All My Independent Women

The Grossi Maglioni Magic Duo / This is an happening: vademecum

2012-01-25T14:52:00.000Z

A cura di Massimo Marchetti

27-28 gennaio 2012 18.00 - 21.00
29 gennaio 2012 15.00 - 18.00
c/o Associazione Crudo Via Zamboni 26, Bologna

THIS IS AN HAPPENING
THE MAGIC DUO SURPRISES THE GALLERIES WITH A SURPRISE PERFORMANCE: WITH A PAIR OF SCISSORS, THEY CUT OUT A LITTLE SKETCH THAT HAD PREVIOUSLY DRAWN INTO THE GUEST BOOK.THEY THEN SELL THIS SKETCH TO THE GALLERY OWNER AS A "EASY AND SMALL FORM OF ART"
THE GROSSI MAGLIONI MAGIC DUO
info@thegrossimaglionimagicduo.com

A Woman Like That : Ellen Weissbrod

2012-01-25T11:58:00.001Z

a woman like that
Filmmaker Ellen Weissbrod merges her own coming of middle-age story with her pursuit of the truths behind the legends of 17th century female painter Artemisia Gentileschi’s dramatic art and life. This unconventional but heartfelt hunt upends typical artist biographies and delivers instead a funny, engaging and all together different kind of documentary.

"a woman like that" is a freewheeling tribute to an artist whose own bold life and inspiring message leaps across centuries to speak to us all. The enduring power of storytelling – in paintings, in films and in our lives is revealed, as the filmmaker learns that who gets to tell the story matters, and that maybe she too, can be “a woman like that.”

a woman like that from Ellen Weissbrod on Vimeo.

ESTHER FERRER IN FOUR MOVEMENTS

2012-01-25T11:15:00.003Z

ESTHER FERRER : IN FOUR MOVEMENTS

28.01.2012 - 22.04.2012

Curator: Rosa Olivares
ESBALUARD

Palma - ES

“Accidents are part of the performance.” “There is no freedom when everything is controlled by institutions”. “I do not do art for others, I do art for myself.” “Art is the only space for freedom”...

These words of Esther Ferrer present us with a radical, independent, antiexhibition and free artist with her own ideas. For over forty years, Ferrer has been developing her work based on a knowledge of the world that is systematic, rigorous and methodical. And it seems that until recently she was absolutely unknown in Spain, although internationally recognised. Her performance pieces were gradually being seen, and some of her other work too… But the fact is that Esther Ferrer does not want to exhibit, and it is not easy, first, to convince her and, then later, reduce her thought down to a handful of works exhibited in some rooms.

In fact, it could be said that all her work can be reduced into one: Esther Ferrer. She is the work. Not only she, her body and its energy in her performance pieces, but she, always she, in her objects, in her self-portraits, in her search for the infinite through the number Pi. In short, she, with her body, her voice, her ideas, her words, her logic and her excesses. Simply superb, any attempt to systematise her work and steer it towards an exhibition becomes a struggle that can only be won by entering into the epicentre of her thoughts.

That is why we have chosen four ideas that have always been present in all her works in one way or another: time, infinity, repetition and presence. In four movements, in four blocks focused on each of these concepts, the exhibition brings together her object-based work, installations and documentation of her performance pieces, key works in her career, as well as other unknown works, some never seen before or never made, or others created specifically for this occasion.

This is not a retrospective exhibition In Four Movements aims to show all the four pillars upon which a lifetime’s work is constructed, and in particular present a work of art that is always under construction and in constant progress and development: Esther Ferrer.

ON REVOLUTION - Mafalda Santos

2012-01-19T12:01:00.001Z

Mafalda Santos
21 DE JANEIRO A 10 DE MARÇO - Galeria Presença

Rua Miguel Bombarda, 570

4050-379 Porto

"On Revolution
Hannah Arendt, no livro On Revolution (1963) que Mafalda Santos cita no título desta exposição, discorre brevemente sobre a evolução do campo semântico do vocábulo revolução. Do latim, revolutio, a palavra surge primeiro nos nossos vocabulários para identificar inevitabilidades cíclicas (como as estações do ano), um retorno a uma ordem preestabelecida. Embora não corresponda completamente à verdade, é aceite por Hannah Arendt que é em 1789, durante a Revolução Francesa, que a palavra adquire o significado que hoje lhe atribuímos. Surge para separar os movimentos sociais de então do epíteto de revoltados.

Muitas vezes de forma insuspeita, em torno das palavras desenha-se um prodigioso campo de batalha, a tensão entre significado e significante objecto das mais violentas disputas. Desde o ano de 1789 que revolução – em todas as línguas – é um dos campos onde a luta se tem destacado pela intensidade, marcando todas as gerações até à contemporaneidade. Por norma, quem tem o domínio da palavra define a direcção política que reconhecemos como progressista. Hoje, por razões diversificadas, entre as quais a tautologia terá algum peso, sentimos o vocábulo armadilhado. Habitando sociedades relativamente estáveis, a palavra foi assimilada por linguagens mais quotidianas e não é invulgar vê-la aplicada a tecnologia, produtos banais e às ideias mais corriqueiras. No entanto, quando empregue na descrição de movimentos sociais em países exteriores às nossas democracias capitalistas, como hoje os países do Norte de África e Médio Oriente, continua a ter a força com que surgiu há duzentos e vinte anos.

Num exercício de memória histórica, Mafalda Santos regista os principais momentos revolucionários desde a primeira revolução, aquela que ainda hoje e de forma largamenteconsensual define a direcção do progresso civilizacional (por exemplo através da Declaração dos Direitos do Homem e do Cidadão, à qual devemos a Declaração Universal dos Direitos da Humanidade adoptada pela ONU em 1948). Excluindo o ano de 1776, data da Declaração da Independência dos Estados Unidos – a Revolução Americana, a artista põe peso na narrativa que nos é oferecida por Hannah Arendt sobre a origem do valor da palavra, interessando-se especialmente pelo momento em que, deixando de significar retorno passa a confundir-se com progresso. É interessante que, apesar da mudança radical na percepção que temos da palavra, nesta transferência opera discretamente uma ideologia que importa do significado original a ideia de inevitabilidade. Presente em quase todos os discursos políticos, esta ideia pretende ser uma fonte de legitimação. Tal como hoje são ditas inelutáveis as medidas draconianas que nos são impostas pelo nosso governo, as revoluções são quase sempre apresentadas como momentos incorporados numa mitologia da história que as predestina como fatalidade.

A relação singular entre este vocábulo e o seu termo espelha-se na configuração das peças presentes na exposição: a tensão entre a paisagem e o mapa, entre a aspereza das linhas verticais e a docilidade das curvas. As formas de organização, catalogação e cartografia do conhecimento (neste caso histórico) transportam em si ideologias e a escolha entre um e outro tem sempre um peso que é necessário dizer político. Não iremos tão longe ao ponto de dizer que o meio é a mensagem, mas todos os signos têm, a diferentes níveis, campos semânticos preferenciais e de forma mais ou menos óbvia transportam em si ideias que conformam o uso que fazemos deles. Após um ano marcado por movimentos que optaram por identificar-se como indignados, é bom pensarmos, tendo sempre em conta que elas mudam, no que querem afinal dizer as palavras que utilizamos.
José Roseira

a . b . c . d . e . f . g . h . i . j . k . l . m . n . o . p . q . r . s . t . u . v . w . x . y . z - Vera Mota

2012-01-17T12:36:00.001Z

VERA MOTA

INAUGURAÇÃO SÁBADO 21 JANEIRO 16H - 20H

24 JAN – 17 MAR 2012

GALERIA PEDRO OLIVEIRA

CALÇADA DE MONCHIQUE, 3

4050 - 393 PORTO PORTUGAL

TERÇA – SÁBADO 15-20H

Massa Falhada - André Alves

2012-01-16T11:41:00.002Z

de 21 de Janeiro a 3 de Março

Inauguração: 21 de Janeiro - 17h
Galeria Dama Aflita
Rua da Picaria 84
Porto

Sobre a exposição
Sempre que entro na Dama Aflita, deslumbro-me com belíssimo gancho metálico de tom encarnado que mantém a porta escancarada. O que resulta na exposição "Massa Falhada" tem uma forte ligação com esse elemento, e a lembrança da a expressão "estar no prego" e a sua contrária, estar "off the hook" - sem problemas, livre de pensar em demasia.
Em "Massa falhada", encontrará um ensaio visual pouco colorido, com representações de serras, ganchos, fitas, cordas, texto, e coisas sem nome particular à mistura, em torno de um sentimento de estar perro, limitado e suspenso, não causado por uma branca criativa mas pelo seu oposto, um ruminar excessivo, cansativo.

Sobre o autor
André Alves é um artista plástico sediado no Porto (PT). As preocupações do seu trabalho circulam à volta da ideia de formação de discurso.
Das suas exposições destacam-se MUSAO Oporto – Masc Foundation (A) [2011]; Mute/Motives – Semantics Gallery (USA) [2011]; Wallpaper – Galería art& design (ES) [2011]; O absurdo quer-nos de volta – Galeria Sopro (PT) [2010]; All My Independent Women (PT) [2006-2011]; The 3rd International Festival for Contemporary Art – (SY) [2011]; Acercado – Reflexus Arte Contemporanea (PT) [2009]; Coisa, controlada pelo medo de identificação ou Elmo – In.Transit (PT) [2007]; Aunt Nell Gis – Kunstvlaai 06 (NL) [2006].

about the show
Every time I´m at Dama Aflita, I get fascinated with a beautiful metallic red hook that keeps the door wide opened. What comes from the exhibition "Massa Falhada" has a strong connection with this element and the memory of the expression "being on the nail" and its opposite, to be "off the hook" - no problem, free to think too much.
In "Massa Falhada", you will find a non-colorful visual essay, with representations of saws, hooks, tape, strings, text, and so no particular name to the mix, about a feeling of being stiff, limited, suspended, not caused by a block in creativity but by its opposite, an excessive rumination, exhausting.
about the artist

André Alves is an artist based in Porto (PT). The concerns of his work circulate around the idea of forming speech. From his exhibitions we stand out MUSAO Oporto – Masc Foundation (A) [2011]; Mute/Motives – Semantics Gallery (USA) [2011]; Wallpaper – Galería art& design (ES) [2011]; O absurdo quer-nos de volta – Galeria Sopro (PT) [2010]; All My Independent Women (PT) [2006-2011]; The 3rd International Festival for Contemporary Art – (SY) [2011]; Acercado – Reflexus Arte Contemporanea (PT) [2009]; Coisa, controlada pelo medo de identificação ou Elmo – In.Transit (PT) [2007]; Aunt Nell Gis – Kunstvlaai 06 (NL) [2006].

IF I CAN’T DANCE, I DON’T WANT TO BE PART OF YOUR REVOLUTION

2012-01-11T19:30:00.001Z

FILM
Bete & Deise
Wendelien van Oldenborgh
27 January 2012
WORM, International Film Festival Rotterdam
Tickets: EUR 11,-
Reservations: 20 January, 8pm via websiteInternational Film Festival Rotterdam.
8pm: Screening Câncer (Glauber Rocha, 1972, 86 min), introduced by Wendelien van Oldenborgh
10pm: Screening Bete & Deise (Wendelien van Oldenborgh, 2012, 40 min), followed by a response and after talk with Eric de Bruyn
11.30pm: Concert Deise Tigrona, with DJs Baba Electronica & DJ Lonely, and DJ’s Marfox and Nervoso

On Friday 27 January 2012, as part of the International Film Festival Rotterdam, If I Can’t Dance presents the world premiere of Wendelien van Oldenborgh’s film Bete & Deise at WORM in Rotterdam. The premiere will be festively celebrated with an all-night programme inspired by the production of Bete & Deise and van Oldenborgh’s ongoing research into Brazilian cinema. Art historian and writer Eric de Bruyn has been invited to respond to the new film and to lead an after talk with Van Oldenborgh. The programme also includes a Baile funk concert by Deise Tigrona, one of the protagonists in the new film, accompanied by Baba Electronica & DJ Lonely, and DJs Marfox and Nervoso. A screening of the film Câncer by Glauber Rocha opens the evening, with an introduction by van Oldenborgh.

Van Oldenborgh’s new film Bete & Deisestages an encounter between two women in Rio de Janeiro: Bete Mendes and Deise Tigrona. These women have – each in their own way – given meaning to the idea of a public voice. Bete Mendes (1949) has continued to maintain a political career alongside her acting career in popular television since the 1960s. Deise Tigrona (1979) is a Baile funk singer who in recent years rose to great popularity. She was forced to take a step back when it became too burdensome to combine her music career with her tough family life in Cidade de Deus.

Together these women talk about their experience with performance and their position in the public sphere, allowing for the contradictions they each carry within themselves to surface. Bete & Deise is the final work in a trilogy of works by Van Oldenborgh that have each come from a research into current changes in labour conditions and our understanding of the collective and the public voice and the role of cultural production in this.
Bete & Deise is commissioned by If I Can’t Dance, I Don’t Want To Be Part Of Your Revolution, and is financially supported by the Netherlands Foundation for Visual Arts, Design and Architecture and Wilfried Lentz Gallery, Rotterdam. With thanks to Capacete Entretenimentos, Rio de Janeiro, and WORMRotterdam.
Wendelien van Oldenborgh is one of the five artists commissioned by If I Can’t Dance to make a new work as part of Edition IV – Affect (2010-2012). The other artists are Jeremiah Day, Sung Hwan Kim, Hito Steyerl and Emily Wardill.

Revoluções em Dança – teorias práticas em movimento

2012-01-11T19:29:00.002Z

um curso intensivo sobre dança, corpo, movimento, feminismos

Pela primeira vez no Porto
Revoluções em Dança IV: “Corpos em trânsito, criações e vivências ou aquilo que vamos sendo”
20 a 22 de Janeiro, na ESE- Escola Superior de Educação

Em Lisboa, a V edição
Revoluções em Dança V: “Corpo, arte, representações e movimentos”
6 a 10 Fevereiro, no c.e.m- centro em movimento

Iniciativa apoiada pela UMAR, c.e.m - centro em movimento, Escola Superior de Educação do Porto, Casa Semente

As Revoluções em Dança – teorias práticas em movimento são um convite para um trabalho em corpo onde prática e teoria dançam à luz de perguntas em Arte, Corpo, Feminismos, Filosofia, Antropologia, entre outros territórios que nos movem. Em 2011 aconteceram os primeiros encontros colectivos em Lisboa, onde um grupo de bailarinas, investigadoras, professoras, activistas, no decurso das suas práticas enraizadas nos estudos do corpo, propôs-se a um caminho de potenciar a autonomia e a constante elaboração de histórias individuais que repercutem e constroem uma dinâmica colectiva.

Se a arte aponta um caminho de comunicação de matérias que nos são sensíveis (identidades, corpo, política...) acreditamos que propondo sessões de trabalho intensivas temos a possibilidade de revolucionar caminhos, considerando que, num primeiro plano, o conhecimento de si e do mundo são práticas constantes de gestação da revolução. Com vontade de esbater preconceitos, combater ideias fixas, alargar e desdobrar conhecimentos, criar conteúdos, reinventar o lugar da(s) dança(s) e os conceitos formais, um convite que fazem com toda vontade de levantar ventania.

