American Association of University Women - International Fellowships

AAUW Educational Foundation International Fellowships

American Association of University Women - International Fellowships
Deadline: December 01, 2011
International Fellowships are awarded for full-time study or research to women who are not U.S. citizens or permanent residents.
 http://www.act.org/aauw/internat/index.html
AAUW advances equity for women and girls through advocacy, education, and research. AAUW breaks through educational and economic barriers so that all women have a fair chance.
AAUW is one of the nation’s largest sources of private funding exclusively for educational programs that directly benefit women and girls. Every year AAUW awards fellowships and grants to more than 200 women. In principle and practice, AAUW values and seeks diversity. There shall be no barriers to full participation in this organization on the basis of gender, race, creed, age, sexual orientation, national origin, disability, or class.
The program provides support for one year of graduate or postgraduate study in the United States to women who are not U.S. citizens or permanent residents. (Women holding dual citizenship in the U.S. and another country are not eligible.) Applicants must have earned the equivalent of a U.S. bachelor’s degree by September 30, 2011, and preference is given to women who show prior commitment to the advancement of women and girls through civic, community, or professional work. Fellowships are available for study in the United States. A limited number of awards are available to women who are members of the International Federation of University Women (IFUW; see List of IFUW Member Organizations) for study or research in any country other than their own.
Up to six International Fellowships will be renewable for a second year; renewal instructions will be provided to fellows during their fellowship year. International Fellowships are not retroactive; that is, they cannot be used to pay for expenses or loans incurred prior to the fellowship year. Unsuccessful applicants may reapply.
AWARD INFORMATION

Three award levels are available based upon the applicant’s degree program.
• Master’s/Professional Degree fellowships carry a stipend of $18,000 for the fellowship year.
• Doctoral fellowships carry a stipend of $20,000 for the fellowship year.
• Postdoctoral fellowships carry a stipend of $30,000 for the fellowship year.
 
To be eligible for an International Fellowship, applicants must meet the following criteria:
• Citizenship in a country other than the United States (dual citizenship is not allowed) or possession of a non-immigrant visa if residing in the United States
• Academic degree (earned in the U.S. or abroad) equivalent to a U.S. bachelor’s degree completed by September 30, 2011
• Intention to devote herself full-time to the proposed academic plan during the fellowship year
• Intention to return to her home country to pursue a professional career
• Master’s/Professional and Doctoral applicants must have applied by December 1, 2011, to an accredited institution of study for the period of the fellowship year and must indicate the name of the institution in the International Fellowship application.
• Postdoctoral applicants must provide proof of their doctorate degree and must indicate where they will conduct their research.
• Enrollment in a U.S. institution located in the United States. A limited number of awards are available to IFUW members for study or research in any country other than their own. Note that foreign branches of U.S. institutions are considered outside of the U.S.
• Full year of study or research. International Fellowships do not provide funding for a partial year of study or research. Programs ending prior to April of the fellowship year are not eligible.
• Proficiency in English. Unless the applicant can verify that her native language is English, that she received her secondary diploma or undergraduate degree from an English-speaking institution, or that she will have completed one semester of full-time study in her discipline at an English-speaking college or university between October 2009 and September 30, 2011, she must submit a recent score on the International TOEFL.
For more information
http://www.act.org/aauw/pdf/IF_Instr.pdf

AAUW Educational Foundation International Fellowships
P.O. Box 4030, 301 ACT Drive IA 52243 Iowa City USA
phone: 319/337-1716 ext. 60 fax: 202/872-1425 aauw@act.org

Terre Thaemlitz: Deconstructing Gender Politics In Dance Music

an article by Sami Yenigun here

"I'm standing in the middle of a large wooden dance floor at the U Street Music Hall in Washington, D.C., waiting for Terre Thaemlitz to take the stage. The crowd is electric, buzzing to hear what the headliner is going to bring. Thaemlitz, playing tonight under the alias DJ Sprinkles, emerges and asks, "Are you ready to rock?" The crowd answers with a resounding yes, to which he replies, "Then go to the 9:30 Club, because this is a house show."" Some clips of Terre Thaemlitz

"Thaemlitz grew up in Springfield, Missouri. When he was 18 years old, he moved to New York City to study fine arts. It was the late 1980s, and deep house was taking hold of the city's underground queer and transgender nightclubs. Thaemlitz became disillusioned with his studies and eventually started DJing in these underground clubs while earning a living as a secretary."" read the full article here

On the 27 of November Thaemlitz will in London at Cafe Oto

Introduction to feminist research methodology

One more year, we are happy to announce our virtual course on "Introduction to feminist research methodology". As some of you already know by now, this year, due to many different problems we have taken the decision of delaying the beginning of the course until December 2011.

