I make work about growing kinship structures, both experienced and imagined. These structures are built through the feelings of scarcity and abundance, loneliness and community, that I've felt participating in various and overlapping DIY, feminist, and queer scenes and friendship networks.
I've performed at house shows, basements, warehouses, backyards and other grandly-unofficial venues throughout the US. I've also performed and shown work at Art in General, John Connelly Presents, Dumbo Arts Center, Sculpture Center, and Orchard, all in NYC, Los Angeles Contemporary Exhibitions, ISpace, Gallery 400, Green Lantern, and the Co-Prosperity Sphere, all in Chicago.
My work has been written about in the New York Times, ArtNews, Journal of Aesthetics and Protest, Proximity Magazine, Chicago Reader, TimeOut Chicago, and New City. I've received grants from the Chicago Department of Cultural Affairs, the Critical Fierceness grant, and a sonic artist residency at the Experimental Sound Studio in Chicago.
I spent the last seven very formative years in Chicago and now live in Oakland, California.
31/12/2010
17/12/2010
Christina Casnellie
Christina Casnellie
Novo livro!
O lançamento é já este sábado, 18 de Dezembro, na Gesto Cooperativa Cultural:
Rua Cândido dos Reis, 64
4050-153 Porto · Portugal
15/12/2010
Where do we go from here? VBKOE
Symposium: Thursday, Dec. 16th 2010, 2-7pm
Where do we go from here? Reflecting historical and contemporary struggles against discrimination in art and education in Vienna
This year represents 90 years of anti-discriminatory struggles in art and education in Vienna, which began with the VBKÖ lobbying for women artists to begin studying art at the Academy of Fine Arts Vienna for the first time. Anti-discriminatory resistance, such as anti-sexism,
anti-racism and anti-anti-Semitism will be reflected against a historical backdrop to look at which struggles are taking place today and how to contextualize and unite them for upcoming actions.
Short presentations will be made by the participants working on these issues in order to analyze contemporary conditions and experiences of policies of exclusion in art and education. Then an open discussion and/as a working session will take place in which the different material and experiences are to be collected and developed for future actions, strategy plans and collective demands.
Invited participants:
“Vocabulary of Decoloniality” book editors sub-group Darker Side of the Academy
AG Migration and Anti-Racism:
Past projects, demands and upcoming plans for Rundgang actions and legal struggles
Plattform Geschichtspolitik:
Presenting the intervention „Monument of the Demand for Provenience Research and Restitution“
Petja Dimitrova / Verena Melgarejo Weinandt:
Arbeitskreis für Gleichbehandlungsfragen
Can Gülcü / Nora Sternfeld:
Migration and Education. Naming exclusions and producing counter-knowledges. A cooperation between two seminars of the Academy of Fine Arts Vienna: “Emancipatory interventions as artistic strategy” by Can Gülcü and “Project Art and Communication” by Nora Sternfeld
Organized by Lina Dokuzovic
On the occasion of the centennial anniversary, a program for the year will be presented, which is composed of theoretical activities and a growing annual exhibition. Currently, works by 100 Poster Club, Amanda Amaan/Rudolfine Lackner, Elke Auer/Esther Straganz, Linda Bilda,
Veronika Dirnhofer, Lina Dokuzovic, Drogerie, Nino Jaeger and Sands Murray-Wassink are on display. All of the activities refer to the historical origin of the VBKÖ in the androcentric totalities of institutions and to current links of resistance predominantly imprinted by feminism.
Curator: Rudolfine Lackner
windferreira - no matter how
at La Friche, Palais de Tokyo, Paris
18th and 19th of December, 12-24h
"Preview", Saturday, 18th of December at 18h
more info at
palais de tokyo
Un poema perfomático de MARTA BERNARDES
SACRIFICIO DE VERDAD.
Dia 21 de diciembre de 2010,a las 20:00
en
La fugitiva
Calle santa Isabel, 7
Metro Antón Martin
Madrid
“MIRA, MIRA COMO TE ESTOY ESCONDIENDO ESTO!”
