Adelina Lopes em exposição no Armário até 15 de Novembro. Todos os dias, a todas as horas.
Armário de Curiosidades
C.C. Sta. Bárbara
R. Dr. Justino da Cruz, 90
4700-314 Braga
www.eidola.pt
28/09/2007
CHEIO
Adelina Lopes em exposição no Armário até 15 de Novembro. Todos os dias, a todas as horas.
Armário de Curiosidades
C.C. Sta. Bárbara
R. Dr. Justino da Cruz, 90
4700-314 Braga
www.eidola.pt
27/09/2007
call for queer projects
+++++++++++++++++++++++++++++++++
Exhibition proposal
Hello people,
I am trying to put up a small selection of artist whose work is based around sexuality, body, queer, etc... (any medium!!!)
I have a very short time to propose a selection(just one-two months) so I am in a need of some good artists/artworks that contribute to this issue.
So if you find your work within this frame or you know some artists whose work does; please contact me (or give me their contact) as soon as possible.
The selected artist will be provided with traveling costs, accommodation, transportation of the work and I am also hoping to provide some small honorer for participation.
The exhibition will take place in Sarajevo in one of the "official galleries" (I love this expression! :) ) and is in one way an introduction to the future "Sarajevo Queer Art Festival" that should take place next year.
If you have any more questions please contact me and if you don't than help me! :)
Looking forward of hearing from you, all best!
Ibro
--
//: Ibro Hasanovic
E: foomanic@gmail.com
M: 00.387.63.848.506
W: http://foomanic.googlepages.com
Exhibition proposal
Hello people,
I am trying to put up a small selection of artist whose work is based around sexuality, body, queer, etc... (any medium!!!)
I have a very short time to propose a selection(just one-two months) so I am in a need of some good artists/artworks that contribute to this issue.
So if you find your work within this frame or you know some artists whose work does; please contact me (or give me their contact) as soon as possible.
The selected artist will be provided with traveling costs, accommodation, transportation of the work and I am also hoping to provide some small honorer for participation.
The exhibition will take place in Sarajevo in one of the "official galleries" (I love this expression! :) ) and is in one way an introduction to the future "Sarajevo Queer Art Festival" that should take place next year.
If you have any more questions please contact me and if you don't than help me! :)
Looking forward of hearing from you, all best!
Ibro
--
//: Ibro Hasanovic
E: foomanic@gmail.com
M: 00.387.63.848.506
W: http://foomanic.googlepages.com
26/09/2007
Call for Papers
The Visual Culture Division invites submissions for the Sixth Annual Meeting of the Cultural Studies Association (U.S.) to be held on the campus of NYU in Greenwich Village, in New York City,
May 22-24, 2008.
Deadline: October 22, 2007
http://www.csaus.pitt.edu/frame_home.htm
Feminist Art
This is an exciting time in the history of feminist art, as evidenced by the recent opening of the Elizabeth A. Sackler Center for Feminist Art at the Brooklyn museum, the Feminist Futures conference at MOMA, the WACK! show at the Los Angeles Museum of Contemporary Art, the National Museum of Women in the Arts, the establishment of the Feminist Art Project, and issues focusing on feminism and art in the National Women's Studies Association Journal (Spring 2007) and Signs (Winter 2008). Such flourishing institutional discourse would seem to suggest, more than 35 years after the publication of Linda Nochlin's "Why Have There Been No Great Women Artists?" women artists, that some parity is finally being achieved. Yet, as artists and activists participating in each of these venues note, women continue to be underrepresented in the shows and collections of museums, galleries, and collectors. More importantly, women artists of color, gay/lesbian/trans/bi-gendered artists, and global women's issues continue to be marginalized within many of feminism's institutionalized venues and discourses.
What is the role of feminist art today? What does it look like? Who does it include and who does it exclude? How can it continue to impact the social and cultural values surrounding gender, race, and sexuality today?
