DO REMEMBER, BECOME A MEMBER

@ THE VBKOE





If you want to take part, chip in and join the joyride, there are two types of membership: full and associate.

Full is for all those who identify as a woman artist.

Associate is for those who don’t fit the mold of woman artist, who do not identify as women or do not specifically produce art, but who would like to support our causes and activities. In any case, we want you all!
The benefits of membership are access to facilities for artistic research, access to the space for projects, reading groups, presentations or small exhibitions. In addition, think of our universe of feminist history, our web of wild encounters, or our platform high in the plateaus of 1010 Vienna!

You can become a member by either being invited by the board or by writing us an e-mail
to info /at/ vbkoe.org and meeting with the board so that we can get to know your work and interests.

Membership cost
50 €

Discounted membership:
for those in very precarious living situations
20 €
You can, of course, also become a supporting member!

http://www.vbkoe.org/?p=1369&lang=en

Sophie Carapetian

Art Labour Compendium

Exhibition open: 3.3.12 – 25.3.12

Sat. – Sun. 12:00 – 18:00

Private view: Thursday March 1st 19:00 – 21:00

Art Labour Compendium is an on-going body of works that seeks to interrogate the relation between art and capital through reflections on labour and wage struggles within the arts economy.

The compendium is in a constant state of recomposition and flux. In its current guise, it comprises film, sculpture and photographic work. For xero, kilne & coma, the compendium exhumes the buried histories of the London branch of the Artists Union (1972-1983) and the Art strike action committees of London and San Francisco (1990 - 1993). It also investigates the problem of the vanguard by staging reconciliation between Marx and Bakunin in the style of De Kooning, and explores the question of the labour bound up in the making of an artwork.

Carla Cabanas

O QUE FICOU DO QUE FOI
O Álbum DesconhecidoSala do Veado de 3 de Março a 1 de Abril de 2012
Inauguração: 6ª feira, dia 2 de Março das 21h às 24h

Exposição: 3ª a 6ª das 10h às 17h, Sábados e Domingos das 11h às 18h
Museu Nacional de História Natural e da Ciência
Rua da Escola Politécnica 56/58, 1250-102 Lisboa

POST-PORN UND BODY POLITIX

In den Installationen, Performances und Videoarbeiten beschäftigen sich die KünstlerInnen mit (postkolonialen) Körperpolitiken und post-pornographischen Strategien.
Sie fragen nach den Normierungen von Körper und Blick und suchen nach Gegenblicken und subversiven Aktionen.
Die Arbeiten kreisen um die gesellschaftlichen Verknüpfungen von Leben, Bildern und Ökonomien und versuchen dabei den gewohnten Blick spielerisch aus der Bahn zu werfen.
Die Ausstellung läuft über eine Woche und umfasst zwei Performance-Abende, sowie Langzeitperformances, Installationen und dokumentarische Videos von Performances.

Mit Arbeiten von:
Alina Helal und Jessyca Hauser, George Rusalin, Fanni Futterknecht, Daniela Grabosch, Anna Krambeck, Cellulite Rose, Matthias Derschmidt, Lena Schuster, Shabnam Chamani, Ahoo Maher, Anna Spanlang, Heidemarie Pyringer, Daliah Heeger, Julischka Stengele

Performance evening:
28.02. and 01.03.2012 starting at 7pm
Installations:
29.02.-04.03.2012 from 4pm-7pm

VBKÖ

Maysedergasse 2/4. Stock (Lift)
1010 Wien

Love Letters to Feminism

Call to Artists :: The Works Gallery

Attention artists and art lovers!! Apply today to be a part of this exciting exhibit at the Works Gallery!

DEADLINE: MARCH 5, 2012

Love Letters to Feminism was born out of an opportunity to create an exhibition for the Women's Studies Program Gallery at the University of Alberta in the autumn of 2009.

Over the past three years, Love Letters has grown and travelled, exhibiting at conferences and symposia across Canada, including in Montreal, Toronto, and Ottawa, and is graced by contributions from men and women across Canada and around the world in letter, artwork, craft, and sound.

It'll be very exciting to share Love Letters wiph Edmonton and the local communities that have supported the success of this project thus far. The exhibit will be kicking off a week of events, beginning on International Women's Day, March 8th, 2012. More details to follow.

