Lee Relvas

I make work about growing kinship structures, both experienced and imagined. These structures are built through the feelings of scarcity and abundance, loneliness and community, that I've felt participating in various and overlapping DIY, feminist, and queer scenes and friendship networks.

I've performed at house shows, basements, warehouses, backyards and other grandly-unofficial venues throughout the US. I've also performed and shown work at Art in General, John Connelly Presents, Dumbo Arts Center, Sculpture Center, and Orchard, all in NYC, Los Angeles Contemporary Exhibitions, ISpace, Gallery 400, Green Lantern, and the Co-Prosperity Sphere, all in Chicago.

My work has been written about in the New York Times, ArtNews, Journal of Aesthetics and Protest, Proximity Magazine, Chicago Reader, TimeOut Chicago, and New City. I've received grants from the Chicago Department of Cultural Affairs, the Critical Fierceness grant, and a sonic artist residency at the Experimental Sound Studio in Chicago.

I spent the last seven very formative years in Chicago and now live in Oakland, California.


Christina Casnellie

Christina Casnellie

Novo livro!
O lançamento é já este sábado, 18 de Dezembro, na Gesto Cooperativa Cultural:
Rua Cândido dos Reis, 64
4050-153 Porto · Portugal


Where do we go from here? VBKOE

Symposium: Thursday, Dec. 16th 2010, 2-7pm

Where do we go from here? Reflecting historical and contemporary struggles against discrimination in art and education in Vienna

This year represents 90 years of anti-discriminatory struggles in art and education in Vienna, which began with the VBKÖ lobbying for women artists to begin studying art at the Academy of Fine Arts Vienna for the first time. Anti-discriminatory resistance, such as anti-sexism,
anti-racism and anti-anti-Semitism will be reflected against a historical backdrop to look at which struggles are taking place today and how to contextualize and unite them for upcoming actions.

Short presentations will be made by the participants working on these issues in order to analyze contemporary conditions and experiences of policies of exclusion in art and education. Then an open discussion and/as a working session will take place in which the different material and experiences are to be collected and developed for future actions, strategy plans and collective demands.

Invited participants:

“Vocabulary of Decoloniality” book editors sub-group Darker Side of the Academy

AG Migration and Anti-Racism:
Past projects, demands and upcoming plans for Rundgang actions and legal struggles

Plattform Geschichtspolitik:
Presenting the intervention „Monument of the Demand for Provenience Research and Restitution“

Petja Dimitrova / Verena Melgarejo Weinandt:
Arbeitskreis für Gleichbehandlungsfragen

Can Gülcü / Nora Sternfeld:
Migration and Education. Naming exclusions and producing counter-knowledges. A cooperation between two seminars of the Academy of Fine Arts Vienna: “Emancipatory interventions as artistic strategy” by Can Gülcü and “Project Art and Communication” by Nora Sternfeld

Organized by Lina Dokuzovic

On the occasion of the centennial anniversary, a program for the year will be presented, which is composed of theoretical activities and a growing annual exhibition. Currently, works by 100 Poster Club, Amanda Amaan/Rudolfine Lackner, Elke Auer/Esther Straganz, Linda Bilda,
Veronika Dirnhofer, Lina Dokuzovic, Drogerie, Nino Jaeger and Sands Murray-Wassink are 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

windferreira - no matter how

at La Friche, Palais de Tokyo, Paris

18th and 19th of December, 12-24h

"Preview", Saturday, 18th of December at 18h

more info at
palais de tokyo

Un poema perfomático de MARTA BERNARDES


Dia 21 de diciembre de 2010,a las 20:00


La fugitiva
Calle santa Isabel, 7
Metro Antón Martin


“Sacrifício de verdad” es una performance en la cual, con el apoyo de materiales muy sencillos, de uso cotidiano, cuento una história. Esa historia tiene que ver con el camino recorrido para elaborar la propia performance: el proceso para proyectar un sacrificio para el público y delante de un público. Todo el discurso se ancla en documentos que parecen confirmar la veracidad de la história contada. El tono en que me dirijo al público es informal y está en permanente juego la demonstración de un deseo, bien como con las razones por las que ese deseo fracasa en su proyecto de realizacón. La posibilidades anteriormente pensadas son consecutivamente abandonadas y sustituídas por otras soluciones aparentemente más eficientes. Una tensión aporética simple que coloca en duda las nociones de verdad y de representación como los presupuestos de acontecimento. Una historia simple.

Marta Bernardes

Naci, contrariando las posibilidades de nacer otra, en 1983 en Oporto, mañana escarlata de verano, soñando el sueño de no haber aurora.
He tenido dientes de leche hasta tarde y he sido siempre buena alumna. No he tenido hermanos , tengo pena.
Estuve para llamarme Marta Isabel , o Raquel, pero después de larga discusión familiar el armistício resulto en Marta Raquel.
Soy amiga de gente importante pero sobretodo soy importante para la gente amiga.
Para más información escriba “Marta Bernardes” en el buscador Web de su preferência. Gracias.


From E-flux journal

The next great moment in history is ours!

—Dorothy Iannone

At Kunsthalle Vienna

"We choose to LOOK at LIFE all the TIME, and though we realize that they are in one sense adult comic books, they are also full of things that speak…" For Sister Corita, the world of signs, advertising slogans, and the culture of logos was not just some vast wasteland, but a sphere that supplied her with input for an art nourished by everyday life. Her work, like that of Evelyne Axell, Christa Dichgans, Rosalyn Drechsler, Jann Haworth, Dorothy Iannone, Kiki Kogelnik, Marisol, and Niki de Saint Phalle, stands for feminine strategies of artistic self-empowerment during the Pop Art era, particularly in the 1960s. While from an art-historical point of view Pop Art is mainly associated with male protagonists, POWER UP – Female Pop Art intends to undertake a revision of this understanding through the presentation of outstanding women artists' positions.

