azulejo (tile) as a defining art of Portuguese cultural identity has been the object, in recent years, of an increasing academic and public discussion, also related to its valorization, linked to a taste rooted in Portugal, often sustained by the uninterrupted application of tile over five centuries. In fact, tile continues to integrate the contemporary artistic production, being part of the imagination of some artists, architects and designers, even if promptly. Is this option related to the identity aspect assigned to the azulejo? In order to open the debate on this issue, this paper intends to evaluate if the motivations that lead artists, architects and designers to use the azulejo, presently, are related to this idea of an identity art.

BIOGRAPHIES  |  PROGRAMME

BIOGRAPHIES

IDENTITY(IES) OF THE AZULEJO IN PORTUGAL

October 4, 2018 | Faculdade de Letras, Universidade de Lisboa | Anf. III

AZULEJOS PORTUGUESES E OUTRAS ARTES NACIONAIS
Nuno Rosmaninho | Universidade de Aveiro

Nuno Rosmaninho was born in 1964, and currently is Associated Professor (with “agregação”) of the Department of Languages and Cultures, University of Aveiro, in which he started as as assistant intern in 1991. He holds a Bachelor’s degree in History with a minor in History of Art from the Faculty of Arts and Humanities of the University of Coimbra (1987) and a Master’s degree in Contemporary Portuguese History (1993) from the same University with dissertation entitled History of Portuguese Art: From Raczynski to the beginnings of the “Estado Novo” (dictatorship regime). His doctoral thesis (2002, University of Coimbra) about The Power of the Arts, the “Estado Novo” and the University City of Coimbra was published by the Coimbra University Press in 2006. In 2014, he carried through his aggregation in Cultural Studies at University of Aveiro, presenting a report from the Identidade Artística Portuguesa curricular unit and a lesson entitle A Deriva Nacional da Arte. Portugal, séculos XIX-XXI. His research interests are Portuguese artistic identity and History of Portuguese Art.

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IN PORTUGUESE… AND SPANISH, ENGLISH, DUTCH, FRENCH… THE IDENTITY OF PORTUGUESE AZULEJOS WITHIN EUROPEAN HISTORIOGRAPHY
Maria Alexandra Trindade Gago da Câmara | Universidade Aberta | CHAIA – UE | ARTIS – FLUL | CITAR-UCP
Rosário Salema de Carvalho | Az – Rede de Investigação em Azulejo [ARTIS-IHA/FLUL]

Art Historian, Maria Alexandra Trindade Gago da Câmara holds her PhD in History of Modern Art at the Universidade Aberta, in Lisbon, where she is Assistant Professor and vice-coordinator of the Master’s Degree in Heritage Studies. Her areas of research and teaching are  Decorative Arts, Artistic Heritage of the 17th and 18th centuries and Digital Humanities. She is integrated researcher at the Center for History of Art and Artistic Research (CHAIA) at the Universidade of Évora and also associate researcher at the Center for Research and Technology of the Arts – Universidade Católica, School of Arts – Portuguese Catholic University – Porto Delegation (CITAR) (Decorative Arts) and ARTIS – Institute of Art History, School of Arts and Humanities, ULisboa (Azulejo Research Network). Her main areas of work are  17th and 18th centuries Decorative Arts, Iconography, Scenography, Civil Architecture and Urban History. The Baroque Azulejo (Tiles) field is a privileged area of ​​research. In this scope she has published several studies and books and held conferences abroad and in Portugal.

Researcher at ARTIS – Art History Institute (Faculdade de Letras, Universidade de Lisboa) and executive coordinator of the Az – Rede de Investigação em Azulejo (Azulejo Research Network), Rosário Salema de Carvalho is currently developing a post-doctoral project dedicated to the issue of frames in Baroque tile decorations, hosted by ARTIS (Az) and the National Azulejo Museum. The author has a PhD in History, with a specialisation in Art History (2012) and she concluded a Master’s Degree in Art, Heritage and Restoration (2007) from the same Faculty, both dedicated to 18th century azulejos. Currently focused on the study of artistic heritage, and particularly on the field of Portuguese azulejos, Rosário Salema de Carvalho is the author of several books and articles published in national and international journals.

