3–5 May 2012
Bankside Sumner Street
London SE1 9TG
Her Noise at Tate.org.uk
This programme brings together performances and a talk by Pauline Oliveros; an evening orbiting the legacy of Meredith Monk; and a day of talks and discussions with contributions by Ute Meta Bauer, Cosey Fanni Tutti, Nina Power, Tara Rodgers and many more.
The events are realised as a collaboration between CRiSAP, Electra and Tate.
Artist Talk and Performance: Pauline Oliveros
Thursday 3 May 19.00–21.30, book online
Pioneering composer, performer and humanitarian Pauline Oliveros, who celebrates her 80th birthday this year, gives a solo performance and a talk entitled 'Archiving the Future: The Embodiment Music of Women', followed by a performance of her 1970 score To Valerie Solanas and Marilyn Monroe in Recognition of their Desperation in the Tate Modern Turbine Hall.
Film and performance: The Voice is a Language
Friday 4 May 19.00, book online
This performance and screening programme orbits the legacy of avant-garde pioneer Meredith Monk. Featuring work by artists Sophie Macpherson, James Richards, Cara Tolmie and Sue Tompkins and rarely seen films by Monk—curated by Isla Leaver-Yap.
Symposium: Feminisms and the Sonic
5 May 11.00-17.50, book online
Exploring and developing emergent feminist discourses in sound and music, whilst challenging standard readings and approaches to feminisms and the sonic, this symposium brings together contributions by musicians, artists, academics and writers, including Ute Meta Bauer, Sonia Boyce, Georgina Born, Viv Corringham, Cosey Fanni Tutti, Lina Dzuverovic, Catherine Grant, Emma Hedditch, Anne Karpf, Cathy Lane, Anne Hilde Neset, Maggie Nichols, Nina Power, Tara Rodgers, Salomé Voegelin.
This programme marks the donation of the Her Noise Archive to the 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 into Sound Arts Practice), Electra and Tate.
21/03/2012
Claudia Ulisses
Claudia Ulisses presente na: III Nucleo da exposição "Cinco Séculos de Desenho da Colecção FBAUP" Desenho Contemporãneo do séc. XX e XXI Museu Nacional de Soares dos Reis
20/03/2012
18/03/2012
Kadin- Feminism between East and West
Kadin- Feminism between East and West Group Exhibition 22nd-31st March, 2012
Curators: Nimrod Vardi, Lee Weinberg
PRIVATE VIEW
22nd March, 18.30- 21:30
RELATED EVENTS
22nd March, 2012, 19.30 -Dance performance by Maddy Wynne Jones
29th March, 2012, 19.00 - we will be holding a talk with Dr. Anastasia Vakulenko about her new book ‘Islamic Veiling in Discourse’, which is will be published later this year.
Kadin* is a group exhibition, a first milestone in an on-going long term research into expressions of femininity and feminism in contemporary culture, their representation and the relationship between them. Kadin aims at exploring contemporary currents in feminist art and to question the eroding feeling of solidarity which seems to be taking effect within the feminist movement itself and in the way that it is perceived. By exploring relationships between eastern and western perceptions and the diversity of encounters that post colonialism offers through the different expressions and understandings of femininity - the exhibition tries to touch and approach those territories in which feminism, as a movement, is both challenged and re-introduced. We believe that there is still a long way to go to reach a different state of society in which feminist movements no longer have a role. Well-known realities that starkly contrast to the assertion of a historically fulfilled feminism persist. Examples vary from unequal pay-rates, unequal opportunities at work, but also fundamental issues such as women trafficking and domestic violence. The different artists in the exhibition explore those issues through address different modes of representation of the feminine body, used, in many cases, as a political tool. Different strategies are used in order to explore what feminism might mean in contemporary times, and to reflect what has changed in our perception of both the feminine and the feminist, while offering alternative approaches or alleys through which feminism can be re-born, re-conceived, and re-gain its currency and urgency.
Participating artists: Eliza Bennet, Olgac Bozalp, Rosemary Cronin, Hannah Habibi, Carlamaria Jackson, Anna Jermolaewa, Catherine Long, Jessica McDonald, Olexa May Solomka, Benjamin Nash
*Kadin , means "woman" in Turkish. We find that like Turkey which both geographically and culturally stands on the border between the traditional West and the traditional East may symbolise a certain encounter between different understandings of the feminine. The use of a Turkish word is therefore a mean to bring forth this collision, and with it new urgent meanings of feminism that derive from the encounter between different cultures, religious practices and beliefs.
http://arbeit.org.uk/22-03-2012-31-03-2012
16/03/2012
conversa com os vários artistas em residência nos laboratórios de curadoria - ASA - Guimarães: Susana Chioca, Susana Mendes Silva e Catarina Miranda
17 Marcço 2012
a partir das 15hconversa com os vários artistas em residência nos laboratórios de curadoria introduzida por Liliana Coutinho com André Guedes, António Lago, António Olaio, Pedro Tudela, Susana Chiocca, Susana Mendes Silva
pelas 18h
trabalho final da residência a Sala nos laboratórios de curadoria
António Lago & Susana Chiocca em colaboração com Sílvio Almeida
apresentam Pedem-me para me pôr de joelhos mas eu recuso sempre.
Uma escada para subir. Um castelo a trepar.
Duas personagens híbridas deambulam pelo cenário histórico da cidade, jogando
de forma naïf, carregadas de non sense.
Não sendo anarcas também não são estúpidas.
Uma paródia em torno de questões de identidade sexual e política.
Seguida do trabalho de:
Catarina Miranda
com
Homem carneiro
(Composição Sonora Jonathan Uliel Saldanha)
Construção cénica que parte da relação de um espaço, com o corpo que o habita.
O lugar que medeia esta transposição de características zoomórficas, é atravessado
pelo ímpeto de movimento e de ar, onde um objecto, uma pele, submetido a um processo
de metamorfose, é impregnado de vida, gerando um estado de vitalidade.
Trabalho inspirado no romance de Haruki Murakami ("Em busca do carneiro selvagem"),
que desenvolve a possibilidade de um carneiro escolher um corpo humano como morada imortal.
15/03/2012
VISITA À CIDADE NO FEMININO - Braga
13/03/2012
Call for Papers: Contemporary Feminist Art: Old Themes, New Variations
Mid-America College Art Association Conference
The annual MACAA conference is for the professional benefit of its membership. Conference costs are met through registration fees and MACAA membership.