Theories, critiques, histories, counter-histories, and counter-memories of feminist art, past, present, and future are welcome.
For more information:
Please submit via email a 500-word abstract of a 15-20 minute paper proposal, including name, department, and institutional affiliation, email address, and brief CV by October 22
May 22-24, 2008.
Deadline: October 22, 2007
http://www.csaus.pitt.edu/frame_home.htm
Feminist Art
This is an exciting time in the history of feminist art, as evidenced by the recent opening of the Elizabeth A. Sackler Center for Feminist Art at the Brooklyn museum, the Feminist Futures conference at MOMA, the WACK! show at the Los Angeles Museum of Contemporary Art, the National Museum of Women in the Arts, the establishment of the Feminist Art Project, and issues focusing on feminism and art in the National Women's Studies Association Journal (Spring 2007) and Signs (Winter 2008). Such flourishing institutional discourse would seem to suggest, more than 35 years after the publication of Linda Nochlin's "Why Have There Been No Great Women Artists?" women artists, that some parity is finally being achieved. Yet, as artists and activists participating in each of these venues note, women continue to be underrepresented in the shows and collections of museums, galleries, and collectors. More importantly, women artists of color, gay/lesbian/trans/bi-gendered artists, and global women's issues continue to be marginalized within many of feminism's institutionalized venues and discourses.
What is the role of feminist art today? What does it look like? Who does it include and who does it exclude? How can it continue to impact the social and cultural values surrounding gender, race, and sexuality today?
Theories, critiques, histories, counter-histories, and counter-memories of feminist art, past, present, and future are welcome.
For more information:
Please submit via email a 500-word abstract of a 15-20 minute paper proposal, including name, department, and institutional affiliation, email address, and brief CV by October 22
24/09/2007
23/09/2007
CRIME SCENES- Efrat Zehavi
gallery ONNO VAN TOOR in Rotterdam.
OPENING:
Saturday, SEPTEMBER 29th 2007, 17:00
Voorhaven 38c, 3024RN Rotterdam /the netherlans
For route information please check the website
http://www.onnovantoor.nl/
The exhibition will run until October 28th 2007
21/09/2007
MARTINHA MAIA | Negro
Vera Cortês, Agência de Arte //LISBOA
Inauguração dia 21 de Setembro às 22h
Performance – Fluxos thing versão 2, dia 22 Setembro na Interpress às 22h
O negro constitui um dos momentos de maior intensidade na conquista da cor. A intensificação é causada por um trabalho de exaustão, de sobreposição de camadas até se atingir a profundidade desejada.
A primeira exposição individual de Martinha Maia, no novo espaço da Agência Vera Cortês, centra-se nesta busca pela profundidade que só o negro pode transmitir. Os trabalhos que apresenta são o resultado de uma pesquisa que tem vindo a realizar, e que se fortificou com a estadia na Casa Velázquez em Madrid como bolseira da Fundação Calouste Gulbenkian.
Os novos trabalhos formam um ensaio que se situa para-além da dualidade figuração/abstracção, para se centrarem sim na questão da tradução dos pressupostos da arte barroca na obra desta artista. De facto, o que se procura em cada trabalho é a dimensão teatral do gesto e do movimento do corpo. Quanto mais carregado for, maior o vestígio que deixará. O dramatismo da pintura barroca é evocado quer no confronto que Martinha Maia irá travar com as paredes da Agência, quer com outros suportes que constituem o núcleo desta exposição.
A artista propõe um diálogo entre o vazio e a saturação, entre a movimento do seu corpo a inscrever o gesto e o movimento do espectador a contemplar o vestígio. Este diálogo será prolongado, de uma forma mais imediata e confrontacional, na performance “Fluxos thing versão 2”que irá realizar em simultâneo à exposição, no espaço Interpress no dia 22 de
Setembro às 22h.
Filipa Oliveira
Black is one of the strongest moments when handling color. The intensification is brought by through the exhaustive exercise of overlaying layer after layer, until the intended depth has been reached.
