Festival Feminista do Porto. Feminista, Presente! Hoje e Sempre.

"O Festival Feminista do Porto é um colectivo feminista, horizontal, auto-gerido, anti-capitalista, anti-fascista, anti-racista, apartidário, LGBTQIA+ e diverso.
A partir do tema da edição anterior, “EU e TU, até sermos TODAS”, na qual procurámos a interseccionalidade da luta feminista e o diálogo entre os vários feminismos, avançamos agora para a Praxis Feminista (teoria, reflexão e acção para transformação) na luta contra a intolerância, os discursos de ódio e a violência crescentes.
Em homenagem a Marielle Franco “Feminista, presente! Hoje e sempre!” é o lema desta edição. Surge como um apelo à reflexão sobre os feminismos em 2019 e quais devem ser as expressões e acções concretas, quotidianas, de longa duração ou pontuais de afirmação do feminismo na luta contra a intolerância, os discursos de ódio e a violência crescentes.
O cartaz propõe uma reflexão sobre todas as camadas de obstáculos e preconceitos que enfrentamos em nosso cotidiano simplesmente por sermos mulheres.
Estão contemplados os nossos momentos de solidão, as imposições estéticas, as alienações, os preconceitos, as cobranças pela obrigação da maternidade e todos os outros tipos de pressões que sofremos nessa sociedade patriarcal em que vivemos.
Por isso, unidas nós lutamos para mudar todas as coisas que não podemos mais aceitar. Porque é na perspectiva de um horizonte colorido e igualitário que queremos chegar através do feminismo."

ENTRE PALABRA E IMAGEN Galería de pensamiento de Gloria Anzaldúa

Inauguración: 17 de marzo, 2016, 17:30hrs

Duración de la exposición: 18 de marzo - 16 de abril 2016Casa de la Cultura de la U.A.E.M. en Tlalpan
Triunfo de la Libertad #9, Ciudad de México

Programa de la inauguración

17:30 hrs

Presentación del libro

Borderlands/La frontera: la nueva mestiza (PUEG, 2015)

de Gloria Anzaldúa

con las intervenciones de

Dra. Marisa Belausteguigoitia (Facultad de Filosofía y Letras, UNAM)

Dra. Coco Gutierrez-Magallanes (Investigadora independiente)

Dra. Julianne Gilland (LLILAS Benson Latin American Studies and Collections, Universidad de Texas/Austin)

19:00 hrs

“No se raje, rolitx”, apropiación performática por Una

Lecturas performáticas por MANU(EL)(LA)

20:30 hrs

Cierre: Comentarios de la Dra. Alicia Gaspar de Alba y artista Alma López (UCLA)

Una imagen es un puente entre la emoción evocada y el conocimiento consciente; las palabras son los cables que sostienen el puente. Las imágenes son más directas, más inmediatas que las palabras y más cercanas al inconsciente. El lenguaje de la imagen precede al pensamiento en palabras; la mente metafórica precede a la conciencia analítica.

                      Gloria Anzaldúa, Borderlands: the new mestiza = La frontera, 1987

Cuando estudié pintura y literatura, descubrí que podía crear universos concretos. Más bien no los creé; yo era su conductora, su canal.

          Gloria Anzaldúa, “Creativity and Switching Modes of Consciousness,” 1986

ENTRE PALABRA E IMAGEN. Galería de pensamiento de Gloria Anzaldúa, expuesta por primera vez al sur del Río Bravo, nos confronta inevitable y creativamente con las siguientes preguntas: ¿Cómo leemos y retomamos el trabajo visual y textual de Anzaldúa hoy, acá en México? ¿Qué papel juegan en las fronteras que habitamos, en las que vivimos y a las que sobrevivimos? ¿En qué sentido Anzaldúa nos ayuda a dar lengua y dotar de sentido a los modos en los que se conforman las relaciones de raza, etnicidad, género, sexualidad y clase en México y en las fronteras? ¿Qué nos está diciendo/mostrando? ¿Qué tan vigentes y relevantes son hoy sus pensamientos y sus propuestas intelectuales y visuales?

