This international colloquium commemorates the 160th anniversary of the birth of Wassily Kandinsky (1866–1944) by examining his artistic legacy and his enduring influence on the development of modern and contemporary art. It explores the philosophical foundations of his work, particularly the concept of inner necessity, synaesthesia, and the search for spirituality, all of which transformed artistic expression and contributed to the emergence of abstract art.

3 and 4 December 2026 (Anniversary of Kandinsky's Birth) Russian House (Maison Russe), Tunis, Tunisia. The colloquium will be held in a hybrid format, allowing both in-person and online participation.

Argument

This international colloquium commemorates the 160th anniversary of the birth of Wassily Kandinsky (1866–1944) by examining his artistic legacy and his enduring influence on the development of modern and contemporary art. It explores the philosophical foundations of his work, particularly the concept of inner necessity, synaesthesia, and the search for spirituality, all of which transformed artistic expression and contributed to the emergence of abstract art.

Organized around four complementary themes connecting Russia, Germany, Tunisia, and contemporary digital practices, the colloquium aims to bring together researchers, artists, designers, educators, architects, and cultural practitioners to engage in an interdisciplinary dialogue on Kandinsky's continuing relevance in today's artistic and intellectual landscape. Selected papers presented during the colloquium will be published in a bilingual volume, in
Arabic and English, as part of the Thought & Design Journal Collection. This publication will provide an international platform for original research exploring Kandinsky's artistic, pedagogical, and philosophical contributions.

Wassily Kandinsky was born in Moscow in 1866, during a period when Tsarist Russia remained deeply rooted in religious spirituality and rich folk traditions. Before devoting himself to painting, he studied law and economics. His artistic vocation emerged after two decisive experiences: an exhibition of Claude Monet's paintings in Moscow and a performance of Richard Wagner's Lohengrin. These encounters profoundly transformed his perception of
art, leading him to describe how he could "see" music and "hear" colours. They marked the beginning of his lifelong exploration of the relationships between colour, sound, emotion, and spirituality.

From that point onward, Kandinsky devoted his life to a bold artistic conviction: art should express what language cannot adequately convey, namely the inner life of the human soul. He developed the concept of inner necessity, arguing that artistic form and colour derive their true significance from the emotional and spiritual responses they evoke rather than from their resemblance to external reality. In his theory, blue suggested spiritual depth, yellow conveyed dynamic energy, the circle symbolized harmony, and the triangle represented tension and aspiration.

In 1911, Kandinsky co-founded the artistic movement Der Blaue Reiter (The Blue Rider) and published Concerning the Spiritual in Art, a seminal work that established abstraction as a universal artistic language capable of expressing profound emotional and spiritual realities beyond figurative representation. In 1922, Kandinsky was invited to join the Bauhaus, first in Weimar and then in Dessau. There, he became a "master of form" and systematized his teaching: analytical drawing deconstructed objects, color theory explored emotional dissonances, and the workshop combined theory and practice. In 1926, he published Point and Line to Plane a geometric grammar of creation in which the point is a tension, the line a force in motion, and the plane a field of energy. This pedagogical work, deeply rooted in German modernity, would influence generations of designers and architects.

An equally significant, although often overlooked, stage in Kandinsky's artistic development was his journey to Tunisia between 1904 and 1905. During his visits to Tunis, Sidi Bou Saïd, and Carthage, he encountered the distinctive Mediterranean light, geometric architecture, and ornamental richness of the region.

Through numerous watercolour studies, he progressively simplified landscapes and architectural forms into relationships of colour, shape, and rhythm. As demonstrated by the research of Roger Benjamin, this experience constituted an important experimental phase in Kandinsky's gradual movement toward abstraction. Rather than representing a superficial fascination with the Orient, Tunisia provided an artistic environment that encouraged him
to move beyond naturalistic representation and prepared the way for his earliest abstract compositions.

Today, Kandinsky's ideas have acquired renewed significance as contemporary artistic practice increasingly integrates digital technologies while addressing questions of identity, perception, creativity, and human experience. His concept of synaesthesia continues to inspire immersive installations, virtual reality, interactive media, and generative art. Likewise, his vision of the artist as a spiritual and cultural guide resonates with current developments in art therapy, speculative design, and creative education. The pedagogical principles developed at
the Bauhaus remain highly influential in art and design schools throughout the world.
By examining Kandinsky's legacy through four complementary perspectives, namely the Russian, German, Tunisian, and digital dimensions, this international colloquium seeks to encourage interdisciplinary dialogue, stimulate innovative research, and build meaningful connections between historical scholarship and contemporary artistic practice.