Martinha Maia’s first solo exhibition, in the rooms of Vera Cortês Art Agency, concentrates in this search for depth that only blackness can convey. The works presented by the artist are the result of a research she has furthered during her residency in Casa Velázquez, Madrid, with a grant from the Calouste Gulbenkian Foundation.
The new works compose an essay that goes beyond figurative/abstract duality, in order to focus on the translation of Baroque Art concepts into the work of this artist. It is indeed the theatrical dimension of the gesture and of the body in motion that Martinha Maia looks for in each piece. The heavier the gesture, the stronger its track or its evidence will be. The drama of Baroque painting is summoned in the confrontation of the artist with the walls at the Agency and with other surfaces that are at the center of this exhibition. Martinha Maia creates a dialogue between emptiness and saturation, between the movement of her body while imprinting the gesture on the wall and the movement of the viewer contemplating its vestige. This dialogue will be extended, in a more direct and confrontational way, through the performance “Fluxos thing version 2”, which will take place at Interpress on the 22nd September, 10 p.m.
Filipa Oliveira
And still in Caroline Pagès gallery //Lisboa
Conceição Abreu -- Within --
www.carolinepages.com
"Ao longo das cinco salas da galeria encontram-se distribuídas esculturas que simulam ninhos, agulhas e sacos, uma teia e um tapete que foram realizadas com elásticos segundo uma técnica de minucioso enlace, como se de um trabalho de renda ou malha se tratasse. Estas peças tridimensionais encontram-se expostas, a par de desenhos a grafite e lápis de cor sobre papel, e de uma série de quatro fotografias a preto e branco...."
Conceição Abreu nasceu em 1961 em Portugal, hoje vive e trabalha em Madrid.
Inauguração dia 21 de Setembro às 22h
Performance – Fluxos thing versão 2, dia 22 Setembro na Interpress às 22h
O negro constitui um dos momentos de maior intensidade na conquista da cor. A intensificação é causada por um trabalho de exaustão, de sobreposição de camadas até se atingir a profundidade desejada.
A primeira exposição individual de Martinha Maia, no novo espaço da Agência Vera Cortês, centra-se nesta busca pela profundidade que só o negro pode transmitir. Os trabalhos que apresenta são o resultado de uma pesquisa que tem vindo a realizar, e que se fortificou com a estadia na Casa Velázquez em Madrid como bolseira da Fundação Calouste Gulbenkian.
Os novos trabalhos formam um ensaio que se situa para-além da dualidade figuração/abstracção, para se centrarem sim na questão da tradução dos pressupostos da arte barroca na obra desta artista. De facto, o que se procura em cada trabalho é a dimensão teatral do gesto e do movimento do corpo. Quanto mais carregado for, maior o vestígio que deixará. O dramatismo da pintura barroca é evocado quer no confronto que Martinha Maia irá travar com as paredes da Agência, quer com outros suportes que constituem o núcleo desta exposição.
A artista propõe um diálogo entre o vazio e a saturação, entre a movimento do seu corpo a inscrever o gesto e o movimento do espectador a contemplar o vestígio. Este diálogo será prolongado, de uma forma mais imediata e confrontacional, na performance “Fluxos thing versão 2”que irá realizar em simultâneo à exposição, no espaço Interpress no dia 22 de
Setembro às 22h.
Filipa Oliveira
Black is one of the strongest moments when handling color. The intensification is brought by through the exhaustive exercise of overlaying layer after layer, until the intended depth has been reached.
Martinha Maia’s first solo exhibition, in the rooms of Vera Cortês Art Agency, concentrates in this search for depth that only blackness can convey. The works presented by the artist are the result of a research she has furthered during her residency in Casa Velázquez, Madrid, with a grant from the Calouste Gulbenkian Foundation.