All contributions are welcome, no matter what the nature of your relationship with feminism is. Be part of the growing, expressive, inclusive dialogue! To learn more about the project and previous exhibitions, visit loveletterstofeminism.blogspot.com.

We want to know what kind of relationship you have with feminism:

• Are you in a long-term relationship?
• Is it unrequited love?
• A love triangle?
• Do you have a crush on feminism?
• Perhaps you are having a lovers' quarrel?

Submissions to the exhibition should include:

• An artwork/letter that has a maximum size of 8.5x11 inches.
• Your name, mailing address, email address, and a short bio on a separate page.

*Please include the appropriate extra postage inside your envelope if you want your work returned.

• Maximum 3 works per person.

Deadline: March 5, 2012

Work will be exhibited beginning March 8, 2012 in The Works Gallery, and will join the Love Letters Collection for future and online exhibitions (unless you indicate otherwise).

Mail your love notes to:
Love Letters to Feminism
c/o Carolyn Jervis
The Works International Visual Arts Society
10635 - 95 Street
Edmonton, AB, Canada
T5H 2C3

www.theworks.ab.ca

SOUND::GENDER::FEMINISM::ACTIVISM

SOUND::GENDER::FEMINISM::ACTIVISM

CALL FOR CONTRIBUTIONS

Post-graduate Research Event
London College of Communication, University of the Arts London
May 17th 2012

We invite submissions for 10 minute contributions relating to aspects of
research in the context of sound, in its various creative and
theoretical forms, and gender. This is an open call and we welcome
responses from all relevant disciplines and will accept a variety of
formats from short academic presentations to more experimental
contributions.

We are looking to share research with a view to establishing a network
of researchers and practitioners working in these areas. The final
format of the event will be generated around the contributions received.

Please send expressions of interest, including the theme, topic and
format of your presentation, of around 100 words and a short biography
of no more than 100 words by March 16th 2012 to soundartsevent@crisap.org

supported by CRiSAP http://www.crisap.org/

This event follows on from
?Her Noise Archive Symposium
3-5 May 2012
Tate Modern

A three day event investigating feminist discourses in sound, launching
with a performance and talk by Pauline Oliveros. The symposium, which
brings together contributions by leading artists, performers,
theoreticians and writers aims to provide a platform to further develop
these emergent feminist discourses in sound and music, with an emphasis
on tactics that challenge and / or infiltrate canonical readings. The
event marks the donation of the Her Noise Archive to University of the
Arts London Archives and Special Collections housed at London College of
Communication, and is realised as a collaboration between CRiSAP
(Creative Research in Sound Arts Practice), Electra and Tate.

Embroidered Digital Commons - 'Meme'

Furtherfield Gallery
McKenzie Pavilion, Finsbury Park, London.

Being Social:
Annie Abrahams, Karen Blissett,  Ele Carpenter, Emilie Giles, moddr_ ,
Liz Sterry, Thomson and Craighead.

Opening: Saturday 25th February, 1-4pm
Exhibition continues until 28 April 2012.


Here's some info about my work in the show:

Embroidered Digital Commons: Meme
The Embroidered Digital Commons is a collectively stitched version of
the Raqs Media Collective’s text ‘A Concise lexicon of / for the
Digital Commons’ 2003, facilitated by Ele Carpenter.  The term 'meme'
will be stitched as part of Furtherfield's exhibition 'Being Social'
opening in their new gallery in the middle of Finsbury Park, London.
The Saturday morning workshops are open to all and will be facilitated
by Emilie Giles and Ele Carpenter with  special guests. See
http://www.eleweekend.blogspot.com for more details.

A cultural ‘meme’ is the way in which an idea spreads; so if you are a
crafter, computer programmer, artist, blogger, maker, or just
interested in cultural memes and social networks then you are invited
to come along and find out more about the project. The embroidery of
'meme' will include a series of grey on black embroideries in support
of the protest against the highly restrictive SOPA and PIPA
anti-piracy laws. So if you feel strongly about digital rights and
electronic freedoms black fabric and grey thread will be provided.