Conference coordinators, program chairs, and session chairs have the responsibility of informing all participants of MACAA conference policies when persons are accepted and/or invited to participate in sessions.
Participants may give only ONE paper or be on ONE panel. Each participant may chair a session in addition to giving a paper or being on a panel.
Please note: every conference participant must be a MACAA member and registered for the conference. This includes all presenters.
Register Here
Call for Papers (Deadline April 10, 2012)
Below is a list of 2012 MACAA Conference sessions being advertised in the call for papers (download here.) If you’d like to submit a paper for consideration, please submit directly to the session chair. Include the following items as attachments to your email to the session chair prior to the deadline date of April 10, 2012:
A completed MACAA Paper Submission form
Your current curriculum vitae
Full paper (optional)
Contemporary Feminist Art: Old Themes, New Variations
Session Chair: Harry J. Weil, Stony Brook University
Email: weil.harry@gmail.com
In 1971 Linda Nochlin posed a question that would change the art world's attitude toward feminist art and spearhead an entirely new branch of art history: why have there been no great women artists? Forty years later feminist artists have emerged as a strong force in the art establishment with the founding of the Center for Feminist Art at the Brooklyn Museum and the groundbreaking exhibition “Wack! Art and the Feminist Revolution.” Feminist art production can be traced to the early 1960s as an outgrowth of the second wave of feminism. It centered on reflecting women's lives and experiences, as well as rallying call to subvert the foundations of the art establishment. These early pioneers developed a visual rhetoric focused on the female body as a site for social and cultural commentary and reassessing the erotic, the sacred, and the taboo - this included, Ida Applebroog, Joan Jonas, Shigeko Kubota, Lorraine O’Grady, Yoko Ono, Saar, Carolee Schneeman, Nancy Spero, and Martha Wilson, amongst others.
This panel will assess a younger generation of artists and their relationship to the feminist art practices of the 1960s and 70s. Of interest is the visual rhetoric of feminist art from the past and how it has developed and changed over the decades. What issues continue to dominate the field of feminist art? What has happened to the female body in art, where has it gone and what are its political and social implications today? Of particular interest are presentations addressing the work of contemporary feminist artists, or artists “read” as feminist, who have been marginalized or underrepresented: women of color, Latin- and Asian-American artists, LGBT artists. Exploratory themes are welcome from art historians, curators, artists, and interdisciplinary scholars.
The annual MACAA conference is for the professional benefit of its membership. Conference costs are met through registration fees and MACAA membership.
Conference coordinators, program chairs, and session chairs have the responsibility of informing all participants of MACAA conference policies when persons are accepted and/or invited to participate in sessions.
Participants may give only ONE paper or be on ONE panel. Each participant may chair a session in addition to giving a paper or being on a panel.
Please note: every conference participant must be a MACAA member and registered for the conference. This includes all presenters.
Register Here
Call for Papers (Deadline April 10, 2012)
Below is a list of 2012 MACAA Conference sessions being advertised in the call for papers (download here.) If you’d like to submit a paper for consideration, please submit directly to the session chair. Include the following items as attachments to your email to the session chair prior to the deadline date of April 10, 2012:
A completed MACAA Paper Submission form
Your current curriculum vitae
Full paper (optional)
Contemporary Feminist Art: Old Themes, New Variations
Session Chair: Harry J. Weil, Stony Brook University
Email: weil.harry@gmail.com
In 1971 Linda Nochlin posed a question that would change the art world's attitude toward feminist art and spearhead an entirely new branch of art history: why have there been no great women artists? Forty years later feminist artists have emerged as a strong force in the art establishment with the founding of the Center for Feminist Art at the Brooklyn Museum and the groundbreaking exhibition “Wack! Art and the Feminist Revolution.” Feminist art production can be traced to the early 1960s as an outgrowth of the second wave of feminism. It centered on reflecting women's lives and experiences, as well as rallying call to subvert the foundations of the art establishment. These early pioneers developed a visual rhetoric focused on the female body as a site for social and cultural commentary and reassessing the erotic, the sacred, and the taboo - this included, Ida Applebroog, Joan Jonas, Shigeko Kubota, Lorraine O’Grady, Yoko Ono, Saar, Carolee Schneeman, Nancy Spero, and Martha Wilson, amongst others.
This panel will assess a younger generation of artists and their relationship to the feminist art practices of the 1960s and 70s. Of interest is the visual rhetoric of feminist art from the past and how it has developed and changed over the decades. What issues continue to dominate the field of feminist art? What has happened to the female body in art, where has it gone and what are its political and social implications today? Of particular interest are presentations addressing the work of contemporary feminist artists, or artists “read” as feminist, who have been marginalized or underrepresented: women of color, Latin- and Asian-American artists, LGBT artists. Exploratory themes are welcome from art historians, curators, artists, and interdisciplinary scholars.
Regina Guimarães: Ópera Europa
lançamento do livro: Ópera Europa
com a presença da autora
e de António Preto, director da colecção
17 de Março 2012 às 18h30
edição : Pé de Mosca
Livros & Companhias
(Livraria Pinto dos Santos)
Rua de Santo António, 137
Guimarães
A apresentação do livro será precedida pelo filme O Rapto da Europa (1995, 7 min.), de Regina Guimarães.
Apresentação da colecção O Rato da Europa
O Rato da Europa é uma colecção de textos inéditos que pretende desenvolver, através dos mais variados géneros e feitios, uma reflexão alargada em torno desse buraco cada vez mais fundo que é o lugar de Portugal na Europa e, porque não, o lugar da Europa em Portugal. Se o primeiro problema que se coloca é o de saber se as duas coisas – Portugal e Europa – são ou não a mesma coisa, se este confronto é ou não uma antinomia, outras questões, que daqui decorrem, passarão forçosamente pela aferição das taxas de câmbio entre representações, pela afinação da balança comercial das identidades, pela revisão das fronteiras de um horizonte europeu que se define por aquilo que propõe ou que se funda naquilo que interdita. É, pois, urgente saber se chamamos Europa a um acordo de boa vizinhança, que nos permite ir a Bruxelas pedir um raminho de salsa para a tortilha, se a Europa é um diálogo, uma abertura, uma construção colectiva, se é a Europa um projecto político comunitário ou um conjunto de normas sanitárias e de directrizes para a calibragem de maçãs, se a Europa é, hoje, terra de cavaleiros que se batem pela democracia, ou escritório onde um grupo de cavalheiros se dispõem a tudo pilhar em nome dessa mesma democracia. Necessário é averiguar se o velho continente se transformou ou não num shopping vigiado, onde os cidadãos se confundem com os consumidores, ou se Europa é, afinal, o nome do arame farpado que estendemos ao longo do Mediterrâneo.