Sinopsis
“Sacrifício de verdad” es una performance en la cual, con el apoyo de materiales muy sencillos, de uso cotidiano, cuento una história. Esa historia tiene que ver con el camino recorrido para elaborar la propia performance: el proceso para proyectar un sacrificio para el público y delante de un público. Todo el discurso se ancla en documentos que parecen confirmar la veracidad de la história contada. El tono en que me dirijo al público es informal y está en permanente juego la demonstración de un deseo, bien como con las razones por las que ese deseo fracasa en su proyecto de realizacón. La posibilidades anteriormente pensadas son consecutivamente abandonadas y sustituídas por otras soluciones aparentemente más eficientes. Una tensión aporética simple que coloca en duda las nociones de verdad y de representación como los presupuestos de acontecimento. Una historia simple.
Marta Bernardes
Naci, contrariando las posibilidades de nacer otra, en 1983 en Oporto, mañana escarlata de verano, soñando el sueño de no haber aurora.
He tenido dientes de leche hasta tarde y he sido siempre buena alumna. No he tenido hermanos , tengo pena.
Estuve para llamarme Marta Isabel , o Raquel, pero después de larga discusión familiar el armistício resulto en Marta Raquel.
Soy amiga de gente importante pero sobretodo soy importante para la gente amiga.
Para más información escriba “Marta Bernardes” en el buscador Web de su preferência. Gracias.
POWER UP - FEMALE POP ART
From E-flux journal
The next great moment in history is ours!
—Dorothy Iannone
At Kunsthalle Vienna
"We choose to LOOK at LIFE all the TIME, and though we realize that they are in one sense adult comic books, they are also full of things that speak…" For Sister Corita, the world of signs, advertising slogans, and the culture of logos was not just some vast wasteland, but a sphere that supplied her with input for an art nourished by everyday life. Her work, like that of Evelyne Axell, Christa Dichgans, Rosalyn Drechsler, Jann Haworth, Dorothy Iannone, Kiki Kogelnik, Marisol, and Niki de Saint Phalle, stands for feminine strategies of artistic self-empowerment during the Pop Art era, particularly in the 1960s. While from an art-historical point of view Pop Art is mainly associated with male protagonists, POWER UP – Female Pop Art intends to undertake a revision of this understanding through the presentation of outstanding women artists' positions.
Oscillating between abstraction and figuration, commodity cult and critique of capitalism, high and low art, the women artists' works on display in many aspects resemble those by their male colleagues in terms of material, subject matter, style, and working method. Documenting and hypostatizing the prosperity of the postwar era and reflecting upon the superficiality of consumerism, the artists unmask the commodity myth as an empty civilizational achievement like Christa Dichgans or affirm certain items by turning them into oversized kitsch objects like Jann Haworth with her Soft Sculptures. Through the graphic character of their simple language of forms, their use of new materials like plastic, and their choice of garish colors, women pop artists, as feminist pioneers attracting maximum attention with their self-presentations like Evelyne Axell, Niki de Saint Phalle, and Kiki Kogelnik, satisfied the taste of the mass and yet remained militant, critical, and exceptional. The exhibition does not postulate some genuinely feminine art, but strives to focus on a number of outstanding women artists' oeuvres in the field of Pop Art and to shed light on their identity-creating practice and their view of women's role in society which was very much determined by patriarchal notions in the 1960s.
These artists' approaches have revised the male regime of viewing and such representations of women as Tom Wesselmann's deindividualized matrices of the female body, Mel Ramos's picturesque fusion of advertisements with lasciviously rendered nudes featuring as objects of desire, and Allen Jones's sadomasochistically arranged female sexual companions. Instead, they describe the corset in which women's self-representation and representation by others seemed to be caught in those years like Jann Haworth, Kiki Kogelnik, and Marisol, highlight the attempt to shake off the fetters of domestic life and become visible in public by means of art like Christa Dichgans, and provocatively expose the female body, love, and sexuality like Evelyne Axell and Dorothy Iannone. Painting over newspapers in an iconoclastic gesture, Rosalyn Drexler explores the creation of clichés and gender typifications in Hollywood films as well as the construction of superstars. Open toward the popular culture surrounding her, Sister Corita, in an early act of culture jamming, relied on advertising propaganda for creating new messages which were democratically and serigraphically produced and sold at a low price. Her works, like Kiki Kogelnik's, Marisol's, or Niki de Saint Phalle's, comprise critical commentaries on contemporary events and political contexts such as the Vietnam War.