Com Carolina Höfs, Iris Lican, Mariana Lemos, Salomé Coelho e ainda Paula Petreca e Shahd Wadi

http://dancarevolucoes.wordpress.com/

MAZEZAM - Catarina Miranda

2012-01-11T19:23:00.002Z

14 de Janeiro // Casa das Artes da Fundação Bissaya Barreto // Avenida Sá da Bandeira, 83 - Coimbra _ 21:45 MAZEZAM // Performance de Catarina Miranda com Rosabel Huguet. Banda Sonora de Jonathan Saldanha SOUND CUT-UP // colagem sonora de Jonathan Saldanha inspirada nas "Dream Machines" de Brian Gyson

20 e 21 de Janeiro // 3º EXPERIMENTAL/ BALLETEATRO - Ribeira/ Porto - 21:00
MAZEZAM // Performance de Catarina Miranda com Rosabel Huguet. Banda Sonora de Jonathan Saldanha

"A repetição deve ser mantida até se ser capaz de afundar a terra em água. No útero, procure-se a ambiguidade do estado de sonho, relativa ao equilíbrio estático,
o momento de realidade e o processo inverso de existência. Não terás poder para permanecer aqui, não ganharás mais do que o devaneio."

Perfomance que parte da análise de estados intermediários de percepção presentes na obra Bardo Thodhol - Liberation Through Hearing During The Intermediate State; a descrição de um percurso para o corpo em putrefação, da sua deslocação post mortem, num espaço repositório de transposição. O espaço cénico, é trabalhado enquanto repositório de objectos e estados, onde pela inércia dos corpos em movimento e pela rotação ininterrupta se transforma a matéria orgânica, carne e fluído, em tempo. Pela repetição exaustiva de um gesto e sua refração no espaço, cada fenómeno permanece em contínua evolução, ao longo de um processo de ascensão e queda.A composição sonora ocupa o lugar cénico, redimensionando o espaço cosmológico e aproximando-se de estratégias tímbricas da música concreta e do teatro Nō Japonês.

Conceito// Catarina Miranda

Colaboração// Jonathan Uliel Saldanha e Rosabel Huguet

Performance// Catarina Miranda e Rosabel Huguet

Composição Sonora// Jonathan Uliel Saldanha

Desenho de Luz// Catarina Miranda com o apoio de Alexandre Vieira

Duração// 35 m

Com o apoio do Espaço Cultural Altes Finanzamt, Colectivo Flocks&Shoals, Colectivo Soopa, Balleteatro e marionet

ROBERTA LIMA: DISPLACEMENT

2012-01-10T18:26:00.002Z

Displacement refers to Brazilian artist Roberta Lima’s ongoing process of interweaving her experiences as an architect and as a performer. As an architect she was trained to provide safety and the idea of shelter, and as a performer she was given the chance to experiment with the opposite: the idea of instability. Lima touches on many themes such as gender and bio-politics, and makes use of different elements to debate the concept of displacement.

This one-night-only performance and installation at New York’s White Box was curated by Lara Pan, and will include a talk by Austrian curator and art historian Felicitas Thun-Hohenstein.

TUESDAY JANUARY 17, 7-9 PM
Performance at 7:30pm; lecture at 8pm

White Box
329 Broome Street
New York, NY 10002

http://www.whiteboxny.org/

The Body in Women’s Art Now

2012-01-10T12:10:00.001Z

6.30pm on the 19th of January for the private view of the final instalment in The Body in Women’s Art Now exhibition series:

The Body in Women’s Art Now - Part 3: ReCreation, which travels to London from the New Hall Art Collection, Cambridge.
WITH LIVE SKPE PERFORMANCE BY PRINCESS BELSIZE DOLLAR

The exhibition series, curated by Philippa Found of ROLLO Contemporary Art

*image on invite: Miri Segal Google Face, 2007

ciclo da cobra com Carla Filipe

2012-01-04T11:43:00.000Z

arquivo / documento / diário

Carla Filipe desenvolve um trabalho em torno do arquivo . Esse arquivo é construído por uma pluraridade de fontes, desde o trabalho de campo ao que a artista alcunha por “a prova que estive aqui” e onde reune uma série de informação visual através de fotografia, vídeo, desenhos rápidos e textos. A outra parte do arquivo é pela lógica da reorganização desta documentação e por sua vez é acompanhada por documentos originias, recortes de jornais e de revistas, pela apropriação e pela re-fotografia.

O lado autobiográfico é um ponto crucial na elaboração deste arquivo, e o seu testemunho é o fio condutor na elaboração de toda a documentação.

Para este workshop a artista vai falar sobre o seu arquivo, sobre o seu processo de construção, selecção e a forma como este opera no trabalho final.

Nesta conversa será dado a cada participante uma edição de autor , criado pela artisa, produzido especialmente para este momento.

Este workshop será vocacionado para a partilha de ideias entre as pessoas presentes , onde cada um poderá levar o seu arquivo pessoal para o enrequecimento deste encontro.

O Ciclo da Cobra organizado e produzido por Blues Photography Studio
para mais informações consultar: www.blues.com.pt /www.ciclodacobra.tk

Blues Photography Studio
Rua Cândido dos Reis, 46 - 1º sala4
4050-151 Porto
tel. 222010091 / 934271708
2ª a 6ª feira das 10h às 17h

2012-01-03T00:25:00.002Z

Feminismo en Espiral

Museo Universitario de Arte Contemporáneo

Insurgentes Sur 3000
Centro Cultural Universitario
Delegación Coyoacán
CP 04510 México D.F.

Coordinan Dra. Rían Lozano y Dra. Helena López
Todos los miércoles de febrero a junio de 12 a 14 hrs
Inicio 1 de febrero
Cupo limitado a 20 personas

Feminismos en espiral es una propuesta pedagógica que pretende abrir nuevos canales para la
discusión y la producción del conocimiento, desde una perspectiva feminista y utilizando un amplio
repertorio de prácticas culturales como hilo conductor.

Programa calendarizado

Introducción

Satélite 1. Juan Vicente Aliaga (UPV) / 30 de enero

Sesión 1. (1 de febrero)
Presentación: Dra. Helena Chávez (MUAC/Fac. Filosofía y Letras. UNAM), Dra. Marisa Belausteguigoitia (PUEG/UNAM), Dra. Rían Lozano (PUEG/UNAM), Dra. Helena López (PUEG/UNAM).
Introducción: Dra. Deborah Dorotinsky (Instituto de Investigaciones Estéticas. UNAM).

Bloque I. Encierros. (8, 15, 24 de febrero)
A partir de la reflexión en torno a las condiciones específicas del espacio carcelario en México, este bloque plantea la categoría de encierro -real o imaginado, literal o metafórico- como una instancia productiva para pensar la subjetividad de género y la sexualidad.

Dra. Marisa Belausteguigoitia (Directora del PUEG/ UNAM) y La Lleca (Colectivo artístico).

Bloque II. Visiones cacofónicas. (29 de febrero, 7 y 14 de marzo)
En tanto que tecnología de género, el cine resulta una forma cultural muy interesante para examinar las relaciones entre dos dimensiones modernas por excelencia: los regímenes representacionales de la imagen en movimiento y la producción hegemónica y alternativa de identidades de género y sexuales.

Dr. David Wood (Instituto de Investigaciones Estéticas, UNAM) y Diana Cardozo (directora y guionista de cine).

Bloque III. Afectos. (21, 28 de marzo y 11 de abril)
En esta sesión, proponemos un ejercicio de imaginación alrededor de una hipótesis. Si nos comprometemos con una noción expandida de literatura, tal y como la entiende una nueva generación de creadoras en el siglo XXI; y rastreamos, no tanto su configuración discursiva sino sus estructuras afectivas, podremos ver expresiones de las asimetrías derivadas del sistema sexo-género que otros modelos analíticos invisibilizan.

Dra. Helena López (PUEG/UNAM) y Rocío Cerón (poeta multimedia).

Bloque IV. Cuerpos Atléticos. (18, 25 de abril y 2 de mayo)
En este bloque proponemos pensar los cuerpos sexuados y los ideales normativos que los regulan, desde los parámetros discursivos y materiales de la práctica deportiva que, al igual que hemos dicho a propósito del cine, puede ser considerada una tecnología moderna de género.

Sesión 11. 18 de abril. Dra. Hortensia Moreno (PUEG/Instituto de Investigaciones Sociales) y Nina Höchtl (PUEG/Goldsmiths)

Bloque V. Voces visionarias. (2, 9, 16 de mayo)
En este último apartado realizaremos un desplazamiento sensorial y político. Partiremos del análisis de la centralidad de la visión contemporánea (basada en estereotipos de género, sexo, clase y raza)) para llegar a propuestas en las que el uso de la voz, el sonido y la música ofrecen otros marco de relación entre poder, representación y visibilidad.

Dra Rían Lozano (PUEG/UNAM) y Susana Vargas (PUEG/ McGill University)

Más información

Featured: Luiza Margan

2011-12-16T16:51:00.004Z

ICEFISHERWOMAN 2011

Video AVI, 6min33sec, loop, 2010

I hired a young actress to act me, the artist, in an artificial situation of an interview in which I took the role of the curators standing behind the camera and asking the 5 standardized questions, and she, the actress, took the role of the "artist". The final video was presented together with other artist's interview, except, that it offered an unexpected switch to whoever had put the headphones on in order to listen this explanatory interview.

The title reflects on the metaphor behind the action of art-work itself: the action of often “fishing” under extreme conditions. In the same time it is a play with the relation of an art-institution and an artists and the possibility of exchange. The exhibition space where I was invited to exhibit has a procedure to record a video interview with each artist that exhibits there, the curators them selves holding the camera and asking each artist 5 same, standardized questions.

My approach is a critical reflection on this kind of “archiving”, presenting and communicating art, since the curators themselves were not personally involved in the development of works, but were merely staging the interest in front of the video camera for a possible future audience.

By trying to emphasize the comic aspect of this miss-understanding of art and communication , I have used their 5 standardized questions as a script for a video for which a young actress to presents herself as Luiza Margan, and answer questions as if she would be an Icefisherwoman....

Luiza Margan

2011-12-15T20:51:00.001Z

La artista mexicana Mónica Mayer considera el feminismo como motor de cambio

“El arte contribuye a cuestionar el patriarcado”

Entrevista con Mónica Mayer en español:

http://www.amecopress.net/spip.php?article8217

Leituras Imparáveis: Um Dia com as Novas Cartas Portuguesas

2011-12-15T11:53:00.001Z

como chegar lá: Umar Centro de Cultura e Intervenção Feminista

FEMINISMUS!

2011-12-09T12:29:00.001Z

Issue 84 of "Texte zur Kunst" inquires into the current state of feminism. The movement associated with the term has reached a precarious moment in its history. There is the assertion that the demands of feminism have been largely met through establishing gender mainstreaming programs and institutionalizing gender studies in universities. The mood has never been more "post-feminist" or "post-gender" than today. However, this zeitgeist is also the symptom of an ideology purporting to be "post-ideological", according to which there is no social inequality but only individual failure. Just like it is allegedly up to each person which place they assume in society, it supposedly also lies with the individual women whether they are restricted by their gender or not. In the face of an ideology that obscures this situation, an ideology generously granting individuals liberty precisely to the degree to which the question of the social conditions of liberty is suppressed, one must call to mind feminism's political stake. Feminism exposes the question of gender inequality as a social question. With issue 84 "Texte zur Kunst" surveys the state of feminism in arts and academics, in media and everyday life.
read preface here
read Pamela M. Lee's Post-Feminism ... Post-Gender? here

CINE MULHERES

2011-12-08T11:31:00.001Z

EVA International 2012

2011-12-08T11:29:00.001Z

Open Call for Proposals

Deadline: 31 January 2012

eva International and Annie Fletcher would like to invite artists from all over the world to propose new or existing works for inclusion in eva International 2012.

Proposals can be made in any medium. Selected artists will be supported to produce new or show existing works in Limerick City, Ireland from 19 May – 12 August 2012.

Proposals should be made through the online submission process. Supporting materials can either be uploaded through the online submission process, sent by post to Limerick City, or delivered by hand to Limerick City or Dublin.

Artists can make up to 2 proposals and there is a submission fee of €20 for 1 proposal or €30 for 2 proposals.

eva International is a not-for-profit organisation. Submission fees support selected artists and contribute directly to production, transportation and exhibition costs.
info@eva.ie

2011-12-07T03:02:00.001Z

Monash University Museum of Art

A Different Temporality: Aspects of Australian Feminist Art Practice 1975–1985

13 October–17 December 2011

Monash University Museum of Art
Ground Floor, Building F
Monash University, Caulfield Campus
900 Dandenong Road
Caulfield East VIC 3145 Australia
Open:
Tues–Fri 10am–5pm; Sat 12–5pm

T +61 3 9905 4217
muma@monash.edu

www.monash.edu.au/muma

A Different Temporality: Aspects of Australian Feminist Art Practice 1975–1985 brings together feminist approaches to temporality in the visual arts, with a focus on late 1970s and early 1980s Australia. Rather than an encyclopaedic summation of feminist practice at that time, selected works reflect prevalent debates and modes of practice; with a focus upon the dematerialisation of the art object, the role of film theory, and the adoption of diaristic and durational modes of practice, including performance, photography and film.

Spanning a decade within two decades, and marking a significant time for feminist art practice in Australia, A Different Temporality presents a materially and politically diverse selection of works by selected artists that engage with temporality as both metaphor and subject. Whilst their respective works may not openly exemplify an overriding logic, their durational emphasis brings together feminist approaches to history and experience, as well as conceptual investigations of cinematic time and montage, ephemerality and event, repetition and flow—forms and ideas which continue to resonate in the present.

Presenting the work of Micky Allan, Janet Burchill and Jennifer McCamley, Bonita Ely, Sue Ford, Helen Grace, Lyndal Jones and Jenny Watson, A Different Temporality continues MUMA's commitment to considering the recent history of contemporary art since the 1960s and is presented in association with the 2011 Melbourne Festival and with the support of The Gordon Darling Foundation.

an Interview with Carla Cruz, by Stefanie Grünangerl

2011-12-01T17:31:00.001Z

“Ou Antes, o que Podem as Palavras? / Or Rather, What Can Words Do?” An interview with Carla Cruz, founder of All My Independent Women by Stefanie Grünangerl (grassrootsfeminism), on the occasion of the AMIW@VBKÖ exhibition in Vienna that still runs until Dec 3rd.

Sally Golding

2011-12-01T13:54:00.001Z

Sally Golding

Concurso Nacional de Videoarte de Mujeres Artistas desde perspectivas de Género

2011-12-01T13:45:00.001Z

Dentro de los VII Encuentros Internacionales de Arte y Género, cuyos Bloques I y II ya han sido realizados en Sevilla, se contempla un Bloque III consistente en un concurso de videoarte de mujeres artistas desde perspectiva de género

20 Diciembre de 2011
Más información sobre el Premio/Concurso:
Bases

Primer premio: 4.000 Euros.

Dos segundos premios de 1.150 Euros cada uno.
Tres accésits de 600 Euros cada uno.

Alcalá, 165 - 4º I
28009 Madrid
Madrid

Rubro – a mirabolante história da cor vermelha Marta Bernardes & Ignacio Martinez De Salazar

2011-11-29T11:44:00.001Z

Rubro conta a história da cor vermelha utilizando para isso a manipulação ilusionística de objectos, de canções e de pequenas histórias baseadas na história real do mundo, quer seja a história política (as bandeiras, os exércitos, as revoluções, os heróis...), narrativa (os personagens arquetipais de contos, as figuras infantis, a simbologia, a pintura...) ou técnica (a fabricação dos pigmentos, a dimensão óptica, etc.). Este é um espectáculo multimédia concebido com o intuito de estimular a sensibilização à dimensão plástica, sensitiva e significante da realidade.
30 Novembro, 10h30
Cine-Teatro de Sesimbra

+ info

Otherwise Engaged

2011-11-28T15:39:00.001Z

Five, by Lubaina Himid MBE, 1991, acrylic on canvas, 1.5x1.2m Collection of G. Pollock, permanent loan to Leeds Art Gallery
Otherwise Engaged: Legacies and Questions of Marginal and Mainstream Visual Arts Strategies

Otherwise Engaged is an international, predominantly post-graduate symposium.
Saturday 3 December 2011, University of Leeds.