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HOMELAND SQUARES: JOAQUIM DE VASCONCELOS (1849-1936) IDENTITY PANELS
Sandra Leandro | UE | Instituto de História da Arte – FCSH, Universidade NOVA de Lisboa

Art Historian, Assistant Professor at Universidade de Évora, since 2001, and researcher at IHA, FCSH, Universidade NOVA de Lisboa. Holds a PhD in Contemporary Art History from Universidade Nova de Lisboa with the thesis Joaquim de Vasconcelos (1849-1936) Historian, Art Critic and Museologist, and is graduated and master, from the same University, with the dissertation Theory and Art Criticism in Portugal (1871-1900), 1999. She publishes and develops research in several fields as Painting, Humorous Drawing and Illustration, Theory and Art Criticism, Museology, Women Artists in Portugal, Sculpture, Cinema and Design. Her book Joaquim de Vasconcelos: historiador, crítico de arte e museólogo – uma ópera, was awarded with the Grémio Literário Prize 2014. She has signed the curatorship of several research exhibitions, including, Museu Infinito: Joaquim de Vasconcelos (1849-1936) e o Museu Industrial e Comercial do Porto, 2016; Mão inteligente: Raquel Roque Gameiro (1889-1970) – Ilustração e Aguarela, 2017-2018; Nós e os Outros: Narciso Costa (1890-1969), Luís Fernandes (1895-1954), Lino António (1898-1974), António Varela (1902-1962), 2018-2019.

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IDENTITIES IN FRONT OF THE MIRROR: TILES IN PORTUGAL AND VALENCIA
Jaume Coll Conesa | Museo Nacional de Cerámica y de las Artes Suntuarias “González Martí”

Jaime Coll Conesa (Palma de Mallorca, 1958), is doctor in Arts with Honours from the Universitat de les Illes Balears (Palma de Mallorca)(1989-90) and holds a degree from the University of Barcelona (1980). Since 1998 he is Director of the National Museum of Ceramics and Decorative Arts “González Martí” in Valencia, where he became Curator in 1986. He is President of the Association of Ceramology, also founder, and has been Secretary of the Section Art and Design of the Spanish Society of Ceramics and Glass. He curated several exhibitions and developed an intense activity of research in archeology, with funded projects in Spain and Portugal by the Committee of Science and Technology (CYCIT) continuing at present. He is involved in international research teams working in archeology, ethnography and heritage in Morocco and Algeria supported by the governments of Spain (AECID) and France (CNRS). He has given numerous lectures in Spain and abroad and usually is teaching in PhD and Masters at the University of Valencia, the Polytechnic University at Valencia and the University of Granada, participating in numerous international conferences. As recent books are La cerámica valenciana apuntes para una síntesis (Valencia, 2009), the coordination of the Manual de Cerámica Española Medieval y Moderna (Madrid, 2010), and over 130 articles in conferences and journals.

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TILES AND IDENTITY BY PATTERN CLASSIFICATION
Maria de Fátima Vale de Gato Santos Rodrigues | Departamento de Matemática – FCT NOVA and CMA
Pedro Jorge Santos Freitas | Departamento de História e Filosofia das Ciências – FCUL and CIUHCT

Fátima Rodrigues is Assistant Professor of the Department of Mathematics of the Faculty of Science and Technology of the New University of Lisbon. She received her doctorate in Mathematics in 2006 from the Faculty of Sciences of the University of Lisbon. Her main research interests are Algebra and Combinatorics. She already participated in the Comenius LLP project MiMa – Mathematics in the Making and she was the Commissioner of the MATER Exhibition, in the framework of Mathematics of Planet Earth 2013. In this Exhibition she was responsible for the Mathematics and Art module, where a mathematical classification of pattern tiles and friezes was developed. She has also several years of experience concerning the development and application of math activities to young children and the dissemination of mathematical ideas to the general public.