This implies that maybe some of you who could not register in the course because of date incompatibilities are now able to take part in the course, and also that we have a chance to spread the information about the course for some more weeks. You can find more information on the course (and some of the other activities we are involved in) in our webpage:

http://pedagogia.fcep.urv.cat/simref/en



Additional info on the course
REGISTRATION HERE
 
Calendar: 
12th December 2011 - 30th April 2012

Structure:
The course is virtual and structured in five thematic modules of 26 days each. Each module begins with the viewing of a conference and will be taught by an expert in the field. The course also contemplates an initial time of presentation and familiarization with the virtual classroom, and a time for completion of the final work.

Language:
The language of the course will be English, but students may deliver their final work in Catalan, Italian, Castilian, Portuguese, Greek. All videos will be available in English. The bibliography will be mostly in English and may include complementary text in other languages (Castilian, Catalan and French).

Fee: 120 


Programme

1- From the debates of science's object/subject to the definition of feminists methodologies by Barbara Biglia (Universitat Rovira i Virgili)

2- Feminism and Biology: Challenging Methodologies? by Lynda Birke (University of Chester, UK)

3- Yasmin Gunaratnam (Goldsmiths College, University of London) In the Space of Feminist Work: the movement between qualitative research, art and film (title to be confirmed)

4- Deconstructing immigration: discourse analysis on intersections between gender, class and racism by Ilana Mountain (Universidade Federal de Minas Gerais and Manchester Metropolitan University)

5- Feminist Research and Activism: Possibilities an d Challenges by Alexandra Zavos (Panteion University)

Tejal Shah

Elizabeth A. Sackler Center for Feminist Art: Feminist Art Base: Tejal Shah

Shah is a visual artist who works with video, photography, sound, installation and performance. Her interests lie in the areas of sexuality, gender, disabilities and the interrelation between humans and nature. In 2003, she co-founded Larzish -- India's first international film festival of sexuality and gender plurality and in 2006, she had her first solo show "What are You?" in India and the USA.

Hear the Talk here on her work with the transgender community in India.

Tejal Shah. You too can touch the moon – Yashoda with Krishna (from the hijra fantasy series), 2006.

Ana Luísa Amaral na Câmara Clara

a não perder!
Entrevista à poetisa Ana Luísa Amaral sobre feminismo, partindo do caso de Carolina Beatriz Ângelo, primeira mulher portuguesa a votar em 1911 sob a lei  que dava direito ao voto a todo o cidadão português, maior de idade, literato e chefe de família, sem referir sexo. Sob essa lei, Carolina Beatriz Ângelo, médica, viúva e mãe, exigiu esse direito e votou.
ver aqui
Câmara Clara RTP

Catarina Miranda: Mazezam

THE SPACE BETWEEN Performance Cycle
on the 14th and 15th of October at 8pm at AltesFinanzamt/ Berlin.

14th October
Mazezam by Catarina Miranda & Rosabel Huguet & Jonathan Uliel Saldanha
Half Dozen Billion Others by André Soares & Rita Sousa Mendes

15th October
Untraceable Patterns by Né Barros & Gustavo Costa
Second part of the evening with a DJ and Sound Cut Up by Jonathan Uliel Saldanha

More info at:
flocks and shoals
space between-performance cycle

Adress: Schönstedtstraße 7 - EG Neukölln 12043 Berlin// U7 Rathaus Neukölln (Exit Schönstedtstraße)
OCTOBER 14th/ 8pm


MAZEZAM
At the time when the body is sinking away, rain and emanations appear.
The moment before crossing the woods one is half here and half beyond, waiting and watching, completely calm, without breathing, quietly attending the upcoming fall.
Concept by Catarina Miranda
Performance by Catarina Miranda and Rosabel Huguet
Sound Composition by Jonathan Uliel Saldanha
Lights by Roger Rossell
Thanks to Rita Sousa, Altes Finanzamt, Flocks & Shoals
flocks and shoals


HALF-DOZEN BILLION OTHERSConcept and Performance by André Soares & Rita Mendes
Photography by André Uerba
Stage light by Roger Rossell
Co-production Altes Finanzamt
Thanks to Catarina Miranda and André Uerba
in white out