-------------

Further Info on the Embroidered Digital Commons:

The full lexicon of the digital commons is an A-Z of the
interrelationship between social, digital and material space. It
weaves together an evolving language of the commons that is both
poetic and informative. The terms of the lexicon are: Access,
Bandwidth, Code, Data, Ensemble, Fractal, Gift, Heterogeneous,
Iteration, Kernal, Liminal, Meme, Nodes, Orbit, Portability,
Quotidian, Rescension, Site, Tools, Ubiquity, Vector, Web, Xenophilly,
Yarn, and Zone.

The ‘Embroidered Digital Commons’ is an ambitious project to
hand-embroider the whole lexicon, term by term, through workshops and
events as a practical way of close-reading and discussing the text and
its current meaning. Each term is chosen in relation to the specific
context of its production through group workshops, conferences and
events. Each term is then stitched by 20-40 people and is used as the
basis for a short film depicting the sequence of embroideries.

The embroidery is a slow reproduction of ‘A Concise Lexicon of / for
the Digital Commons’ text, transmitting the meme of the lexicon to
hundreds of people stitching across the globe.  In this way the work
is a cultural meme, transmitting ideas through thinking and making as
part of a distributed participatory project. The meme of the digital
commons travels fast through networks that investigate the language of
shared production and distribution, for example crafters and open
source programmers are committed embroiderers of the digital commons.
As a particularly virulent meme, the idea of the digital commons has
spread across all areas of cultural production including music, design
and art.

Reference:
Raqs Media Collective, 2003, A Concise Lexicon of/for the Digital
Commons. In: Sarai Reader 03: Shaping Technologies, ed. Monica Narula,
Shuddhabrata Sengupta, Jeebesh Bagchi, Ravi Vasudevan, Ravi Sundaram +
Geert Lovink, Sarai-CSDS Delhi/WAAG Amsterdam, 2003. p365.  Available
at: http://www.raqsmediacollective.net/texts4.html


http://www.open-source-embroidery.org.uk/EDC.htm

http://www.furtherfield.org/programmes/being-social

Tourcoing Dalila Gonçalves e Alexandra Martini

WEB LIBRARY OF DRAWINGS BY RINI TEMPLETON

You will find 600 drawings here, organized by theme, with brief texts in English explaining the story behind each set of drawings.

In the spirit of Rini Templeton’s life and work, activists serving causes that Rini would have supported are invited to use drawings freely in their leaflets, newsletters, banners and picket signs or for similar non-commercial purposes.

http://riniart.org/

Art Institutions and the Feminist Dialectic

A valuable collection of insight into the exhibition of feminist artwork is now available to the public. FeministDialectic.ca is a new website that features ten curators, artists and museum professionals speaking on the challenges and opportunities presented by the acquisition, preservation and exhibition of feminist artwork by public art galleries and institutions in Ontario.

The website features videos, audio recordings and transcripts of the presentations, the majority of which took place at a December 2008 symposium entitled Art Institutions and the Feminist Dialectic.

“In recent years, artworks that arose from the activism and social consciousness of the late 1960s, and works that addressed anti-war, civil rights and feminism have been entering public collections,” says Carla Garnet, the curator who helped organize the presentations. “Consequently, a new discussion of how feminist work performs in the public space becomes timely.”

IT'S LIKE STARING SOMEONE OUT WHO ISN'T LOOKING AT YOU

A performative screening by Kate Cooper, Leslie Kulesh and Jess Weisner and produced by Auto Italia, screened alongside Barbara Hammer's Audience 1982, and Multiple Orgasm 1976. This event is included in The Fearless Frame, a major survey of the work of Barbara Hammer at Tate Modern, curated by Barbara Hammer and Stuart Comer.

Sunday 19 February 2012

5pm - Programme 15: The Scopophiliac Audience

£5 (£4 concessions) - Book Tickets Here

Tate Modern – Starr Auditorium

Bankside

London

SE1 9TG

This performative screening considers what a feminist moving image practice might mean to artists working today. Departing from a wide range of references and source material, the artists consider 'feminist' or 'women's' work within theatre, film and fashion. Layering archival material with live performance from audience members, the artists map out a new territory for women within the mainstream. This screening explores new forms of agency that the power relationships which govern both the work of women artists and also the creation of the images of women opens up. It introduces the figure of the young girl as subjected to dominant forces yet simultaneously empowered by this supposedly marginalised position.