In 1995 Kobena Mercer published the first in his Annotating Art’s Histories edited series, Cosmopolitan Modernisms. In his introduction, Mercer stated that the series would offer:

‘[A] fresh approach [to art history] by showing how a shared history of art and ideas was experienced differently around the globe….In a situation where the aspiration to be all inclusive has become the official watchword of institutional policy, has the very idea of ‘inclusion’ now become a double-edged sword?‘

In 2011, as an emerging group of artists, curators, art historians and academics enter the field of visual arts, this symposium seeks to investigate how we are to engage with the challenges of a shared and plural art history that Mercer, and so many others, speak of. What is the meaning of ‘inclusion’ today, sixteen years after Mercer’s publication? The symposium hopes to explore the numerous ways in which issues of race, culture, class, sex and gender have been considered across the various arenas of visual art, and how this emerging generation of those operating in the visual arts engage with the existing challenges of the past, present and future.

Otherwise Engaged is a one-day, predominantly post-graduate, symposium considering the challenges of intervention, integration, separatism, confrontation, assimilation, ghettoisation and accommodation. How have marginalised spaces and mainstream institutions engaged with these challenges? We are interested in exploring the processes, relationships and pluralities of the various sites of the marginal and the mainstream. What are the experiences and examples of specific interventions, theoretical strategic models, and tactical approaches from contemporary art practice and writing, culture, education and curating?

Otherwise Engaged is an interdisciplinary event that crosshatches experiences, perspectives and analyses from art history, fine art, cultural studies, museum and curatorial studies, feminist studies, gender studies, sociology and post/colonial studies. While the symposium is situated in contemporary Britain and the complexities of representation and identity internal to Britain, we strongly encourage the exploration of relationships with other sites, both geographically and generationally.

Old Mining Building, University of Leeds, Woodhouse Lane, Leeds, LS2 9JT, on Saturday 3 December 2011. Supported by University of Leeds LEAP Research Hub.

Programme
10.30 – 11.00: Introduction: Ella Spencer-Mills

11.00 – 12.40: Panel 1: Identity, Representation and Authenticity
Elizabeth Robles: ‘Good’ Hair, ‘Bad’ Hair
Dom Nasilowski: Has the Point Been Made? On Mohawk Land, Indigenous Articulations and the Maternal Voice in the films of Alanis Obomsawin
Prof. Brenda Cooper: If The Shoe Fits: Palimpsests and Pastiches of Diaspora
Amanda Phillips: Meditations on a Feminist Practice

2.00 – 3.15: Panel 2: Projects, Reflections and Foresight
Linda Duffy: Creating Space for Women in the Visual Arts during the 1970s and 1980s: The Women Artists’ Slide Library
Dr. Sophie Hope: Lessons Learnt? Reflection on Art and Politics in 1984
Carla Cruz: All My Independent Women – Or Rather What Can Words Do?

3.40 – 5.20: Panel 3: Curating, Policies and Strategies
Sibyl Fisher: Learning from Aboriginal and Torres Strait Islander Curatorial Practices
Anjalie Dalal-Clayton: Power, Influence and the Enduring Black Survey Show: A Contemporary Exhibition Case Study
Jennifer Morgan: Zones of Negotiation: The Auckland Museums Relationships with Pacific Island Communities
Nicola Ashmore: Commissioning Living Cultures: Impact of Cultural Diversity Policies on Museum Practices, 1997-2010

5.45 – 6.45: Keynote Speaker: Prof. Lubaina Himid (MBE)

JULIE RIVERA. LA ARQUITECTURA DE LA FELICIDAD

2011-11-27T16:58:00.001Z

CAAC

24 noviembre 2011 - 4 marzo 2012
Inauguración: 24 noviembre 2011, a las 20:00 h.
Comisariado: Margarita Aizpuru
Sesión expositiva: Margen y ciudad

Asistimos en nuestras sociedades occidentales contemporáneas a procesos de globalización urbana, a la conversión de los cascos históricos de las ciudades en espacios de consumo turístico y de ocio estandarizado, a una progresiva ampliación y extensión de la ciudad a esos espacios antes circundantes y paisajísticos, no urbanos, que son sustituidos por lo urbano estandarizado, homogeneizándolos y banalizándolos, creando repeticiones clónicas en zonas y lugares muy diferentes con independencia de su singularidad histórica y especificidad originaria sociocultural. Hoy más que de urbanización se habla de "urbanalización" o banalización de los procesos de urbanización, y en vez de ciudadanos, de usuarios y/o consumidores, de objetos y servicios diseñados por equipos multidisciplinares, a las órdenes de los mercados y entidades que crean y programan las políticas económicas implantadas.

A partir de estas premisas y con una serie de vídeos de performances, fotografías y maquetas, Julie Rivera articula su proyecto expositivo titulado La arquitectura de la felicidad. Con esta ironía se centra en la lógica que rige los itinerarios, el uso de los espacios y el tiempo, e incluso los movimientos corporales y las miradas de los usuarios en los centros comerciales. En su organización interna, en la manipulación y estandarización de comportamientos, aletargados por grandes dosis de sugestión consumista, que se ofrece de forma ficcional y banal como sustituto de la plenitud y la felicidad. Así como en la generación de pautas de conducta que producen todo un estilo de vida, tanto en el interior de estos espacios como en sus alrededores, y en la extensión de sus fórmulas y estrategias hacia los cascos históricos de las ciudades, a través de procesos de "urbanalización" y "brandificación", gestionando sus diferencias o "marcas" de autenticidad al igual que en los centros comerciales, pero en su versión híbrida con los parques temáticos, "reduciendo a la ciudad a una simple proyección de su imagen-marca, descargándola de toda su complejidad, y por tanto, mostrando su versión más digerible".
Margarita Aizpuru

Centro Andaluz de Arte Contemporáneo
Monasterio de Santa María de las Cuevas. Avda. Américo Vespucio, nº 2 - Isla
de la Cartuja 41092 Sevilla
Tel: 955 037 070 / Taquilla: 955 037 072

Anna Jonsson

2011-11-23T11:47:00.001Z

Desde el jueves 24 de noviembre hasta finales de enero, la Galería Joan Gaspar de Madrid presenta “Rouge, c’est la couleur de mes rêves”, una exposición que explora la relevancia del color rojo en la obra de artistas modernos y contemporáneos como Clavé, Masson, Miró, Feito, Anna Jonsson, Ruth Morán, Manuel Salinas, Viladecans...
Será porque el rojo es uno de los tres colores primarios, será por su fuerza o por su capacidad de evocar los estados más poderosos y opuestos del ser humano: el rojo del amor, el rojo pasión, él del honor o el rojo sangre, pero desde siempre los artistas han recurrido a él, a veces de manera ocasional para dar profundidad e ímpetu a sus obras, a veces convirtiéndolo en el color de su bandera, en una temática en sí.
Poniendo el color en primer plano, la exposición se convierte en un “paseo cromático” donde el visitante descubre las infinitas posibilidades y matices de una tonalidad que, en cada una de sus representaciones y bajo cada mirada, despierta un pálpito distinto. Os invitamos, pues, a un viaje emotivo a través del rojo absoluto de Miró, del rojo fogoso de Luís Feito, de los rojos exóticos de los collages japoneses de Clavé, el rojo femenino de las esculturas de Anna Jonsson, los rojos oníricos de André Masson o el color vibrante de las obras de Joan Pere Viladecans.
Y puesto que el rojo es también el color de Baco, después de embriagarse de arte el visitante podrá refrescarse saboreando una copa de Chivas, Chivas On The Rocks o Champagne ofrecida por Chivas y Mumm.

Laure Prouvost

2011-11-23T11:06:00.001Z

French artist Laure Prouvost has won the Max Mara art prize for women for her film and installation work.

Women Artists, Feminism in the 80s and Now

2011-11-21T17:42:00.001Z

Symposium

Saturday 3 December

Goldsmiths University, Ben Pimlott Building, 10am-5pm

Free, no refreshment provided

For more information contact Althea Greenan: a.greenan@gold.ac.uk

Access: see attached campus map and for additional info: http://www.gold.ac.uk/find-us/

The symposium is collaboration between The Women’s Art Library and BAG Women (Brixton Art Gallery women artists group) to coincide with Brixton Calling! exhibition at 198 Contemporary Arts and Learning (28 October – 21 December 2012).

Women Artists, Feminism in the 80s and Now is a cross generational symposium that examines the legacy of UK 80s women artists and feminists in the light of current feminist practice and thinking.

The symposium aims to recall 80s Feminist practice, thinking, debates and campaigns and discuss their relevance today for a new generation of women artists and feminists.

The symposium is part of a series of events, held during Brixton Calling! including a 3 day 80s Women Lens Based Media Event (10-12 November 2011, Brixton Village). For more information contact: e-mail: info@198.org.uk

Brixton Calling! (2011) is a collaborative and participatory project, connecting contemporary Brixton to its past through the history of 1980s Brixton Art Gallery & Artists Collective and their archives. Based at the Brixton Art Gallery, 2 women artists groups: Women's Work and Black Women In View, initiated and curated ambitious and powerful exhibitions and led courses, conferences and public events; contributing to local and international political campaigns and debates around Feminist art and aesthetics, sexuality, race and gender.

For Brixton Calling! exhibition, artists Françoise Dupré and Rita Keegan have created an Archives Installation, celebrating the contribution Women Artists and Feminism made to the Brixton Art Gallery. For the project, Dupré and Keegan have reactivated Brixton Art Gallery's network of women artists to form Brixton Calling! BAG Women.

Symposium Question and Themes

Debates about 80s feminist art often raise contradictory but relevant questions: 80s feminist art practice has been forgotten, parodied, emptied out of content, re-enacted, has produced paralyzing reverence and ongoing tension between past and present generations.

The symposium’s running question is:

Drawing from 80s Feminist aesthetics, ethics and practice, how can we today develop a critical and relevant feminist art practice?

It will be addressed by ‘young’ and ‘old’ feminists through panel and group discussions and a concluding plenary session.

Two interconnected themes have been identified:

· Body Politics (performativity, identity formation, race, sexuality)

· Public sphere (community engagement, education, places)

Symposium Format

Symposium’s Mistress of Ceremony: Rita Keegan, Brixton Calling! co curator

10am: Registration

10.15: Welcoming introduction by Rita Keegan

10.30am-10.45am: Introduction by Althea Greenan, Women’s Art Library curator

10.45-11.15am Introduo Rebecca Snow, Brixton Calling! volunteer and Françoise Dupré, Brixton Calling! project co-manager/curator

11.15am-12.45pm: Panel discussion

11.15am-12.15pm: Panel presentations (15 minutes each)

Artists Rosy Martin, Roxane Permar, Shanti Thomas, reflect individually upon 80s feminist engagement with Body Politics and the Public Sphere.

Catherine Grant addresses the tension and problematic about re-visiting 80s feminist art practice in the light of today feminism.

12.15pm-12.45pm: Panel discussion, moving debate forward for the afternoon sessions

12.45pm-1.30 Lunch

1.30pm-2.15pm: 3 group discussions responding to morning panel discussions to be lead by a younger generation of feminists including: Oriana Fox, Diana Georgiou, Rachael House, Rebecca Snow + more

Topics for the 3 groups: Body Politics, Education and third one to be identified on the day in response to the morning discussion

2.15-2.30: Break

2.30pm- 3.30pm: Group reports and panel discussion

3.30pm-3.45pm: Break

3.45-4.15pm: Bringing together by Rebecca Fortnum

4.15-5pm: audience response

5pm: end of symposium

Body Gesture A group exhibition of Feminist Art

2011-11-21T13:53:00.001Z

Carolee Schneemann, Nude on Tracks B, 1975/2005, archival print on Hahn Rag with pigmented inks, 18 x 26”, edition of 3

Body Gesture
A group exhibition of Feminist art
November 22, 2011 - January 28, 2012

To conclude the gallery’s 30th Anniversary Exhibition Program the Elizabeth Leach Gallery is pleased to present Body Gesture, an exhibition of historical and contemporary feminist art. The late 1960s and 1970s saw the emergence of what, today, is typically referred to as “Feminist Art.” Rooted in the concurrent women’s rights movement of the 1970s, Feminist Art functioned, in part, as an articulation of the methods and objectives of the political movement. Through their work many female artists of this era critiqued prevailing power structures, took increasing ownership of their personal sexuality, exploited assumptions about domesticity, and highlighted the institutional marginalization of women and minorities. These artists employed, and radicalized, many of the same formal and conceptual strategies practiced by their male contemporaries. Ultimately, Feminist artists’ multidisciplinary, performance-based practices, engagement with process-oriented and conceptual methods, and use of film and video proved to be remarkably influential on subsequent generations of artists, both male and female. In fact, the argument could be made that Feminist Art definitively altered contemporary art, shifting the conversation back toward narrative and personal experience, while aiding in the legitimization of performance, video art, and multidisciplinary practices. However, as the visibility of the political Feminist movement has decreased, so too has the prominence of Feminist Art waned. By pairing works by important female artists of the 1970s and 1980s with work by emerging female artists Body Gesture attempts to investigate the role of Feminism in art today.

Featuring works by:

Lynda Benglis / Andrea Bowers / Sophie Calle / Nicole Eisenman / Jenny Holzer / Rachel Lachowicz / Ellen Lesperance / Alice Neel / Elaine Reichek / Martha Rosler / Carolee Schneemann / Amy Sillman / Lorna Simpson / Alexis Smith / Nancy Spero / Mickalene Thomas / Hannah Wilke

Panel Discussion
Engaging a New Generation
Elizabeth Leach Gallery
Thursday, January12, 2012 at 6:30pm

Special Screening
!Women Art Revolution
a film by Lynn Hershman Leeson
Whitsell Auditorium
Portland Art Museum
Sunday, January 22, 2012 at 4:00pm

ELIZABETH LEACH GALLERY
417 NW 9th
Portland, Oregon 97209

The Bring In Take Out Living Archive is looking for information, documentation of art works and art works of women and feminist artists from the (trans/post)Yugoslav space.

2011-11-18T19:24:00.001Z

Dear friends artists, curators, art activists,

The Bring In Take Out Living Archive is a collaborative art project that works on the principals of sharing, information exchange, and ‘collective vs. individual knowledge’. With this continuous open call we are looking for information, documentation of art works and art works of women and feminist artists from the (trans/post)Yugoslav space.

The main feature of the project’s public display are (working) stations like: curated exhibition, live interviews, artist’s talks, reading room, digitalizing and uploading on the spot, video archive and similar. The first public display happened in Gliptoteka Gallery in Zagreb, in the framework of the REDacting TransYugoslav Feminisms: Women’s Heritage Revisited, October 13 - 16, 2011; the second in Ljubljana, at Red Dawns Festival, in March 2012; the third in Sarajevo, in September 2012; the fourth in Vienna, at Open Systems, in October 2012.

For the Perpetuum Mobile station we are calling for video art works - to be screened at the curated exhibition. For legal reasons we can only accept video art works in public domain, as a gift or simply as a copy. For Reading Room and Digital Owen we are looking for any kind of documentation: photo, exhibition photos or information on video and audio material etc., preferably in digital format. The main objective is to collect the information of a specific project (or art work, artist, group, event …) and to make it available and visible, either on the occasions of public displays and/or online.