OCTOBER 15th/ 8pm
UNTRACEABLE PATTERNSStill in progress, this choreographic project was conceived to explore movements and sounds that create the sensation of trace and roots, but,instead, are a migration of themes with a caotic tendency. The set is an instalation of artesanal and thecnological instruments performed alive either by the dancer and the musician. This instalation helps to reinforce the idea of displacement of arts and imaginaries (free migrations). Musically the score deals with very structured material, pre-existent, and the fragility of real time performing. The dancing body mixes animal and machine qualities of movement and flows from composition to improvisation.
Choreography and performance by Né Barros
Composer and musician Gustavo Costa
Texts: Gertrud Stein
Light design Alexandre Vieira
Production: Balleteatro

DJ AND SOUND CUT UP
by Jonathan Uliel Saldanha (Soopa, HHY & The Macumbas), as a drive for and inpired by Brion Gysin's Dream Machine.
soopa

RE.ACT.FEMINISM # 2. A PERFORMING ARCHIVE

del 7 de octubre de 2011 al 15 de enero de 2012

"re.act.feminism #2 – a performing archive es un archivo temporal de performance que se va a mantener vivo y en continua expansión de 2011 a  2013 mientras itinera por seis países de Europa. En esta primera presentación recoge trabajos performativos en forma de vídeos, películas, fotografías y textos de 125 artistas, y colectivos de artistas, de Europa Oriental y Occidental, el Mediterráneo, el mundo árabe, los EE.UU. y varios países de América Latin. En su recorrido por  Europa –de  España a Croacia, continuando a través de Polonia, Estonia, Dinamarca para terminar en Alemania– este archivo continuará expandiéndose por medio de la investigación local y la cooperación académica y será también “activado” mediante exposiciones locales, proyecciones, performances y debates que continuamente van a contribuir a completar el archivo. A performing archive es parte del proyecto a largo plazo re.act.feminism. Desde 2008, re.act.feminism se ha interesado, tanto por las performances feministas, como por la performances que se acercan a la categoría de género desde otras perspectivas críticas, realizadas entre las décadas de los 60 y los 80. Asímismo, el archivo también se intersa por  el "retorno" de estas prácticas artísticas en forma de recreaciones, re-formulaciones y proyectos de archivo de la actualidad." Comisariada por Bettina Knaup y Beatrice Ellen Stammer

montehermoso

Rogério Nuno Costa : Vou a Tua Casa / Documentação

Vou A Tua Casa — Projecto de Documentação é um projecto transdisciplinar que compila uma panóplia de materiais documentais oriundos da trilogia “Vou A Tua Casa” (2003/2006), conjunto de três performances (a primeira na casa dos espectadores, a segunda em espaços públicos à escolha do espectador, a terceira na casa do criador) num catálogo e num vídeo-documentário. Mais do que uma prospecção sobre materiais residuais de uma performance circunscrita a um tempo e um espaço específicos, o projecto alicerça-se numa reflexão sobre a própria prática documental quando aplicada às artes performativas, operando criticamente em conceitos como os da efemeridade, memória, intimidade/privacidade e discurso autobiográfico. À distância de 5 anos, o catálogo revê o trajecto geo-emocional e performativo percorrido por um artista, uma peça e os seus espectadores, visitando Lisboa, Torres Vedras, Londres, Porto, Hamburgo, Covilhã, Berlim, Braga, Caldas da Rainha, Évora, Arnhem e Amares.

Ana Mendes: BACKSPACE

Ana Mendes play 'Backspace' will be presented at the foyer of BAC next Thursday, 13rd of October, from 7 pm to 10.30 pm.

'Backspace' in an audio-play about anorexia in which audience members interact with a distorted mirror.

BACKSPACE
Do you like me?
I like you.
I would like to speak with you.
But you don't speak with mirrors, do you?
And do mirrors speak with you?
What do they say to you?
"A man with a wide face is not to be trusted, and women with big lips are lucky for life’"

This performance is part of the Freshly Scratched program launched by BAC. You can book a ticket for the 7 or 9 pm slot and see my work and other performances that will be played at the same time in different rooms.

