The links to all manifestos presented and read during yesterday's session can be found in here.
I have read this one:
Anges Denes: A Manifesto 1970
Working with a paradox
defining the elusive
visualizing the invisible
communicating the incommunicable
not accepting the limitations society has accepted
seeing in new ways
living for a fraction of a second and penetrating light years
using intellect and instinct to achieve intuition
achieving total self-consciousness and self-awareness
being creatively obsessive
questioning, reasoning, analyzing, dissecting and re-examining
understanding the finitude of human existence and still striving to create beauty and provocative reasoning
finding new concepts, recognizing new patterns
desiring to know the importance or insignificance of existence
seeing reality and still being able to dream
persisting in the eternal search
copyright 1970 agnes denes
Exhibition open until 8 May 2011
Zachęta National Gallery of Art
Pl. Małachowskiego 3
T (48 22) 556 96 01
The subject of the exhibition is the work of three female artists, pioneers of Polish women's art: Ewa Partum, Natalia Lach-Lachowicz and Maria Pinińska-Bereś, who died in 1999. From the 1970s onwards, the three have been linked by a similar quest in which a clear feminist intuition or an identification with feminism is perceptible. Despite this, however, this is the first time when their works are set alongside one another in such a configuration.
Amongst the three artists, it was Ewa Partum who most decisively identified herself with a feminist stance in art. As early as the 1970s she actively, in manifestoes read during exhibition openings, expressed her opinion on the question of the equality of women and their discrimination. In the case of the work of Natalia LL, who to this day distances herself from the critical postulates of the women's movement, but who, having been noted by feminist criticism, from the second half of the 1970s has taken part in exhibitions and manifestations of feminist art, one can perhaps talk in terms of her being 'co-opted' by Western feminist discourse. The soft, pink forms of Maria Pinińska-Bereś, on the other hand, openly linked with female sexuality, are seen by some Polish critics even as a precursor in relation to feminist art in the West.
The title inspired by the 1977 Robert Altman film, makes reference to the title of the first collective presentation of women's art in Poland, the exhibition Three Women in the Arsenal Gallery in Poznań (1978), in which Anna Bednarczuk, the assistant of Magdalena Abakanowicz, Izabella Gustowska and Krystyna Piotrowska took part.
The exhibition is a part of the process of giving to women's art in Poland its rightful historical place, a process underway since the mid 1990s. Through the exhibition, curator Ewa Toniak and author of the spatial concept, set designer Małgorzata Szczęśniak, explore the artists' work afresh. Rather than describing the artists' work in the language of art history, they create a space in which the works presented propose a dialogue, opening up the potential for different interpretations and responses.
The exhibition is accompanied by a catalogue with texts by Ewa Toniak, Agata Jakubowska and Ewa Tatar, and the philosopher and film theoretician Paweł Mościcki. The exhibition is accompanied by a rich educational programme (lectures, panel discussions, films) on the topic of the history of the beginnings of Polish women's art, its reception in the People's Republic of Poland, and its relations with the feminist movement in the West.
curator Ewa Toniak
exhibition design Małgorzata Szczęśniak
co-designer Łukasz Kwietniewski
co-operation on the part of Zachęta: Anna Tomczak, Julia Leopold
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Prazo de inscrição: 9 de Março
A violência doméstica tem merecido uma atenção crescente por parte dos organismos internacionais e dos governos nacionais. Portugal não é excepção, sendo notório, nos últimos anos, um esforço para aumentar a ajuda institucional às vítimas: com a criação dos Planos Nacionais para a Igualdade e Contra a Violência Doméstica (PNCVD); com a criação de mais casas abrigo; com a multiplicação de estruturas de atendimento; através da formação de núcleos especializados nas polícias; e com uma crescente sensibilização pelos profissionais de saúde. Para além destas medidas, as políticas desenvolvidas em Portugal têm passado por uma forte aposta na mudança legislativa. Se até há uns anos a maioria dos países tendia a negligenciar a existência deste problema, hoje podemos afirmar que o tratamento legal da violência contra as mulheres é uma prioridade (ainda que essa assunção nem sempre seja sinónimo da imediata concretização das medidas desejadas ou previstas). As mulheres são cada vez mais encorajadas pelas diferentes instituições a fazer uma denúncia formal do seu agressor. Mas que ajuda efectiva é dada a estas mulheres? Qual o desempenho e o papel destas instituições na trajectória que as mulheres percorrem a partir do momento que decidem denunciar uma situação de violência? Que caminho percorre a mulher vítima de violência até atingir um patamar de estabilidade?
Neste curso pretendemos reflectir sobre o papel do Estado e da sociedade civil na ajuda às mulheres vítimas de violência doméstica, e o modo como as instituições se articulam, dialogam e estabelecem, ou não, dinâmicas de acção capazes de agilizar processos que contribuam para uma superação das estruturas e relações sociais que fomentam ou perpetuam a violência sobre a mulher.
Thursday 3 March & Friday 4 March 2011
As an increasing number of artists site their practice within the social fabric of everyday life, the encounter has been placed at the heart of a newly defined aesthetic experience. Participatory, collaborative, community-based and documentary methodologies which engage directly with interpersonal relations and social realities now proliferate both within and beyond the institution. This move away from traditional forms of representation into the territories of use and action has endowed art’s latest ‘social turn’ with a renewed and expanded ethical significance. In parallel with these developments, it is claimed that ethics has triumphed in the public debate to reign over culture and displace politics.
This research workshop will examine the complex interfaces which have emerged between aesthetics, politics and ethics in the 21st century. Taking into account their historical imbrications in art discourse together with the so-called ‘ethical turn’ of contemporary politics, we aim to develop a critical understanding of their most recent forms and configurations across the diverse terrains of socially-engaged art. The ethical valence of artworks has dominated debates to date – whether interventions into the social fabric can be considered productively ‘good’ or transgressive, ‘bad’ and yet, ultimately, revealing. If the ethical is now a common route for artists seeking to broach the political and provide a site for critique, is it possible to move beyond this dichotomy and map the potential and limits of ethical engagements in art?
The Ethics of Encounter research workshop has been devised as part of a programme of exhibitions, events and residencies of the same name presented at Stills between November 2010 and March 2011. Consecutive exhibitions included lens-based documentary works by The Atlas Group (Lebanon / USA), François Bucher (Columbia / Germany), Renzo Martens (Belgium), Dani Marti (Scotland), Frederick Wiseman (USA) and Artur Żmijewski (Poland). The workshop has been designed to expand the parameters of this curatorial investigation and situate these works in relation to parallel developments within other reality-driven practices. For more information about The Ethics of Encounter programme please visit www.stills.org.
Speakers and interlocutors include Carla Cruz (Goldsmiths University of London), Gail Day (University of Leeds), Angela Dimitrakaki (The University of Edinburgh), Anthony Downey (Sotheby’s Institute of Art), Alana Jelinek (University of Cambridge), Kirsten Lloyd (Stills / The University of Edinburgh), Tracy Mackenna (Duncan of Jordanstone College of Art and Design) & Ken Neil (Glasgow School of Art), Mark Miller (Tate Britain) & Victoria Walsh (Tate Britain), Dominic Paterson (University of Glasgow), Michaela Ross (Chelsea College of Art and Design), Harry Weeks (The University of Edinburgh), Stephen Wright (European School of Visual Arts)