The intention of Bring In Take Out Living Archive is not to build a material archive with the original works and materials. It is primary a mobile and digital platform where collaboration is not an intention but rather an unavoidable act, not a commodity to be praised but a challenge to explore. It is a continuous process where openness and inclusiveness are considered as a strategy and not as a final and firm possibility.

In case you are able to share, collaborate and add anything of (your personal) interest to Bring In Take Out Living Archive please send it by email, file sharing services or snail mail (see addresses below). Please feel free to ask or inform us for/on details, credits etc.

Please feel free to forward this open call to all you think might be interested.

We are thanking you in advance and looking forward to your unique collaboration,
RED MIN(E)D

E-mail address:
bringintakeout@gmail.com

Addresses for contributions per snail mail
CRVENA – Association for Culture and Art Hamdije Čemerlića 11/1, 71 000 Sarajevo
MINA, Institute of Socially Engaged Art and Theory, Za Gradom 4, 1000 Ljubljana

The RED MIN(E)D is inviting you to share your knowledge, experiences, ideas and beliefs in regard to the history and presence of feminist art practices in the (post)Yugoslav space. Share your knowledge and contribute to the Living Archive of feminist art in (trans)Yugoslav space.

Here you go (click for online questionnaire):

https://spreadsheets.google.com/spreadsheet/viewform?formkey=dGtZR1VjLXdJNllHek9rV3ZodFZrQ0E6MA

RED MIN(E)D are: Danijela Dugandžić Živanović, Dunja Kukovec, Katja Kobolt, Jelena Petrović
Project would not be possible without sisterly support by our partners:
CRVENA, Sarajevo and MINA, Ljubljana; Center for Womens Studies, Zagreb and Red Dawns, Ljubljana 

The Bring In Take Out – Living Archive is supported by the European Cultural Foundation www.eurocult.org

re.act.feminism #2 a performing archive

2011-11-18T18:12:00.001Z

Archive / Exhibitions / Workshops / Performances / Talks / Research
7 October 2011–1 September 2013

Ewa Partum, "Selfidentification," Warsaw 1980.
Photo-montage (from a series of 8 images).
Courtesy: The artist.
First Venue:
7 October 2011–15 January 2012, Centro Cultural Montehermoso Kulturunea, Vitoria-Gasteiz, Spain

www.reactfeminism.org

re.act.feminism #2 - a performing archive is a continually expanding, mobile and temporary performance archive travelling through six European countries from 2011 to 2013. In its current version, it presents gender-critical, feminist and queer performance art by 125 artists and artists collectives from the 1960s until the beginning of the 1980s, as well as contemporary positions. The research focus is on artworks from Eastern and Western Europe, the Mediterranean and the Middle East, the US and selected countries in Latin America. On its route through Europe this temporary archive will continue to expand through local research and scholarly cooperation. It will also be "animated" through exhibitions, screenings, performances and discussions along the way, which will continuously contribute to the archive.

With this project, the organiser cross links e.V., Berlin and the curators Bettina Knaup andBeatrice Ellen Stammer, draw on the success of the exhibition "re.act.feminism—performance art of the 1960s & 70s today" which was shown to great critical acclaim in the Akademie der Künste, Berlin, Germany, in 2008–2009.

The main goals of the project are to make performance documentation, which is dispersed and often difficult to access, available to a broader public for the first time in such a great volume and variety, and to strengthen cross-generational and trans-cultural dialogue.

The project is based on the idea of a living archive, emphasising the use, appropriation, and re-interpretation of documents: What effect does the performance document have in the moment of its reception, what does it do? What kind of relationship does it create between past and future, between author and recipient?

At Centro Cultural Montehermoso, first venue of the project, the archive will be accompanied by an exhibition presenting 20 artists of different generations, which have been selected from the archive:

EXHIBITION
Oreet Ashery, Pauline Boudry & Renate Lorenz, Theresa Hak Kyung Cha, Regina José Galindo, Mierle Laderman Ukeles, Marta Minujín, Fina Miralles, Lorraine O'Grady, Tanja Ostojić, Letícia Parente, Ewa Partum, Adrian Piper, Ulrike Rosenbach, Raeda Saadeh, Zorka Ságlová, Stefanie Seibold & Teresa María Díaz Nerio, Miriam Sharon, Gabriele Stötzer

ARCHIVE
Helena Almeida, Eleanor Antin, Oreet Ashery, Antonia Baehr, Maja Bajević, Anne Bean, Anat Ben-David, Renate Bertlmann, Pauline Boudry & Renate Lorenz, Nisrine Boukhari, Maris Bustamante, Cabello/Carceller, Graciela Carnevale, Theresa Hak Kyung Cha, Helen Chadwick, Lygia Clark, Colette, Nieves Correa, Laura Cottingham, Lilibeth Cuenca Rasmussen, Disband, Ines Doujak, Orshi Drozdik, Yingmei Duan, Diamela Eltit, VALIE EXPORT, Factory of Found Clothes, Esther Ferrer, Rose Finn-Kelcey, Simone Forti, (e.) Twin Gabriel, Regina José Galindo, Rimma Gerlovina & Valeriy Gerlovin, Patrycja German, Ghazel, Kate Gilmore, Mona Hatoum, Sanja Iveković, Elżbieta Jabłońska, Françoise Janicot, Joan Jonas, Anne Jud, Kirsten Justesen, Kanonklubben/Damebilleder, Line Skywalker Karlström, Tina Keane, Amal Kenawy, Verica Kovacevska, Elena Kovylina, Katarzyna Kozyra, Christina Kubisch, Verena Kyselka, Nicola L, Latifa Laâbissi, Leslie Labowitz, Suzanne Lacy, Katalin Ladik, Sigalit Landau, Klara Lidén, Kalup Linzy, Natalia LL, Manon, María Evelia Marmolejo, Muda Mathis, Dóra Maurer, Mónica Mayer, Ana Mendieta, Marta Minujín, Fina Miralles, Linda Montano, Charlotte Moorman, Teresa Murak, Sands Murray-Wassink, Hannah O'Shea, Itziar Okariz, Yoko Ono, ORLAN, Tanja Ostojić, Letícia Parente, Ewa Partum, Jillian Peña, Performance Saga (Andrea Saemann & Katrin Grögel), Howardena Pindell, Polvo de Gallina Negra, Yvonne Rainer, Egle Rakauskaite, Jytte Rex, Ulrike Rosenbach, Martha Rosler, Boryana Rossa, María Ruido, Estíbaliz Sábada, Andrea Saemann, Christine Schlegel, Cornelia Schleime, Carolee Schneemann, Miriam Sharon, Bonnie Ora Sherk, Barbara T. Smith, Cornelia Sollfrank, Spiderwoman Theater, Annie Sprinkle, Gabriele Stötzer, Melati Suryodarmo, Jinoos Taghizadeh, Milica Tomić, Valie Export Society, Cecilia Vicuña, The Waitresses, Faith Wilding, Hannah Wilke, Martha Wilson, Julita Wójcik, Nil Yalter

Exposição - Olhares no Feminino, ou a celebração de "flâneuse"

2011-11-14T23:50:00.001Z

O Conselho Cultural da Universidade do Minho convida para a abertura de uma exposição de pintura e fotografia na Galeria do Salão Medieval, no edifício da Universidade do Minho ao Largo do Paço em Braga.

A exposição intitulada Olhares no Feminino ou, a celebração de "flâneuse" integra obras da pintora Olga Barbosa e fotografias de Sofia Saldanha, e é inaugurada no próximo dia 16 de Novembro, quarta-feira, pelas 17 horas, podendo ser visitada de 2ª a 6ª feira, das 9:00 as 17:30, com entrada livre.

Anexo: Mais informação sobre as artistas e a obra exposta.

Conselho Cultural da Universidade do Minho
Largo do Paço, 4704-553 Braga
Tel.: 253601139, 253601111
Fax: 253601138
E-mail: ccultural@reitoria.uminho.pt

The Google Anita Borg Scholarship for Female Bachelor, Master and PhD students

2011-11-12T17:03:00.001Z

Deadline: 1 February 2012
Open to: female students enrolled in a Bachelors, Masters or PhD programme of computer science (or equivalent) in 2012/2013 at a University in Europe, the Middle East or Africa
Scholarship: €7,000

The scholarship aims to encourage women to excel in computing and technology, and become active role models and leaders.
More information about the scholarship can be found:
http://www.google.com/anitaborg/emea/
More information on the application procedure can be found at:
https://google.eresources.com/applications/login.asp

Gender workshop - Julia Kisteva and her philosophy com Zuzanna Sanches

2011-11-10T14:11:00.000Z


	The toccatas, the fugues and the origins of Femininity - Julia Kristeva and her philosophy
	Zuzanna Sanches (National University of Ireland) 17 de Novembro de 2011, 17h00, Sala 1, CES-Coimbra

Resumo

Julia Kristeva (born 1941) is a Bulgarian-French philosopher and psychoanalysts. Her writing addresses issues of feminism, abjection, semiotics, motherhood and intertextuality. In Julia Kristeva’s writing existence must be conceived as a relationship of strangers. There the concept of otherness and Otherness mingle where the former stands for the excluded and the latter functions as hypothetical space or place which is of the pure signifier, rather than a physical entity. In this sense strangeness and otherness take on a new meaning not solely within the political sphere but also in psychoanalysis and gender studies. Understanding the intertextuality of our lives can lead us towards experiencing jouissance – total ecstasy or joy at discovering meaning of the meeting between selfhood and otherness: be it in mothering a child or mothering a text.

In this seminar we will be looking closely at Julia Kristeva’s “Toccata and Fugue for the Foreigner”, the first chapter of her Strangers to Ourselves (1991). We will be talking about the theoretical peculiarities of femininity or the ‘women’s time’: their heterogeneity, multiplicity and momentariness according to Kristeva. We will try to answer the question of who is a woman, and whether there is such a place for her, usually designated as feminism.

Tertúlia com Alexandra Oliveira e Manuela Tavares

2011-11-10T12:35:00.001Z

Com Alexandra Oliveira e Manuela Tavares

Durante 5 anos, a investigadora Alexandra Oliveira acompanhou pessoas que praticam prostituição ou outros trabalhos sexuais, nas ruas do Porto. Além disso, desde 2000, tem feito intervenção na área da redução de riscos e da promoção da saúde com prostitutas e prostitutos, tanto de rua como de apartamento, e tem feito outras pesquisas envolvendo diversos trabalhadorxs do sexo, tais como alternadeiras e stripteasers.

Parte desse trabalho, desenvolvido no âmbito do doutoramento em Psicologia, na FPCE da Universidade do Porto, está agora acessível no livro ANDAR NA VIDA – Prostituição de Rua e Reacção Social, recentemente publicado.

Numa altura em que as campanhas conservadoras que misturam tráfico de seres humanos com o exercício do trabalho sexual chegam em força, ao mesmo tempo que é cada vez mais claro que o abolicionismo não responde às necessidades de quem presta serviços sexuais, urge reflectir e perspectivar alternativas feministas que promovam direitos sociais para quem presta serviços sexuais.

Foi a pensar nessa urgência que o CCIF convidou Alexandra Oliveira para uma tertúlia, à qual se junta também a investigadora em Estudos sobre as Mulheres e membro da direcção da UMAR, Manuela Tavares.

Centro de Cultura e Intervenção Feminista, Lisboa // UMAR

The Embroidered Digital Commons

2011-11-10T09:39:00.001Z

The Embroidered Digital Commons, a photo by litcha sparletta on Flickr.

The Embroidered Digital Commons (2007-2013) 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 facilitated by Ele Carpenter.

AMIW will facilitate the stitching of the term ‘Heterogeneous’ as part of VBKÖ, 2011:
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.
more at
http://amiw-vbkoe.blogspot.com/

Ana Pérez-Quiroga em conversa com Ana Anacleto e João Silvério

2011-11-08T17:30:00.003Z

quinta dia 10 às 7pm,
conversa com Ana Anacleto, João Silveiro e Ana Pérez-Quiroga
sobre a exposição - processo de trabalho para a realização da obra e sua validade.

Appleton SquareRua Acácio Paiva, 27, R/c, 1700-004 Lisboa
www.appletonsquare.pt
appletonsquare.blogspot.com
Horário: 3ª a Sábado das 15h às 20h

Transportes:
Metro: Alvalade
Autocarros:
Av. De Roma (Escola Eugénio dos Santos): 767, 755, 7, 35
Av. Rio de Janeiro (Bombeiros): 17, 44
Av. Do Brasil (LNEC): 17
Av. Da Igreja: 21, 755

Isabel Padrão: visto-me por dentro

2011-11-08T11:25:00.004Z

Sexta-feira, dia 11 de Novembro, 21h30m (até às 23h30)
A exposição estará patente até 10 de Dezembro de 2011

Na Fundação Amiarte

Rua da Lomba nº 153 / 159
4300-301 Porto, Portugal

Isabel Padrão Blog

Isabel Padrão website

Miguel Bonneville Ciclo no Passos Manuel, Porto

2011-11-07T11:16:00.000Z

Miguel Bonneville apresenta um ciclo de três dias dedicado ao seu trabalho no Passos Manuel, nos dias 10, 11 e 12 de Novembro, no Porto.*

Neste ciclo, Bonneville começará por apresentar o seu trabalho numa palestra intitulada ‘La tristesse durera toujours’ (A tristeza durará para sempre) - as últimas palavras ditas pelo pintor Vincent van Gogh antes da sua morte -, onde projectará imagens e excertos de performances que realizou entre 2003 e 2011.

Seguem-se depois as performances homónimas Miguel Bonneville#6 e Miguel Bonneville#8. Na primeira, estreada em 2008, o artista convidou seis mulheres para falarem das suas vidas numa entrevista filmada, em que o guião de perguntas era o mesmo para todas. Através da edição das suas respostas, Bonneville tentou “encontrar uma terceira identidade, mais perfeita” do que a sua e a de cada uma delas.

A última performance é uma estreia absoluta no Porto, recentemente estreada em Lisboa, no contexto do Festival Temps d’Images. Em MB#8 – espectáculo que poderá incluir conteúdos adequados apenas para adultos - podemos assistir a uma projecção de slides acompanhada de uma narração sobre “a infelicidade de não se poder parar e a frustração de não se poder fugir”.

Programação:
10 DE NOVEMBRO | 22H00 | Palestra: LA TRISTESSE DURERA TOUJOURS
11 DE NOVEMBRO | 22H00 | Performance: MIGUEL BONNEVILLE #6 12 DE NOVEMBRO | 22H00 | Performance: MIGUEL BONNEVILLE #8
Bilhetes
10 Nov. Palestra: 7 Euros
11 Nov. Performance: 7 Euros
12 Nov. Performance: 7 Euros
Ciclo 3 Dias: 15 Euros

*mais informações aqui: http://passosmanuel.net/index.php?evento_id=2959

www.miguelbonneville.com

American Association of University Women - International Fellowships

2011-10-28T14:27:00.002Z

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

2011-10-24T15:08:00.002Z

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

2011-10-21T10:39:00.001Z

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

2011-10-20T10:14:00.002Z

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

2011-10-14T11:09:00.000Z

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

2011-10-14T10:47:00.000Z

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

2011-10-12T13:53:00.000Z

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

2011-10-12T13:50:00.005Z

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

2011-10-12T11:06:00.000Z

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

2011-10-12T08:59:00.000Z

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

2011-10-11T09:02:00.002Z

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

2011-10-06T15:36:00.002Z

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

2011-10-06T12:50:00.001Z

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”

2011-10-05T14:50:00.003Z

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

2011-10-05T10:59:00.001Z

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.