Oscillating between abstraction and figuration, commodity cult and critique of capitalism, high and low art, the women artists' works on display in many aspects resemble those by their male colleagues in terms of material, subject matter, style, and working method. Documenting and hypostatizing the prosperity of the postwar era and reflecting upon the superficiality of consumerism, the artists unmask the commodity myth as an empty civilizational achievement like Christa Dichgans or affirm certain items by turning them into oversized kitsch objects like Jann Haworth with her Soft Sculptures. Through the graphic character of their simple language of forms, their use of new materials like plastic, and their choice of garish colors, women pop artists, as feminist pioneers attracting maximum attention with their self-presentations like Evelyne Axell, Niki de Saint Phalle, and Kiki Kogelnik, satisfied the taste of the mass and yet remained militant, critical, and exceptional. The exhibition does not postulate some genuinely feminine art, but strives to focus on a number of outstanding women artists' oeuvres in the field of Pop Art and to shed light on their identity-creating practice and their view of women's role in society which was very much determined by patriarchal notions in the 1960s.

These artists' approaches have revised the male regime of viewing and such representations of women as Tom Wesselmann's deindividualized matrices of the female body, Mel Ramos's picturesque fusion of advertisements with lasciviously rendered nudes featuring as objects of desire, and Allen Jones's sadomasochistically arranged female sexual companions. Instead, they describe the corset in which women's self-representation and representation by others seemed to be caught in those years like Jann Haworth, Kiki Kogelnik, and Marisol, highlight the attempt to shake off the fetters of domestic life and become visible in public by means of art like Christa Dichgans, and provocatively expose the female body, love, and sexuality like Evelyne Axell and Dorothy Iannone. Painting over newspapers in an iconoclastic gesture, Rosalyn Drexler explores the creation of clichés and gender typifications in Hollywood films as well as the construction of superstars. Open toward the popular culture surrounding her, Sister Corita, in an early act of culture jamming, relied on advertising propaganda for creating new messages which were democratically and serigraphically produced and sold at a low price. Her works, like Kiki Kogelnik's, Marisol's, or Niki de Saint Phalle's, comprise critical commentaries on contemporary events and political contexts such as the Vietnam War.

The ladies of the "Années Pop" present strategies of self-empowerment, celebrate female sexuality and lust, draw on pin-ups, excerpts from consumer culture, and fragments of an occasionally very banal everyday world in a bad girl manner, comment upon social changes, and translate personal issues into political ones in their clearly autobiographically tinted oeuvres. Their proto-feminist works counter the affective death of classical Pop Art and its cool and anonymous style. By also employing a traditional female language of forms, using textiles and ornamental elements, and relying on a naïve imagery, their approach idiosyncratically extends the established canon of art. What they share with this style is the humor and lightness of an attitude toward life whose facets and variations are still unfolding in today's art.
Curator: Angela Stief

Infoline +43-1-52189-33, www.kunsthallewien.at
Museumsplatz 1, 1070 Vienna
Daily 10 a.m. – 7 p.m., Thu 10 a.m. – 9 p.m.
public transport: U2 / U3 Station "Volkstheater", U2 Station "Museumsquartier"

Information and photographic material: Claudia Bauer, KUNSTHALLE wien, office: Museumsplatz 1, A-1070 Vienna; phone: +43-1-521 89-1222, fax: +43-1-521 89-1217, e-mail: presse@kunsthallewien.at

*Image above:
Courtesy Serge Goisse, Belgium © Estate of Evelyne Axell and VBK, Wien, 2010.
Photo by Paul Louis.


João Manuel Oliveira - CES COIMBRA

As promiscuidades do género: encruzilhadas biopolíticas e análises feministas queer na semiperiferia do império

João Oliveira, Universidade do Minho, Birkbeck Institute for Social Research - UK

15 de Dezembro de 2010, 17:00, Sala de seminários(2º piso), CES-Coimbra


Esta apresentação centra-se no modo como a investigação sobre género (Amâncio, 2004) tem possibilitado a produção de uma analítica dos modos de subjectivação. Estes processos são entendidos através de um olhar de intersecção entre as normas de género e a heterossexualidade hegemónica, como proposto por Judith Butler (2004). Irei assim apresentar alguma da investigação que tenho vindo a realizar nos últimos tempos sobre modos de subjectivação, tornando evidente a impossibilidade analítica de separar as sexualidades do género. A minha tarefa nesta apresentação será um processo de releitura da minha própria pesquisa. Esta ressignificação da pesquisa pode ser lida como parte de um processo mais vasto de produção de conhecimentos situados (Haraway, 1991). Apresentarei exemplos de trabalhos realizados sobre pessoas LGBTQ em Portugal, sobre o debate da Interrupção Voluntária da Gravidez e sobre lésbicas e feministas em Portugal, discutindo a sua localização na semiperiferia (Santos, 1985) de um império de excepcionalismo sexual (Puar, 2007). Irei argumentar sobre o modo o género na sua polissemia permite um percurso sobre as intersecções que uma analítica da produção de sujeitos requer. Irei centrar-me na simbiogénese (Haraway, 2008) entre a teoria feminista pós-estruturalista e a teoria queer para ler os modos como o género enquanto pharmakon (Derrida, 1981) serve como ferramenta analítica fundamental para processos de desconstrução das relações de dominação como também é usado como no seu entendimento exclusivamente individual, um oximoro de um ponto de vista de um feminismo queer. É contudo na riqueza conceptual das apropriações que foram feitas do conceito que construo o género como perspectiva fundamental para um feminismo de multitudes queer (Preciado, 2003), um espaço de articulação politica (Laclau&Mouffe, 1985) unido por um conceito promíscuo.