Pedro Freitas is Assistant Professor of the Department of History and Philosophy of Sciences of the Faculty of Sciences of the University of Lisbon. He received his doctorate in Mathematics in 1999 from the University of Illinois at Chicago. His main research interests are history of mathematics, and studies involving the relationship of mathematics and other subjects. For the past few years, he has developed, with Simão Palmeirim, a study of the geometric work of Almada Negreiros. He is also engaged in outreach and recreational mathematics.

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PUBLICITY TILE PANELS IN PORTUGAL: A SINGULARITY WITHIN IDENTITY
Cristina Carvalho | Casa–Museu Medeiros e Almeida

Cristina Carvalho graduated in Historical Sciences, (Universidade Livre, Lisbon) post-graduated in Museology and Patrimony (Universidade Nova Lisbon) and got a master degree in Fine Arts (Universidade Católica Portuguesa) with a thesis dedicated to Publicity Tiles in the Region of Lisbon. She has started her professional life as high school teacher and later on has worked in the  touristic disclosure of cultural heritage, by guiding visits in museums, monuments historical centers, all over the country. For more than seven years catalogued the collections of the Queluz National Palace and did the same work, for one year, at the Municipal Museum of Santarém. She has also collaborated as tutor with the Portuguese E-learning university (Universidade Aberta), teaching different Academic Units in the Art History, Museology and Patrimony field. Currently works as curator at Casa–Museu Medeiros e Almeida.

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THE AZULEJO AS COLONIAL SYMBOL OF POWER: A DECONSTRUCTION THROUGH SUGAR AND ART
Shelley Miller | Independent artist

Shelley Miller is a Montreal-based visual artist who works in public spaces as well as with the public, creating permanent public artworks as well as street art and community-engagement projects. Miller has been working with sugar as a medium for nearly 18 years, using it to address ideas of taste, desire, consumer culture, excess and greed. Her work with sugar evolved to include murals that address the not-so-sweet history of sugar and its’ roots in slavery and colonization. She continues to use sugar as a material for its richness in cultural meaning, using sugar to address systems of power and corruption.

Since 2010, Miller has expanded her love of street art and working site-specifically, to include permanent public art commissions to her repertoire. She has created permanent artworks within the healthcare, education, and transportation systems, as well as for private corporations. Each artwork is designed with site in mind, often incorporating local history or materials that reflect their surrounding. This includes creating artworks that are harmonious with the surrounding architectural materials and style. As project manager she has experience working with architects, engineers, administrators and fabricators to achieve a final artwork that is timeless, yet unique to each space.

Miller completed her Bachelor’s of Fine Arts from the Alberta College of Art and Design and a Master’s of Fine Arts from Concordia University (Montreal, Canada). She has received numerous grants and fellowships including a Commonwealth Arts and Crafts Award. She has attended residencies and created works in Brazil, India, Australia, The United States and Canada.

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CONTEMPORARY AZULEJO: AN IDENTITY ISSUE?
Inês Leitão | Az – Rede de Investigação em Azulejo [ARTIS-IHA/FLUL]

Integrated researcher (without PhD) at ARTIS – Instituto de História da Arte, Faculdade de Letras, Universidade de Lisboa (FLUL), developing activity in the Az – Rede de Investigação em Azulejo. She is currently a doctoral fellow of the Fundação para Ciência e Tecnologia (FCT), at FLUL, in the context of which she studies contemporary tile production applied in public space (1950-2020). In 2016 she obtained a master’s degree in Art, Heritage and Theory of Restoration by the same faculty, with a dissertation entitled A arte pública e a construção do lugar. A presença do azulejo (1970-2013). As a researcher she has been involved in some projects, such as Az Infinitum – Azulejo Indexation and Referencing System and Cataloguing Portuguese tile patterns, having also integrated the permanent team of the monthly seminar AzLab – Studies on Azulejo. She also participated in the project Off-Off Lisbon: Alternative Urban Narratives, developed by the group THELEME – Interart and Intermedia Studies (Centre for Comparative Studies, FLUL). Her main research interests are contemporary azulejo and public space, with chapters of books and articles published.