AMIW @ The Mews 4 Artists Books Weekend

2011-09-19T14:28:00.002Z

edited by Carla Cruz and Virgínia Valente, this publication introduces possible readings and relationships between All My Independent Women, as an exhibition project, the artists involved a Portuguese feminist book from the 1970s.

SUNDAY 25th
3 pm – 4 pm :
AMIW @ The Mews Project Space Common Room
AMIW presents AMIW – New Portuguese Letters

All My Independent Women (AMIW) positions itself as a network of artists, who create from a feminist perspective, expound the question of gender, or question power relations in the arts in their works. Currently AMIW is preparing its 6th edition at The Association of Austian Women Artists – VBKÖ, Vienna, where it intends to question critically and experimentally through an exhibition and a series of events: How can the desire for visibility be transmuted into a different experience; one of equality and accountability? How can feminist practices function as a ‘counter-hegemonic intervention’ in the arts in particular and in society in general?Or as the Portuguese authors ‘3 Marias’, of the New Portuguese Letters, asked in the 1970s: “Sisters. What can [art] do? Rather, what can words do?”

Artists Books Weekend

Gathering in Offering

2011-09-16T13:09:00.003Z

Carolina Caycedo for www.creativetime.org/livingasform/

In collaboration with members of local religious, spiritual, and social activist groups living and working in the Lower East Side.

"The idea and ideal of Pilgrimage speaks of a journey home, to the sacred places we share and that we hold in our own heart. These are the places of Illumination, of discovering our natural identity, and our spiritual heritage." Chris Fici
"We offer these gatherings to the woman and men who have organized towards better labor conditions, and to those who continue to seek dignity and happiness in the act of working" Minga de Cielos

Mariana Silva

2011-09-14T11:14:00.003Z

A Kunsthalle Lissabon apresenta, no seu novo espaço na Avenida da Liberdade 211, A organização das formas, a primeira exposição individual de Mariana Silva.

Em Uma composição para dois, a dois momentos diferentes (2011), peça central da exposição, dois canais video são sobrepostos num mesmo ecrã. Uma das projecções é o vídeo de 1978 que documenta a performance Trio A de Yvonne Rainer (bailarina, coreógrafa, e cineasta), interpretada pela própria, cuja coreografia é parte da sua peça minimalista de 1968 The Mind is a Muscle. A segunda projecção consiste numa faixa de legendas baseadas no estudo de 1976 da historiadora Mona Ozouf, sobre as paradas da revolução francesa. É nestas paradas que o pintor Jacques-Louis David se destaca como um dos seus primeiros orquestradores, concebendo a participação dos cidadãos como parte integrante de um novo regime de cidadania inaugurado pela república. Por sua vez, Trio A é concebido partindo de movimentos comuns (pedestrian, nas palavras da autora), e passível de ser ensinado independentemente da formação de quem o aprende. Desde a sua participação no Judson Dance Theatre, que a recepção e crítica da sua obra, e nomeadamente de Trio A, tem vindo a debater o lado democrático do seu trabalho coreográfico minimalista.
O gesto de sobreposição conflui assim duas instâncias de movimento coreografado: as paradas públicas desenvolvidas pelo pintor da Revolução Francesa e a coreografia Trio A de Yvonne Rainer e, nesse processo, investiga a ideia de um enactment sensual de cidadania.

Une affaire de creux et de bosses (2011) é uma sessão única que terá lugar dia 18 de Outubro, às 22:00, no cinema Nimas, em Lisboa, e que prolonga a exposição patente na Kunsthalle Lissabon. O evento reúne um vídeo HD de 30 minutos e a difusão de um perfume histórico durante a sua visualização, proporcionando simultaneamente uma experiência visual e olfactiva. O vídeo consiste numa deambulação por vistas do Museu do Louvre, em Paris, e mais especificamente, pelas suas colecções de estatuária egípcia, greco-romana, medieval e barroca. As vistas são construídas a partir de um livro de estampas que retrata, em três dimensões (3D), os diversos espaços ocupados pelas colecções do museu.
Parfum à la Guillotine, desenvolvido com o perfumista Lourenço Lucena para esta sessão única, é a recriação do perfume desenvolvido durante a Revolução Francesa para combater o decréscimo de vendas que esta terá provocado. Evocando as curtas experiências de cinema olfactivo dos anos sessenta, pretende-se sobrepor à inquietação das imagens turísticas do Louvre, tintadas no azul e vermelho das primeiras experiências cinematográficas em 3D, a estranheza de um perfume criado à imagem da guilhotina.
Este evento desenvolve-se assim como uma espécie de mise en abîme de referências à iconoclastia revolucionária que fundou o primeiro museu público nos paços reais e inventou para si o símbolo da pilhagem ao serviço de uma história visual que o museu universal iria estabelecer e devolver aos povos democráticos.

Mariana Silva (Lisboa, 1983) vive e trabalha em Lisboa. Participou em várias exposições colectivas, das quais se destacam “Às Artes, Cidadãos!” (Museu Serralves, Porto, 2011), “For Love, not Money” (15th Tallin Print Triennial, Tallin, Estónia, 2011), Entrevista Perpétua” (Cristina Guerra Contemporary Art, Lisboa, 2010), “Into the Unknown” (Ludlow 38, Nova Iorque, EUA, 2010), “República ou o Teatro do Povo” (Arte Contempo, Lisboa, 2009), “BesRevelação 2008” (Museu Serralves, Porto, 2008). Foi artista residente na 5th Sommerakademie, Paul Klee Zentrum, Berna em 2010 e no iscp (International Studio & Curatorial Program), Nova Iorque em 2010.

Kunsthalle Lissabon is pleased to present, in its new space, The organization of forms, Mariana Silva's first solo show.

In A composition for two at two distinct moments (2011), the central piece of the exhibition, two video channels are overlapped on the same screen. One of the projections is the 1978 video of Yvonne Rainer performing Trio A, part of her 1968 minimalist piece The mind is a muscle. Trio A developed from pedestrian (in Rainer's own words) movements and is prone to be taught regardless of previous specialized training. Since Rainer’s work at the Judson Dance Theatre, critical reception has focused on the democratic nature of Rainer’s minimal choreographies, namely Trio A. The second channel presents a subtitle track based upon the 1976 research of historian Mona Ozouf on the parades of the French Revolution. It was through such parades that painter Jacques-Louis David conceived citizens' participation as an integral part of a new regime of citizenship brought about by the republic. Silva's gesture of superimposition thus brings together two instances of choreographed movement, that of the public parades developed by the painter of the French Revolution and Yvonne Rainer's piece Trio A, and by doing so, reflects upon the idea of a sensual enactment of citizenship.

Une affaire de creux et de bosses (2011) is a single screening which prolongs the exhibition at Kunsthalle Lissabon. It brings together a 30 minute-long HD video and the diffusion of a historical perfume, allowing for both a visual and olfactory experience. In the video, the camera pans through several views of the Louvre, in Paris, and more specifically, through its collections of Egyptian, classic, medieval and baroque statuary. The vistas are collected from a book of prints which depicts in three-dimensions (3D) the spaces of the museum’s collections. Parfum à la Guillotine, developed with parfumier Lourenço Lucena for this single screening, is a recreation of the perfume devised to counteract a decrease in perfume sales caused by the French Revolution. Evoking the short-lived sixties' experiences of smell-o-vision, in which scents were released during the projection of a film, the artist intends to superimpose the oddity of a perfume created in the image of the guillotine to the unsettling touristic prints of the Louvre, tainted by the blue and red reminiscent of the first experiments with 3D technology. This event thus develops as a sort of mise en abîme of references to the revolutionary iconoclasm that founded the first museum in a royal palace and invented for itself the symbol of pillage in name of a visual history that the museum would then establish, crystalize and return to all democratic people.

Mariana Silva (Lisbon, 1983) lives and works in Lisbon. She has participated in several group exhibitions, namely “To the Arts, Citizens!” (Serralves Museum, Oporto, 2011), “For Love, not Money” (15th Tallin Print Triennial, 2011), “Perpetual Interview” (Cristina Guerra Contemporary Art, Lisbon 2010), “Into the Unknown” (Ludlow 38, New York, 2010), “República ou o Teatro do Povo” (Arte Contempo, Lisbon, 2009), “BesRevelação 2008” (Serralves Museum, Oporto, 2008). She was a resident at the 5th Sommerakademie, Paul Klee Zentrum, Bern in 2010, and at the iscp (International Studio & Curatorial Program), New York from October 2009 to March 2010.

Rita Carmo: "Um quarto só dela"

2011-09-13T11:34:00.002Z

"Um Quarto Só Dela” dá a conhecer o território criativo construído e explorado por si durante a sua primeira estadia em Bergen, revelando também o processo de crescimento e transformação desse território circunscrito no tempo até ser exposto agora ao nosso olhar."

inauguração: 17h00- 17 de Setembro na Sala DoisPaços da Galeria Municipal de Torres Vedras

Até 26 de Novembro

Rita Carmo nasceu em 1976 em Lisboa, cidade onde vive e trabalha.
Licenciou-se em Artes Plásticas na ESAD das Caldas da Rainha em 2001.
Foi bolseira Erasmus no Departamento de Artes Plásticas da Kunsthøgskolen i Bergen, na Noruega, durante 5 meses em 2000 e 2001. Entre Fevereiro e Junho de 2005 usufruiu de uma bolsa para investigação na área das Artes Plásticas atribuída em concurso pelo Conselho de Investigação da Noruega (Norgesforskningråd) para o desenvolvimento do projecto How Things Grow and Transform Themselves into Other Separate Things na Kunsthøgskolen i Bergen, na Noruega. Como conclusão do projecto produziu e apresentou a sua primeira exposição individual na Galleri Fisk em Bergen: How Things Grow and Transform Themselves into Other Separate Things.
Desde 1994 tem participado em exposições colectivas, entre as quais: Duplo(s), Galeria Sumo Preto, Lisboa (2002); Quinze Pintores, Palácio Marim Olhão, Lisboa (2002); Solo Exhibition, White Cube, Kunstakademiet, Bergen, Noruega (2000); Nonstopoppening, Galeria Zé dos Bois, Lisboa (2000); Galeria dos 30 dias, Caldas da Rainha (2000); Fleshmeetsplastic, Caldas da Rainha (1998) e Caldas Late Night 96, Caldas da Rainha (1996).

SUXEITOS EMERXENTES: SEXUALIDADES E FEMINISMOS CONTEMPORÁNEOS

2011-09-12T09:50:00.004Z

CURSO de VERÁN da UDC

SUXEITOS EMERXENTES: SEXUALIDADES E FEMINISMOS CONTEMPORÁNEOS

O curso de verán SUXEITOS EMERXENTES: SEXUALIDADES E FEMINISMOS CONTEMPORÁNEOS, ten como propósito fundamental dar a coñecer as novas correntes teóricas e prácticas do pensamento crítico feminista e dos movementos de liberación sexual actuais. O enfoque debe ser comprendido a partir dunha dislocación múltiple do suxeito feminista, onde a identidade moderna, homoxénea e esencial do suxeito "muller" comeza a ser redefinida, diversificada e afinada pola intervención múltiple de novos suxeitos que emerxen desde contextos xeográficos e políticos afastados tradicionalmente da centralidade política feminista.

O curso organízase en catro bloques temáticos:

XÉNERO, ARTE E ACTIVISMO
Nos últimos anos asistimos, no contexto galego, a unha efervescencia nos discursos e prácticas políticas feministas relacionadas coa producción artística en Galicia. A interrelación entre xénero, arte e activismo está a posibilitar novas linguaxes e formas de comunicación que se incorporan ás políticas actuais do movemento e á creación artística en Galicia.

ENFOQUES E DEBATES EN TORNO AO FEMINISMO E AOS MOVEMENTOS DE EMANCIPACIÓN SEXUAL
A intersección entre as gramáticas feministas e a teoría queer teñen posibilitado a irrupción de discursos autocríticos dentro dos propios movementos feminista e LGBT. As ponencias propostas abordarán cuestións como as políticas LGBT europeas, a crítica 'antiqueer' plantexada por unha parte do movemento feminista e LGBT ou os debates orixinados coa aparición das correntes transfeministas.

MIGRACIÓNS, XÉNERO E SEXUALIDADE: PERSPECTIVA POSTCOLONIAL DO FEMINISMO E OS MOVEMENTOS DE EMANCIPACIÓN SEXUAL
Os discursos postcoloniais ou as diferentes prácticas políticas autónomas, desde os movementos civís de mulleres no Magreb ata a 'subversión do dereito' proposta polo transfeminismo ecuatoriano promoven novas análises desde as fronteiras do feminismo, onde as variábeis de etnia, clase ou relixión son determinantes á hora de explicar a heteroxeneidade do suxeito. Esta realidade, unida á migración ou ao exilio por discriminación sexual, así como a aparición de discursos racistas e islamófobos nas comunidades feministas e LGBT europeas poñen de manifesto a necesidade de autocrítica, articulando políticas inclusivas baseadas en valores igualitarios e antirracistas dentro dos propios movementos sociais.

REPRESENTACIÓNS DO CORPO E DA SEXUALIDADE DAS MULLERES
É fundamental destacar o lugar e o poder que teñen hoxe as representacións dos corpos das mulleres, desde a literatura á creación audiovisual. As poñentes invitadas promoven novos modelos de feminidade e formas de autorepresentación que empoderan e visibilizan a sexualidade das mulleres.

DATAS
14-17 de setembro 2011

LOCALIZACIÓN

Ponencias e mesas redondas no CUR (antigua facultade de Empresariais) e exposicións, ciclo de vídeo e teatro na Normal (antigua facultade de Maxisterio), no Campus de Riazor.

ORGANIZADORES/COORDINADORES DO CURSO

- Antía Pérez Caramés. Directora do curso. Profesora Contratada Doutora en Socioloxía da Universidade da Coruña. Investigadora en feminismos, migracións, envellecemento e coidados.

- Pablo Andrade. Sociólogo. Master en xénero e políticas públicas. Activista. maribolheras precárias.

- Rubem Centeno. Sociólogo. Experto en Teoría queer. Ten publicados diversos artículos sobre movementos de emancipación sexual en distintas publicaciones como a Revista Tempos, Periódico Diagonal e en publicaciones on-line galegas. Activista maribolheras precárias.

- Anxela Caramés. Historiadora da arte. Investigadora en feminismos e arte contemporánea.

IF I CAN’T DANCE, I DON’T WANT TO BE PART OF YOUR REVOLUTION BOOK LAUNCH

2011-09-08T13:44:00.002Z

Launch of Conversation Pieces &
Fire Eating Air, a film programme by Cinenova
1 October 2011
If I Can’t Dance, Amsterdam

On 1 October 2011 at 20:00 hrs, If I Can’t Dance in collaboration with de Appel arts centre, presents an evening with film screenings from the collection of feminist film and video distributer Cinenova, at our headquarters at Westerdok 606-608 in Amsterdam. The films will be introduced by Cinenova member Karolin Meunier. On this occasion, If I Can’t Dance proudly presents its second publication in the field of performative art practices entitled Conversation Pieces, the fruit of our collaborative investigation into Feminist Legacies and Potentials in Contemporary Art Practice (2006-2008) that was produced in collaboration with de Appel arts centre, M HKA and Festival a/d Werf.

Cinenova is a London-based volunteer-run organization dedicated to preserving and distributing the work of women and feminist film- and video makers. For many of the filmmakers whose work is part of their collection, performativity is an essential method employed to bring feminist issues forward, to give direct expression to their ideas and to develop a different visual language. The programme Cinenova has composed for this evening, Fire Eating Air, considers the role of performance in relation to the film camera and the viewer, and looks at how this relation affects gestures of speech and the body.

