Featured: Luiza Margan


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....


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:

Leituras Imparáveis: Um Dia com as Novas Cartas Portuguesas

como chegar lá: Umar Centro de Cultura e Intervenção Feminista



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



EVA International 2012

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.


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
Tues–Fri 10am–5pm; Sat 12–5pm
T +61 3 9905 4217
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

“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

Concurso Nacional de Videoarte de Mujeres Artistas desde perspectivas de Género

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:

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


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

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

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.

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)




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

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

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


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

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

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.

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,

E-mail address:

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.

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

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


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:

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

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"

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


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

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:
More information on the application procedure can be found at:


Gender workshop - Julia Kisteva and her philosophy com Zuzanna Sanches

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

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

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.

The Embroidered Digital Commons

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


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

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
Horário: 3ª a Sábado das 15h às 20h

Metro: Alvalade
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

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 website


Miguel Bonneville Ciclo no Passos Manuel, Porto

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”.

11 DE NOVEMBRO | 22H00 | Performance: MIGUEL BONNEVILLE #6
12 DE NOVEMBRO | 22H00 | Performance: MIGUEL BONNEVILLE #8
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



American Association of University Women - International Fellowships

AAUW Educational Foundation International Fellowships