Autoproclamada "chicana, tejana, de clase trabajadora, poeta tortillera-feminista, escritora-teórica", Gloria Anzaldúa se vio a sí misma como una nepantlera, como alguien que navega en el espacio liminal entre mundos, identidades y formas de conocimiento. Así como el movimiento fluido entre el inglés, el español y el náhuatl era central para la enseñanza y la escritura de Anzaldúa, también lo eran la interacción entre las palabras y las imágenes como elemento esencial de su propia expresión.

Estas palabras e imágenes presentadas por primera vez en México, son parte de los dibujos, notas y diagramas que Anzaldúa presentó en talleres y conferencias por todo Estados Unidos. Algunos materiales no están fechados pero muchos fueron creados durante uno de los períodos más activos de su carrera como docente, a mediados de la década de 1990.

Estos documentos proporcionan una visión íntima del proceso creativo de Anzaldúa y demuestran el lugar central que la imaginación y la visualidad ocupaban en sus teorías sobre el conocimiento y la conciencia. Anzaldúa explora las fronteras y tiende los puentes que permiten el contacto, la fricción y la mezcla con lo imprevisto, con lo ajeno, lo torcido, lo queer, lo “otro” y que supone, en muchos casos, la reverberación de uno mismo y de la memoria colectiva.

SELECCIÓN DE DOCUMENTOS DE ANZALDÚA QUE FORMAN PARTE DE LA BENSON LATIN AMERICAN COLLECTION

THE UNIVERSITY OF TEXAS, AUSTIN
CURADORAS:

Julianne Gilland, Coco Gutiérrez-Magallanes, Nina Hoechtl, Rían Lozano

Asistentes curatoriales: Alana Varner y Frank Rodriguez (en LLILAS Benson Latin American Studies and Collections - Universidad de Texas/Austin), MANU(EL)(LA) (en la Casa de Cultura de la UAEMéx)

Traducción: Coco Gutiérrez-Magallanes, Nina Hoechtl, Valerie Leibold, Rían Lozano, Mauricio Patrón.

Voces: MANU(EL)(LA)

Convocado por la Casa de Cultura de la UAEMéx, Campus Expandido/MUAC, LLILAS Benson Latin American Studies and Collections, Universidad de Texas/Austin, Tepetongo. Balneario Crítico y Centro Cultural Border.

CAN DO: Photographs and other material from the Women's Art Library Magazine Archive

CAN DO: Photographs and other material from the Women's Art Library Magazine Archive

Curated by Mo Throp and Maria Walsh

Private view: Tuesday 17 November, 6-8.30pm Exhibition continues: 18 November – 18 December 2015

CHELSEA space is pleased to announce CAN DO: Photographs and other material from the Women's Art Library Magazine Archive as the next exhibition in our autumn 2015 programme. Selected by Mo Throp and Maria Walsh, this collection of mainly black and white photographs from the Women’s Art Library Magazine archive has rarely been seen outside the confines of its black boxes in the Special Collections at Goldsmiths University library. The photographs are one of the material remains of a dynamic independent art publication dedicated to the debates and documentation of women’s art from 1983 to 2002.

The magazine began life in 1983 as the Women Artists Slide Library Newsletter, acquiring, over the course of its 20-year run, the titles: Women Artists Slide Library Journal (1986); Women's Art Magazine (1990); and make: the magazine of women’s art (1996). Artists submitted photographs of their work for publication, some images were printed in the magazine, most were not, but all were carefully stored in the library stacks at Goldsmiths where the curators were (re)introduced to them by Althea Greenan, curator of the Women's Art Library in Special Collections at Goldsmiths as they researched material for their recent book, Twenty Years of MAKE Magazine: Back to the Future of Women’s Art (I.B. Tauris: 2015).

CHELSEA space
16 John Islip Street, London, SW1P 4JU
www.chelseaspace.org

Taking this photographic h(er)story out of the archive, this exhibition speaks to a present fascination with women’s art of the recent past. What memories, what future can be intimated from these photographic fossils? As well as the photographs, which have been organised into thematic sections entitled: Performance, Portraits, Body, Installation, Protest, the exhibition is comprised of other materials from the archive, including artist’s originals commissioned for the covers and pre-digital layouts and includes a vitrine of objects from the collection selected by Althea Greenan.