Isto escrevi há pouco mais de dois anos quando lançámos Boomerang, de Pedro Eiras, livro que abriu O Rato da Europa e – assim acreditávamos – seria em breve sucedido por outros que completariam a colecção, multiplicando pontos de vista sobre os mesmos assuntos. Enganámo-nos: o parto da Ópera Europa foi sangrento e demorado. A Europa que aí se opera sofreu profundas transformações desde o momento em que a Regina Guimarães começou a tratar da sua concepção até ao dito parto, a ponto da Europa onde essa outra Europa se pariu ser hoje uma realidade em crise. Esgotou-se a salsa, zangaram-se as comadres e acabaram-se as verdades. Não é que seja preciso ir tão longe para vender um projecto editorial, mas certo é que O Rato da Europa recobrou “actualidade” – o que vale hoje mais do que uma novena –, tanto que a Capital Europeia da Cultura resolveu (e bem, como lhe compete) apoiar a sua impressão. Não sei o que dirão disto “os mercados”, e nem queremos convencer-nos de que o papel gasto na publicação de seis livros seja suficiente para nivelar as trincheiras económicas que por todo o lado se escavam, mas ficam algumas ideias.
António Preto
Ópera Europa, de Regina Guimarães
Porque a ideia de Europa, como a forma operática, tem esse en-canto do qual facilmente se desconfia.
Porque era impossível fixar numa matéria uniforme todas as vozes que, só na minha pouca pessoa, discorrem sobre esse assunto.
Porque eis-nos fingidamente banzados perante o cinismo dos mestres da tecnocracia e da finança que, até há escassos meses, nos vendiam, por todos os media ao seu alcance, um conceito de Europa bem sucedida, rotulada como excepção, infamemente cunhada em reversos de moeda e dotada de tradições ad hoc.
E devemos estar muito gratos aos gregos por terem, à custa de penosas privações e protestos duramente reprimidos, posto os dedos nas muitas feridas cujo sangue só parecia correr às golfadas nos novos campos de extermínio dos clandestinos e dos nómadas.
Europa publi-cidade enganosa? Europa obra desenganada? Ópera bufa.
Regina Guimarães
com a presença da autora
e de António Preto, director da colecção
17 de Março 2012 às 18h30
edição : Pé de Mosca
Livros & Companhias
(Livraria Pinto dos Santos)
Rua de Santo António, 137
Guimarães
A apresentação do livro será precedida pelo filme O Rapto da Europa (1995, 7 min.), de Regina Guimarães.
Apresentação da colecção O Rato da Europa
O Rato da Europa é uma colecção de textos inéditos que pretende desenvolver, através dos mais variados géneros e feitios, uma reflexão alargada em torno desse buraco cada vez mais fundo que é o lugar de Portugal na Europa e, porque não, o lugar da Europa em Portugal. Se o primeiro problema que se coloca é o de saber se as duas coisas – Portugal e Europa – são ou não a mesma coisa, se este confronto é ou não uma antinomia, outras questões, que daqui decorrem, passarão forçosamente pela aferição das taxas de câmbio entre representações, pela afinação da balança comercial das identidades, pela revisão das fronteiras de um horizonte europeu que se define por aquilo que propõe ou que se funda naquilo que interdita. É, pois, urgente saber se chamamos Europa a um acordo de boa vizinhança, que nos permite ir a Bruxelas pedir um raminho de salsa para a tortilha, se a Europa é um diálogo, uma abertura, uma construção colectiva, se é a Europa um projecto político comunitário ou um conjunto de normas sanitárias e de directrizes para a calibragem de maçãs, se a Europa é, hoje, terra de cavaleiros que se batem pela democracia, ou escritório onde um grupo de cavalheiros se dispõem a tudo pilhar em nome dessa mesma democracia. Necessário é averiguar se o velho continente se transformou ou não num shopping vigiado, onde os cidadãos se confundem com os consumidores, ou se Europa é, afinal, o nome do arame farpado que estendemos ao longo do Mediterrâneo.
Isto escrevi há pouco mais de dois anos quando lançámos Boomerang, de Pedro Eiras, livro que abriu O Rato da Europa e – assim acreditávamos – seria em breve sucedido por outros que completariam a colecção, multiplicando pontos de vista sobre os mesmos assuntos. Enganámo-nos: o parto da Ópera Europa foi sangrento e demorado. A Europa que aí se opera sofreu profundas transformações desde o momento em que a Regina Guimarães começou a tratar da sua concepção até ao dito parto, a ponto da Europa onde essa outra Europa se pariu ser hoje uma realidade em crise. Esgotou-se a salsa, zangaram-se as comadres e acabaram-se as verdades. Não é que seja preciso ir tão longe para vender um projecto editorial, mas certo é que O Rato da Europa recobrou “actualidade” – o que vale hoje mais do que uma novena –, tanto que a Capital Europeia da Cultura resolveu (e bem, como lhe compete) apoiar a sua impressão. Não sei o que dirão disto “os mercados”, e nem queremos convencer-nos de que o papel gasto na publicação de seis livros seja suficiente para nivelar as trincheiras económicas que por todo o lado se escavam, mas ficam algumas ideias.
António Preto
Ópera Europa, de Regina Guimarães
Porque a ideia de Europa, como a forma operática, tem esse en-canto do qual facilmente se desconfia.
Porque era impossível fixar numa matéria uniforme todas as vozes que, só na minha pouca pessoa, discorrem sobre esse assunto.
Porque eis-nos fingidamente banzados perante o cinismo dos mestres da tecnocracia e da finança que, até há escassos meses, nos vendiam, por todos os media ao seu alcance, um conceito de Europa bem sucedida, rotulada como excepção, infamemente cunhada em reversos de moeda e dotada de tradições ad hoc.