Nota biográfica

João Manuel de Oliveira é investigador na área dos estudos de género e teoria feminista. Dos seus interesses de investigação destacam-se as pesquisas sobre direitos humanos das mulheres e pessoas LGBTQ, direitos sexuais e reprodutivos e sobre a assimetria simbólica na ordem de género. Encontra-se presentemente a investigar sobre questões ligadas às sexualidades lésbicas. É doutorado em Psicologia Social pelo ISCTE, onde realizou o mestrado e a licenciatura.

agenda feminista - Umar

umar website


Maria Fusco

The Mechanical Copula is out there.

See Fusco's work here


Feminist Art Seminars at ICA, London with n.paradoxa: international feminist art journal

26 January 2011, 2-4pm

What is feminist aesthetics?
Is there a feminine or a feminist aesthetic in women’s art and what does this mean? Feminist aesthetics became the “catch-all” phrase for discussing what was different – and specifically feminist – in women’s art production and whether this was to do with content, with media, with political intent or with the context in which women artists’ work was shown. So, what is feminist aesthetics?

23 February 2011, 2-4pm
Feminist art and the blockbuster exhibition
Since 2007, there have been many major feminist shows around the world, this seminar will review some recent feminist exhibitions – from Elles@Centres Pompidou (Paris, 2009-2010); Rebelle: kunst en feminisme 1969-2009 (Arnhem, 2009); Gender Check (MUMOK, 2009) and ask if these open up new directions for thinking about feminism as an international, rather than a national or local phenomenon? How would our definitions of feminism change if we started to pay attention to the substantial histories of feminist art in Russia, in Sweden, across Eastern Europe, in Taiwan, in Thailand, in Canada, in Mexico or in Australia?

30 March 2011, 2-4pm
Manifestos of feminist art
Feminist artists and writers have published a large number of manifestos in the last forty years: on subjects as diverse: women’s art (Valie Export); maintenance art (Mierle Ukeles); carnal art (Orlan) and cyber-feminism (OBN and VNS Matrix). This seminar is an opportunity to read, discuss and compare different manifestos on women’s art. Sample texts and a reading list will be provided.

All events are free.
To book, email: talks@ica.org.uk
Venue: Cinema 2, ICA
Institute of Contemporary Arts
The Mall, London, SW1Y 5AH
tel: +44 (0)20 7930 3647 www.ica.org.uk



Wall, Paper, Wood.

Tools for Exposure

Exhibition Opening Tuesday 30.11.2010, 7 pm
Galeria Quadrum, Rua Alberto Oliveira, 52, Lisbon.

Our new work is part of the exhibition Lisboa como metáfora, curated by Antonia Gaeta, including works by Miguel Faro, Nikolai Nekh, Pedro Barateiro, and windferreira.

São elas que seguram os edifícios e mantêm as fachadas em pé. São elas que garantem a segurança nos locais de escavações e impedem que as esculturas se deteriorem e quebrem. Elas são indispensáveis para todo e qualquer esforço de construção e reconstrução e no entanto, assim que a sua missão termina, acabam por ser ignoradas, senão mesmo postas de parte: referimo-nos a todas as estruturas de apoio em madeira, às vigas de aço e cintas de carga que suportam os muros e as fachadas. Foi precisamente às suas características e contradições que windferreira dedicaram um novo trabalho que será apresentado no âmbito da exposição Lisboa como metáfora. As artistas empreenderam excursões por todo o vasto campo da arqueologia e da arquitectura, a fim de testar os limites das estruturas que suportam os nossos tesouros artísticos.

They keep buildings, façades and sculptures from falling apart. They make sure that excavation and construction sites are safe, and still they are ignored or even left aside as soon as their mission is completed: all those wooden scaffoldings, steel poles and belt straps that support walls and façades. Windferreira’s new work is dedicated to those support structures, their material qualities and their contradictory use. Wall, Paper, Wood explores the vast field of archeology and architecture to test the limits of support that structures are able to provide for our cultural heritage.


Supported by Divisão Ateliers e Galerias da Câmara Municipal de Lisboa and Goethe-Institut Portugal.


Women in Iraq

From Born in Jail (2009) by Julie Adnan

women in iraq, follow the link here
to the post of the blog Trip to Iraq by Beth Shiner and Jason Waite


Inauguração / Opening - 27 NOV 2010

Extéril - 22h / 10pm
Sábado / Saturday

"(...) Corda, Espelho, Porta." - DALILA VAZ

Vídeo Instalação / Video Installation
Duração: 1´35 min.
Ano: 2010

Bio: Nasceu em 1980, Lisboa. Trabalha e vive na cidade do Porto.
Licenciada em Artes Plásticas pela ESAD, Caldas da Rainha, 2005.
Frequenta o 2º ano de Mestrado de Desenho e Técnicas de Impressão, FBAUP.

Intervenção para o espaço Extéril. Projecção de sequência de imagens de acções
em ilha quase devoluta no Bonfim, Porto.