The new works compose an essay that goes beyond figurative/abstract duality, in order to focus on the translation of Baroque Art concepts into the work of this artist. It is indeed the theatrical dimension of the gesture and of the body in motion that Martinha Maia looks for in each piece. The heavier the gesture, the stronger its track or its evidence will be. The drama of Baroque painting is summoned in the confrontation of the artist with the walls at the Agency and with other surfaces that are at the center of this exhibition. Martinha Maia creates a dialogue between emptiness and saturation, between the movement of her body while imprinting the gesture on the wall and the movement of the viewer contemplating its vestige. This dialogue will be extended, in a more direct and confrontational way, through the performance “Fluxos thing version 2”, which will take place at Interpress on the 22nd September, 10 p.m.
Filipa Oliveira
And still in Caroline Pagès gallery //Lisboa
Conceição Abreu -- Within --
www.carolinepages.com
"Ao longo das cinco salas da galeria encontram-se distribuídas esculturas que simulam ninhos, agulhas e sacos, uma teia e um tapete que foram realizadas com elásticos segundo uma técnica de minucioso enlace, como se de um trabalho de renda ou malha se tratasse. Estas peças tridimensionais encontram-se expostas, a par de desenhos a grafite e lápis de cor sobre papel, e de uma série de quatro fotografias a preto e branco...."
Conceição Abreu nasceu em 1961 em Portugal, hoje vive e trabalha em Madrid.
19/09/2007
ESPAÇO GESTO
REINATA SADIMBA
Nasceu em Moçambique, em 1945, na aldeia de Nemu, (Planalto de Mueda e Provincia de Cabo Delagado). Filha de camponeses, recebeu educaç\ao tradicional da etnia makonde, que incluia o fabrioc de objectos utilitários em barro (pratos, cântaros, etc). Em 1972, durante a luta armada, ingressa na FRELIMO. Em 1975 divorcia-se e inicia uma tranformação profunda na sua cerâmica, começando por ser conhecida em Cabo Delagado pelas suas "formas estranhas".
Em 1978 passa à reserva da FRELIMO. Devido à guerra emigra para a Tanzânia, em 1980, onde permanece até 1992, voltando então a Maputo. Em 1998 realizou aí uma semana de ensino sobre cerâmica tradicional. Desde então torna-se numa artista reconhecida sendo os seus trabalhos levados para todas as partes do mundo.
18/09/2007
17/09/2007
NEWSLETTER
Switch Metaphors Affinity Group Feminist Art for the European Feminist Forum 2008
NEWSLETTER
This newsletter is to inform you on the AG’s activities and how you can participate.
REPORTING ON ROME
Affinity Group “Switch Metaphors” (Carla Cruz, Nina Höchtl, Francesco Ventrella and Suzanne van Rossenberg) organized the first workshop about feminist artistic strategies on May 28th 2007 in Rome.
The three big topics mentioned in the press release were pinned on the wall: politics, production of knowledge and economics. During listening to presentations of each other’s art works and projects, everybody was free to write words and terms on yellow Post-its. At the end of the day the yellow Post-its summarized all the different aspects of the artistic strategies that we are dealing with. A lot of terms did not strictly belong to one category.
The word FUN that appeared above all three categories is a good representation of the day. The fact that a lot of the Italian participants were not familiar with the term “feminist” was no problem in talking about feminism. The workshop proved that raising awareness is not about defining things, but to give space to people to share their starting-points, their assumptions or prejudices about feminism, their experiences with feminism.
Download the full report with a list of participants and URL’s to websites in the Feminist Art section at the EFF website: http://europeanfeministforum.org/spip.php?rubrique8&lang=en
PARTICIPATE IN THE EFF
The EFF offers us a framework of Affinity Groups. These groups discuss different topics. It seems logical to communicate our artistic solutions to the problems we individually come across to other AG’s so we can share our strategies with other fields of feminist production, but how?
There is the forum in Poland in June 2008 where our AG can make a contribution in any form we prefer. The organization of our AG is an open, participatory process in which you can participate and determine this AG’s presence at the forum.