BAC
Lavender Hill, Battersea
London, SW11 5TN

Ana Pérez-Quiroga: O mundo nas suas verdadeiras cores

The world in its true colors / O mundo nas suas verdadeiras cores

Inauguração: Sexta-feira 14 Outubro às 22h00
Patente até 12 Novembro
Curadoria João Silvério

The world in its true colors/ O mundo nas suas verdadeiras cores, 2011
Este projeto de Ana Pérez-Quiroga propõe-nos uma ação participativa que expõe o fator económico – fundamental em qualquer processo de materialização e transação de bens – numa relação direta entre o espectador/fruidor da obra de arte e a sua intervenção como agente de mercado, constituindo-se como agente do investimento económico necessário para a realização desta obra específica. O espectador assume assim uma condição dúplice no sentido em que é o motor financeiro e simultâneamente o meio de realização plástica e poética deste projeto. (João Silvério)

"A obra é constituída por 225 tiras de seda (100%) de 75 cores diferentes que se repetem 3 vezes. Cada tira de seda tem 36x200cm e tem bordado APQ em diferentes cores. A obra divide-se em três conjuntos que formam uma totalidade. Um primeiro conjunto, que será vendido na integra a um colecionador, um segundo, pertencente à artista, e um terceiro cujas 75 tiras de seda serão vendidas à unidade. Cada tira de seda tem o preço de 60 euros. 

Este terceiro conjunto tem por base uma ideia de sustentabilidade da arte, que passa pela convocação à participação ativa do espectador, que através da transação económica se torna simultaneamente co-autor e investidor. O objectivo é o de chamar os espectadores a participar na construção da obra, como parceiros do projeto através da aquisição de uma tira de seda. Esta é então apropriada pelo comprador que, através do seu uso, confere uma nova dimensão ao objecto. A tira de seda pode ser emoldurada ou usada como écharpe e esta união entre pessoa e objecto recria-se numa “escultura viva”. 

Ao adquirir a tira de seda o comprador está também a contribuir para o financiamento da obra, que irá ser finalizada na publicação de um livro. Os compradores enquanto grupo tornam-se assim investidores neste projeto. Tendo em vista a posterior publicação de um livro, no ato de compra pede-se a cada participante para responder à pergunta: “Porque escolheu esta cor?” justificando assim qual a relação que tem com a cor escolhida. É também desejável, mas não obrigatório, que o participante se identifique. A identidade do comprador transforma-o em co-autor, como se de uma assinatura se tratasse.

A assinatura, única, permite a apropriação da tira de seda pelo comprador, agora co-autor. A obra continua a existir fora da galeria, contaminando o espaço público. A sua durabilidade contribui para a sua validação enquanto objecto artístico, no contexto de uma economia de mercado dentro da dinâmica da oferta e da procura.
A compra da tira de seda é o ato performativo pelo qual o comprador se torna co-autor e investidor. A partir deste momento o co-autor / investidor pode levar a sua tira de seda.

Enquanto investidor, o comprador, vai possibilitar a concretização de um livro de artista com a tiragem de 225 exemplares. O livro incluirá o mapeamento cromático dos 75 participantes (resposta à pergunta: “Porque escolheu esta cor?”), os textos do curador, do gestor cultural e da artista.

Os co-autores partilham com o autor a responsabilidade do projeto artístico. Não só adquirem uma peça e um livro, como são eles que através de um processo económico dão sentido à obra. A tira de seda percorre uma série diferenciada de estados - o objecto de produção industrial, a obra exposta, o registo do processo em livro – devido à ativação de vários procedimentos e tomadas de decisão do autor e dos seus co-autores que se associam pelo ato da compra." (Ana Pérez-Quiroga)  


APPLETON SQUARE
Rua Acácio Paiva 27 R/C, 1700-004 LISBOA

Lisboa, cidade aberta às autoras e criadoras

Exposição “Do UNO ao Plural” - de 6 de Outubro a 26 de Outubro
na galeria da Biblioteca Dr. Orlando Ribeiro, Telheiras, Lisboa

No dia 13 de Outubro, 5ª feira, às 18 H no auditório poderemos ver “Natureza Morta” de Susana de Sousa Dias na presença da realizadora. Trata-se de um poderoso documentário sobre a guerra colonial e o regime que a sustentou.
No dia 21 de Outubro, 6ªfeira, às 18H – Tertúlia com a escritora Teolinda Gersão que nos falará sobre Os bastidores de A Cidade de Ulisses e a Professora de literaturas e culturas africanas na Faculdade de Letras da Universidade de Lisboa Inocência Mata, com a comunicação Vozes da margem: outros femininos na África de língua portuguesa. Moderação da investigadora e professora Dulce Rebelo
No dia 26, 4ªfeira, às 18H – encerramento do Ciclo. Será o momento onde todas as artistas são convidadas a participar no debate sobre as trajectórias profissionais das mulheres ligadas às artes. Moderação de Dolores Matos actriz e encenadora do FIAR (Palmela)