If I Can't Dance

If I Can't Dance, I Don't Want To Be Part Of Your Revolution proudly presents its second publication in the field of performative art practices entitled Conversation Pieces. Drawing from the exhibitions and performances presented by If I Can't Dance during Edition II – Feminist Legacies and Potentials in Contemporary Art Practice (2006-2008), twelve critical thinkers confront twelve artists from the perspective of historical and present-day feminism in art. Accordingly, twelve collaborative essays reflect on the state and importance of feminism for the practice of art and show how artists today reactivate the past via visual and conceptual 'homage' and explore current ideas of political mobilization and engagement. "Conversation Pieces" is a fruitful starting point to discuss topics of subjectivity, social roles and the politics of performance.

The interview essays in the publication are 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.

Order information
Conversation Pieces will be available on January 2011. Orders will be sent from Vice Versa Vertrieb Berlin via: www.revolver-publishing.com..

Recent and upcoming publications by If I Can't Dance
Joachim Koester (two-part publication)
To navigate, in a genuine way, in the unknown necessitates an attitude of daring, but not one of recklessness (movements generated from the magical passes of Carlos Castaneda) and
I myself am only a receiving apparatus
With contributions by Veit Görner, Joachim Koester, Marco Pasi, Magali Arriola, Kristin Schrader, Martin Germann, Yann Chateigné Tytelman, Linda Norden and Frédérique Bergholtz.
Produced by If I Can't Dance, I Don't Want To Be Part Of Your Revolution, Amsterdam and kestnergesellschaft, Hannover
Text editing by Anders Kreuger
Design by Maureen Mooren
Release date January 2011

Olivier Foulon
The Soliloquy of the Broom
Published by Gevaert Éditions, Brussels, 2010
Produced by If I Can't Dance, I Don't Want To Be Part Of Your Revolution, Amsterdam
Text editing by Philippe Hunt
Design by Ella Klaschka
ISBN 978-3-86560-622-8

Frederique Bergholtz, Iberia Perez (Ed.)
(Mis)reading Masquerades
Published by Revolver, Berlin, 2010
Produced by If I Can't Dance, I Don't Want To Be Part Of Your Revolution, Amsterdam
Text editing by Janice McNab
Design by Joris Kritis and Julie Peeters
ISBN 978-3-86895-071-7

Conversation Pieces is part of If I Can't Dance Edition II – Feminist Legacies and Potentials in Contemporary Art Practice, involving the partners de Appel arts centre, Amsterdam, M HKA, Antwerp, and Huis a/d Werf, Utrecht. Edition II was supported by the British Council, the BNG culture fund, the Mondriaan Foundation, the Netherlands Foundation for Visual Arts, Design and Architecture and the Prince Bernhard Culture fund.

If I Can't Dance, I Don't Want To Be Part Of Your Revolution
If I Can't Dance engages in long-term inquiries with artists, based on an interest in the evolution and typology of performance. The name is based on a quote attributed to the anarchist and feminist Emma Goldman (1869 –1940) reflecting If I Can't Dance's aim to articulate the field in art practice where the critical and celebratory meet. If I Can't Dance produces new works with artists along a collaborative systematics with international partners. The headquarters of If I Can't Dance are located in Amsterdam.


Miguel Bonneville

Miguel Bonneville >Blog

Miguel Bonneville #7 - The X Show

Museu Colecção Berardo / Centro Cultural de Belém
Praça do Império, Belém
20 e 21 de Novembro às 18h00

exposição individual

Finissage | A Collection of Self-Portraits
Espaço BÁ
Rua do Barão, 10
17 Novembro | 19h00

exposição colectiva

Teatro Turim
Estrada de Benfica, nº 723 A
19 Novembro - 12 Dezembro
inauguração 19 Nov. às 20h


Workshop: re/organization of re/emerging movements

Updating Revolutionary Systems/Confronting Perpetratory Systems III: Friday, 19th of
November 2010

Workshop: re/organization of re/emerging movements
Carla Cruz (Artist, Founder of AMIW), AMIW (All My Independent Women, Portugal), Ulrike
Krippner (Landscape Architect), Iris Meder (Architecture Theorist) and
Rudolfine Lackner (VBKÖ): In this virtual/real workshop we will confront
historical and current feminist practices as well as the literary working
practice of AMIW. We will engage in the following questions: Which struggles
have turned women artists into political subjects? Why can their early protests
be called movements? Which world politics are responsible for making many of
them unknown? Which oppressive powers do new feminist formations face today
when compared to bell hooks’ book Feminist Theory from Margin to Center (1984)?


Fathomizing Memory
Vinko Nino Jaeger (Student at the Academy of Fine Arts Vienna and Media Educator): Project
presentation, workshop and sound exhibition with the focus "Survey –
Remembering/Memory. Membranes/Invisibles." "Fathomizing Memory"
is an interactive and multimedia project on the commemoration of victims,
survivors and resistance fighters against the Nazi Regime. It aims to subvert
the authority of the factual through renewed critical questioning. It is
organized by Elisabeth Samhaber from Radio ORANGE 94.0 and Vinko Nino Jaeger.
Project collaborators: Dokumentationsarchiv Österreichischen Widerstands (DÖW),
the Verein Gedenkdienst, trafo-k, the Historian and City Guide Petra Unger,
Painter and Architect Wolf Werdigier and the Austrian Association of Women
Artists (VBKÖ).


The Reconstruction of the Lueger Memorial into a Testimonial against Anti-Semitism
and Racism
The presentation and discussion of the contributions, particularly in regard to feminism, will
take place in the workshop by the Work Group for the Reconstruction of the
Lueger Memorial into a Testimonial against Anti-Semitism and Racism and the
participants of the open call.