E devemos estar muito gratos aos gregos por terem, à custa de penosas privações e protestos duramente reprimidos, posto os dedos nas muitas feridas cujo sangue só parecia correr às golfadas nos novos campos de extermínio dos clandestinos e dos nómadas.
Europa publi-cidade enganosa? Europa obra desenganada? Ópera bufa.
Regina Guimarães
Alexandra de Pinho
Discursos (Ex)Cêntricos no Teatro-Cine, inauguração no dia 16 de Março pelas 21h30.
Teatro-Cine de Pombal
Praça Manuel Henriques Júnior
3100-500 Pombal
tel.: 236 210 542/3
10/03/2012
Bring In Take Out Living Archive - Ljubljana
Exhibition:The Bring In Take Out Living Archive (LA) - Ljubljana, Interactive Contemporary Art Exhibition
Location: Alkatraz Gallery, Ljubljana
Date: LA Lab: March 7-10, 2012, 4 p.m. - midnight, LA Exhibition: March 7-23, 2012
Ljubljana edition features: Vesna Bukovec (Ljubljana), Ida Hiršenfelder (Ljubljana), Biljana Kašić (Zagreb), Margareta Kern (London), Tanja Marković (Belgrade), Karen Mirza (London), Vahida Ramujkić (Belgrade) and Aviv Kruglansky (Barcelona), Ana Vilenica (Pančevo) and many others.
The project is organized by: Red Min(e)d (Danijela Dugandžić Živanović, Katja Kobolt, Dunja Kukovec and Jelena Petrović)
The Red Min(e)d in collaboration with the International Feminist and Queer Festival Red Dawns (Ljubljana) and the Center for Women Studies (Zagreb) is organizing the second edtion of The Bring In Take Out Living Archive.
The second edition of LA consists of two exhibitions as live events. The artworks are emphasizing the archive as a paradigm for generating public space and new forms of sociality. In Alkatraz gallery the art works and screenings will co-create the laboratory for different exchange of information where anyone can join for documenting reality, live interviews, artist’s talks, and digitalizing or uploading on the spot. Kapelica gallery will host an interactive art project and public discussion on feminist strategies for the creation of an archive as a living knowledge. Beside reversing the traditional representations of women and re-questioning invisible histories (of women migrant workers), we tend to weave – in accordance with Rosi Braidotti’s concept of ‘becoming’ – the linkage across present and past in the act of constructing and actualizing possible futures.
With guerrilla action on the International Women’s Day 8th of March we are calling for resistance movements against all forms of social repression and economic exploitation by remembering the famous slogan of the textile women workers’ strike in Lawrence, Massachusetts on 8th of March, 1912: we want bread, and roses too.
Program (pdf)
More about projects (pdf)
Bring In Take Out Living Archive - Ljubljana
www.rdecezore.org
www.galerijalkatraz.org
Location: Alkatraz Gallery, Ljubljana
Date: LA Lab: March 7-10, 2012, 4 p.m. - midnight, LA Exhibition: March 7-23, 2012
Ljubljana edition features: Vesna Bukovec (Ljubljana), Ida Hiršenfelder (Ljubljana), Biljana Kašić (Zagreb), Margareta Kern (London), Tanja Marković (Belgrade), Karen Mirza (London), Vahida Ramujkić (Belgrade) and Aviv Kruglansky (Barcelona), Ana Vilenica (Pančevo) and many others.
The project is organized by: Red Min(e)d (Danijela Dugandžić Živanović, Katja Kobolt, Dunja Kukovec and Jelena Petrović)
The Red Min(e)d in collaboration with the International Feminist and Queer Festival Red Dawns (Ljubljana) and the Center for Women Studies (Zagreb) is organizing the second edtion of The Bring In Take Out Living Archive.
The second edition of LA consists of two exhibitions as live events. The artworks are emphasizing the archive as a paradigm for generating public space and new forms of sociality. In Alkatraz gallery the art works and screenings will co-create the laboratory for different exchange of information where anyone can join for documenting reality, live interviews, artist’s talks, and digitalizing or uploading on the spot. Kapelica gallery will host an interactive art project and public discussion on feminist strategies for the creation of an archive as a living knowledge. Beside reversing the traditional representations of women and re-questioning invisible histories (of women migrant workers), we tend to weave – in accordance with Rosi Braidotti’s concept of ‘becoming’ – the linkage across present and past in the act of constructing and actualizing possible futures.
With guerrilla action on the International Women’s Day 8th of March we are calling for resistance movements against all forms of social repression and economic exploitation by remembering the famous slogan of the textile women workers’ strike in Lawrence, Massachusetts on 8th of March, 1912: we want bread, and roses too.
Program (pdf)
More about projects (pdf)
Bring In Take Out Living Archive - Ljubljana
www.rdecezore.org
www.galerijalkatraz.org
Oprecht / Sincere - Sands Murray-Wassink
‘Oprecht / Sincere’ - Sands Murray-Wassink – 18 maart t/m 8 april 2012 - Cokkie Snoei
Ever since his first exhibition in 1997, Sands Murray-Wassink (1974 Topeka, Kansas USA, 1994 – present Amsterdam) has made work according to the feminist credo “the personal is political”.
Sinds zijn eerste tentoonstelling in 1997, heeft Sands Murray-Wassink (geboren in 1974 in Topeka, Kansas, vanaf 1994 wonend en werkend in Amsterdam) werk gemaakt op basis van het feministische credo "het persoonlijke is politiek".
Growing up in the Midwest of the United States, art was always a part of his life. From very early on, it was not entirely clear if Sands put art into his life or life into his art. Art has always held a therapeutic function for Sands, a form of mental and physical empowerment: movement and exercise, meditation, and reflection. Personal communication and dialogue with colleague artists has also been essential.
Opgroeiend in het Middenwesten van de Verenigde Staten, was kunst altijd al een deel van zijn leven. Van heel vroeg af aan, was het niet helemaal duidelijk of Sands kunst in zijn leven stopte of zijn leven in de kunst. Kunst heeft steeds een therapeutische functie gehad voor Sands, een vorm van mentale en fysieke ‘empowerment’: meditatie en reflectie, beweging en oefening. Persoonlijke communicatie en dialoog met collega-kunstenaars is voor Sands essentieel.