Axis 1. Chronobiography and the Foundations of Abstraction: Russia, Inner Necessity, and Artistic Origins

This thematic axis explores the formative years of Wassily Kandinsky by examining the cultural, intellectual, and spiritual influences that shaped his artistic vision before the emergence of abstraction. Particular attention will be given to his childhood in Moscow and Odessa, his academic background in law and economics, and his fascination with Russian Orthodox iconography, folklore, mythology, and philosophy.

Contributions are invited to investigate how Slavic culture, Orthodox spirituality, and philosophical thought, particularly the works of Arthur Schopenhauer, contributed to Kandinsky's understanding of art as a spiritual rather than a representational practice.

Papers may also examine his early figurative paintings, the decisive influence of Claude Monet and Richard Wagner on his artistic development, and the theoretical foundations that culminated in the publication of Concerning the Spiritual in Art. This axis seeks to deepen our understanding of the origins of Kandinsky's concept of inner necessity and its role in the birth of abstract art.

Axis 2. The Bauhaus Years: Colour, Form, and Pedagogical Innovation

This axis examines Kandinsky's years in Germany, with particular emphasis on his contribution to the Bauhaus and the development of modern artistic education. It focuses on his theoretical investigations into the relationships among colour, point, line, and plane, as well as the pedagogical principles that established him as one of the leading educators of twentieth-century modernism.

Contributions may explore Kandinsky's publications, particularly Point and Line to Plane, together with his innovative teaching methods, interdisciplinary collaborations, and influence on Bauhaus pedagogy. Papers addressing his collaborations with Paul Klee, Johannes Itten, and László Moholy-Nagy are particularly welcome.
This axis also encourages discussions of the continuing impact of Kandinsky's educational philosophy on contemporary art, architecture, design, and visual communication, including its influence within Arab and international educational contexts.

Axis 3. Tunisia and the Emergence of an Abstract Vision: Light, Geometry, and Cultural Encounters

This axis focuses on Kandinsky's journey to Tunisia between 1904 and 1905, an important yet often overlooked period in his artistic development. It examines how the landscapes, architecture, Mediterranean light, and visual culture of Tunisia contributed to his gradual movement towards abstraction.

Contributors are encouraged to analyse Kandinsky's sketches and watercolours produced during his visits to Tunis, Sidi Bou Saïd, and Carthage, together with the testimonies of Gabriele Münter and other historical sources.Particular attention may be devoted to the influence of Islamic geometric ornamentation, architectural simplicity, and Mediterranean visual aesthetics on his artistic evolution.This axis also welcomes comparative studies between Kandinsky's Tunisian experience and Paul Klee's celebrated journey to Tunisia in 1914. Further contributions may explore the relationship between abstraction and Islamic artistic traditions, as well as the continuing influence of Kandinsky's Tunisian experience on contemporary North African artists and designers.

Axis 4. Kandinsky's Legacy in Contemporary Creative Practices: Synaesthesia, Digital Art, and Community Engagement

The final axis examines the continuing relevance of Kandinsky's ideas within contemporary artistic, technological, educational, and social contexts. It considers how his theories of colour, perception, spirituality, and synaesthesia continue to inspire artistic innovation in the twenty-first century.

Contributions may address the application of Kandinsky's ideas in immersive digital environments, virtual and augmented reality, artificial intelligence, interactive installations, multimedia performance, generative art, and data visualisation. Papers exploring projects such as Google's Play a Kandinsky or other multisensory artistic experiences are particularly encouraged.

This axis also welcomes studies investigating the role of Kandinsky's concept of inner necessity in art therapy, cultural mediation, creative well-being, speculative design, and community-based artistic practices. Finally, contributors are invited to examine how Bauhaus educational principles continue to influence makerspaces, FabLabs, creative laboratories, and interdisciplinary approaches to art and design education, demonstrating the enduring significance of Kandinsky's intellectual and artistic legacy.

Kandinsky's Works

KANDINSKY, Wassily. Concerning the Spiritual in Art. Translated by Pierre Volboudt. Paris: Denoël, 1989 (original work published 1912).
KANDINSKY, Wassily. Point and Line to Plane. Translated by Suzanne and Jean-Philippe Domecq. Paris: Gallimard, 1991 (original work published 1926).
KANDINSKY, Wassily. Looks Back and Other Texts 1912–1922. Translated by Jean-Philippe Domecq. Paris: Hermann, 1974.

Important dates

• 15th of october 2026: final date of submission for full articles (3000-4500 words) for evaluation by the scientific committee
• 3th & 4th of December 2026 date of the event in hybrid format and in English

Submission instructions

The articles shall be sent to these email addresses: tunis@rs.gov.ru

Email subject: “Proposition Kandinsky Colloquium- Axis [1, 2, 3 or 4]”

Language of submission: English /Arabic

File format (Word):
• font: Times New Roman, size 12, line spacing 1.5
• Article length: 3,000 - 4,500 words
• The document must include:

• Paper title
• Last and first name, institutional affiliation, email address, phone number
• Selected axis
• 300-word abstract
• 5 keywords
• Short author biography (100–150 words)

Evaluation: all submissions will be anonymized and evaluated through a double-blind peer review by the scientific committee.