NEXT STEPS
From the EFF there is the possibility to participate in their Thematic Forum within the topic of Feminist Art. Go to: http://europeanfeministforum.org/spip.php?rubrique1
Switch Metaphors can publish articles and photos in the section Feminist Art, and you are welcome to contribute in a way that the website allows: A story, a description of your project, photos of your artwork. Send this to suzannevanrossenberg@gmail.com
Our next workshop will be in Porto in November (dates follow). We would like to make Porto a follow-up of Rome. You are all warmly invited. Please let us know if you are interested to come. If you are interested, but not able to come to Porto, we ask to think of a small contribution for the workshop: your website link, a trace of your project, a thought, your key word, your favourite Post-It.
We use the EFF website and this newsletter to keep you updated.
NEWSLETTER
This newsletter is to inform you on the AG’s activities and how you can participate.
REPORTING ON ROME
Affinity Group “Switch Metaphors” (Carla Cruz, Nina Höchtl, Francesco Ventrella and Suzanne van Rossenberg) organized the first workshop about feminist artistic strategies on May 28th 2007 in Rome.
The three big topics mentioned in the press release were pinned on the wall: politics, production of knowledge and economics. During listening to presentations of each other’s art works and projects, everybody was free to write words and terms on yellow Post-its. At the end of the day the yellow Post-its summarized all the different aspects of the artistic strategies that we are dealing with. A lot of terms did not strictly belong to one category.
The word FUN that appeared above all three categories is a good representation of the day. The fact that a lot of the Italian participants were not familiar with the term “feminist” was no problem in talking about feminism. The workshop proved that raising awareness is not about defining things, but to give space to people to share their starting-points, their assumptions or prejudices about feminism, their experiences with feminism.
Download the full report with a list of participants and URL’s to websites in the Feminist Art section at the EFF website: http://europeanfeministforum.org/spip.php?rubrique8&lang=en
PARTICIPATE IN THE EFF
The EFF offers us a framework of Affinity Groups. These groups discuss different topics. It seems logical to communicate our artistic solutions to the problems we individually come across to other AG’s so we can share our strategies with other fields of feminist production, but how?
There is the forum in Poland in June 2008 where our AG can make a contribution in any form we prefer. The organization of our AG is an open, participatory process in which you can participate and determine this AG’s presence at the forum.
NEXT STEPS
From the EFF there is the possibility to participate in their Thematic Forum within the topic of Feminist Art. Go to: http://europeanfeministforum.org/spip.php?rubrique1
Switch Metaphors can publish articles and photos in the section Feminist Art, and you are welcome to contribute in a way that the website allows: A story, a description of your project, photos of your artwork. Send this to suzannevanrossenberg@gmail.com
Our next workshop will be in Porto in November (dates follow). We would like to make Porto a follow-up of Rome. You are all warmly invited. Please let us know if you are interested to come. If you are interested, but not able to come to Porto, we ask to think of a small contribution for the workshop: your website link, a trace of your project, a thought, your key word, your favourite Post-It.
We use the EFF website and this newsletter to keep you updated.
esta foi a minha casa
Sofia Barreira
Curador: João Baeta
---------------------------------------------------------------------------------------------------------------------------------------
Espaço Ilimitado - Núcleo de Difusão Cultural / 22 de Setembro > 3 de Novembro 2007
Inauguração: Sábado, 22 de Setembro, entre as 16h e as 19h
Espaço Ilimitado - Núcleo de Difusão Cultural / September 1> November 3, 2007
Opening: Saturday, September 1, between 16 p.m. and 19 p.m.
---------------------------------------------------------------------------------------------------------------------------------------
Espaço Ilimitado - Núcleo de Difusão Cultural
Rua de Cedofeita, 187 - 1º, 4050-179 Porto
Sexta-feira e Sábado, das 16h00 às 19h00
Ou por marcação prévia
Friday > Saturday, from 4 p.m. to 7 p.m.