Laurel Nakadate

at zabludowicz collection

29 September–11 December 2011

The exhibition brings together works made over the last ten years, including Oops! (2000), a three-channel installation in which the artist was invited into the homes of men she met through chance encounters asking them to dance with her to Britney Spears' iconic song; and I Want to Be the One to Walk in the Sun (2006), a video featuring the artist interacting with people she meets in rural and urban locations. Often exposing herself to risk by behaving in overtly sexualized or seductive ways, Nakadate also creates scripted works featuring amateur actors, frequently teenagers, in which they appear to innocently enter into precarious situations. The exhibition will feature the impressive photographic series 365 Days: A Catalogue of Tears (2010), for which the artist photographed herself crying every day for a year in order to 'deliberately take part in sadness each day'. Nakadate has also made two feature-length films, which will be screened during the exhibition, in which she directs a series of languid teenage characters though a mundane suburban American dream, to create what she calls 'visual fact coupled with a fictional narrative.'

dancing with strangers ... TheGuardian

n.paradoxa call for papers

n.paradoxa publishes the work of women writers, critics, artists and curators on the work of contemporary women artists from anywhere in the world. If you would like to submit an article on contemporary women’s art practices (visual arts only, working post-1970) or an aspect of feminist art theory, an interview with a woman artist or a feature to n.paradoxa, please contact the editor. Do not send finished articles. Articles are commissioned through negotiation with the editor: Katy Deepwell. email: katy@ktpress.co.uk

Please send, well in advance of the copy deadline, an outline (1-2 paragraphs) and a short resume (1 page only). Please also outline the relation of your proposal to the theme of a particular volume.

Volume 29: Trans-Asia (Jan 2012)
(Copy deadline: 1 Nov 2011, to be published Jan 2012)
In August 2009, the editor of n.paradoxa collaborated with C-Arts Mag (volume 9, Singapore) on a special report on women artists from Asia: with women writers from 12 countries involved. Taking up this theme again, volume 29 of n.paradoxa invites new contributions from women authors about contemporary women artists working in Asia or of Asian origin working anywhere in the world. Interviews, artists’ projects and scholarly articles will be commissioned on the basis of proposals received and their focus on feminist theory. Like other books and exhibition projects on the subject, the approach will be pan- or trans-Asian, drawing on the many countries across Asia as well as looking at Asian artists working in Europe and America.

Volume 30: Feminist Aesthetics (July 2012)
(Copy deadline: 1 May 2011, to be published July 2012)
After forty years of feminist art practices around the world which are neither media-specific nor have a single aesthetic (in the limited modernist sense of an identifiable "style"), how can we redefine feminist aesthetics in its relation to feminist politics today? This volume will explore questions about feminist aesthetics, art and politics and welcomes contributions which look at new and progressive lines of enquiry in these longstanding debates (even when revisiting previous formulations or arguments since the 1970s). These may touch on 'aesthetics in the feminine' and 'feminist philosophical critiques of aesthetic theory' (but the latter will only be accepted, where the primary examples used in disucssion are feminist artworks (visual arts only)). Feminist critiques of aesthetic theory have drawn on and developed in relationship to post-structuralist and post-colonialist theories and contributions bringing together discussions of race, class, sexualities and ethnicities or nationalisms will also be welcomed, alongside critiques of neoliberalism.

If you are interested in contributing, please contact the editor Katy Deepwell

Kollektive Aktivität / Collective activity “The Embroidered Digital Commons”

Embroidered Digital Commons - Cafe Crema, London

4. November 2011

17 - 19h Kollektive Aktivität “The Embroidered Digital Commons"

Das Projekt von Ele Carpenter, moderiert von Carla Cruz,
handelt von einer international vertriebenen Stickerei des Textes 'A Concise Lexicon of/for Digital Commons' (2003), der von dem Raqs Media Collective verfasst wurde. Der Text wird von Künstler*innen,Handwerker*innen und Programmierer*innen in Gruppen und mittels sozialer Netzwerke als Teil des Open-Source-Stickerei-Projekts www.open-source-embroidery.org.uk gestickt.