On the occasion of the centennial anniversary, a program for the year will be
presented, which is composed of theoretical activities and a growing annual
exhibition. Currently, works by 100 Poster Club, Amanda Amaan/Rudolfine Lackner,
Elke Auer/Esther Straganz, Linda Bilda, Veronika Dirnhofer, Lina Dokuzovic,
Drogerie, Nino Jaeger and Sands Murray-Wassink are 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

Freitag/Friday, 19. Nov. 2010: 11:00, 14:00, 18:00

Further exhibition opening hours/guided tours by arrangement only
Sonstige Ausstellungsöffnungszeiten/Führungen nur nach Vereinbarung



A Seiva Trupe está de volta aos palcos com a apresentação da peça “A FREIRA PORTUGUESA”, de Maricla Boggio.

O drama inspira-se nas cinco “cartas portuguesas”, de Mariana Alcoforado, freira do convento de Beja, enamorada de um oficial francês que veio a Portugal para combater contra os espanhóis e que, depois, regressa a Paris, esquecido da paixão que nela despertara. Mariana vive nestas cartas um universo de dedicação, de ternuras, de saudades, incrédula pela abandono a que fora votada, até acabar por distinguir entre o amor como sentimento absoluto e o sujeito a quem o dedicou. Desfloresce a paixão irracional e toma consciência da triste realidade.

Um numeroso elenco onde estão presentes várias componentes artísticas, como canto, música original, etc., tendo a direcção e encenação a assinatura de Cláudio Hochman.

De Terça a sábado às 21h45
Domingos “matinées” às 16h00

Reservas: 226063000


Carla Filipe

Vila Franca de Xira
Museu do Neo-Realismo
“The Return of the Real – 13”
Carla Filipe, intitulada ‘’O Povo reunido, jamais será - representações gráficas’’ 2009- 10,
13 de Novembro 2010 a 6 Março 2011


Convocatória de artes plásticas


mulier, mulieres info

8 de noviembre al 11 de diciembre de 2010

La celebración del Día Internacional de la Mujer supone para el MUA una ocasión singular para dar visibilidad al compromiso de los creadores contemporáneos con cuestiones relativas a la condición femenina. A partir de los valores que alientan la celebración de esta jornada –libertad, participación y transformación social–, el museo universitario se convierte en la plataforma para interpretar, reflexionar, cuestionar y transformar la realidad que afecta a las mujeres.

Esta V Convocatoria Mulier, mulieris consolida su vocación de pluralidad; está abierta a creadores de ambos sexos que aborden la temática femenina, a la utilización de cualquier medio expresivo que implique una creación artística (pintura, fotografía, vídeo, escultura, instalación, conjunción de varios medios, etc.), así como al tratamiento del tema desde una perspectiva global o personal.

Carla Filipe

Calouste Gulbenkian Foundation is delighted to invite you to celebrate the launch of “an ilustrated guide to the british railway to my study” (evocation of a new language that transgresses the rules of translation), by Carla Filipe, on Tuesday 16 November from 6pm. Please find your invitation attached.

“an ilustrated guide to the british railway to my study” is the culmination of Carla Filipe’s Gulbenkian residency at ACME Studios, London, from October 2009 to September 2010. The publication includes critical texts by Ulrich Loock and Miguel von Hafe Pérez.

"....the book is Carla Filipe’s work, which, being informed by its reference to pre-existing writing and drawing, should not share the same location with texts referring to her own. Writing and drawing are merged in a number of pages that reproduce rubbings Filipe made of memorial plates encountered in train stations in Britain. Here her drawing is limited to the action of a hand that presses a pencil on a sheet of paper and moves it across to trace rows of writing in embossed letters, the names and professions of trainmen fallen in the wars. Mechanically applied, drawing is used as a recording procedure for writing, while at the same time the writing on the plates that had stayed in place for years on end is imbued with the strokes of the living body performing at a specific time and location." Ulrich Loock


Angelika Fojtuch

alienacje – alienations
Angelika Fojtuch and Anja Fussbach
exhibition: 8 October 2010 – 5 November 2010
performance by Angelika Fojtuch and opening: 8 October 2010, Friday, 7.30 p.m.

curator: Iwona Bigos
ggm1 gallery
Piwna 27/29
Gdansk, Poland
gallery opening hours: Sun, Tue-Thu 11-17, Fri-Sat 11-20




Nancy Murphy Spicer

Things I have seen this week:

Hanging Drawing Half-Drawn, 2008, rope, wood, nails, dim. var.

"A larger scale version of an earlier work, this piece explores the roles of artist and curator. I created the medium of the physical drawing line and the system of hanging the line on any series of 50 pins spread randomly across a 25' x 11' wall.

In my absence, the curator was left to install the work and, thereby, actually make the drawing. Through video conference, I was able to witness and comment on the work of the curator but, ultimately, it is her drawing which is shown in the exhibition.

For this exhibition, my work was chosen for inclusion but the actual drawing that is presented was created by the curator within a system which I set out. This work poses questions about the significance of mastery/technique in the creation of art and the roles of artist and curator in the making of an exhibition."
More here

Isabel Ribeiro // Susana Gaudêncio // Patrícia Portela

Things to see:


Sábado, 18 de Setembro, 16h

Composta em grande parte por pintura, o trabalho apresentado por Isabel Ribeiro em "Truir"
dá continuidade a reflexões já antes iniciadas, em torno do individuo e suas paisagens.

18 de Setembro a 20 de Outubro 2010

"Chamber of Examination" by Susana Gaudêncio opens this Saturday (September 18th) at 4pm at Galeria Presença, Porto.