Please RSVP to bookings@ificantdance.org. Space is limited.

If I Can’t Dance recommends the symposium A Little Less Conversation, organized by de Appel arts centre on Saturday 1 October at the Stedelijk Museum, Amsterdam, from 13:30 hrs until 16:30 hrs.

PUBLICATION

Conversation Pieces
2011
If I Can’t Dance and de Appel arts centre, Amsterdam

In Conversation Pieces, twelve critical thinkers confront twelve artists from the perspective of historical and present-day feminism in art, drawing from the exhibitions and performances presented by If I Can’t Dance during Edition II.

With contributions by Dieter Roelstraete & Alexandra Bachzetsis, Vanessa Desclaux & Will Holder, Lisette Smits & Karl Holmqvist, Peio Aguirre & Jutta Koether, Diana McCarty & The Otolith Group, Emily Pethick & Maria Pask, Pádraic Moore & Sarah Pierce, Paul O’Neill & Falke Pisano, Patricia Grzonka & Stefanie Seibold, Jan Verwoert & Frances Stark, Binna Choi & Haegue Yang, and Frédérique Bergholtz & Katarina Zdjelar.

Conversation Pieces. Produced by If I Can’t Dance, I Don’t Want To Be Part Of Your Revolution, Amsterdam, and de Appel arts centre, Amsterdam. Published by Revolver, Berlin. Editor: Frédérique Bergholtz. Editorial co-ordination by Tanja Baudoin & Flora Lysen. Text editing by Janice McNab. Design by Maureen Mooren. ISBN 978-90-814471-1-9. Price: EUR 17,-

Order Conversation Pieces from Revolver Publishing, de Appel arts centre or from If I Can’t Dance via info@ificantdance.org.

Special book launch discount: EUR 13,-

Holly Norris - American able

2011-08-26T16:26:00.002Z

Check Holly Norris American Able, that as she says "intends to, through spoof, reveal the ways in which women with disabilities are made invisible in advertising and mass media."

first:

and then:

Homofóbia contra P-Town the João Pedro Vale

2011-08-25T09:57:00.009Z

"Uma exposição do artista plástico português João Pedro Vale, com inauguração prevista para 2 de Setembro no Espaço Arte Tranquilidade, em Lisboa, foi hoje cancelada por “uma questão de homofobia”, adiantou o artista ao PÚBLICO. “A direcção de marketing da Tranquilidade comunicou-me hoje por telefone que o projecto no seu todo poderia suscitar polémica e não era compatível com os valores da empresa”, diz João Pedro Vale."

“O problema, aqui, era não só a imagem fálica da ‘fanzine’, que propus que fosse utilizada como ‘banner’ na fachada do espaço e num anúncio pensado para o jornal Expresso, mas também a temática gay do meu trabalho”, sublinha o artista. “Não me falaram da questão gay, mas disseram que o problema era a temática geral.”

leia mais no público

The exhibition "P-Town" by the portuguese artists João Pedro Vale and Nuno Alexandre Ferreira was cancelled because the imagery was too shocking for the Stakeholders' taste.

caitlin moran

2011-08-18T13:25:00.002Z

"How to be a woman", a must. A friend recommended it to me by saying that it makes people smile at you when you break into loud laughs on the subway, it is true :-)

read a review at bad reputation by Sarah Cook.

Célia Esteves

2011-07-27T14:09:00.002Z

"Pôr os Pés à Parede"
Inaugura a 30 de Julho 18h

até 20 de AgostoESPAÇO GESTO - Rua José Falcão, 107

"Partilhar momentos, memórias, fragmentos de narrativas retiradas de um universo pessoal." Com esta exposição pretende-se mostrar o trabalho mais ou menos contínuo de ilustrações descomprometidas e acrescentar, insistir sobre mais alguns outros objectos de parede.

Ana Torrie

2011-07-20T11:02:00.001Z

Torrie has a new website, check it out.

portrait taken from here

Do women really need monuments?

2011-06-03T14:28:00.003Z

"Paper Women began from the simple realisation of the absence of statues of women in Bristol and a desire to challenge this."

But I wonder, do women really need monuments? I cannot but think of bell hooks and her argument that if emancipation is about wanting to be like those who by being where they are oppressed a large number of people (not just women, but other minoritoes), aren't we perpetuating the oppressive system instead of challenging it?

Still I can't help noticing the strategy of this group: pink paper dolls. I think it is a lovely tribute to women, and maybe it does not need to be cast in bronze.

WASTED RITA

2011-05-31T11:39:00.003Z

Sexo, punk-rock e entrevistas de emprego
4 de Junho a 16 de Julho
June 4th till July 16th, opening 17h at Pensão Favorita Porto

Inauguração 17h
Quarto Alugado @ Pensão Favorita

Sobre a exposição
"Sexo, punk-rock e entrevistas de emprego" é: 
1. Um bem hajam à promiscuidade e leviandade gratuitas;
2. Punk-rock para quem gostava de o perceber, mas já tem idade para ter juízo;
3. Um guia básico para todos os recém-licenciados e futuros frustrados.

Wasted Rita
Concebida em Nova Jérsia, nascida no Porto e criada num buraco negro nas redondezas (Águas Santas), Rita Gomes é mais uma recém-licenciada em Design de Comunicação pela Faculdade de Belas Artes do Porto. Começou por fazer cartazes para concertos D.I.Y., que organizava com amigos, ainda antes de entrar na faculdade e, cedo, começou a trabalhar para editoras e bandas independentes espalhadas por toda a Europa. Actualmente, trabalha (ou vai trabalhando) como freelancer, incluindo já no seu historial colaborações com a Red Bull Music Academy, Delta Q, STUDIOBURO, entre outros. 
Dividida entre paixão pelo punk-rock e atitudes politicamente incorrectas, com um traço arrojado e espontâneo, gosta aproveitar erros e transformá-los em algo positivo, com algum sarcasmo à mistura e servindo-se de um talento natural para irritar pessoas. A ética DIY, a ironia, e a insaciável necessidade de criar e evoluir todos os dias são as suas principais armas.

Wasted Rita
Conceived in New Jersey, born in Porto, raised in a black hole in the suburbs (Águas Santas), Rita Gomes is one more recent graduate in Communication Design, by Faculdade de Belas Artes da Universidade do Porto. Started to design D.I.Y. gig posters that organized with her friends, before even getting to university and soon started to work with independent publishers and bands spread all around Europe. Nowadays works as a freelance with collaborations that include Red Bull Music Academy, Delta Q, STUDIOBURO, among others. Torn between passion for punk-rock attitude and the politically incorrect, with a bold and spontaneous stroke, likes to make mistakes and turn them into something positive, with some sarcasm to the mix and pouring herself a natural talent for annoying people. DIY ethics, irony, and the insatiable need to create and evolve every day are their main weapons.

Wedding Bellas

2011-05-31T11:35:00.002Z

Wedding Bellas is a photographic project which examines the female desire for
roots and stability. It explores the wish to belong, and acts as a comment
on ageing, migration and marriage, but can be a record of an individual's urge
to hide personal problems, as a human need for dressing up etc...
The project presents brides passionately attached to the objects of their
marriage. That is evident from the photos- women in wedding dresses have a
physical connection with their rooted fellow. Wedding dresses are surrounded by
other wedding iconography, but the images are not a joke - it is a serious
matter - an event of desperation and delusion shot as on a true wedding
ceremony.
These photographs tell the stories of twelve women who refused to leave. Many
were rejected by their partners, their landlords and their employers, but
majority has been rejected by the state; refused a home in this country. The
women show an extraordinary resilience and resourcefulness in the face of
sometimes all of these rejections happening at once. Fantasy provides for them
an escape, so they ground themselves to that which is stable, rooted and
appealing: ’the Queen’s Subjects’ - a lamppost, a tree, a traffic sign - London
landmarks. It is through the medium of text and image, that we disturb and alter

the perception of migrants and refugees in the UK today. Wedding Bellas is
funded by the European Cultural Foundation with women from the Migrants Resource

see

Novas Cartas Novas

2011-05-24T14:11:00.002Z

As Novas Cartas Portuguesas NOVAS a base de dados.

"Este projecto tem por objectivo criar uma rede transcultural e internacional em torno do livro Novas Cartas Portuguesas, publicado em 1972 por Maria Isabel Barreno, Maria Teresa Horta e Maria Velho da Costa, dando conta da investigação desenvolvida em Portugal e em vários países ocidentais nos últimos quarenta anos em torno de Novas Cartas Portuguesas."

não esquecer as da AMIW

Embroidery Ensemble

2011-05-08T13:31:00.003Z

Café Crema
306 New Cross Road. London SE14 6AF
Nearest tube/train: New Cross or New Cross Gate

Sunday 22nd May, 2-4pm
Sunday 29th May, 2-4pm
Sunday 5th June, 2-4pm

Calling all stitchers, hackers, programmers, embroiderers, patchworkers, coffee drinkers, steampunks, artists, crafters, makers and tinkerers….

You are warmly invited to gather at Café Crema to stitch the term 'ensemble' as part of the Embroidered Digital Commons.

We will be close reading and embroidering the following text from ‘A Concise Lexicon of / for the Digital Commons’:

"Ensemble: The conceit or delight in togetherness in an increasingly anomic, fragmented world. Playing or working together to create finished or unfinished works. Chamber musicians, criminals, code-hackers and documentarists form ensembles. Artists try to. Effective ensembles are high bandwidth assemblies that build into their own architecture portals for random access into themselves. They are, when they are at their best, open systems that place a premium on shared information within them. They can at times maintain high levels of secrecy while seemingly appearing to be transparent. Here, confidentiality is an index of practices in gestation. Mined data is, sometimes, restored to natural states of information entropy in data dissembling ensembles, which have been found to work best at night in media labs. The Raqs Media Collective is an ensemble and everything it does is an ensemble of existing or anticipated practices."
(Raqs Media Collective, 2003)

This project is supported by The Co operative Community Fund.

See also Ele Carpenter's Website here

And the blog

Novas Ligações // New Links

2011-05-02T14:38:00.009Z

push 2006
by Anna Witt

Sobre mis ombros
By Anna Jonsson

where have they gone 2010
By Angelika Fojtuch

”Aufzeichnungen” - open space, Boundary signal / Grenzsignal, Vienna 2009
By Ricarda Denzer

"LINEAR" - Performative and site-specific Installation at Ve.Sch
by Roberta Lima

and also
Ulrike Müller
Yto Barrada

Vanessa Desclaux - Inti Guerrero

2011-04-28T19:11:00.004Z

IF I CAN’T DANCE,
I DON’T WANT TO BE PART OF
YOUR REVOLUTION
LECTURE

Matt Mullican on his hypnosis performances
Matt Mullican
5 May 2011, 19:30 hrs

On 27 May 2011, If I Can’t Dance presents two lectures at the conference of Performance Studies international, the largest international organisation in the field of Performance Studies. If I Can’t Dance has invited Vanessa Desclaux to speak about the work of Matt Mullican, and Inti Guerrero to speak about Flavio de Carvalho. Both speakers are conducting a case study research as part of our programme in Performance in Residence.

Performance in Residence ‘hosts’ a performance-related (body of) work for a substantial period of time, allowing the researcher to engage in an in-depth inquiry. The aim of the project is to connect archival research to practice.

Vanessa Desclaux is a curator based in Paris. She currently holds a research position at the Jan van Eyck Academie in Maastricht and at Goldsmiths College in London on the MPhil/PhD programme in Art. Taking into account Mullican’s continuous interest in performance, Desclaux will look at Mullican’s ongoing appropriation of his own work, retroactively exploring previous bodies of work as objects of research, which he considers as the essential ground for the making of new work and the invention of new languages within his overarching artistic project.

Inti Guerrero is a curator currently based in Amsterdam. In 2010 Guerrero curated the exhibition The City of the Naked Man at the Museu de Arte Moderna in Sao Paulo, introducing de Carvalho’s master plan for a new city in the tropics alongside work by contemporary artists. In his research in Performance in Residence, Inti Guerrero specifically focuses on the relations between the body, the psyche and architectural space in Flavio de Carvalho’s projects.

Stedelijk Museum
Paulus Potterstraat 13, 1071 CX Amsterdam
Tickets: entrance fee museum
www.stedelijk.nl

Vera Mota

2011-04-27T15:03:00.002Z

Acontecimento III

Espaço Campanhã
Rua Pinto Bessa, nº 170 r/c tras,
Armazem 21 (atrás do BANIF)

de 29 de Abril a 28 de Maio
Horário: Quinta, Sexta e Sábado das 15h30às 20h (Entrada Livre)

INÊS FERREIRA

2011-04-27T15:01:00.002Z

Feeble Features

30 de Abril
uma exposição no Quarto Alugado na Pensão Favorita.
A partir das 17h, na Pensão Favorita, na rua Miguel Bombarda, 267.
Dama Aflita

Flávio de Carvalho – A Lecture Performance

2011-04-19T09:51:00.001Z

Inti Guerrero
19 April 2011
Frascati, Amsterdam

Bookings :+31(0)206266866, or visit theaterfrascati.nl

As part of the programme Performance in Residence, If I Can’t Dance, I Don’t Want To Be Part Of Your Revolution has invited Inti Guerrero to investigate a case study in relation to the performative practice of the Brazilian artist and architect Flávio de Carvalho (1899-1973). On Tuesday 19 April, starting at 20.00 hrs, Guerrero will give a lecture performance on the practice of de Carvalho at Frascati Theatre, marking the start of his research period. The outcome is expected in winter 2011.

Flávio de Carvalho: Bailado do Deus Morto (Dance of the Dead God), 1933. Clube dos Artistas Modernos São Paulo

Brazilian artist and architect Flávio de Carvalho is perhaps best known for his Experiências (1931-1956), a series of performances avant-la-lettre that he carried out on the streets of São Paulo. With Experiência no. 3, de Carvalho publically launched his tropical futuristic suit, designed for the contemporary office worker. The ‘New Look’ that he personally modeled on the streets consisted of a miniskirt and short sleeved blouse that was separated from the body by a corseting structure, to improve air circulation and prevent sweat from soaking the clothes. Departing from the Experiências, Inti Guerrero will specifically focus his research on the relations between the body, the psyche and architectural space in de Carvalho’s projects. A 1929 interview between de Carvalho and Le Corbusier exposes de Carvalho’s peculiar ideas about the individual body’s experience in space and will guide Guerrero towards approaching the ‘New Look’ as a modern architectural project.

Inti Guerrero
Inti Guerrero is an Amsterdam based art critic and curator born in Bogotá, Colombia. He has published in Afterall (London), Ramona (Buenos Aires), Idea (Cluj) and ArtNexus (Bogota). Among his most recent curatorial projects are Duet for Cannibals at the Royal Tropical Institute, Amsterdam; Flying Down to Earth at both MARCO, Vigo, and FRAC Lorraine, Metz; and The City of the Naked Man at the Museum of Modern Art, São Paulo. He attended De Appel’s Curatorial Program and fulfilled studies on history and theory of art and architecture, and general history at both Universidad de Los Andes in Colombia and Universidade de São Paulo in Brazil. He was formerly Curator-in-Residence at Fondazione Sandretto Re Rebaudengo in Turin and Capacete Entretenimentos in Rio de Janeiro.

