ICPT2026: 8th International Conference of Photography & Theory NiMAC Nicosia, Cyprus, November 26-28, 2026 |
| Conference website | https://www.photographyandtheory.com/icpt2026 |
| Submission link | https://easychair.org/conferences/?conf=icpt2026 |
| Abstract registration deadline | May 15, 2026 |
| Submission deadline | May 15, 2026 |
8th International Conference of Photography & Theory (ICPT2026)
Photography’s Material Conditions: Residue, Object(hood) and the Expanded Field
26-28, November, 2026 - Nicosia Municipal Arts Centre [NiMAC], Nicosia, Cyprus
Organizers: International Association of Photography & Theory [IAPT]
Chairs: Nicolas Lambouris & Constantinos Sophocles Constantinou
Since the 1960s, photography has operated within an expanded field of fluid and intertwined media. More recent discussions on the post-medium condition and the expanded field of photography have situated the photographic image within debates about the collapsing boundaries between media and the emergence of modalities that unfold between image and object, as well as between representation and construction. These shifting boundaries prompt a reconsideration of how different media construct and transform conditions of visibility, particularly in relation to photography’s material conditions as they are reconfigured through emerging processes of (re)production. At the same time, systems of transmission and mediation produce new visual economies that shape contemporary modes of spectatorship. How do such expansions enable practices that restructure visual discourse and our interpretation of material cues? How might we understand the so-called “death of representation” alongside the emergence of new materialities? How can we speak of photographies’ object(hood)?
Contemporary photographic practice often reclaims object(hood) as a contingent and negotiated condition through installation, sculptural display and material manipulations such as folding, layering, embedding or printing on alternative surfaces. These interventions foreground the residual and material qualities of the image, its paper, surface, texture, weight and scale, countering the presumed dematerialisation often associated with the digital. Residue becomes the grounding element through which the image re-enters matter, revealing photography simultaneously as image and as thing. Residue, a crucial aspect of photography, is a concept that extends beyond intrinsic materialities to rethink both object(hood) and the ascendancy of the image as a pervasive cultural surface, a site of lingering traces, and of transformation. Photographic residuality operates across social, cultural and historical dimensions, placing the status (and relationship?) of image and object in a dialectical tension. Residuality does not merely arise from relations between object and image as a mimetic trace; rather, it emerges through a process of ongoing abstraction, a distanced yet permeable capability, capable of reconfiguring perception and redefining the material conditions of visual experience.
Responding to these shifts, this conference seeks to explore the manifold ways in which photography redefines its own material presence within an expanded field of artistic and spatial practices. As the photograph exceeds the flatness traditionally associated with the medium and enters new dialogues with sculptural, performative and spatial forms, it challenges how materiality is produced and perceived. How do contemporary photographic practices reconstitute the photograph as a tactile, situated and contingent object rather than as pure representation? In what ways do these transformations prompt a reconsideration of spectatorship, temporality and the affective relation between viewer and image?
We welcome papers that engage with these questions through historical, theoretical or practice-based approaches.
Suggested themes, but not limited to, include:
Photography as Object
• The ontology of the photographic object
• The paradoxical condition of the object in visual culture
• The politics of photographic objects within economies of circulation
• The photographic object as relational and performative
• Photography as a collectable object, fetish, or commodity Object(hood) in Contemporary Photography
Object(hood) versus Image(hood) in contemporary photographic practices
• Post-medium conditions and hybrid practices
• Photography and sculpture: hybrid object(hood) and emergent forms
• Installation as interpretation: spatial relations between images and objects
Material and De-Material Conditions
• Materiality and digital imaging: from physical prints to virtual existence
• Photographic dematerialisation: re-evaluating images
• Photography and transmedial material processes
• Still and Moving images: temporal crossings and durational experiments
Residues, Traces and Photography’s Afterlives
• Resituality as a theoretical framework in image-object relations
• Afterlives of images: reuse, reactivation, and remediation
• Residual traces in photography: indexical excess, archival debris, and latent histories
• Damage, decay, entropy and material failure as generative aesthetic strategies
Curatorial and Exhibitionary Strategies
Documents, artefacts, visual cues, and artworks: reframing photography in a museum context Curatorial authorship and the mediation of photographic meaning Display, framing, and context in the exhibition of photographic objects Virtual, digital, and immersive environments as modes of photographic presentation
We invite proposals for 20-minute presentations from various disciplines, such as: photography, art history and theory, visual sociology, anthropology, museology, philosophy, ethnography, education, cultural studies, and visual and media studies. To propose a paper, please submit a 450-word abstract (including references) through our online submission system, no later than: May 15th, 2026 To access our submission system, please follow this link: https://easychair.org/conferences/?conf=icpt2026
Submitted proposals will go through a blind peer-review, and authors will be notified of the acceptance of their proposals by June 30th, 2026.