A Colecção Privada de Acácio Nobre
Patrícia Portela
Teatro Maria Matos
sexta 10 a sábado 18 Setembro (excepto segunda 13) terça a sábado 21h30 domingo 18h00

"Na cave dos avós de Patrícia Portela foi encontrado um baú com fragmentos de textos e maquetas de objectos idealizados por Acácio Nobre, um português de referência do início do séc. XX, mas agora esquecido; um homem com uma carreira política, científica e artística discreta e muito inovadora para o seu tempo. Um Lumière português, um Steve Jobs precoce, um bio-engenheiro sem par na História e um amante/apoiante acérrimo dos artistas e da arte, embora apenas daquela que revoluciona o mundo. Em suma: um Leonardo da Vinci português que uma ditadura silenciou e eliminou dos registos da História portuguesa.

Patrícia Portela reúne os textos e os modelos encontrados no baú esquecido, segue as pistas até novos e preciosos documentos perdidos em arquivos pessoais e casas de amigos, e reconstrói algumas das obras, ideias políticas e ambiciosos projectos científico-artísticos de Acácio Nobre. Tendo o objectivo máximo de reavivar a obra de um homem, anónimo, como tantos outros, e de questionar a memória colectiva de um país que, se tivesse decidido atribuir a este homem a imortalidade que lhe era devida, seguindo alguns dos seus princípios, teria sido um país diferente.

Uma máquina de escrever vintage e um teclado wireless dão um concerto, projectam um filme mudo, desenvolvem em parceria um diálogo sobre o arquivo de Acácio Nobre, recriando o ambiente que envolve um autor enquanto este escreve: os momentos de pausa, os momentos em que surgem as grandes ideias, os momentos de fúria criativa, em que se recorrige tudo o que se quis dizer, os silêncios infindáveis enquanto se escreve ou enquanto não se consegue escrever. Este espectáculo inscreve-se na solidão e intimidade do criador muito antes de terminar a sua obra, nos momentos em que este faz crescer uma sua imagem mesmo antes de saber o que ela é ou lhe quer dizer."



Tânia Bandeira Duarte, Sem título (Water Drawings) #1, 2006

Grafite s/ papel, 15,8 x 19,4 cm

23 artistas apresentam obras de pequeno formato

Conceição Abreu, Pedro Amaral, Tânia Bandeira Duarte,

Abdelkader Benchamma, Rodolfo Bispo, Miguel Branco,

Jeanine Cohen, Maria Condado, Carla Cruz, Mattia Denisse,

João Ferro Martins, Dalila Gonçalves, Sofia Leitão, Sara Maia,

Marta Moura, Isaque Pinheiro, Marco Pires, Francisco Queiros,

Jean-Xavier Renaud, Fernando Ribeiro, Isabel Ribeiro,

Carlos Roque, Mafalda Santos

Inauguração Quarta-feira, 29 de Setembro às 22h

29 Setembro – 6 Novembro, 2010

Caroline Pagès Gallery

Rua Tenente Ferreira Durão, 12 – 1º Dto.

[Campo de Ourique]

1350-315 Lisboa

Tel. 21 387 33 76

Tm. 91 679 56 97



Aberto ao público de 2ª a Sábado das 15h às 20h e por marcação fora deste horário.


o dizer do corpo

o dizer do corpo

é uma mostra em torno da performance, que inclui

quinzenalmente apresentações de performances e uma

conversa com os artistas.

com a participação de

Ana Ulisses, António Lago, António Olaio, Balla Prop,

Calhau, Joclécio Azevedo, José Leite,

Manuel Santos Maia, Nuno Ramalho, Paulo Mendes,

Regina Guimarães

e de

Alexandre Osório, Ana Borralho e João Galante,

André Guedes, André Sousa, André Uerba,

Ângelo Ferreira de Sousa, Beatriz Albuquerque, Carla Cruz,

Filipa Francisco, João Fiadeiro, Márcia Lança,

Margarida Mestre, Mauro Cerqueira, Miguel Pereira,

Vera Mantero, Vitor Lago e Silva.

curadoria: Susana Chiocca


18 de Setembro > 30 de Novembro 2010

Inauguração: Sábado, 18 de Setembro, entre as 16h e as 20h


Apresentação de performances:

dia 25 de Setembro

Manuel Santos Maia

Paulo Mendes

dia 9 de Outubro

Ana Ulisses

António Olaio

dia 30 de Outubro

José Leite

Regina Guimarães

dia 6 de Novembro

Balla Prop

Joclécio Azevedo

dia 13 de Novembro

Conversa com os artistas

20 de Novembro

António Lago

Nuno Ramalho

Espaço Ilimitado - Núcleo de Difusão Cultural / September 18 > November 30, 2010

Opening: Saturday, September 18, between 16 p.m. and 20 p.m.