Susana Mendes Silva

2011-04-18T10:46:00.004Z

Hóspede | Guest
a performance by Susana Mendes Silva

The room used by Susana’s guest is no ordinary room. It is a bedroom inside the Caroline Pagès Gallery. Whoever comes to sleep in the gallery is going to meet the artist and participate in a performance that only makes sense with this person. In Guest, sleeping in the room is the drive to create an encounter between people that probably do not know each other.
After the booking of the room, the guest and Susana will exchange emails or use chat to arrange their meeting.
At the beginning of the encounter, they will take a polaroid: a self-portrait of both of them. After that they will do something that will only be revealed then. Before the encounter ends, just before saying goodbye, they will take another polaroid.
When the guest arrives in the room, he/she will find a surprise.
At check-out, the guest will receive the polaroids that are the only record of their encounter.
Notes:
- each performance is unique and especially conceived for the guest.
- the performance can be suspended at any time if the guest or the artist does not feel comfortable.
- the performance will not be recorded.

Guest is part of the program “Sleep with me”
Artists’ projects for the gallery guest room

The Caroline Pagès Gallery in Lisbon is situated in a seven-room apartment located in an early XX century building from the Campo de Ourique neighbourhood.
Since the opening of the gallery four years ago, one of the rooms of the gallery has always been a bedroom called guest room which is, on a regular basis, temporarily occupied by visiting gallery artists, art professionals and tourists.
The “Sleep with me” project came from a will to continue using this guest room as a bedroom but at the same time turn it into an exhibition room and a place for each artist to conceive a site and time specific experience for the public that chooses to participate.
The “Sleep with me” projects will be conceived by invited artists, each at a time proposing a unique project that participants will be able to experience for one night (or several if they choose to). Each project will last for several weeks so that different participants (2 people max. at a time) can book a night (or several) in the gallery guest room during the artist’s project. The price for one night (or a special price for several nights) includes a Certificate.
The “Sleep with me” projects will run parallel to the gallery exhibitions held in the other five rooms of the gallery.

Programme:
“Sleep with me” #1 _ Guest, a performance by Susana Mendes Silva _ May 2011
“Sleep with me” #2 _ Miguel Palma

The Price includes:

- 1 Night in the guest room of the gallery for 1 or 2 people (it has a double bed and the gallery bathroom, kitchen and balcony are for the guests’ use only)

- The performance by artist Susana Mendes Silva that also includes 2 polaroids signed and dated by the artist, a Certificate of the performance, and a surprise by the artist.

€ 225 (VAT incl.)

Dates during which it is possible to book a night:
the whole month of May from May 2.

For reservations, please contact the gallery:

Caroline Pagès Gallery
Rua Tenente Ferreira Durão, 12 – 1º Dto.
[Campo de Ourique]
1350-315 Lisbon, Portugal
Tel. [+351] 21 387 33 76
Tm. [+351] 91 679 56 97
gallery@carolinepages.com
www.carolinepages.com
Open to the public from 3 – 8 pm every day except Sundays and by appointment.

Paula Lopes

2011-04-18T08:31:00.003Z

“ENSAIO DE MÚSICA SOBRE DESENHO”

Pintura, instalação de vídeo e som

25 a 30 ABRIL - Inauguração 25 SEG 18H

CÂNDIDO DOS REIS Nº 70

"Um retrato é, por definição, descritivo. Tenha a forma de uma pintura, de um texto, de uma banda sonora... Mas não conseguirá nem deverá manter-se apenas isso.

Retratar alguém é também um acto de inscrição. Sobre a sua realidade inscreve-se, sobrepõe-se, a do artista: a sua própria realidade, a realidade das suas relações, os seus métodos, processos e reflexões. E por isso, cada retrato é afinal e também um ensaio." Andreia Poças

Estudo sobre o conteúdo, a forma e o tempo. As pessoas, são aqui representadas como objectos das suas e minhas complexidades. Emergem desta forma como acrescentos à realidade e originam, retratos, sendo estes mesmos, outros rostos, outras visões de vida. Este é um projecto sem narrativa, cujo percurso poderá talvez nunca ter um fim. Descrevo pessoas, cujas vidas, estão sempre em mutação. Portanto não é a verdade, o reflexo ou a clareza que interessam, mas sim, as suas mentiras. Poderei dizer que este é um ensaio de vida, sobre as vidas de outras vidas. Como este passa por inúmeras fases processuais, do qual a primeira é a criação e por último, a destruição. Assim sendo, digo, como quem constrói, também destrói.

Retratados:
Ana Luandina / Carla Cruz / Cláudio da Silva / Gonçalo Almeida / Gustavo Sumpta /Israel Pimenta / Jean-Pierre dos Santos / João Leão / Sofia Leitão

http://ensaiodemusicasobredesenho.blogspot.com/

Deutsche Bank presents the "Artist of the Year" 2011 Yto Barrada: Riffs

2011-04-15T09:45:00.003Z

photo from here

"Riffs is the first large-scale exhibition in Germany of the work of Yto Barrada, whose photographs, films, publications, installations and sculptures engage with the peculiar situation of her hometown of Tangier, Morocco. With Yto Barrada, Deutsche Bank has elected a woman as "Artist of the Year" 2011 whose work has been closely involved with the political and social realities in North Africa for over a decade."
see more here

Kateřina Šedá

2011-04-11T08:15:00.004Z

Photo by Tobias Hübel.

It's Too Late In The Day

Nošovice is located 7 km from Frýdek-Místek in the Czech Republic and has approximately 960 inhabitants. The village itself is not so picturesque: the houses are surrounded by a busy motorway, but all around lie fields, the Beskids and forests. Over the past few years the massive Hyundai automobile plant has sprung up in these beautiful fields. The indifference and incompetence of the local townspeople to resist the plant’s construction caused the town to socially disintegrate – numerous people moved away and many of those who stayed are not on speaking terms with each other. The plant standing in the middle of a field definitively divided the town into two parts; the original joining paths were transformed into dead ends. A high wall was built around the automobile plant. If you wanted to visit your neighbour’s house – a trip that used to take 10 minutes – you’d have to set aside at least half an hour. I decided that my job was to come up with a way to bring the townspeople together again and thereby find a way out of the circle.—Kateřina Šedá

Czech artist Kateřina Šedá (*1977) lives in Brno-Líšeň. She exhibited amongst others at documenta 12, 5th Berlin Biennale and Manifesta 7. In 2011 she will hold solo-shows at Millennium Gallery Sheffield and Tate Modern. It’s Too Late In The Day is her first institutional solo-show in the German-speaking countries. On the occasion of the exhibition an artist book will be published.

Programme:
13 April 2011, 19:00 / Lecture with Kateřina Šedá
28 April 2011, 19:00 / Lecture with Vít Havranek / director of tranzit.cz and Co-curator of Manifesta 8

12 March–8 May 2011 Am Deich 68 / 69
29199 Bremen, Germany
www.kuenstlerhausbremen.de

TOXIC LESBIAN: Basura y Tensión 03: LatinX Lover

2011-04-08T11:55:00.002Z

Viernes, 8 de abril, 19 h

INTERMEDIÆ (Matadero Madrid)
Paseo de la Chopera, 14.
28045 Madrid. Entrada libre
http://www.intermediae.es/

Basura y Tensión 03: LatinX Lover, es un proyecto Toxic Lesbian (www.toxiclesbian.org)

En colaboración con las organizaciones RQTR, Migrantes Transgresorxs y Women's Link Worlwide como invitadas especiales.

Acción producida por Toxic Lesbian desde Intermediae (Matadero Madrid) de difusión ON-LINE a través del Canal Toxic TV: www.toxiclesbian.org de 19h a 21h y desde las redes Toxic Lesbian @toxiclesbian en Twitter y Facebook: http://www.facebook.com/pages/Toxic-Lesbian

La propuesta da continuidad al proyecto Basura y Tensión de Toxic Lesbian desarrollado durante el 2010 en torno a las causas de la violencia que rodean a algunos colectivos de mujeres y quiénes son señaladas como mujeres en su nacimiento, que todavía hoy, están menos representados socialmente.

Esta convocatoria, la tercera edición, describe el paisaje de la exclusión que se vuelve extremo en los casos de personas que deben salir de sus países de origen por que no se ajustan a los modelos heterosexuales y binarios socialmente admitidos. El inicio de esta edición de la serie contó con la participación de algunos demandantes de asilo por esta causa y más específicamente describió la realidad actual en África Negra. Posteriormente, construyó una edición sobre la realidad de mujeres de origen mahgrebí residentes en Europa. Es ésta la última de las sesiones propuestas para este proyecto.

Basura y Tensión 03: LatinX LoverS plantea la realidad de personas procedentes de América Latina: lesbianas, transexuales, personas transgénero, analizando casos de asilo, segregación o discriminación específica.

http://www.youtube.com/TOXICLESBIAN#p/c/B1A2BFC941D78674
Sobre Toxic Lesbian:

De 2005 a 2010, Toxic Lesbian se define como un grupo anónimo y de composición variable, que genera obras visuales con perspectiva de género y orientación sexual. A partir de 2011 Toxic Lesbian se constituye con Elena Tóxica y Raúl Martín Burgos colaborando desde la perspectiva de género y de orientación sexual con instituciones, colectivos e individuos.

Toxic Lesbian no realiza obras únicas ni en soporte físico de ningún tipo. Todas las piezas son de carácter procesual y se difunden a través de la red. Desarrolla sus acciones en su Canal Toxic TV, www.toxiclesbian.org, en directo, utilizando recursos como Facebook, Twitter y You Tube.

El formato de Toxic Lesbian responde a un posicionamiento artístico y politico frente a la definición de la mujer y de las lesbianas en el contexto artístico, así como al valor económico y simbólico que éste da a las obras de arte.

Toxic Lesbian refuerza la idea de derechos morales frente a los derechos económicos en sus derechos de autor, y sobre ellos invita a que sus piezas de proceso sean difundidas bajo licencia CC 3.0 que exponen su modelo de respeto a su ©.

Toxic Lesbian no valora el trabajo artístico realizado de forma desinteresada como su opción sino el recibirla desde perspectivas valorables en relación con el mercado técnico en el que se circunscribe cada pieza. Rechaza por tanto el circuito especulativo que añade connotaciones a las piezas que podrían traducirse en un aumento de su valor.

Para generar una posibilidad real sobre esta propuesta, Toxic Lesbian, investiga 1os avances del streaming en internet o el sentido que adquieren las redes sociales, para incorporarlo al empleo de la performance o la videocreación, herramientas de lenguaje tomadas por el arte feminista tradicional y que Toxic Lesbian adopta, considerándose herederas de esta opción.

Este formato se inició en Intermediae, Matadero en 2009 con el proyecto LesGay-Legal-Letal, Premio Ayudas a la Creación y continuó con el apoyo en 2010 de Medialab-Prado con la recepción de las Ayudas a la Movilidad para el desarrollo de "Cuentos que Nunca Cuentan". Estas instituciones públicas han sido para Toxic Lesbian, soporte del discurso en torno a este formato.

EU PODIA FAZER ISTO

2011-04-07T14:38:00.004Z

com (entre outros): Armanda Duarte, Carla Cruz, Cecília Costa, Isabel Baraona e Susanne Themlitz

Christine Rusche: Raum-Zeichnung

2011-04-07T14:09:00.001Z

here
10. April - 15. Mai 2011
Rusche

Risk Hazekamp

2011-04-05T14:13:00.001Z

Opening : Saturday, April 9 from 16:00 till 20:00

6 Brides or 6 Brothers

at Rechtsachter at the Center for Visual Arts in Rotterdam.

The exhibition is part of the festival Motel Mozaïque:
http://www.motelmozaique.nl/program/risk-hazekamp-nl/

Warm regards, Risk Hazekamp

CHRISTINA CASNELLIE

2011-04-05T14:08:00.003Z

9 de Abril a 14 de Maio

9 de Abril | Inauguração 17h
Galeria Dama Aflita
Rua da Picaria, 84

Sobre a exposição
Dia 9 de abril de 1994 beijei o rapaz que veio a ser o meu primeiro namorado. Ele vivia na Rua 9 de abril.
Desde sempre aquilo estava para acontecer e assim reconhecendo, não demos luta. Afinal, tinha que ser O amor.
Uma data auspiciosa é um bom ponto de partida para qualquer coisa.
Não há coincidências.

Christina Casnellie
Nasceu em 1982 em Seattle, EUA, em 1994 veio para Portugal viver.
Licenciou-se em Design de Comunicação pela FBAUP.
No ano lectivo de 2003-2004 foi bolseira Erasmus na Faculdade de Belas Artes de Budapeste, na Hungria, onde estudou Animação e Ilustração.
Em 2005 formou o atelier Alfaiataria com o Rui Silva.
Entre 1999 ate 2006 realizou vários cursos e workshops nas áreas de Ilustração, Banda Desenhada, Animação e Serigrafia no Porto e em Lisboa.
Em 2006 recebeu uma bolsa Leonardo da Vinci e foi para Holanda trabalhar para o Studio Kluif como designer e ilustradora onde acabou por ficar durante três anos.
Em 2010 fez estágio no Atelier de impresão Mike Goes West em Montijo e na Bongout, em Berlim.
Agora trabalha em Lisboa no Atelier da Santa Justa.

VII ENCUENTROS INTERNACIONALES DE ARTE Y GÉNERO.

2011-04-01T11:17:00.001Z

4 de abril de 2011
Horario: 19:00 h.
Lugar: Centro Andaluz de Arte Contemporáneo
Participantes: Ana Rito y Carla Cruz
Más información: 955037083-7103/ cursos.caac@juntadeandalucia.es

PROGRAMA

LUNES 4 ABRIL
Mesa redonda
CRUCE DE MIRADAS LUSAS: arte y género en Portugal. Dos enfoques
Ponentes: Ana Rito, Carla Cruz.
Presentación: Juan Antonio Álvarez Reyes
Introducción temática y dirección de Mesa: Margarita Aizpuru

PONENTES

ANA RITO
Joven artista visual portuguesa que es profesora en la Facultad de Artes de Lisboa y que ha comisariado varios proyectos artísticos en el Museu Colecçao Berardo de Lisboa, como She is a Femme Fatal (2009), junto a Hugo Barata, el evento de videoproyección One Woman Show (2009) u Observadores, Revelaciones, Tránsitos y Distancias (2011), junto al citado Hugo Barata y Jean François Chougnet. En tanto que artista ha realizando numerosas exposiciones individuales y ha participado en muestras colectivas como VV2 Recycling The Future, en la 50 Bienal de Venecia (2003), exposición comisariada por Angela Vettere y Marco de Michelis; Portugal Today-Nine Solitaire Positions (2005), en Mario Mauroner Contemporary Art, Viena; Faccia Lei (2007), en la 52 Bienal de Venecia; u Options & Futures (2009), en la Colección PLMJ, PLMJ Fondation. Ha publicado el libro Casa de muñecas. Propuestas contemporáneas sobre la mujer y la subjetividad (Museu Colecçao Berardo, 2009).

CARLA CRUZ
Es una joven y activa artista portuguesa, comisaria y gestora independiente de proyectos artísticos, además de feminista. Ha sido comisaria residente del espacio expositivo Gesto cultural cooperative en Oporto (2007-2008); coordinadora del grupo portugués para la Residencia GARB (Giovanni Artisti in Residencia, Basilicato) [Italia, 2004-05]; cofundadora del Colectivo Atelier Mentol (2003-05) en Oporto; colaboradora artística en el espacio ROOM de Rotterdam (2002-2003); y miembra fundadora del colectivo internacional de intervención pública CLANITICA en Rotterdam (2002-03) y del colectivo feminista de intervención artística ZOINA (1994-2004). Es autora y colaboradora de diversos blogs, como All my independent women, Espaço gesto, Porto Público, Cyber feminism past foward, De venus a marte y ha participado con el colectivo AC investigación colectiva en la Bienal Europea de Arte Contemporáneo Manifesta 8 (Murcia).

