The Art Bar, Gladstone Hotel
Toronto, Ontario, Canada
Hosted by Brock University
The legacy of women’s boxing, including women fighting for financial gain, traces back to the first
half of the 18th century. Yet women’s amateur boxing only became legalized in many parts of the
Americas in the 1990s. There are now over 120 international boxing federations with registered
female competitors, and the debut of women’s boxing at the London Olympics placed it on an
This two-day symposium seeks to explore the diverse ways women have participated in amateur
and professional boxing. The purpose will be to investigate women’s involvement in boxing in its
broadest sense, from historical, ethnographic, cultural, and artistic perspectives. This cross-genre
approach hopes to take into account the multiple, often intersecting, aspects of this exploitative and
dysfunctional, yet equally compelling and beautiful, sport.
“Fighting Women” encourages presentations from diverse fields of study, including physical
cultural studies, women and gender studies, history, media and communications, film studies,
sociology, visual artists, and filmmakers, among others. Topics may include, but are certainly not
* Histories of Fighting Women * Ethnographies and Oral Histories * Cultural Representations
* Theoretical Discussions * Identity Formation * Visual/Artistic Expressions * New Media and Social Networks * Embodiment and Agency
Please email abstracts of 250 words for 30-minute presentations or visual/film exhibits together with a one-page CV including the author’s name, institutional affiliation and position, phone number, and postal and email addresses to email@example.com.
Abstract Deadline: January 31, 2013.
All submissions will be evaluated by the Program Committee and a preliminary program will be announced by February 15, 2013.
@ Fish and Coal Building
Granary Square, King's Cross
London N1C 4AA
The first time I encountered Greta's work was at The Mews project space, at the time a video 'In The Praise of the Beast' that this year was selected for The London Open at the Whitechapel Gallery, I had seen some documentation of another project 'In Ictu Oculi', and I have always been drawn to her use reference, through animals, to life and death drives, the pleasurable and the abject, the sweet and delicate arrangement of a feast that then is offered to vultures. In this new project we have again an animal at the centre of the action, this time a mouse.
As is written in the press release "a rat holds command over an empty Victorian office. It has grown and usurped the managers and clerks' posts. It sniffs curiously at the furniture and walls. Trapped by heavy tables and thick walls within the rigid arrangement of the workplace, caged and alienated in a world of routine and bureaucracy, the rat becomes a spectre of order and productivity."
"Greta Alfaro was born in Spain in 1977 and studied fine art at the Universidad Politécnica de Valencia. In 2011 graduated with distinction with a Master in Photography from the Royal College of Art where she was the first beneficiary of the Genesis Photography Scholarship. The exhibition is the culmination of the foundation's ongoing support of the artist. Alfaro has exhibited individually and collectively across Europe."
Curated by Flora Fairbairn
to be seen until October 24.
To see until the end of this month, Hear What I Say, by British artist Penelope Slinger (b. 1947), at the Riflemaker Gallery - London.
The exhibition is mainly composed of photographic collages from the 1970s. "In these pices, Slinger uses the tools provided by Surrealism to penetrate the female psyche, presewnting herself as both subject and object in a group of collages and montages which sidestep the then current themes of 1960s and 70s art."
Maxa Zoller writes in her essay for the little catalogue that accompanies this exhibition:
"I have been wondering: why Slinger's images are not joyful celebrations of female liberation? Was the 'pill', or the 'cap', the independence of women from patriarchy leading to economic, intellectual and political self-determination, not reason enough for the production of more victorious symbols? Slinger's collages resist an all-too-easy process of 'liberation', a term fashionable in the counter-cultural middle class of the '60s generation, but which in reality only hides repressive libertarian ideology, according to Philippe Sollers. Penny's images could be described as acts of morning. It is as if the artist seeks to destruct and sacrifice (from Latin: make holy) the space of domesticity traditionally assigned to the woman/womb.
Another exhibition by a woman artist, quite active in the '70s that became invisible afterwards, in her case probably because she left the UK to the West Indias and the the United States, finding now a renovated interest after her photo-collages were shown at Tate St Ives in 2009 as part of The Dark Monarch: Magic and Modernity in Modern Art.
Archival Materials, Practices, Politics and Poetics, workshop with Hyun Jin Cho and Nina Hoechtl 10 October | 5-7pm | Free to attend RVSP
@ Women’s Art Library, Goldsmiths University of London
The VBKOE (Vereinigung bildender Künstlerinnen Österreichs – Austrian Association of Women Artists) archive contains a sizable amount of mixed materials – such as letter correspondences, funding applications, day-to-day records as well as prints and works realised by women artists – since its foundation in 1910. This archive reflects a changing history from the latter days of imperialism to the fall of the Habsburg Empire and WWI, Austro-Fascism and the Nazi Era through to the progressive movements in the arts in Austria then to the expansion of the European Union and the current austerity cuts in public funding.