AMIW ermöglicht das Sticken des Begriffs "heterogene" in der VBKÖ:

Heterogene: Das, was beginnt an vielen Orten, wie die Geschichte des Lebens einer Person. Vielfältig, verstreut, verteilt, wie in der Autor*innenschaft der Kultur, und in den Trajektorien von Menschen, die zu einem Ort kommen. Interpretationen und Ideen nehmen größere Freiheit nur dann an, wenn diese Heterogenität umfasst. In diesem Punkt sind sie wie die meisten Intimitäten und einige Arten von Obsttorten: Je gehaltvoller sie sind, desto mehr Schichten haben sie.

KOMMT UND STICKT MIT!

Das Projekt findet im Rahmen von AMIW @ VBKÖ – Or Rather, What Can Words Do? / Oder vielmehr, was können Wörter tun?“, 4. November - 3. Dezember 2011

---

November 4, 2011
5 – 7pm Collective activity “The Embroidered Digital Commons”

A project by Ele Carpenter, moderated by Carla Cruz, is an internationally distributed embroidery of the text 'A Concise Lexicon of/for the Digital Commons' written by the Raqs Media Collective (2003). The text is being stitched by artists, crafters and computer programmers in groups and through social networks as part of the Open Source Embroidery project: www.open-source-embroidery.org.uk

AMIW will facilitate the stitching of the term ‘Heterogeneous’ at the VBKÖ:

Heterogeneous: That, which begins in many places, like the story of a person's life. Diverse, dispersed, distributed, as in the authorship of culture, and in the trajectories of people who come to a site. Interpretations and ideas embrace greater freedom only when they encompass heterogeneity. In this, they are like most intimacies and some kinds of fruitcake. The richer they are, the more layers they have.

COME STITCH WITH US!

The project takes place within the frame of AMIW @ VBKÖ – Or Rather, What Can Words Do? / Oder vielmehr, was können Wörter tun?“, November 4 - Dezember 3 2011

Vereinigung bildender Künstlerinnen Österreichs – VBKÖ
Maysedergasse 2 (4 Floor)
1010 Vienna
Tel: +43-1-513 64 73
www.vbkoe.org
vbkoe@vbkoe.org

Teresa Burga

From September 30, 2011 to January 8, 2012 the Württembergischer Kunstverein is showing the first comprehensive solo exhibition in Europe of Peruvian artist Teresa Burga (born 1935) curated by Dorota Biczel, Miguel A. López, and Emilio Tarazona. The exhibition is based on the artist’s retrospective shown with great success in 2010 at the Instituto Cultural Peruano Norteamericano in Lima. Teresa Burga will also be represented at the 2011 Istanbul Biennial.

This exhibition is positioned within the context of an extensive reassessment of critical conceptual artistic practices from the nineteen-sixties to eighties in Latin America (among other regions) as already explored by the Kunstverein in its 2009 exhibition Subversive Practices.



The Exhibition

Three installations that count among the artist’s key works constitute the focus of the exhibition, in addition to numerous graphic works and objects.

The installation Autoretrato. Estructura. Informe. 9.6.72 (Self-Portrait. Structure. Report. 9.6.1972), originally created in 1972, revolves around the measurability of the human being. Based upon medical examinations carried out on Burga’s own body (her face, blood, and heart) over the course of one day, the work presents photographs, diagrams, and various medical records (blood analysis, electro- and phono-cardiograms) that visualize the results. The sound of the artist’s heart accompanies them, its rhythm regulating the pulsation of a light sculpture.

Quatro Mensajes (Four Messages) from 1974 is in turn founded on “four messages” that the artist randomly extracted from Peruvian television. Burga disassembled their linguistic, auditory, and visual elements and subjected them to a radical realignment. Here the third message—a sentence from a discourse on environmental protection—is deconstructed on various levels at once: for instance, by replacing each individual word within the sentence with its respective lexical definition, or by turning individual letters into material for visual poetry.

The installation Perfil de la Mujer Peruana (Profile of the Peruvian Woman, 1980–1981) was created as part of a comprehensive artistic and sociological research project which dealt with the self-perception of young Peruvian women and with their views on topics such as politics, economics, religion, law, and sexuality.

This solo exhibition by Teresa Burga shows a radical and complex artistic position developed between the nineteen-sixties and eighties, one that long failed to be recognized either in Peru or in an international context. This new reassessment of Burga’s work is realized in the context of activities pursued by a broad network of Latin American art theorists and artists, who are presently embarking upon a rereading of the conceptualisms of the South (Southern Conceptualisms Network).

The exhibition is accompanied by a Spanish/English catalogue and a conference, which will take place during the exhibition’s opening weekend.