Espaço Ilimitado -Núcleo de Difusão Cultural

Rua de Cedofeita, 187 - 1º | 4050-179 Porto

Tel. [+351] 913 812 544


Sexta-feira e Sábado, das 16h00 às 19h00
e por marcação prévia


+ info:

> Susana Chiocca - 93 428 35 38 - desaparece@gmail.com

> Filomena Pimenta (responsável pelo espaço) 913 812 544

> João Baeta (responsável pelo programa de exposições)

Friday > Saturday, from 4 p.m.to 7 p.m.
Or by appointment


Rita Carreiro

André Alves - Opera of Frozen Life

Opera of frozen life
Opera da vida gelada

Sábado 11 Setembro
9:30pm - 11:30pm

Rua dos Caldeireiros, nº43, 2º piso
Porto, Portugal



Opera da vida gelada é um requiem (pedido de admissão das almas aos céus) redigido para uma performance a ter lugar na Capela Mortuária do Prado do Repouso, Porto, no contexto do projecto Colector.
O tema do libretto é uma ficção sobre o Luto e a perda de função em sociedades que, infantilmente, encaram a morte como tabu.
O resultado como instalação-vídeo, soma a colaboração intensa entre diversos
artistas, como co-autores ou como actores palhaço.
Apesar da liberdade cénica, a narrativa permaneceu sempre, como âncora de todo o processo.
Nenhum dos actores tem conhecimentos de língua portuguesa.



na Gesto Cooperativa Cultural, R. Candido dos Reis 64, Porto.



Onde comprar //Where to buy: AMIW

A publicação AMIW - Novas Cartas Portuguesas está já à venda (10,5€) nos seguintes locais:
The Publication AMIW - New Portuguese Letters (9£) is now on sale at:

Inc. livros e edições de autor
Rua da Boa Nova, 168
4050-101 Porto
(+351) 22 609 55 37


Gesto Cooperativa Cultural
Rua Cândido dos Reis, 64
4050-153 Porto
(+351) 22 332 09 86

Galeria Dama Aflita
Rua da Picaria n84
4000 PORTO

Casa da Esquina
Rua Aires de Campos nº6,
3000-014 Coimbra
(ao lado do Convento das Carmelitas)
(+351) 23 904 13 97

Zé dos Bois
Rua da Barroca
Nº59 1200-047 LISBOA
(+351) 21 343 02 05

UK: London:
the Mews Project Space
Osborn Street,
Alley behind the Whitechapel art gallery
London, E1


Where do we go from here?

with Liliana Basarab (RO), Vesna Bukovec (SLO), Petra Feriancová (SK), Judit Fischer (HU), Philipp Fleischmann (A), Nilbar Güreş (TR/A), Marlene Haring (A), Nina Höchtl (A), Ana Hoffner (SRB/A), Käthe Ivansich (A), Gergely László (HU), Dorota Kenderová (SK), Johanna Kirsch (A), Eva Kot'átková (CZ), Gergely László (HU), Roberta Lima (BR/A), Marissa Lobo (BR/A), Olivia Mihaltianu (RO), Miklós Mécs (HU), Christoph Meier (A), Anna Molska (PL), Olivia Mihaltianu (RO), Ciprian Mureşan (RO), Jan Nálevka (CZ), Ioana Nemeş (RO), Timea Anita Oravecz (HU), Ekaterina Shapiro-Obermair (RU/A), Katarina Šević (SRB/HU), SZAF (Judit Fischer & Miklós Mécs), Adrien Tirtiaux (B/A), Jaro Varga (SK), Anna Witt (D/A) and others.
Curated by Elisabeth Bettina Spörr

Tuesday through Sunday: 10 a.m. –6 p.m.

Saturdays at 3 p.m. and Sundays at 11 a.m.


Secession, Vereinigung Bildender KünstlerInnen Wiener Secession
Friedrichstraße 12, 1010 Wien
Tel: +43-1-5875307-10, Fax: +43-1-5875307-34


Maria Lado e Lucía Aldao

Poetisas Galegas Maria Lado e Lucía Aldao AMIW - CASA DA ESQUINA 18 Junho 2010



AMIW -17 Junho
Conversa: Mulheres e Resistência no Movimento Estudantil
CASA da ESQUINA pelas 21:30h, uma conversa com a Dra Manuela Cruzeiro, o Dr. Rui Bebiano e Cátia Melo, organizada em colaboração com a República Marias do Loureiro e logo a seguir a exibição do filme Brick Lane de Sarah Gavron. Esperamos por vós!

18, sexta-feira, teremos mais uma conversa : Ser Feminista com Manuela Tavares (UMAR) e Graça Abranches. Seguem-se Maria Lado e Lucía Aldao em Muita poesia, Pouca diversão pelas 21:30h na Casa da Esquina e logo depois as Aranhiças presenteiam-nos com mais uma das suas performances poéticas. Como não podia deixar de ser, festejaremos em grande estes longos dias de trabalho e de orgulho que foi o projecto ALL MY INDEPENDENT WOMEN sem deitar a casa abaixo!
Contamos com a presença de todos os nossos amigos e amigas!


Sentidos Privados

Performance André Alves

Sábado 12 Junho - 21H30
Teatro de Bolso - TEUC

Sentidos privados olham a condição do corpo e a sua reacção à aparente invisível percepção dos significados escondidos e revelados nas palavras proferidas. Recolhendo as palavras mais utilizadas nas Novas Cartas Portuguesas, corpo e prazer íntimo são tidos como ferramenta participada, cientes do gozo obtido nas possibilidades radicais da linguagem.

Sentidos Privados é apresentado no contexto do projecto AMIW:

CASA DA ESQUINA apresenta a quinta edição da exposição All My Independent Women, a inaugurar dia 21 de Maio pelas 19H00. Patente até 18 de Junho. Sexta das 17H00 às 20H00, Sábado das 15H00 às 19H00, Terça e Quinta por marcação; na Casa da Esquina, Coimbra.