This screening was commissioned and produced by Auto Italia South East and initially performed in December 2011 atBodies Assembling. Produced through a collaboration between Auto Italia and the women's film distributer Cinenova,Bodies Assembling saw a range of contemporary responses to feminist and women's film and video. The project brought together the practice and ideas which are represented in the films and videos distributed by Cinenova and the individuals and organisations presenting the screenings. Through taking Auto Italia as an active model in the dual creation of both new work and also the context in which that work is distributed, Bodies Assembling became a forum to consider contemporary forms of distribution and self-representation.

Thanks to Rachal Bradley, Robert Carter, Marianne Forrest, Tim Ivison, Richard John Jones, Julia Tcharfas and Charlie Woolley.

Auto Italia 434 - 452 Old Kent Road London SE1 5AG www.autoitaliasoutheast.org

CFP EDITED BOOK on Feminism FW: Invisible and Irrelevant CFP

EDITED BOOK CFP: Invisible and Irrelevant? Contemporary Feminism and its Discontents. We are completing an edited book that responds to what we see as a systematic erasure of feminist discourses and feminist analyses from popular and political culture in North America and Europe. By focusing on multiple sites, including media, politics, activism, economics, we seek essays that interrogate what the role of feminism is today. The overarching goal of the book is to understand, and make visible, the continuing anxieties surrounding women?s empowerment, and the processes that are used to quell these anxieties, as well as feminist responses, as activists and interventionists, in this erasure.

Please submit an abstract of your proposed essay to Kumi Silva (kumi@email.unc.edu) and Kaitlynn Mendes (kmendes@dmu.ac.uk) by February 30, 2012. Essays are expected to be 8000-8500 words, and are due by September 1, 2012.

Design e Género

Mulheres e Criação Artística

Third Annual Feminist Art History Conference, American University

Washington, DC, November 9 - 11, 2012
Deadline: May 15, 2012

Announcing the Third Annual
FEMINIST ART HISTORY CONFERENCE
at American University in Washington DC

Friday-Sunday, November 9-11, 2012

CALL FOR PAPERS: please submit via email a one-page, single-spaced proposal and two-page curriculum vita by May 15, 2012 to fahc3.cfp@gmail.com.
Notification of acceptance by July 1, 2012

This conference builds on the legacy of feminist art-historical scholarship and pedagogy initiated by Norma Broude and Mary D. Garrard at American University. To further the inclusive spirit of their groundbreaking anthologies, we invite papers on subjects spanning the chronological and geographic spectrum to foster a broad dialogue on feminist art-historical practice. Speakers may address such topics as: artists, movements, and works of art and architecture; cultural institutions and critical discourses; practices of collecting, patronage, and display; the gendering of objects, spaces, and media; the reception of images; and issues of power, agency, gender, and sexuality within visual cultures.

Keynote address:
"Guess Who’s Coming to Dinner? Feminism, Art History and the Story of a Book"
Whitney Chadwick, Professor Emerita of Art History
San Francisco State University

Sessions and keynote will be held on AU’s campus
with additional events at the National Museum of Women in the Arts
in conjunction with its 25th Anniversary celebration

Sponsored by the Art History Program, Department of Art,
College of Arts and Sciences at American University
Organizing committee: Kathe Albrecht, Juliet Bellow, Norma Broude, Kim Butler, Mary D. Garrard, Namiko Kunimoto, Helen Langa, and Andrea Pearson

INTERVIEW Roberta Lima

Roberta Lima is a Vienna-based artist whose work focuses on body modification and concepts of space and architecture. Her most recent show, “Displacement,” took place in New York at White Box NYC. She is currently doing a residency in Chicago with the Austrian Ministry of Arts and Cultures. Riot of Perfume conducted an interview with Lima regarding the ties in her work to architecture.

ReBirth - Roberta Lima

ReBirth
a new work by Roberta Lima in collaboration with Fearghus Ó Conchúir

PERFORMANCE: FEB 10 at 7PM at DEFIBRILLATOR
1136 N Milwaukee Ave.
Chicago - Illinoisreception to follow with DJ Anthony Romero

In the performance and installation ReBirth, the body is used, bruised, and scratched, yet it remains strong. The dialogue it establishes points out the historical use and traces of human bodies in the process and products of architectural construction.

ELECTRODE (window) PERFORMANCE:
FEB 7&8, 11AM - 6PM with Jillian Soto
GALLERY HOURS: FEB 7-11, 11AM - 6PM