19/04/2010
SUSANA CHIOCCA
susana chiocca
apresenta
dizê-lo seria demasiado fácil
no braço de prata
rua da fábrica do material de guerra, nº1, lisboa
performance integrada no evento:
epipiderme 6
encontros à volta da performance
(todas as 3as quartas-feiras do mês)
mais informações
coordenação artística e técnica:
nuno oliveira, fabrice ziegler, margarida chambel e carlos farinha
sede epipiderme:
rua da palma 219, 5º esq 1100-391 lisboa portugal
epipiderme@gmail.com | http://epipiderme.blogspot.com | +351 913 413 28318/04/2010
16/04/2010
GENDER ART NET
"GenderArtNet is an experimental mapping project exploring the interrelation of gender, ethnicity, race, class and sexualities in contemporary Europe.
GenderArtNet’s primary aim is to thematically link the various existing online resources of feminist and queer artists, projects and networks rather than provide yet another user platform for artist profiles. By connecting existing, often remote, online resources, we would like to improve the accessibility and readability of these resources while keeping the memory of feminist artistic and cultural production in the broader Europe alive."
read more at:
GenderArtNet
Weblaunch, presentations and discussion
Friday, April 16, 2010, 4-8 p.m.
With contributions among others by Bettina Knaup (independent curator, Berlin), Nicolas Malevé (data activist, Constant vzw, Brussels), Maria Ptqk (independent curator, Bilbao / Berlin), Anne Quirynen (artist & professor of European Media Studies, Potsdam), Femke Snelting (artist, designer, Constant vzw, Brussels & De Geuzen, Amsterdam), Bojana Pejic (curator, Berlin).
GenderArtNet is an experimental mapping project that contextualises and connects artists, artistic practices, projects and organisations exploring the interrelation of gender, ethnicity, race, class and sexualities in contemporary Europe. Its primary aim is to thematically link the various existing online resources of feminist and queer artists, projects and networks rather than provide yet another user platform for artist profiles. By connecting existing, often remote, resources, we would like to improve their accessibility and readability while keeping the memory of feminist artistic and cultural production in the broader Europe alive. By organising this information in an experimental map, we work to provide contexts, connections, and relations between artists, artworks and networks and between geopolitics and artistic practice.
For further information see: http://genderartnet.
The presentation will take place at uqbar and will be held in English.
The project was made possible through a grant by the European Cultural Foundation, Amsterdam (ECF) and the cooperation of the European Media Studies pogramme, jointly offered by University of Potsdam and University of Applied Science Potsdam.
08/04/2010
a não perder
Já ouviram falar de uma mulher que no Porto faz vídeo? Contando romances de cordel?
Pois aqui está a oportunidade de conhecerem a sua obra.
06/04/2010
Gender Check
Sanja Ivekovic
Femininity and Masculinity in
the Art of Eastern Europe
Until 13 June 2010
pl. Małachowskiego 3
00-916 Warsaw
phone (48 22) 556 96 01
office@zacheta.art.pl
http://www.zacheta.art.pl
Gender Check is the first comprehensive exhibition featuring art from Eastern Europe since the 1960s based on the theme of gender roles. 20 years after the fall of the Berlin Wall, the curator Bojana Pejić, along with a team of experts from 24 different countries, has put together a selection of over 400 works including paintings, sculpture, installations, photography, posters, films and videos. With over 200 artists, the exhibition paints an exceptionally diverse picture of a chapter in art history that until recently had been largely unknown and that could also act as an important addition to contemporary gender discourse.
Gender Check follows the changes in the representation of male and female role models in art – especially as they develop under different socio-political conditions. The exhibition, initiated and supported by the ERSTE Foundation, shows the interrelationship between art and history following both a chronological and thematic approach:
Up into the 1960s, heroic male and female workers were the dominant figures in the socialist realist tradition of art. The intended reality-transforming program of a "sexless society" propagated by the state was met with irony and unmasked by unofficial art at the time. Following the period of collective state utopian aesthetics, different individual and more open tendencies could be found on a local level – periodically provoking a hostile response – that created independent spaces for nonconformist art. Beginning in the 1970s, ideals of femininity and masculinity were reexamined beyond the propagandist clichés of the past: Self-portraits and representations of the body and subjectivity began to hint at a newfound self-confidence also reflected in openly displayed sexuality that called heterosexual standards and heroic ideals of masculinity into question. Even many of the abstract pieces worked with anthropomorphic forms and the relationship between the sexes within society.
The emancipation from role models went along with an emancipation from traditional means of expression, as new media and art forms like photography, film, video and performance became increasingly important. At the same time, more and more female artists began to gain in prominence.
With the fall of the wall in 1989 and the end of socialist regimes, new challenges became evident in the face of rising nationalism and neoliberal influences from the west. The newly won freedoms came hand in hand with neoconservative role constraints that soon also became the topic of artworks. A critique of chauvinist, militaristic, misogynist and xenophobic ideologies were expressed in the context of feminist theory. Homosexuality began to be brought up. Clichés about motherhood and traditional religious-inspired ideals of femininity and patriarchal power structures came under critique. To underline the political and public significance of female identity, allusions came to be made to historical allegories of femininity.
List of the artists:
Marina Abramović, Anita Arakelyan, Emese Benczúr, Veronika Bromová, Anetta Mona Chisa, Alexandra Croitoru, Orshi Drozdik, Zenta Dzividzinska, Wojciech Fangor, Alla Gieorgieva, Tomislav Gotovac, Ion Grigorescu, Tibor Hajas, Sanja Iveković, Šejla Kamerić, Katarzyna Kobro, Běla Kolářová, Katarzyna Kozyra, Anna Kovshar, Vladislav Mamyshev-Monroe, Boris Mikhailov, Ismet Mujezinović, Tanja Ostojić, Tadej Pogačar, Lia Perjovschi, Eglė Rakauskaitė, Valentina Rusu-Ciobanu, Anri Sala, Duba Sambolec, Cornelia Schleime, Fritz Skade, Erzen Shkololli, Jelena Tomašević, Lucia Tkáčová, Mare Tralla, Žaneta Vangeli, Sofija Veiveryté, Aija Zariņa, Jana Želibská and many more.
List of researchers:
Edit András (Hungary), Ivana Bago (Croatia), Dunja Blažević (Bosnia and Herzegovina), Keti Chukhrov (Russia), Branislav Dimitrijević (Serbia), Lilia Dragneva (Moldova), Urška Jurman (Slovenia), Eva Khachatryan (Armenia), Katrin Kivimaa (Estonia), Izabela Kowalczyk (Poland), Laima Kreivytė (Lithuania), Suzana Milevska (Macedonia), Eduard Muka (Albania), Martina Pachmanová (Czech Republic), Bojana Pejić, Lali Pertenava (Georgia), Angelika Richter (Germany), Zora Rusinová (Slovakia), Hedwig Saxenhuber (Ukraine), Alina Şerban (Romania), Erzen Shkololli (Kosovo), Nino Tchogoshvili (Georgia), Māra Traumane (Latvia), Almira Usmanova (Belarus), Maria Vassileva (Bulgaria).
curator Bojana Pejić
cooperation Julia Leopold
exhibition design Robert Rumas
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