Do encontro, por um lado com a Casa da Esquina e por outro com o livro Novas Cartas Portuguesas de Maria Velho da Costa, Maria Isabel Barreno e Maria Teresa Horta, surgiu a vontade de realizar pela quinta vez o projecto All My Independent Women, projecto artístico que procura problematizar as questões de género. A vontade de voltar a trabalhar com quem recebe o projecto de braços abertos e o nutre como seu, e de reler colectivamente esse livro, marco do feminismo em Portugal levou, assim, à recuperação da experiência colectiva das Cartas; aqui em Coimbra, e com cerca de 40 participantes procura-se a construção de uma nova subjectividade, procura essa que retoma a linha da paixão, paixão que será o próprio objecto e exercício, porque o objecto da paixão é mesmo pretexto, pretexto para nele ou através dele, definirmos, e em que sentido, o nosso diálogo com o resto.

Amarante Abramovici, Tiago Afonso, André Alves, Filipa Alves, Ana Luísa Amaral, Maria Isabel Barreno, Maria Graciete Besse, Miguel Bonneville, Ana Borges, Mariana Caló, Christina Casnellie, Carla Cruz, CES, Luís Eustáquio, Mónica Faria, Alice Geirinhas, Projecto Gentileza, Risk Hazekamp, Nina Höchtl, Maria Teresa Horta, Rudolfine Lackner, Cláudia Lopes, Marias do Loureiro, Ana Gabriela Macedo, Micaela Maia, Sameiro Oliveira Martins, Cristina Mateus, Vera Mota, Adriana Oliveira, Márcia Oliveira, João Manuel Oliveira, Maria de Lourdes Pintasilgo, Ana Pérez-Quiroga, Rita Rainho, Flávio Rodrigues, Suzanne van Rossenberg, Unknown Sender, Ângelo Ferreira de Sousa, Catarina Carneiro de Sousa, Evelin Stermitz, Paula Tavares, Virgínia Valente, Francesco Ventrella, UMAR, windferreira e as Novas Cartas Portuguesas.

BIOGRAFIAS: http://amiwnacasadaesquina.blogspot.com/

21 de Maio a 18 de Junho 2010.

R. Aires de Campos nº 6.

3000 -169 Coimbra


Para mais informação contactar Filipa Alves

e-mail: geral@casadaesquina.pt

telf: 239041397

horário: Sexta: 17H00 às 20H00 // Sábado: 15H00 às 19H00 // Terça a Quinta: por marcação.

Fechado à Segunda, Terça e Domingo.

BIO: André apaixona-se por distâncias que não lhe pertencem. Gosta de descrições de ausência, falhanço, excesso, melodrama e luto – recursos que definem o rumo dos seus projectos. Actualmente reside em Cincinnati, USA.

"Power itself has become carnivalesque"

Book launch (Mis)reading Masquerades with a lecture by culture critic and philosopher Prof. Sylvère Lotringer

On Friday the 25th of June at 17:00 hrs the book launch of our most recent publication (Mis)reading Masquerades will take place at our headquarters at Westerdok 606-608 in Amsterdam. On this occasion Prof. Sylvère Lotringer will be giving a lecture titled Capital Carnival:

"Irony and grotesque no longer come from below, as popular release or political subversion, they now come from above. In a striking reversal, it is no longer the masses who identify with a hysterical leader (Hitler, Mussolini), but perverse leaders who identify with the masses (Berlusconi, Sarkozy) and with comparable results. Fragmented and disseminated throughout social networks, power itself has become carnivalesque."

The lecture of Prof. Lotringer will be followed by a conversation hosted by researcher Steven Ten Thije.

Sylvère Lotringer, founder of Semiotext(e), is widely credited for introducing "French Theory" in America. He is professor emeritus of French Philosophy at Columbia University, Jean Baudrillard professor at the European Graduate School, and visiting professor at SciArc in Los Angeles. His most recent publications are Fous d'Artaud (Paris: Sens et Tonka, 2003) and Overexposed (New York: Semiotext(e), 2007).

Steven Ten Thije is research curator at the Van Abbemuseum in Eindhoven and research fellow at the University of Hildesheim. He studied art history and philosophy at the University of Amsterdam.

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

(Mis)reading Masquerades
This publication focuses on the notion of Masquerade. For the past two years, If I Can't Dance, I Don't Want To Be Part Of Your Revolution has been exploring the cultural, social and political meanings of this concept from a critical and interdisciplinary perspective together with more than fifty artists, curators, writers and theoreticians. (Mis)reading Masquerades comprises a selection of theoretical texts drawn from different fields of knowledge that address questions such as transgression, gender identity and subversion, gesture, the carnivalesque, the construction of subjectivity, authorship, mimesis, and alterity. The publication features introductions to each text by the participants of our monthly reading group, newly commissioned essays by writers and curators from the field of contemporary art and contributions by artists from the Dutch Art Institute (Enschede) and Piet Zwart Institute (Rotterdam).

For orders, please visit www.revolver-books.de

'(Mis)reading Masquerades', 512 p., edited by Frédérique Bergholtz, Iberia Pérez. Produced by If I Can't Dance in collaboration with the Dutch Art Institute, the Piet Zwart Institute, and the Van Abbemuseum. Design by Joris Kritis and Julie Peeters. Published by Revolver. ISBN 978-3-86895-071-7. EUR 35.



5 de Junho na Casa da Esquina

A Casa da Esquina promove no próximo sábado pelas 18h a conversa MULHERES E RESISTÊNCIA com Vanessa Almeida (investigadora), Shahd Wadi (investigadora), Margarida Viegas (República Rosa Luxemburgo) e Fátima Cavalho (Sindicato dos têxteis).

Micaela Maia

Já pelas 21:30, no Teatro de Bolso teremos a performance de Micaela Maia "Ela só queria ser arrebatada".