VBKOE - The anniversary publication

2011-04-01T09:50:00.004Z

______________________________________________
The anniversary publication, the Festschrift, has been elaborated for the centennial anniversary of the first association of women artists in Austria, the Vereinigung bildender Künstlerinnen Österreichs (VBKÖ, Austrian Association of Women Artists), founded in Vienna in 1910. The Festschrift advocates for a discourse ‘For The Long Revolution’ of artistic women’s movement/s (in Austria and worldwide). It fulfills VBKÖ-demands for a stronger thematization of terms such as National Socialist regime, visual arts, women artists, institutions, organizations, co-complicity, memory and remembrance. In the chapter ‘What Ever We Are’, among others, it also takes up current identity debates.

Authors and Contributors:

100PosterClub, Hamra Abbas, Humaira Abid, Amanda Amaan, Fahim Amir, Claudia Arozqueta, Elke Auer, Gülsen Bal, Christa Bittermann-Wille, Sabine Breitwieser, Hyun Jin Cho, Carla Cruz, Katy Deepwell, Ricarda Denzer, Valie Djordjevic, Lina Dokuzovic, VALIE EXPORT, Eduard Freudmann, Vlatka Frketic, Jasmina Hirschl, Elisabeth Kittl, Veronika Kocher, Rudolfine Lackner, Ana Hoffner, Helga Hofmann-Weinberger, Meike Hopp, Kathy Rae Huffman, Eva Jantschitsch, V. Nino Jaeger, Julie M. Johnson, Tatiana Kai-Browne, Naiza H Kahn, Barbara Karahan, Angelika Kaufmann, Elke Krasny, Ulrike Krippner, Marissa Lobo, Ivana Marjanovic, Diana McCarty, Iris Meder, Verena Melgarejo Weinandt, Karin Nusko, Tazeen Qayyum, Sascha Reichstein, Us(c)hi Reiter, Johanna Schaffer, Nina Schedlmayer, Renate Schnee, Gabriele Schor, Esther Straganz, Natascha Vittorelli, WASSINQUE INC., Julia Wieger, Simone Wille

Rudolfine Lackner (Hg.in/Ed.): 100 Jahre/Years VBKÖ Festschrift, VBKÖ: Wien 2011, FarbeSW/ColorBW, 480 Seiten/Pages, 978-3-200-02201-0

On the occasion of the centennial anniversary, a program for the year was presented, which was composed of theoretical activities (January 1st 2010 – March 8th 2011) and a growing annual exhibition. Until April 15th 2011, works by 100PosterClub, Amanda Amaan/Rudolfine Lackner, Elke Auer/Esther Straganz, Linda Bilda, Veronika Dirnhofer, Drogerie, V. Nino Jaeger, Sands Murray-Wassink and Johanna Tinzl/Stefan Flunger will be on display. All of the activities refer to the historical origin of the VBKÖ in the androcentric totalities of institutions and to current links of resistance predominantly imprinted by feminism.

Curator: Rudolfine Lackner

Presentation: 19:00, Freitag/Friday, 15 April 2011

Vereinigung bildender Künstlerinnen Österreichs

Austrian Association of Women Artists

Maysedergasse 2

1010 Wien/Vienna

Tel + 43-1-513 64 73

vbkoe@vbkoe.org

www.vbkoe.org

nparadoxa - Feminist Manifestos / feminist art

2011-03-31T09:20:00.004Z

I attended yesterday the last semininar on Feminist Art organised by nparadoxa at the ICA. Katy Deepwell transported us through history by starting with the 'unknown' Valentine de Saint Point, writing at the same time and in reaction to the Futurist Manifesto by Marinetti to more contemporary manifestos such as the "100 anti-theses on cyberfeminism" by the Old Boys Network.
The links to all manifestos presented and read during yesterday's session can be found in here.

I have read this one:

Anges Denes: A Manifesto 1970

Working with a paradox

defining the elusive

visualizing the invisible

communicating the incommunicable

not accepting the limitations society has accepted

seeing in new ways

living for a fraction of a second and penetrating light years

using intellect and instinct to achieve intuition

achieving total self-consciousness and self-awareness

being creatively obsessive

questioning, reasoning, analyzing, dissecting and re-examining

understanding the finitude of human existence and still striving to create beauty and provocative reasoning

finding new concepts, recognizing new patterns

desiring to know the importance or insignificance of existence

seeing reality and still being able to dream

persisting in the eternal search

copyright 1970 agnes denes

Dalila Gonçalves

2011-03-27T15:20:00.000Z

756.000 segundos

Curated by Joana Mendonça
April 1 – May 21

Opening on Friday, April 01 at 10 pm

Caroline Pagès Gallery

Teresa Carrington

2011-03-25T15:24:00.001Z

O céu é o Limite
Galeria do Desassossego - Beja
26 de Março

Maria Pinińska-Bereś, Natalia Lach-Lachowicz, Ewa Partum

2011-03-25T14:07:00.002Z

Exhibition open until 8 May 2011

Zachęta National Gallery of Art
Pl. Małachowskiego 3
00-916 Warsaw
T (48 22) 556 96 01
office@zacheta.art.pl
www.zacheta.art.pl

The subject of the exhibition is the work of three female artists, pioneers of Polish women's art: Ewa Partum, Natalia Lach-Lachowicz and Maria Pinińska-Bereś, who died in 1999. From the 1970s onwards, the three have been linked by a similar quest in which a clear feminist intuition or an identification with feminism is perceptible. Despite this, however, this is the first time when their works are set alongside one another in such a configuration.

Amongst the three artists, it was Ewa Partum who most decisively identified herself with a feminist stance in art. As early as the 1970s she actively, in manifestoes read during exhibition openings, expressed her opinion on the question of the equality of women and their discrimination. In the case of the work of Natalia LL, who to this day distances herself from the critical postulates of the women's movement, but who, having been noted by feminist criticism, from the second half of the 1970s has taken part in exhibitions and manifestations of feminist art, one can perhaps talk in terms of her being 'co-opted' by Western feminist discourse. The soft, pink forms of Maria Pinińska-Bereś, on the other hand, openly linked with female sexuality, are seen by some Polish critics even as a precursor in relation to feminist art in the West.

The title inspired by the 1977 Robert Altman film, makes reference to the title of the first collective presentation of women's art in Poland, the exhibition Three Women in the Arsenal Gallery in Poznań (1978), in which Anna Bednarczuk, the assistant of Magdalena Abakanowicz, Izabella Gustowska and Krystyna Piotrowska took part.

The exhibition is a part of the process of giving to women's art in Poland its rightful historical place, a process underway since the mid 1990s. Through the exhibition, curator Ewa Toniak and author of the spatial concept, set designer Małgorzata Szczęśniak, explore the artists' work afresh. Rather than describing the artists' work in the language of art history, they create a space in which the works presented propose a dialogue, opening up the potential for different interpretations and responses.

The exhibition is accompanied by a catalogue with texts by Ewa Toniak, Agata Jakubowska and Ewa Tatar, and the philosopher and film theoretician Paweł Mościcki. The exhibition is accompanied by a rich educational programme (lectures, panel discussions, films) on the topic of the history of the beginnings of Polish women's art, its reception in the People's Republic of Poland, and its relations with the feminist movement in the West.

curator Ewa Toniak
exhibition design Małgorzata Szczęśniak
co-designer Łukasz Kwietniewski
co-operation on the part of Zachęta: Anna Tomczak, Julia Leopold

Queer in Italia Differenze in movimento

2011-03-15T12:08:00.002Z

for more info

joana estrela

2011-03-11T10:53:00.001Z

dear clare

2011-03-10T21:54:00.001Z

Dear Clare is published three times a year by photojournalist Claudia Janke.

The magazine aims to highlight social, civil and human rights issues and celebrates the courage, resilience and strength of people everywhere.

Dear Clare is a free magazine and is available online and in print.

Carla Cruz

2011-03-07T12:10:00.001Z

Trajectórias de Esperança: percursos das mulheres em situação de violência doméstica

2011-03-07T10:13:00.000Z

11 a 12 de Março, Picoas Plaza, R. Tomás Ribeiro, 65, CES-Lisboa
Prazo de inscrição: 9 de Março
CES

Resumo

A violência doméstica tem merecido uma atenção crescente por parte dos organismos internacionais e dos governos nacionais. Portugal não é excepção, sendo notório, nos últimos anos, um esforço para aumentar a ajuda institucional às vítimas: com a criação dos Planos Nacionais para a Igualdade e Contra a Violência Doméstica (PNCVD); com a criação de mais casas abrigo; com a multiplicação de estruturas de atendimento; através da formação de núcleos especializados nas polícias; e com uma crescente sensibilização pelos profissionais de saúde. Para além destas medidas, as políticas desenvolvidas em Portugal têm passado por uma forte aposta na mudança legislativa. Se até há uns anos a maioria dos países tendia a negligenciar a existência deste problema, hoje podemos afirmar que o tratamento legal da violência contra as mulheres é uma prioridade (ainda que essa assunção nem sempre seja sinónimo da imediata concretização das medidas desejadas ou previstas). As mulheres são cada vez mais encorajadas pelas diferentes instituições a fazer uma denúncia formal do seu agressor. Mas que ajuda efectiva é dada a estas mulheres? Qual o desempenho e o papel destas instituições na trajectória que as mulheres percorrem a partir do momento que decidem denunciar uma situação de violência? Que caminho percorre a mulher vítima de violência até atingir um patamar de estabilidade?

Neste curso pretendemos reflectir sobre o papel do Estado e da sociedade civil na ajuda às mulheres vítimas de violência doméstica, e o modo como as instituições se articulam, dialogam e estabelecem, ou não, dinâmicas de acção capazes de agilizar processos que contribuam para uma superação das estruturas e relações sociais que fomentam ou perpetuam a violência sobre a mulher.

Manuela Tavares - feminismos

2011-03-07T10:12:00.000Z

The Ethics of Encounter Research Workshop

2011-03-01T09:44:00.001Z

Thursday 3 March & Friday 4 March 2011

As an increasing number of artists site their practice within the social fabric of everyday life, the encounter has been placed at the heart of a newly defined aesthetic experience. Participatory, collaborative, community-based and documentary methodologies which engage directly with interpersonal relations and social realities now proliferate both within and beyond the institution. This move away from traditional forms of representation into the territories of use and action has endowed art’s latest ‘social turn’ with a renewed and expanded ethical significance. In parallel with these developments, it is claimed that ethics has triumphed in the public debate to reign over culture and displace politics.

This research workshop will examine the complex interfaces which have emerged between aesthetics, politics and ethics in the 21st century. Taking into account their historical imbrications in art discourse together with the so-called ‘ethical turn’ of contemporary politics, we aim to develop a critical understanding of their most recent forms and configurations across the diverse terrains of socially-engaged art. The ethical valence of artworks has dominated debates to date – whether interventions into the social fabric can be considered productively ‘good’ or transgressive, ‘bad’ and yet, ultimately, revealing. If the ethical is now a common route for artists seeking to broach the political and provide a site for critique, is it possible to move beyond this dichotomy and map the potential and limits of ethical engagements in art?

The Ethics of Encounter research workshop has been devised as part of a programme of exhibitions, events and residencies of the same name presented at Stills between November 2010 and March 2011. Consecutive exhibitions included lens-based documentary works by The Atlas Group (Lebanon / USA), François Bucher (Columbia / Germany), Renzo Martens (Belgium), Dani Marti (Scotland), Frederick Wiseman (USA) and Artur Żmijewski (Poland). The workshop has been designed to expand the parameters of this curatorial investigation and situate these works in relation to parallel developments within other reality-driven practices. For more information about The Ethics of Encounter programme please visit www.stills.org.

Speakers and interlocutors include Carla Cruz (Goldsmiths University of London), Gail Day (University of Leeds), Angela Dimitrakaki (The University of Edinburgh), Anthony Downey (Sotheby’s Institute of Art), Alana Jelinek (University of Cambridge), Kirsten Lloyd (Stills / The University of Edinburgh), Tracy Mackenna (Duncan of Jordanstone College of Art and Design) & Ken Neil (Glasgow School of Art), Mark Miller (Tate Britain) & Victoria Walsh (Tate Britain), Dominic Paterson (University of Glasgow), Michaela Ross (Chelsea College of Art and Design), Harry Weeks (The University of Edinburgh), Stephen Wright (European School of Visual Arts)

MUJERES CINEASTAS entre la teoría y la praxis política, 1959-1983

2011-02-24T12:11:00.003Z

Miércoles del 23 de febrero al 13 de abril de 2011, 19:00 horas
Las películas se proyectarán en VOSE.
Entrada libre hasta completar aforo
DIRIGIDO POR GIULIA COLAIZZI

Este ciclo sobre directoras de cine fue precedido por “Las mujeres en el origen del cine” en 2008 y “Mujeres cineastas: entre el compromiso y el olvido” en 2009. Con la propuesta de este año, que incluye películas realizadas a lo largo de cinco lustros, desde 1959 a 1983, se sigue con el proyecto general de dibujar un horizonte de presencia activa y continua de las mujeres en el cine como industria, discurso e institución. Se trata de años importantes, en los cuales se plasma poderosamente, con la eclosión de los movimentos sociales de los años sesenta, la “cuestión femenina”, que será reformulada teóricamente a partir de la segunda mitad de los años ochenta.

Las películas propuestas se hacen eco de los cambios y de las expectativas sociales y culturales de la época y representan de forma significativa la amplitud, la riqueza y la complejidad del debate teórico (sobre el cine, la representación, la narratividad, la subjetividad, la política sexual, las relaciones entre individuo y sociedad). Son obras de realizadoras muy implicadas en la práctica artística en general y de la imagen en particular, que, en muchos casos, han recibido formación profesional en el medio y cuyo trabajo constituye, en todos los casos, un corpus que merecería ser estudiado y analizado con atención y seriedad. Más allá del país de origen o en el cual realizaron sus films —España, EEUU, República Checa, Hungría, Bélgica, Alemania, Gran Bretaña— o del género o la etiqueta que se pueda atribuir a cada texto —comedia social o surreal, documental, drama, cine experimental o de aventura— su obra cuestiona y empuja los límites del discurso y apunta al poder de la imagen para la crítica social y la construcción y el cambio del imaginario social. Nos remiten a la polis y, por lo tanto, nos conciernen a todas.

23 febrero, 19:00 horas
Presentación del ciclo a cargo de Giulia Colaizzi, catedrática del Departamento de Teoría de los Lenguajes y ciencias de la Comunicación, Universitat de València.

ANA MARISCAL. "La quiniela", 1959.
23 de febrero, 19:00 horas

MARY ELLEN BUTE. "Passages from Finnegan's Wake", 1965.
2 de marzo, 19:00 horas

VĚRA CHYTILOVÁ. "Sedmikrásky", 1966.
9 de marzo, 19:00 horas

SHIRLEY CLARKE. "Portrait of Jason", 1967.
16 de marzo, 19:00 horas

MÁRTA MÉSZÁROS. "Örökbefogadás", 1975.
23 de marzo, 19:00 horas

CHANTAL AKERMAN. "Jeanne Dielman, 23 Quai d Commerce 1080 Bruxelles", 1975.
30 de marzo, 17:30 horas

ULRIKE ORRINGER. "Madame X - eine absolute Herrscherin", 1977.
6 de abril, 19:00 horas

SALLY POTTER. "The Gold Diggers", 1983.
13 de abril, 19:00 horas

montehermoso

SENTI UM VAZIO

2011-02-22T14:48:00.002Z

Ante-estreia às 21h30 de "Senti um Vazio" Apareçam!
CASA DA ESQUINA
Coimbra/Portugal