ABSTRACTS  |  PROGRAMME

CALL FOR PAPERS
AzLab#42 especial | Identidade(s) do azulejo em Portugal

[​ ​—​ ​Please​ ​scroll​ ​down​ ​for​ ​English​ ​version​ ​—​ ​]

4 de Outubro de 2018
Faculdade de Letras, Universidade de Lisboa, anfiteatro III

Prazo limite: 5 de Março de 2018
Língua oficial: inglês [apenas são aceites resumos em inglês. As apresentações serão obrigatoriamente em inglês caso haja participações estrangeiras. Os artigos são publicados apenas em inglês]

O azulejo tem vindo a ser valorizado em Portugal, do ponto de vista teórico, desde a segunda metade do século XIX, numa perspectiva que acentua, de forma crescente, a ideia de especificidade e de identidade. Actualmente, o azulejo é reconhecido como uma das artes que mais identifica a herança patrimonial portuguesa. Mas será que é mesmo assim?

Integrado no mês do azulejo e nas celebrações do ano europeu do património cultural,  o AzLab#42 pretende discutir as questões de identidade(s) relacionadas com o azulejo, centrando a sua atenção em três eixos:

      1. Azulejo: que identidade(s)?
      2. A construção historiográfica da ideia de azulejo como arte identitária
      3. Identidade nacional: o lugar do azulejo

[CALL FOR PAPERS – PDF com texto completo]

Hashtag oficiais: #IdentidadesAzulejo #IdentitiesOfTheAzulejo #AzLab #RedeAzulejo #EuropeForCulture

SUBMISSÃO DE RESUMOS
Resumo: 500 palavras min. / 900 palavras máx.
Palavras-chave: 4
Nota biográfica: 300 palavras máx.
Nome e afiliação
Línguas aceites: inglês
Formato: word
E-mail de envio: redeazulejo@letras.ulisboa.pt (assunto: AzLab#42)
Comunicações: 15 min.

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DATAS IMPORTANTES
Submissão de resumos: 5 de Março de 2018
Comunicação de aceitação: 9 de Abril de 2018
Submissão do artigo: 4 de Junho de 2018
Comunicação de aceitação: 2 de Julho de 2018
Inscrições: até 20 de Setembro de 2018
AzLab#42: 4 de Outubro de 2018
Alterações de artigos: 31 de Outubro de 2018
Comunicação de aceitação: 20 de Novembro de 2018

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CALL FOR PAPERS
AzLab#42 special | Identity(ies) of the Azulejo in Portugal

October 4, 2018
Faculdade de Letras, Universidade de Lisboa, anf. III

Deadline: March 5, 2018
Official language: English [only abstracts in English will be accepted. If there are international participants, papers must be delivered in English as well. Essays will be published in English only]

From a theoretical point-of-view, azulejos (ceramic tin-glazed tiles) have been treasured in Portugal since the second half of the nineteenth century, especially through a perspective that increasingly highlights their unique specificity and identity. In fact, today, azulejo is acknowledged as one of the arts that most identifies Portuguese heritage. However, is this truly so?

Included in the month of the azulejo and in the celebrations of the European Year of Cultural Heritage, AzLab#42 aims to debate issues of identity associated with azulejos, focusing on three main points:

       1. Azulejo: what identity(ies)?
       2. The historiographical construction of azulejo as an art linked to identity
       3. National identity: the place of the azulejo 

[CALL FOR PAPERS – PDF with full text]

Official hashtags: #IdentitiesOfTheAzulejo #IdentidadesAzulejo #AzLab #RedeAzulejo #EuropeForCulture

ABSTRACT SUBMISSION
Abstract: 500 words min. / 900 words max.
Keywords: 4
Biographical note: 300 words max.
Name and affiliation
Official language: English
Format: word
E-mail: redeazulejo@letras.ulisboa.pt (subject: AzLab#42)
Presentations: 15 min.

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KEY DATES
Abstract submission deadline: March 5, 2018
Notification of acceptance: April 9, 2018
Articles submission deadline: June 4, 2018
Notification of acceptance: July 2, 2018
AzLab#42: June 7, 2017
Registration: until September 20, 2018
AzLab#42: October 4, 2018
Articles revision: October 31, 2018
Notification of acceptance: November 20, 2018