Or by appointment
15/09/2007
Best Regards from the Blind Spot
Contraseñas. Nuevas representaciones sobre la femineidad
Comisariado por Jovana Stokic.
14 septiembre - 24 enero
Representaciones femeninas en video desde Serbia y Montenegro (1976, 2007)
Comisariado por Jovana Stokic. (Serbia. Vive y trabaja en Nueva York).
Artistas: Marina Abramovic, Jelena Tomasevic, Vesna Tokio, Natalija Vujosevic, Jana
Stojakovic, Ivana Smiljanic, Jelena Radic, Sanja Zdrnja.
-----
El Centro Cultural Montehermoso pertenece al Departamento de Cultura del Ayuntamiento de Vitoria-Gasteiz, y se define como un espacio de producción, exhibición y difusión del arte y el pensamiento contemporáneo, que tiene entre sus objetivos principales la aplicación de políticas de igualdad entre los sexos.
Montehermoso está localizado en el casco antiguo de Vitoria-Gasteiz, y aúna un palacio renacentista del s. XVI al que se anexiona de forma subterránea el antiguo Depósito de Aguas de la ciudad construido en el año 1885.
e para muito breve
Ninguna mujer nace para puta.
16 noviembre – 6 enero
Mujeres Creando
check out their books
13/09/2007
10/09/2007
BIOdrag
"Biodrag in the vernacular, is a term used to designate people
performing the gender of their assigned, “biological” sex. The
Biodrag performance art project is a lived experiment in personal
gender boundary transgression. Rather than donning exaggerated
costumes, we dress in our own clothing, recombining pieces to
create an alternate gender reality. We create gender expressions
that are close to our daily experience; genders that we feel we
should live up to but do not, genders that we could have been;
genders that make us uncomfortable; and/or genders that we actively
try not to be in “real” life. We use society in general as a stage
and most people have no idea that we are conducting a performance.
The seemingly subtle changes we make open a surprisingly intense
psychological space in which we begin to reevaluate our personal
gender expressions and ultimately our sense of who we are."
see
biodrag
performing the gender of their assigned, “biological” sex. The
Biodrag performance art project is a lived experiment in personal
gender boundary transgression. Rather than donning exaggerated
costumes, we dress in our own clothing, recombining pieces to
create an alternate gender reality. We create gender expressions
that are close to our daily experience; genders that we feel we
should live up to but do not, genders that we could have been;
genders that make us uncomfortable; and/or genders that we actively
try not to be in “real” life. We use society in general as a stage
and most people have no idea that we are conducting a performance.
The seemingly subtle changes we make open a surprisingly intense
psychological space in which we begin to reevaluate our personal
gender expressions and ultimately our sense of who we are."
see
biodrag
09/09/2007
Ana Luísa Amaral distinguida pelo Comité do Prémio Giuseppe Acerbi
Ana Luísa Amaral, 51 anos, natural de Lisboa e docente da Faculdade de Letras da Universidade do Porto, foi congratulada com a distinção literária italiana dedicada a Portugal.
O Comité do Prémio Giuseppe Acerbi* atribuiu a Ana Luísa Amaral o Prémio de Poesia, permitindo, assim, a tradução de parte da sua obra para italiano. Para finais de Setembro está prevista a saída, em italiano, de uma ontologia de poesia sua, em que incluirá alguns inéditos.
Autora de oito livros de poesia, entre eles “A génese do Amor”, Ana Luísa Amaral deslocar-se-á, em Novembro, a Itália, para receber o galardão. Os prémios serão entregues em Mântua na primeira quinzena de Novembro.
*O Prémio Giuseppe Acerbi, do nome do explorador, literato e egiptólogo italiano (1773-1846), foi instituído pelo município de Castel Goffredo, Mântua, para “dar a conhecer e aproximar os povos”. CM/FLUP
(gamado da newsletter da UP)
O Comité do Prémio Giuseppe Acerbi* atribuiu a Ana Luísa Amaral o Prémio de Poesia, permitindo, assim, a tradução de parte da sua obra para italiano. Para finais de Setembro está prevista a saída, em italiano, de uma ontologia de poesia sua, em que incluirá alguns inéditos.