Maria Walsh is Senior Lecturer in Fine Art Theory at Chelsea College of Arts. She is also a writer, and author of Art and Psychoanalysis (I.B. Tauris, 2013), as well as many articles on artists' moving image. She is currently guest editor of 'Feminisms', the forthcoming issue of MIRAJ (Moving Image and Art Review Journal).

Mo Throp is Associate Researcher at Chelsea College of Arts. She is also an artist and writer. She was Chair of the Trustee Board of the Women’s Art Slide Library from 1994-1997.

Together they convene the Subjectivity & Feminisms Research Group at Chelsea.

The Women’s Art Library was originally set up as the Women Artists Slide Library in the late 1970s, with the main purpose of providing a place for women artists to deposit unique documentation of their work. This artists' initiative developed into an arts organisation publishing catalogues, books and a magazine (which includes the MAKE serial publication titled The Women Artists' Slide Library Newsletter, The Women Artists' Slide Library Journal, Women's Art Magazine and make, the magazine of women's art), from 1983 to 2002. In 2004 the research resource became part of Goldsmiths College Library Special Collections. As part of Goldsmiths Library Special Collections, the Women's Art Library continues to collect slides, artist statements, exhibition ephemera, catalogues, and press material in addition to audio and videotapes, photographs and CD-Roms.


For further information, images or to discuss interviews please contact:
Karen Di Franco or Cherie Silver at CHELSEA space via email info@chelseaspace.org or tel:020 7514 6983

Gallery opening times: Wed - Fri: 11:00 – 17:00 and by appointment.
Admission Free

Inauguração: Ana Cardoso | Museu do Chiado | 23 Outubro, às 19h

n.paradoxa's new MA and PhD on feminist art/contemporary women artists search engine

There is new feature on n.paradoxa’s website: http://ktpress.us5.list-manage1.com/track/click?u=4ae258562754ec13a50302563&id=e091ea99ea&e=774d1f0e6a

n.paradoxa has created a searchable list of 1171 MA and PhD theses on feminist art/contemporary women artists in 35 countries (1974-present).

The list contains links to information pages with abstracts in Open Access Repositories, and full text PDFs.
Go to :  http://ktpress.us5.list-manage.com/track/click?u=4ae258562754ec13a50302563&id=851e52b23d&e=774d1f0e6a

Given the growing number of MAs and PhDs available in electronic form, n.paradoxa wants to provide an accessible route to this research on contemporary women artists and feminist art.
Careful searching of this project also highlights many trends and tendencies in feminist research across different countries.

n.paradoxa does not claim this project captures “all” theses written on this subject, but they searched widely across the net to find these 1171.
They have also provided information about some of the publications which have resulted from this research.

n.paradoxa would very much like you to check if it contains theses you are aware of and maybe those you have written or supervised.

If not, they invite you to add to this project by filling in the form on their website.
n.paradoxa especially needs your help to map research in many countries like Japan, Russia, Korea, China etc where no English access point is used in national search engines and libraries for etheses or dissertations. They are aware that there are many art schools or Universities where students may have conducted research into feminist art, but the institutions have not joined any electronic thesis collection or database system.

This project was created by Frances Hatherley and Katy Deepwell at Middlesex University between Jan-May 2015.

Ouroboros - o el oximoron orbital de los lenguajes: Marta Bernardes

Uma exposição sobre os limites da linguagem e a sua solução e dissolução contínua a partir dos processos poéticos. A arte conceptual e a poesia visual revisitadas desde um lugar feminino, onde o prazer do jogo e da possibilidade de sentido são levados ao interior de uma tradição que esqueceu o prazer vital da beleza, da diversão, do poema.

Marta Bernardes
5 Junio 2015
MAS

Mafalda Santos von der Mühle der heiligen Quelle

Algumas imagens e um pequeno artigo sobre a exposição
Mafalda Santos von der Mühle der heiligen Quelle
na Kunstverein VIA 113 em Hildesheim, Alemanha
(Via Mafalda Santos)