Project Commissioner

• Dr. Natalia B. Avtonomova, Pushkin State Museum of Fine Arts, Moscow. Commissioner of the first solo exhibition of V. Kandinsky in the USSR, held in 1989 at the Tretyakov Gallery.

Scientific Committee for Design and Visual Arts

• Dr. Natalia I. Droujkova, Professor, Moscow State Pedagogical University
• Dr. Anna Florkovskaya, Corresponding Member of the Russian Academy of Fine Arts, Surikov Institute of Fine Arts, Moscow, Russia
• Boris M. Sokolov, Professor, Chair of Art History, Russian State University for the Humanities, Russia
• Irina V. Tsymbal, Associate Professor, Faculty of Fine Arts, Saint Petersburg State University, Russia
• Dr. Olga Nefedova, PhD in Art History, Associate Professor at the School of Historical Sciences, HSE University (Moscow)
• Dr. Olga Kazakova, PhD in Art History, Associate Professor at the School of Historical Sciences, HSE University
• Dr. Olga Nazarova, PhD in Art History, Associate Professor at the School of Historical Sciences, HSE University
• Prof. Hamadi Bouabid, Professor of Higher Education in Art History and Cinema, Higher School of Audiovisual Arts and Cinema, Gammarth, Tunisia
• Prof, Sana Jammali Ammari, Professor of Higher Education in Art Theory and Practice, University of Sousse, Tunisia
• Prof. Khaled Aboul Majd Ahmed Adam, Professor of Higher Education, Faculty of Education, Department of Art Education, Al-Baha University, Saudi Arabia / Egypt
• Prof. Jawhar Jamoussi, Professor of Higher Education in Sociology and Art Theory, Higher Institute of Multimedia Arts, University of Manouba, Tunisia
• Prof. Mounira Ben Mustapha, Professor of Higher Education, Higher Institute of Humanities, Department of Philosophy, Ibn Charaf, Tunisia
• Prof. Houcine Ben Slimane, Professor of Higher Education, Higher Institute of Humanities, Department of Philosophy, Ibn Charaf, Tunisia
• Dr. Salma Ktata, Associate Professor in Design Science and Technology, Higher School of Design Science and Technology, University of Manouba, Tunisia
• Dr. Hela Chabchoub ben hamadi, Associate Professor in Design Science and Technology, Sorbonne University, France

Evaluation Committee

(English-Language Section)

• Dr. Ouafa Ouarniki, Associate Professor, Department of English, Ziane Achour University of Djelfa, Algeria
• Dr. Barkat Turqui, Associate Professor, Department of English , Mohamed Khider University of Biskra, Algeria
• Dr. Yosra Amraoui, Assistant Professor, ISLT, University of Carthage, Tunisia
• Mrs. Sonia Atig, Coordinator, Principal ESP English teacher, Researcher in The Aesthetics and practices of Visual Arts, Higher Institute of Fine Arts of Sousse, University of Sousse,Tunisia.

Project Directors

• Ms. Marina Ignatieva, Director of the Russian House in Tunisia
• Dr. Rym Zayani Afif, Associate Professor, ISAMM

Organizing Committee

• Dr. Mejda Achour, Contractual Assistant Professor, Higher Institute of Fine Arts of Nabeul, University of Carthage, Tunisia
• Dr. Asma Manai, Assistant Professor, Higher Institute of Arts and Crafts of Tataouine, University of Gabes, Tunisia
• Dr. Emna Ouerghi, Contractual Assistant Professor, Higher Institute of Arts and Crafts of Siliana, University of Jendouba, Tunisia

Editorial Board

• Editor-in-Chief :Arabic Section: Dr. Rym Zayani Afif
• Editor-in-Chief : English Section: Mrs.Sonia Atig

Organization

This international conference is organized by the Russian House in Tunisia, under the coordination of Dr. Rym Zayani Afif (Higher Institute of Arts and Multimedia, University of Manouba), with the support of the Higher Institute of Arts and Multimedia of the University of Manouba (ISAMM), the Higher Institute of Arts and Crafts of Siliana (ISAM Siliana), the Higher School of Audiovisual Arts and Cinema of Gammarth(ESAC), the Higher Institute of Fine Arts of Sousse (ISBAS), the Moscow State Academic Art Institute named after V. I. Surikov, the Institute of Fine Arts of the Moscow State Pedagogical University, Saint Petersburg State University, the Russian State University for the Humanities, the Higher School of Economics in Moscow (HSE University), and the scientific journal Thought & Design.