Autora de oito livros de poesia, entre eles “A génese do Amor”, Ana Luísa Amaral deslocar-se-á, em Novembro, a Itália, para receber o galardão. Os prémios serão entregues em Mântua na primeira quinzena de Novembro.
*O Prémio Giuseppe Acerbi, do nome do explorador, literato e egiptólogo italiano (1773-1846), foi instituído pelo município de Castel Goffredo, Mântua, para “dar a conhecer e aproximar os povos”. CM/FLUP
(gamado da newsletter da UP)
06/09/2007
6 de Setembro
23h:
Adriana Sá, performance: cítara, sensores, percurssão lumínica, imagem 3-D
(http://adrianasa.planetaclix.pt/)
00h:
Photonz dj set
Entrada Livre
Rua de O Século, nº80-88, Lisboa (Bairro Alto, Largo do Século)
something I found on YT that shows some of Adriana's work... Ultrasound festival, with lot's of other people... ULTRASOUND Music Festival -Golan Levin with Zach Lieberman, Jaap Blonk + Joan La Barbara [US / Holland] / Stilluppsteypa [Iceland] / Vindva Mei [Iceland] / Adriana Sá [Portugal] / Kitchen Motors Band [Iceland] / Johann Johannson [Iceland] / Kippi Kaninus [Iceland] / @c+Lia+Vitor Joaquim [Portugal / Austria] / Hilmar Jensson [Iceland] / Ólöf Arnalds [Iceland] / ap [UK] / Nullpointer [UK] / Darri + Thorunn [Iceland] / Mugison [Iceland] / Sumeru [UK] / Ukiyo-e [DJ's, UK] / rand()% [UK
04/09/2007
BODYPOLITICX
EXHIBITION 8 Sep - 16 Dec 2007
Witte de With
Center for Contemporary Art
"A censor is someone who knows more than he thinks you ought to."
Why does pornography have such a bad reputation? Everybody has an opinion about porn. Most profess not to like it and many claim to have never even seen any. Yet, beyond a simple or dictionary definition, the question "what is porn?" remains almost impossible to answer. Even a Supreme Court judge was stumped, saying of pornography: "I don't know what it is, but I recognize it when I see it".
This group exhibition does not seek to provide one simple response. Nor does it take sides in the for-or-against debate about pornography. Instead, BODYPOLITICX poses further questions: Does porn symbolize patriarchal structures and the oppression of women? Are porn films a reflection of existing socio-sexual relationships? What is taboo when everything around us is sexualized and yet sexual practices remain un-discussable? Is pornography to blame for the destruction of sexuality?
In Europe during the Middle Ages, sexuality was an unknown concept. Sexual intercourse and masturbation were not stigmatized with shame. Irrespective of gender, satisfying one's desires was seen as a way to remain healthy. Not until the 16th century -- with the beginnings of industrialization, the division of labor and hence a greater emphasis on social- and self-control -- was a lack of sexual discipline declared taboo, and sexuality banished to the private domain.
The concept of 'modern pornography' arose with the expansion of printing during the 18th century. Initially it was used by free-thinkers as a tool to criticize the religious and political authorities, and was not primarily intended as a means of sexual stimulation. Only with advancing industrialization and the invention of photography did pornography become a category in its own right.
With a focus upon the 20th and 21st centuries, this exhibition takes a contemporary look at an age-old fascination, seeing sex through the eyes of over 70 artists, filmmakers, activists, photo-journalists, musicians and magazine editors. By means of visual juxtaposition, the exhibition sets out to examine the demarcation of the sex industry, subculture, pop, performance and art.
BODYPOLITICX asks: If we have learnt from Shakespeare what love is, what can we learn from the cultural practice of pornography?