This workshop will be based on our participation in the VBKOE archive and hopes to extend the discussion to the archival politics more broadly. The archival politics, in our minds, points to the entangled relations between the politics and materials. Therefore, we would like to touch on the basic questions regarding any archive – as a site to bring in the past, present and future all together in a non-linear timeline: why some things have become part of the archive initially, and how meaning is being engendered over time. How do the politics and ideologies play a role in the archive's becoming? How do archives and (self-)history writing manifest themselves physically and spatially? What form does an archive take to allow appropriations, poetics, reevaluation and changes? How can a critical self-examination be set in motion? How can the public be involved in the processes of the archive? We would like to discuss these questions through the lens of a feminist and Boal methodology.
Hyun Jin Cho & Nina Hoechtl are both artists and have made collaborative works; they also have been involved with archiving work in different contexts. Hyun Jin Cho worked previously as the archivist for the film distribution company Artificial Eye. Nina Hoechtl is a board member of VBKOE since the beginning of 2012 and has been tasked with the VBKOE archive.
ALL MY INDEPENDENT WOMEN 2012
Interested in understanding and supporting feminist modes of production and circulation of artists’ practices that deal with issues around gender, this project marks the coming together of three important archives: the Women’s Art Library/Make, the Open Music Archive, and the AMIW Video Lounge.
The programme combines a series of talks, workshops, roundtable discussions, and viewings hosted at Goldsmiths University of London over a three months period, and two music commissions to be premiered on the 16 November at Cafe OTO.
With: Miguel Bonneville, Genève Brossard, Ele Carpenter, Catarina Carneiro de Sousa, Hyun Jin Cho, Carla Cruz, Beatrice Dillon, Mónica Faria, Althea Greenan, Karen Gwyer, Mika Hayashi Ebbesen, Risk Hazekamp, Nina Hoechtl, Anna Jonsson, Alex Martinis Roe, Cristina Mateus, Susana Mendes Silva, Sameiro Oliveira Martins, Lara Perry, Rita Rainho, Flávio Rodrigues, Eileen Simpson, Evelin Stermitz, Francesco Ventrella, Lenka Vráblíková, Ben White.
Exploring the different forms of distribution, promotion, and preservation performed by these archives that were once living networks, All My Independent Women 2012 searches for new modes of accountability and circulation within the arts that are based on dialogue with a potential for re-invention.
@ Women’s Art Library, Goldsmiths University of London
27 September – 14 December | AMIW Video Lounge | Collection of video art by feminist artists belonging to All My Independent Women’s network
28 September 5-7pm | Practicing Sexual Difference | Workshop by Alex Martinis Roe
10 October 5-7pm | Archival Materials, Practices, Politics and Poetics | Workshop by Hyun Jin Cho and Nina Hoechtl
2 November 5-7pm | Feminist Curatorial Practices | Talk by Lara Perry and Francesco Ventrella Free to attend | RSVP
9 November 5-7pm | The Creative Commons within the Arts | Round table discussion with Ele Carpenter (Embroider Digital Commons), and Eileen Simpson & Ben White (Open Music Archive) Free to attend, RSVP
5 December 5-7pm | Re-engaging Archived Art Practices | Guided exploration of the Women’s Art Library and the Women’s Revolutions Per Minute archives by Althea Greenan and Mika Hayashi Ebbesen Free to attend | RSVP
Women’s Art Library/Make Goldsmiths University of London Special Collections Reading Room – Rutherford Building (Library) New Cross, London, SE14 6AF www.gold.ac.uk/make firstname.lastname@example.org Opening Hours: Monday – Friday 10am – 5pm (Wednesdays until 7pm)
@ Cafe OTO 16 November 8pm | The Brilliant and the Dark – B Side Samples for Remix | An Open Music Archive Project | Performances by Karen Gwyer, Beatrice Dillon, and the Open Music Archive
THE ART OF AGING AND AGING IN ART Aging is a process that actually starts at birth. We are never a day, a month or a year younger even though people say it when congratulating you on your birthday, starting at about the age of 40: “50? Impossible, I’d give you 30 tops, maybe 31!” At the same time, we are offered seats on the bus which is a sure sign that our looks reflect our actual age. The appearance of age has become an important driving force for capitalism and corporate power to control people’s lives. The look of youth is a norm that has become deep-rooted in most parts of the world; to be fit and to have supple skin is the best formula for success, and which not only propels cosmetics companies but also aesthetic surgery, the pharmaceutical industry and employment markets. All manner of pills, a small cut here and a little something added there – it all makes it easier to survive although it is very expensive and only accessible to a certain social class. The rejuvenation industry is a new separation line between the rich and the poor who are now separated from a decent life by yet another insurmountable gap. Read more here