The ladies of the "Années Pop" present strategies of self-empowerment, celebrate female sexuality and lust, draw on pin-ups, excerpts from consumer culture, and fragments of an occasionally very banal everyday world in a bad girl manner, comment upon social changes, and translate personal issues into political ones in their clearly autobiographically tinted oeuvres. Their proto-feminist works counter the affective death of classical Pop Art and its cool and anonymous style. By also employing a traditional female language of forms, using textiles and ornamental elements, and relying on a naïve imagery, their approach idiosyncratically extends the established canon of art. What they share with this style is the humor and lightness of an attitude toward life whose facets and variations are still unfolding in today's art.
Curator: Angela Stief
Infoline +43-1-52189-33, www.kunsthallewien.at
Museumsplatz 1, 1070 Vienna
Daily 10 a.m. – 7 p.m., Thu 10 a.m. – 9 p.m.
public transport: U2 / U3 Station "Volkstheater", U2 Station "Museumsquartier"
Information and photographic material: Claudia Bauer, KUNSTHALLE wien, office: Museumsplatz 1, A-1070 Vienna; phone: +43-1-521 89-1222, fax: +43-1-521 89-1217, e-mail: presse@kunsthallewien.at
*Image above:
Courtesy Serge Goisse, Belgium © Estate of Evelyne Axell and VBK, Wien, 2010.
Photo by Paul Louis.
14/12/2010
João Manuel Oliveira - CES COIMBRA
João Oliveira, Universidade do Minho, Birkbeck Institute for Social Research - UK
15 de Dezembro de 2010, 17:00, Sala de seminários(2º piso), CES-Coimbra
Resumo
Esta apresentação centra-se no modo como a investigação sobre género (Amâncio, 2004) tem possibilitado a produção de uma analítica dos modos de subjectivação. Estes processos são entendidos através de um olhar de intersecção entre as normas de género e a heterossexualidade hegemónica, como proposto por Judith Butler (2004). Irei assim apresentar alguma da investigação que tenho vindo a realizar nos últimos tempos sobre modos de subjectivação, tornando evidente a impossibilidade analítica de separar as sexualidades do género. A minha tarefa nesta apresentação será um processo de releitura da minha própria pesquisa. Esta ressignificação da pesquisa pode ser lida como parte de um processo mais vasto de produção de conhecimentos situados (Haraway, 1991). Apresentarei exemplos de trabalhos realizados sobre pessoas LGBTQ em Portugal, sobre o debate da Interrupção Voluntária da Gravidez e sobre lésbicas e feministas em Portugal, discutindo a sua localização na semiperiferia (Santos, 1985) de um império de excepcionalismo sexual (Puar, 2007). Irei argumentar sobre o modo o género na sua polissemia permite um percurso sobre as intersecções que uma analítica da produção de sujeitos requer. Irei centrar-me na simbiogénese (Haraway, 2008) entre a teoria feminista pós-estruturalista e a teoria queer para ler os modos como o género enquanto pharmakon (Derrida, 1981) serve como ferramenta analítica fundamental para processos de desconstrução das relações de dominação como também é usado como no seu entendimento exclusivamente individual, um oximoro de um ponto de vista de um feminismo queer. É contudo na riqueza conceptual das apropriações que foram feitas do conceito que construo o género como perspectiva fundamental para um feminismo de multitudes queer (Preciado, 2003), um espaço de articulação politica (Laclau&Mouffe, 1985) unido por um conceito promíscuo.
Nota biográfica
João Manuel de Oliveira é investigador na área dos estudos de género e teoria feminista. Dos seus interesses de investigação destacam-se as pesquisas sobre direitos humanos das mulheres e pessoas LGBTQ, direitos sexuais e reprodutivos e sobre a assimetria simbólica na ordem de género. Encontra-se presentemente a investigar sobre questões ligadas às sexualidades lésbicas. É doutorado em Psicologia Social pelo ISCTE, onde realizou o mestrado e a licenciatura.
02/12/2010
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