Vulnerability has always been a part of Sands’s work and approach. In his book, published in 2008 in Munich, “Profeminst WHITE FLOWERS”, Sands details his struggle with recovery from a hospitalization for manic depression, mixing in his love of perfume and gay sex and pornography. He sees this work as a feminist art theory research, giving the “gift” of his experiences in life back to the world. Seeing through his body…
Kwetsbaarheid is altijd al een deel van Sands werk en aanpak. In zijn boek, gepubliceerd in 2008 in München, "Profeminst WHITE FLOWERS", beschrijft Sands zijn strijd rond zijn herstel na een ziekenhuisopname voor manische depressiviteit en mengt die met zijn liefde voor parfum en gay seks en pornografie. Hij ziet dit werk als een feministisch kunsttheoretisch onderzoek; het teruggeven van zijn levenservaringen aan de wereld. ‘Seeing through his body…’
Sands sees his works in all mediums as interchangeable and equal. He tries not to make aesthetic decisions / distinctions, and he feels that his physical works represent and hold up a mirror to his physical, growing, ageing self. Mixing complex layered emotions and feelings of both moments of joy and moments of sadness, creating a fuller picture of the life-like / domestic quality he wishes his work to have.
Sands ziet zijn in diverse media uitgevoerde werk als onderling verwisselbaar en gelijk. Hij probeert daarbij geen esthetische beslissingen te nemen; onderscheid te maken tussen wat mooi en niet mooi is. En hij houdt zichzelf daarbij een spiegel voor, voor zijn fysieke, groeiende, verouderende zelf. Het mengen van complexe, gelaagde emoties en gevoelens van zowel momenten van vreugde als van momenten van verdriet, het creëren van een vollediger beeld van het levensechte, huiselijke; het zijn allemaal kwaliteiten die hij wil dat zijn werk heeft.
In the exhibition “Oprecht / Sincere” at Galerie Cokkie Snoei, Sands will show a selection of acrylic paintings on both paper and fabric made in the last several years, drawings, strips of wallpaper Sands had made with b/w images of attempts in his early 20’s to become a gay porno model, and video performance documentations.
In de tentoonstelling ‘Oprecht / Sincere’ bij Cokkie Snoei, zal Sands een selectie laten zien van in de laatste paar jaar gemaakte acryl schilderijen op zowel papier en stof, als tekeningen. Ook zijn te zien banen behangpapier, die Sands heeft gemaakt van zwart/wit foto's van pogingen in zijn ‘early twenties’ om een homo porno model te worden. Ook worden er documentatie video’s van eerdere performances getoond.
Sands regards his paintings / images and works in all mediums as relics of lived experience. Often boldly colored and either layered or spontaneously made, sometimes resembling political banners, the paintings have a kind of “broken stream of consciousness” appearance. Sands is fascinated by the flatness and at the same time the associative, figurative possibilities of painted pure text—trying to replicate what might go on in the creative human brain as it searches for freedom and meaning.
Sands beschouwt zijn schilderijen, beelden en werken in alle media als de overblijfselen van zijn doorleefde ervaring. Vaak in gedurfde kleuren en gelaagd of spontaan gemaakt, soms lijkend op een spandoek, hebben zijn schilderijen een soort van ‘broken stream of consciousness ‘ uiterlijk. Sands is gefascineerd door de vlakheid en op hetzelfde moment associatieve en figuratieve mogelijkheden van geschilderde pure tekst .
Hij probeert daarbij weer te geven wat zich in het creatieve brein zou kunnen afspelen als het op zoek gaat naar vrijheid en betekenis.
Sands’s performances have an awkward character, both casual and precise, in which Sands seeks to break down the conventions of performance, make it more like life. The objects in the exhibit are meant to have a similar function. When Sands is called a painter he insists that he is a body artist…when called a body artist he insists that he is a painter. The truth, as with his mentor artist Carolee Schneemann, lies somewhere in between…
Sands's performances zijn lastig te karakteriseren, ze zijn tegelijkertijd informeel als gestructureerd. Sands probeert de performance conventies af te breken wat ze meer op het leven laat lijken. De objecten in de tentoonstelling hebben een soortgelijke functie. Wanneer Sands een schilder wordt genoemd, staat hij erop dat hij een performance kunstenaar is. Als hij een performance kunstenaar wordt genoemd, benadrukt hij dat hij een schilder is. De waarheid ligt, net als bij zijn mentor; de kunstenaar Carolee Schneemann, ergens in het midden ...
Opening: zondag / Sunday 18 March 16:00 – 18:00
De tentoonstelling wordt op 18 maart om 17:00 uur geopend door feministische kunstenaar en activist Suzanne van Rossenberg.
The exhibition will be opened on 18 March at 17:00 with words by feminist artist and activist Suzanne van Rossenberg.
Ever since his first exhibition in 1997, Sands Murray-Wassink (1974 Topeka, Kansas USA, 1994 – present Amsterdam) has made work according to the feminist credo “the personal is political”.
Sinds zijn eerste tentoonstelling in 1997, heeft Sands Murray-Wassink (geboren in 1974 in Topeka, Kansas, vanaf 1994 wonend en werkend in Amsterdam) werk gemaakt op basis van het feministische credo "het persoonlijke is politiek".
Growing up in the Midwest of the United States, art was always a part of his life. From very early on, it was not entirely clear if Sands put art into his life or life into his art. Art has always held a therapeutic function for Sands, a form of mental and physical empowerment: movement and exercise, meditation, and reflection. Personal communication and dialogue with colleague artists has also been essential.
Opgroeiend in het Middenwesten van de Verenigde Staten, was kunst altijd al een deel van zijn leven. Van heel vroeg af aan, was het niet helemaal duidelijk of Sands kunst in zijn leven stopte of zijn leven in de kunst. Kunst heeft steeds een therapeutische functie gehad voor Sands, een vorm van mentale en fysieke ‘empowerment’: meditatie en reflectie, beweging en oefening. Persoonlijke communicatie en dialoog met collega-kunstenaars is voor Sands essentieel.