For more information and conference updates, please visit our website at: www. photographyandtheory.com
Questions may be sent to: info@photographyandtheory.com
Important Dates:
• Deadline for submission: 15 May, 2026
• Notification of authors: 30 June, 2026
• Deadline for early registration: 15 September, 2026
• Deadline for late registration: 20 November, 2026
• Conference: 26-28 November,
2026 ICPT2026 Organising Committee
• Nicolas Lambouris (Chair). Frederick University & PFM [Photography. Film+Media. Lab], Cyprus • Constantinos-Sophocles Constantinou (Chair). University of West Attica, Greece • Elena Stylianou. European University & Nicosia Municipal Arts Center [NiMAC] associated with the Pierides Foundation, Cyprus • Theopisti Stylianou-Lambert. Cyprus University of Technology, Cyprus & Linköping University, Sweden • Artemis Eleftheriadou. Frederick University, Cyprus • Damianos Zisimou. Artist, Netherlands • Ioulita Toumazi. Independent Curator & Writer, Cyprus
ICPT2026 Scientific Committee
• Nicolas Lambouris. Frederick University & PFM [Photography. Film+Media. Lab], Cyprus • Constantinos-Sophocles Constantinou. University of West Attica, Greece • Elena Stylianou. European University & Nicosia Municipal Arts Centre [NiMAC] associated with the Pierides Foundation, Cyprus • Theopisti Stylianou-Lambert. Cyprus University of Technology, Cyprus & Linköping University, Sweden • Artemis Eleftheriadou. Frederick University, Cyprus • Ioulita Toumazi. Independent Curator & Writer, Cyprus • Damianos Zisimou. Artist, Netherlands • Alexandra Athanasiou. PHLSPH Philosophy & Photography Lab, Greece • Alexey Yurenev. International Center of Photography, USA • Anastasia Markidou. University of West Attica, Greece • Andrew Fisher. Editor: Philosophy of Photography, FAMU Prague, Czech Republic • Anton zu Knyphausen. Pontificia Universidad Católica de Chile (PUC) & Barco Galleria, Chile • Despina Pasia. University of London, Cyprus • Esra Plumer. Independent Researcher & Writer, Cyprus • Evagoria Dapola. Independent Curator, Writer, Academic Researcher, Cyprus • Evanthia Tselika. University of Nicosia, Cyprus • Heather M. O'Brien–Takahashi. Southern Illinois University Carbondale, USA • Io Paschou. University of West Attica, Greece • Liz Wells. Writer, Curator & Emeritus Professor, University of Plymouth, UK • Louise Wolthers. Hasselblad Foundation, Sweden • Louli Michaelidou. Independent Researcher, Cyprus • Martha Langford. C.M. FRSC. Distinguished Professor Emeriti, Concordia University, Canada • Mette Sandbye. University of Copenhagen, Denmark • Myrto Aristidou. CYENS Centre of Excellence & Cyprus University of Technology, Cyprus • Nikolaos Akritides. Curator & Geographer, Belgium • Nina Mangalanayagam. HDK-Valand, Gothenburg University, Sweden • Simon Standing. University of Plymouth, UK • Wiebke Leister. Royal College of Art, UK