Artists
48, Louisa Achille, Nic Andrews, Joanna Angel, Kenneth Anger, Fernando Arias, Martin Arnold, James Avalon, Fiona Banner, Thomas Bayrle, Willem van Batenburg, Belladonna, Andrew Blake, Bruce LaBruce, Angela Bulloch, Tom Burr, Butt Magazine, Marc Bijl, Marilyn Chambers, Larry Clark, Gerard Damiano, Nathalie Djurberg, Rinse Dream, Marcel Duchamp, Elmgreen & Dragset, Andrea Fraser, General Idea, Jean Genet, Girls Like Us, Garry Gross, Guerrilla Girls, Sachiko Hanai, Roswitha Hecke, Hustler Magazine, Dorothy Iannone, Robert Indiana, Jenna Jameson, William E. Jones, Richard Kern, Edward & Nancy Kienholz, Terence Koh, Bernd Krauß, Stanley Kubrick, Yayoi Kusama, Michael Laub & Dean Proctor, Zoe Leonard, Joep van Lieshout, Tracy Lords, Joseph Maida, Robert Mapplethorpe, Dorit Margreiter, Dona Ann McAdams, Malcolm McLaren/Vivienne Westwood, Eon McKai, Olaf Metzel, John Miller, Jim & Artie Mitchell, Robert Mueller, Otto Mühl, Bruce Nauman, Henrik Olesen, Fritz Ostermayer, Panik Qulture, Haris Pellapaisiotis, Richard Prince, Iwata Roku, Martha Rosler, Doug Sakmann, Carolee Schneemann, Brooke Shields, Snoop Dogg, Valerie Solanas, Annie Sprinkle, SUPERM, Paul Thomas, Erik Visser, Lawrence Weiner, Octavio Winkytiki, Johannes Wohnseifer, Nick Zedd, Jack the Zipper.
Curated by
Florian Waldvogel
Thomas Edlinger
03/09/2007
NEW LINKS
some of the new links at my feminist delicious... /// links feministas
International Alliance for Women in Music
"The International Alliance for Women in Music (IAWM) is a global network of women and men working to increase and enhance musical activities, opportunities and promote all aspects of the music of women. The IAWM builds awareness of women's contributions to musical life through"
genders online journal
"we publish essays about gender and sexuality in relation to social, political, artistical and economical concerns"
feminist philosophers
"Feminist philosophy, more than most areas of philosophy, needs to be informed by real-world information and examples. One of our goals is to help feminist philosophers keep up with philosophically relevant facts and examples. Of course, there’s far more than we could ever hope to cover, but at least this is a start. By using ‘categories’, one can easily find useful examples for teaching and research. We’re also hoping that feminists who aren’t philosophers may find some philosophical reflections and references helpful and interesting. And, sometimes, we’ll just post things that are good for a laugh. Because we all need that. Do let us know if you think there’s something we should be covering that we’re not, by clicking on the ‘contact’ category. We’ll see what we can do."
International Alliance for Women in Music
"The International Alliance for Women in Music (IAWM) is a global network of women and men working to increase and enhance musical activities, opportunities and promote all aspects of the music of women. The IAWM builds awareness of women's contributions to musical life through"
genders online journal
"we publish essays about gender and sexuality in relation to social, political, artistical and economical concerns"
feminist philosophers
"Feminist philosophy, more than most areas of philosophy, needs to be informed by real-world information and examples. One of our goals is to help feminist philosophers keep up with philosophically relevant facts and examples. Of course, there’s far more than we could ever hope to cover, but at least this is a start. By using ‘categories’, one can easily find useful examples for teaching and research. We’re also hoping that feminists who aren’t philosophers may find some philosophical reflections and references helpful and interesting. And, sometimes, we’ll just post things that are good for a laugh. Because we all need that. Do let us know if you think there’s something we should be covering that we’re not, by clicking on the ‘contact’ category. We’ll see what we can do."
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