Vulnerability has always been a part of Sands’s work and approach. In his book, published in 2008 in Munich, “Profeminst WHITE FLOWERS”, Sands details his struggle with recovery from a hospitalization for manic depression, mixing in his love of perfume and gay sex and pornography. He sees this work as a feminist art theory research, giving the “gift” of his experiences in life back to the world. Seeing through his body…
Kwetsbaarheid is altijd al een deel van Sands werk en aanpak. In zijn boek, gepubliceerd in 2008 in München, "Profeminst WHITE FLOWERS", beschrijft Sands zijn strijd rond zijn herstel na een ziekenhuisopname voor manische depressiviteit en mengt die met zijn liefde voor parfum en gay seks en pornografie. Hij ziet dit werk als een feministisch kunsttheoretisch onderzoek; het teruggeven van zijn levenservaringen aan de wereld. ‘Seeing through his body…’
Sands sees his works in all mediums as interchangeable and equal. He tries not to make aesthetic decisions / distinctions, and he feels that his physical works represent and hold up a mirror to his physical, growing, ageing self. Mixing complex layered emotions and feelings of both moments of joy and moments of sadness, creating a fuller picture of the life-like / domestic quality he wishes his work to have.
Sands ziet zijn in diverse media uitgevoerde werk als onderling verwisselbaar en gelijk. Hij probeert daarbij geen esthetische beslissingen te nemen; onderscheid te maken tussen wat mooi en niet mooi is. En hij houdt zichzelf daarbij een spiegel voor, voor zijn fysieke, groeiende, verouderende zelf. Het mengen van complexe, gelaagde emoties en gevoelens van zowel momenten van vreugde als van momenten van verdriet, het creëren van een vollediger beeld van het levensechte, huiselijke; het zijn allemaal kwaliteiten die hij wil dat zijn werk heeft.
In the exhibition “Oprecht / Sincere” at Galerie Cokkie Snoei, Sands will show a selection of acrylic paintings on both paper and fabric made in the last several years, drawings, strips of wallpaper Sands had made with b/w images of attempts in his early 20’s to become a gay porno model, and video performance documentations.
In de tentoonstelling ‘Oprecht / Sincere’ bij Cokkie Snoei, zal Sands een selectie laten zien van in de laatste paar jaar gemaakte acryl schilderijen op zowel papier en stof, als tekeningen. Ook zijn te zien banen behangpapier, die Sands heeft gemaakt van zwart/wit foto's van pogingen in zijn ‘early twenties’ om een homo porno model te worden. Ook worden er documentatie video’s van eerdere performances getoond.
Sands regards his paintings / images and works in all mediums as relics of lived experience. Often boldly colored and either layered or spontaneously made, sometimes resembling political banners, the paintings have a kind of “broken stream of consciousness” appearance. Sands is fascinated by the flatness and at the same time the associative, figurative possibilities of painted pure text—trying to replicate what might go on in the creative human brain as it searches for freedom and meaning.
Sands beschouwt zijn schilderijen, beelden en werken in alle media als de overblijfselen van zijn doorleefde ervaring. Vaak in gedurfde kleuren en gelaagd of spontaan gemaakt, soms lijkend op een spandoek, hebben zijn schilderijen een soort van ‘broken stream of consciousness ‘ uiterlijk. Sands is gefascineerd door de vlakheid en op hetzelfde moment associatieve en figuratieve mogelijkheden van geschilderde pure tekst .
Hij probeert daarbij weer te geven wat zich in het creatieve brein zou kunnen afspelen als het op zoek gaat naar vrijheid en betekenis.
Sands’s performances have an awkward character, both casual and precise, in which Sands seeks to break down the conventions of performance, make it more like life. The objects in the exhibit are meant to have a similar function. When Sands is called a painter he insists that he is a body artist…when called a body artist he insists that he is a painter. The truth, as with his mentor artist Carolee Schneemann, lies somewhere in between…
Sands's performances zijn lastig te karakteriseren, ze zijn tegelijkertijd informeel als gestructureerd. Sands probeert de performance conventies af te breken wat ze meer op het leven laat lijken. De objecten in de tentoonstelling hebben een soortgelijke functie. Wanneer Sands een schilder wordt genoemd, staat hij erop dat hij een performance kunstenaar is. Als hij een performance kunstenaar wordt genoemd, benadrukt hij dat hij een schilder is. De waarheid ligt, net als bij zijn mentor; de kunstenaar Carolee Schneemann, ergens in het midden ...
Cokkie Snoei
Maurtisweg 55
3012 JX
Rotterdam
Netherlands
http://www.cokkiesnoei.com/
09/03/2012
Diferencia y Acuerdo
We collaborate with the 1st edition of the festival Miradas de Mujeres with the group show:
Diferencia y Acuerdo
March 10th to March 24th
Tuesdays to Saturdays from 10 am to 2 pm
Sarah Lucas .- Cake “Beer”. 37,5 x 37,5 x 10 cms. 2001
Private view:
Saturday, March 10th
From 11 am to 15 pm
Diferencia y acuerdo reflects on the subversion of codes that exemplify the modus operandi of the agreement that points out gender differences in the representation field. The group show will comprise works by:
Manu Arregui (Santander, 1970)
Risk Hazekamp (La Haya, 1972)
Yang Jing (Beijing, 1976)
Sarah Lucas (London, 1962)
Yasumasa Morimura (Osaka, 1951)
Catherine Opie (Sandusky, Ohio, 1961)
Liang Yuanwei (Xi’an, China, 1977)
Do not hesitate to contact the gallery for further information
www.espaciominimo.es galeria@espaciominimo.es Tel: +34 91 467 61 56
Galería Espacio Mínimo
Doctor Fourquet, 17
E-28012 Madrid (Spain)
Tf: 34 91 467 6156
E-mail: galeria@espaciominimo.es
http://www.espaciominimo.es
08/03/2012
March 8 in London - WOW
Emeli Sandé - Southbank Centre / WOW – Women of the World festival
Sinead O' Connor - Saturday 10th
Sugestões da Umar para Celebrar o dia Internacional da Mulher, em Portugal
Iniciativas organizadas ou apoiadas pela UMAR de comemoração do Dia Internacional das Mulheres, 8 de Março
Coimbra
A partir das 16h:
- ocupação simbólica da Praça 8 de Maio com a substituição temporária da placa e do nome da praça que nesse dia irá se chamar:Praça 8 de Março (Dia Internacional das Mulheres).
- Distribuição de informação
- Instalações: Histórias de Mulheres Estendidas
A Origem do Pecado
- Performances: Adaptação da peça de teatro "Carne, Capitalismo e Patriarcado" da companhia de Teatro Kiwi
"A Colher, o Marido e a Mulher".
