HEISSE STEINE, NASSE ZONEN, SCHNELLE MELONEN (HOT STONES, WET ZONES, FAST MELONS)

the annual statement exhibition of interscholastic, fantastic and iconoclastic affairs
at the bombastic VBKÖ, up the stairs
Maysedergasse 2/4th floor
1010 Vienna

GRANDE OPENING
TUESDAY
december the 3rd
7pm

22 positions
1 exhibition

works we love,
works we adore,
works that make us throw up our hands in horror,
all in one room por favor.

WITH:
Captain Cunt
Katharina Lampert
Simon Foxall
Toni Schmale
Katrina Daschner
Marianne Vlaschitz
Ralo Mayer
Anja Ronacher
Fahim Amir
Ursula Maria Probst
Veronika Hauer
Roberta Lima
Johanna Kirsch
Moira Hille
Daniel Hafner
Melanie Bonajo
Candida Powell-Williams
Jonathan Baldock
Paul de Florian
Krôôt Jurak
Nicole Miltner
Angela Wiedermann.

HEISSE STEINE, NASSE ZONEN, SCHNELLE MELONEN
is about playing.
about deconstructing and transforming identities while doing so.
we are and we are not...
a torrent of flowing bodies in all states of desire.
a lesbian drag-queen, a bi-sexual macho squirrel, an aroused rock formation.


KOMMEN SIE ALLE,
lets enlighten dark dark viennese december together.
pantha-rhei, play!
beaming with prejoy,
elke & esther

Where Molluscs Huddle and Wizards Roar: Sovay Berriman: The Agency: London

Sovay Berriman’s sculptures and drawings are devised to work together as an ensemble. Berriman uses the principles of dramaturgy and scenography to position sculptural objects, drawings, signs and the audience into a terse relationship, which carries the potential for sudden, or gradual, transformations. She approaches sculpture not as a fixed object, but one, which through gravity or performative interaction may take on variations of meanings. Beginning with Entertainment Suite (2010 –ongoing), a modular perspex and wood structure, which was devised for Entertaining at the Dust Lounge a solo show at Exeter Phoenix, Berriman embarked on a series of research led explorations of stages for activity, addressing the role an object/ stage construction plays in influencing the social and physical behaviour of the audience, protagonist or director Prevalent in experimental theatre, cognitive behaviour theory, but also and more commonly in the psychology of mass entertainment the subject or the audience are compelled to move or behave in certain ways prescribed by the manner in which the stage or the auditorium is laid out and how the dramaturgy governs their behaviour. A reduced language of visual printed signs, which Berriman developed based on her observations, adds a further dimension to her work, which is neither drawing nor object, but gives directions for behavioural circumstances, which may or may not arise in the given constellations.

EVENT
On Saturday 14th December Sovay Berriman will be screening the Powell & Pressburger movie version of The Tales of Hoffman (1951) starring Moira Shearer as a Symbol Archive event to accompany the show. There will be warming refreshments provided.


The Agency
66 Evelyn Street, Deptford, SE8 5DD
Exhibition Open
20th November 2013 to 18th January 2014
(closed 15th Dec - 3rd Jan)

Private View
Tuesday 19th November 2013 6:30 - 8:30pm

Manuela Marques: Backstage @ Caroline Pagès Gallery: Lisbon

Opening on Friday, November 22 at 10 pm
November 22 - January 25


Galeria Caroline Pagès
Rua Tenente Ferreira Durão, 12 – 1o Dto.
[Campo de Ourique]
1350-315 Lisboa, Portugal
www.carolinepages.com

PRACTISING FEMINISM WORKSHOPS

‘Practising Theory’

November 21st

We would like to invite you to the first in a series of workshops and lectures, which will consider questions of feminist art practice; what the role of feminism is in contemporary art practice, how we relate to feminist genealogies, critiques, methods and theory as practising artists, writers and critics, how might we resituate knowledge as feminist, and how feminist practices and methodologies have and continue to influence contemporary art practices.

The workshop structure is intended to test a historical model in an academic context now, which has influenced much contemporary practice (to include alleged socially engaged and relational practices).  We imagine challenges and critiques of the workshop as feminist pedagogical structure to form a part of the series.  

Our first day’s session considers the particular relationships between reading. writing and artmaking within the framework of feminist practices.  

It is essential that you book a space for the workshops. To do so please contact Linda Stupart or Karen Henderson:

linda.stupart@gmail.com or klhende@hotmail.com

NOVEMBER 21^st PRACTISING THEORY

Both workshops will take place in The Women's Art Library (MAKE) which is located in the Special Collections Suite on the ground floor of the Library.

11:00 – 13:00    Workshop with Melissa Gordon

14:00 – 16:00    Workshop with Sharon Kivland

17:00    Public Lecture by Sharon Kivland NAB LG02

19:00    followed by Goldsmiths Launch of PERSONA  with Marina Vishmidt and Melissa Gordon presenting
Studio B Room 005

Future Events

2 more day long workshop events are planned for the Spring term, dates TBC.

The next will look at the institution of feminism in relation to art institutions, and the historicization of feminism.  Specific questions to be addressed are who decides what is and what is not a feminist practice?  How do these practices operate within institutions, and what can they achieve politically?

The final event will look at feminist practices in relation to activism.  We will consider how feminist strategies of protest are being deployed in contemporary political events and consider various forms of embodied and other protest practices.

Supported by Art Research Programmes, Department of Art, Goldsmiths

Sharon Kivland is an artist and writer working in London and France. Reader in Fine Art at Sheffield Hallam University, she is also a Research Associate of the Centre for Freudian Analysis and Research, London, and editor of the journal Transmission Annual. She is  a keen reader, considering what is put at stake at the intersection of art, psychoanalysis, and politics. She has described her practice is one of stupid refinement, trapped in archives, libraries, the arcades, and the intersection of public political action andprivate subjectivity. For some years she has been following Sigmund Freud on holiday, rewriting Zola's novel Nana, and assembling a number of (shall we say) private collections. Her work is represented by DOMOBAAL, London, Galerie Bugdahn und Kaimer, Düsseldorf, Galerie des petits carreaux, Paris, and Johan Deumens Gallery, Amsterdam.

Melissa Gordon is an American artist based in London. She studied at De Ateliers in Amsterdam and currently is a Lecturer in Fine Art on the BA at Goldsmiths. She has recently exhibited at Spike Island, Bristol, Martin Gropius Bau, Berlin, and S1 Artspace in Sheffield. She co-edits LABOUR and PERSONA, independent publications on art and work with a feminist perspective with Marina Vishmidt. 

PERSONA is an artist-led magazine co-edited by Melissa Gordon and Marina Vishmidt. It is the second in a series of magazines that grew out of the need to respond to a series of questions that arose during four meetings of female artists entitled "A conversation to know if there is a conversation to be had" held in New York, Amsterdam, Berlin and London in 2010-11. The first journal, LABOUR, addressed the question of women's work, and used the lens of the feminist critique of unpaid labour to look at the contemporary condition of the artist as precarious worker. PERSONA as a jumping off point looks at the condition of self-presentation for the contemporary artist, and in an expansive manner encompasses discussions on refusal, interiority, friendship, candor, and embarrassment.