- Flash Mob às 18h30m "O aborto é um direito." Este flash mob está a ser convocado pela UMAR e irá ser feito também em Lisboa e consistirá num happening em que as pessoas que quiserem participar empunharam um cartaz com a frase: "O Aborto é um Direito".
Lisboa
Em Lisboa, o 8 de Março celebra-se com uma flash mob "O ABORTO É UM DIREITO" em frente à Residência oficial do Primeiro-Ministro, às 18.30h (ver mapa), e a 9 de Março, com a FESTA FEMINISTA - O lado F da crise (mais informações, aqui), em conjunto com vários colectivos.
Coimbra
A partir das 16h:
- ocupação simbólica da Praça 8 de Maio com a substituição temporária da placa e do nome da praça que nesse dia irá se chamar:Praça 8 de Março (Dia Internacional das Mulheres).
- Distribuição de informação
- Instalações: Histórias de Mulheres Estendidas
A Origem do Pecado
- Performances: Adaptação da peça de teatro "Carne, Capitalismo e Patriarcado" da companhia de Teatro Kiwi
"A Colher, o Marido e a Mulher".
- Flash Mob às 18h30m "O aborto é um direito." Este flash mob está a ser convocado pela UMAR e irá ser feito também em Lisboa e consistirá num happening em que as pessoas que quiserem participar empunharam um cartaz com a frase: "O Aborto é um Direito".
Lisboa
Em Lisboa, o 8 de Março celebra-se com uma flash mob "O ABORTO É UM DIREITO" em frente à Residência oficial do Primeiro-Ministro, às 18.30h (ver mapa), e a 9 de Março, com a FESTA FEMINISTA - O lado F da crise (mais informações, aqui), em conjunto com vários colectivos.
Funchal
Na Madeira, a UMAR celebra o 8 de Março com um jantar/ tertúlia de homenagem ao dia das Mulheres, pelas 19.30horas, no restaurante Pizaria "La Carbonara". Podem inscrever-se através do mail umarmadeira@gmail.com" ou para o número de telemóvel 962981792.
A 7 de Março, o núcleo realiza uma acção pública no largo do Chafariz pelas 16.30 horas.
Sines
De manhã, no Largo dos Galegos e Mercado Municipal: Colaboração com a Biblioteca Municipal e a Escola das Artes de Sines na iniciativa “Vozes no Feminino”. Dramatização emblemática, na perspectiva de género, sobre mulheres que marcaram a história. Às 15h30, na Tenda no Parque Desportivo Municipal João Martins (ex-IOS): Enquadramento histórico-político do dia 8 de Março. Participação no lanche-convívio promovido pela CMS e recolha de testemunhos de mulheres do concelho. Iniciativas no âmbito da Semana da Igualdade de Género em Sines, do Projecto BIIG - Biblioteca Itinerante pela Igualdade de Género.
Braga
Em Braga, a UMAR participa na performance "ObjeSSão", às 16h do dia 10 de Março, frente à esplanada da Brasileira/Casa dos Crivos (mais informações, no facebook).
Na Madeira, a UMAR celebra o 8 de Março com um jantar/ tertúlia de homenagem ao dia das Mulheres, pelas 19.30horas, no restaurante Pizaria "La Carbonara". Podem inscrever-se através do mail umarmadeira@gmail.com" ou para o número de telemóvel 962981792.
A 7 de Março, o núcleo realiza uma acção pública no largo do Chafariz pelas 16.30 horas.
Sines
De manhã, no Largo dos Galegos e Mercado Municipal: Colaboração com a Biblioteca Municipal e a Escola das Artes de Sines na iniciativa “Vozes no Feminino”. Dramatização emblemática, na perspectiva de género, sobre mulheres que marcaram a história. Às 15h30, na Tenda no Parque Desportivo Municipal João Martins (ex-IOS): Enquadramento histórico-político do dia 8 de Março. Participação no lanche-convívio promovido pela CMS e recolha de testemunhos de mulheres do concelho. Iniciativas no âmbito da Semana da Igualdade de Género em Sines, do Projecto BIIG - Biblioteca Itinerante pela Igualdade de Género.
Braga
Em Braga, a UMAR participa na performance "ObjeSSão", às 16h do dia 10 de Março, frente à esplanada da Brasileira/Casa dos Crivos (mais informações, no facebook).
Porto
No dia 8 de Março de 2012, o Projeto “Mudanças com Arte II” (UMAR), realiza no Porto acções de sensibilização: uma na Rua de Santa Catarina (10,30-12h) e outra no Centro Social do Amial (15h- 16, 30h). Estas acções visam alertar, informar e conscientizar a população para a celebração do dia, com várias actividades, chamando a atenção para o drama da violência e da desigualdade de género.
Bicicletada do Dia das Mulheres, 11 de Março, 10.30h, Castelo do Queijo (Foz, Porto). Organização da Marcha Mundial das Mulheres.
No dia 8 de Março de 2012, o Projeto “Mudanças com Arte II” (UMAR), realiza no Porto acções de sensibilização: uma na Rua de Santa Catarina (10,30-12h) e outra no Centro Social do Amial (15h- 16, 30h). Estas acções visam alertar, informar e conscientizar a população para a celebração do dia, com várias actividades, chamando a atenção para o drama da violência e da desigualdade de género.
Bicicletada do Dia das Mulheres, 11 de Março, 10.30h, Castelo do Queijo (Foz, Porto). Organização da Marcha Mundial das Mulheres.
07/03/2012
Art Practice, Activism, and Pedagogy: Some Feminist Views
Conference: Art Practice, Activism, and Pedagogy: Some Feminist Views
April 5, 2012 9:00 a.m. - 5:00 p.m.
In Art Practice, Activism, and Pedagogy, women artists who have embraced feminism in their art and social practice speak about its impact on their careers, the supportive communities it has created, and their current work. As artists engaged in individual and social practice and direct political activism, they discuss what it means to be a feminist artist today in the context of diverse forms of political engagement.
The conference is organized by Parsons Fine Arts faculty member Mira Schor, a painter and noted writer on feminist art and painting in a postmedium culture.
Speakers:
Susan Bee, painter, co-editor of M/E/A/N/I/N/G: An Anthology of Artists’ Writings, Theory, and Criticism, instructor at the School of Visual Arts
A.K. Burns, artist, collaborator in Working Artists and the Greater Economy (W.A.G.E.)
Audrey Chan, Los Angeles–based artist and writer, gallery teacher at the J. Paul Getty Museum
Maureen Connor, artist, member of The Institute for Wishful Thinking, professor at Queens College
Caitlin Rueter and Suzanne Stroebe, artists, founders of the Feminist Tea Party
Ulrike Müller, artist, co-editor of the gender-queer feminist art journal LTTR, instructor at the Vermont College of Fine Arts
April 5, 2012 9:00 a.m. - 5:00 p.m.
In Art Practice, Activism, and Pedagogy, women artists who have embraced feminism in their art and social practice speak about its impact on their careers, the supportive communities it has created, and their current work. As artists engaged in individual and social practice and direct political activism, they discuss what it means to be a feminist artist today in the context of diverse forms of political engagement.
The conference is organized by Parsons Fine Arts faculty member Mira Schor, a painter and noted writer on feminist art and painting in a postmedium culture.
Speakers:
Susan Bee, painter, co-editor of M/E/A/N/I/N/G: An Anthology of Artists’ Writings, Theory, and Criticism, instructor at the School of Visual Arts
A.K. Burns, artist, collaborator in Working Artists and the Greater Economy (W.A.G.E.)
Audrey Chan, Los Angeles–based artist and writer, gallery teacher at the J. Paul Getty Museum
Maureen Connor, artist, member of The Institute for Wishful Thinking, professor at Queens College
Caitlin Rueter and Suzanne Stroebe, artists, founders of the Feminist Tea Party
Ulrike Müller, artist, co-editor of the gender-queer feminist art journal LTTR, instructor at the Vermont College of Fine Arts
05/03/2012
Miguel Bonneville#9
Das 16h às 18h na Capela Carlos Alberto de Sardenha, nos Jardins do Palácio de Cristal
MB#9 é o fim. É uma cerimónia onde se celebram as performances anteriores e a absorção dos seus valores fundamentais para que se possa iniciar um novo volume.
ALGUMAS FORMAS CREDÍVEIS (...): A partir das 18h na Quase Galeria / Espaço T
Rua do Vilar, n.º 54 - 54A, 4050-625 Porto
Telefone 22 608 19 19| 20 | 21
‘Algumas formas credíveis para reconstrução da pessoa através de seus fragmentos’ é uma retrospectiva dos trabalhos de Bonneville na Quase Galeria (Espaço T), com curadoria de Maria de Fátima Lambert.
Emergency Index
"PENACHO VS PENACHO"
with Crazy Boy and Superdevolución Copilli Quetzalli
first performed on March 19, 2011
Arena López Mateos, Tlalnepantla, Mexico
performed once in 2011
(photo: Eduardo Thomas)
Linda Aloysius
Bird, 2011 Mixed Media
"Aloysius’ semi-figurative works often wear tattered old garments that gesture towards notions of feminine identity – the eternal bride, the old bird, the painted lady. We might quickly surmise that they are a riposte to the cock-sure monumentalism of sculptures hewn and erected by men: all those giant embodiments of machismo that populate our plazas and museums are rendered absurd, faltering, unbalanced. Their subversive intelligence chips away at a more recent layer of art history too: they stand in contrapuntal relationship to the virile residues of (mostly male) postminimal artists from the 1970s onwards. In the works before you, the scattering and binding of materials speaks not of testosterone-fuelled action (as it often did to an earlier generation), but of a compulsion to use extant objects as queues for new forms. It is action born of responsibility, desire and attentiveness.
Doubt is a generative force, and it unravels these objects quickly. They look like figures, but are they not also in many ways abstract? Are those scrubby dabs of paint part of the found objects or later additions? What is the significance of Aloysius’ observations and engagements with the built environment and its detritus? Is that rip, that rupture, not somewhat obscene? Named after terms for women in boorish everyday language – Bird, Bag, Angel – they live up to their names by donning garbs of grubby silk voile, concrete ballet shoes and broken tiaras. If monumentalism and masculine sculpture is inverted here, so too are these wearisome clichés of femininity. Such a concatenation pre-empts deeply embedded ways of looking: the anthropomorphic eye that makes abstract forms human, and the priapic eye that objectifies life.
Jean-François Lyotard once remarked that, “What cannot be tamed is art as silence.” In their quest to wriggle free from easy definitions, Aloysius’ works suggest themselves to us as unmediated materials. They engage with the concreteness of language, stripping it of its symbolism to locate what might be called its pre-linguistic modus operandi. To pin them down, I would need to resort to endless clauses: ‘but’, ‘although’, ‘nevertheless’. And so, I find myself writing a text not so much about objects as the ghost of language. These sculptures locate an anxiety between words and objects, a skirmish that neither can win. How shall we proceed? What I can say, finally, is: be alert to the objects here, for there is more in them than this text can contain.Linda Aloysius is in her final year of a practice led PhD at Goldsmiths College. Her work was selected by Phyllida Barlow for the Creekside Open at APT Gallery, London last year; She also showed in 2011 alongside Matt Calderwood, Angela de la Cruz, Alexis Harding, Ana Prada, Paul Harrison and John Wood. Other recent exhibitions include at Sir John Soane’s Museum, London and the Centre for Contemporary Culture, Barcelona."
MADDER139
Open Thursday – Saturday 12–6pm
137 Whitecross Street, London EC1Y 8JL
+44 (0)20 7490 3667
03/03/2012
Feminist Porn Archive
The 'Feminist Porn Archive' was created by a small group of researchers here at York University, and funded in part by a grant from the Faculty of Arts, and is designed to generate and document the production of feminist porn. Over the years, we have discovered that there are few places to send our students to do research on the existence of feminist porn (conventional libraries do not collect these materials). There’s a great deal of material being produced by feminist, queer and transsexual/transgender artists, film-makers, sex radicals and so forth but there are few places where these materials are being housed, documented, and/or made available for research. You can find a great deal of material online but such sources may not be either academic nor historical and might not help answer questions like: What kinds of porn were feminists making in the 1970s or 1960s? or What does 'feminist porn' mean in the first place? We operate by donation; we are looking to gather materials (magazines, drawings, film, video, posters, etc.) and invite donations. For details on how who we are, on how to donate material to the archive, or to find out more about feminist porn, just follow the links in the menu.
http://www.arts.yorku.ca/wmst/bnoble/feminist_porn/index.html
http://www.arts.yorku.ca/wmst/bnoble/feminist_porn/index.html
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