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

december the 3rd

22 positions
1 exhibition

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

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

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

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


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

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

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

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

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


Manuela Marques: Backstage @ Caroline Pagès Gallery: Lisbon

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

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



‘Practising Theory’
November 21st
We would like to invite you to the first in a series of workshops and lectures, which will consider questions of feminist art practice; what the role of feminism is in contemporary art practice, how we relate to feminist genealogies, critiques, methods and theory as practising artists, writers and critics, how might we resituate knowledge as feminist, and how feminist practices and methodologies have and continue to influence contemporary art practices.
The workshop structure is intended to test a historical model in an academic context now, which has influenced much contemporary practice (to include alleged socially engaged and relational practices).  We imagine challenges and critiques of the workshop as feminist pedagogical structure to form a part of the series.  
Our first day’s session considers the particular relationships between reading. writing and artmaking within the framework of feminist practices.  
It is essential that you book a space for the workshops. To do so please contact Linda Stupart or Karen Henderson:
Both workshops will take place in The Women's Art Library (MAKE) which is located in the Special Collections Suite on the ground floor of the Library.
11:00 – 13:00    Workshop with Melissa Gordon
14:00 – 16:00    Workshop with Sharon Kivland
17:00    Public Lecture by Sharon Kivland NAB LG02
19:00    followed by Goldsmiths Launch of PERSONA  with Marina Vishmidt and Melissa Gordon presenting
Studio B Room 005
Future Events
2 more day long workshop events are planned for the Spring term, dates TBC.

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

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

Supported by Art Research Programmes, Department of Art, Goldsmiths
Sharon Kivland is an artist and writer working in London and France. Reader in Fine Art at Sheffield Hallam University, she is also a Research Associate of the Centre for Freudian Analysis and Research, London, and editor of the journal Transmission Annual. She is  a keen reader, considering what is put at stake at the intersection of art, psychoanalysis, and politics. She has described her practice is one of stupid refinement, trapped in archives, libraries, the arcades, and the intersection of public political action andprivate subjectivity. For some years she has been following Sigmund Freud on holiday, rewriting Zola's novel Nana, and assembling a number of (shall we say) private collections. Her work is represented by DOMOBAAL, London, Galerie Bugdahn und Kaimer, Düsseldorf, Galerie des petits carreaux, Paris, and Johan Deumens Gallery, Amsterdam.
Melissa Gordon is an American artist based in London. She studied at De Ateliers in Amsterdam and currently is a Lecturer in Fine Art on the BA at Goldsmiths. She has recently exhibited at Spike Island, Bristol, Martin Gropius Bau, Berlin, and S1 Artspace in Sheffield. She co-edits LABOUR and PERSONA, independent publications on art and work with a feminist perspective with Marina Vishmidt. 
PERSONA is an artist-led magazine co-edited by Melissa Gordon and Marina Vishmidt. It is the second in a series of magazines that grew out of the need to respond to a series of questions that arose during four meetings of female artists entitled "A conversation to know if there is a conversation to be had" held in New York, Amsterdam, Berlin and London in 2010-11. The first journal, LABOUR, addressed the question of women's work, and used the lens of the feminist critique of unpaid labour to look at the contemporary condition of the artist as precarious worker. PERSONA as a jumping off point looks at the condition of self-presentation for the contemporary artist, and in an expansive manner encompasses discussions on refusal, interiority, friendship, candor, and embarrassment. 



Independents ArtVerona section (10-14 October 2013)
Founder and curator: Giulia Casalini
Organized with CUNTemporary (Arts | Feminism | Queer)

ArtVerona 2013 (Independents section) will host Archivio Queer Italia/Queer Archive Italy: a programme that will shake the usual art fair format through a continuous and unexpected series of performances, presentations, discussions, videos and installations. The programme revolves around the theme of queer non-normativity within and outside the space of the fair.
The ‘Archivio Queer Italia’ project is conceived as an always up-to-date platform (with an on-going open call) on Italian realities that have an artistic or theoretical engagement with queer. Parallel to the online platform, Archivio Queer Italia launches in ArtVerona Fair highlighting some of the participants that have been selected to manifest a ‘fluid archive’ – characterised by ‘impermanent’ works and presences. Following this concept of archive, a ‘festival’ has been elaborated, which will involve performance, discussions, presentations, videos and temporary installations that criticise and subvert the concept of ‘norm’ – not only in their contents but also in form. The artists/performers will utilise the ‘official’ spaces to explore the ‘unofficial’ limitations and unexpected situations that can arise within the context of an art fair. Some of these events will take place in the city center.
The Archivio Queer Italia space will also host conversations and presentations by some of the most prominent thinkers of the academic and curatorial sectors who engage with queer themes and gender issues in Italy. Amongst the speakers are Lorenzo Bernini, Massimo Preraro, Paola Di Cori, Marco Pustianaz and Francesco Urbano & Ragazzi.
Performances by Konstantina Alexopolou, Maurizio Buongiovanni, Eyes Wild Drag, Maria Teresa Gavazzi, Andy Gio, exvUoto, Giovanna Lacedra, Erique La Corbelle, Roberta Orlando, Anna Ramasco, Shakinart e VDREY feat. Schultz.
Videos include Andrea Abbattangelo, Atletica Smalti, Sara Benaglia, Benazir, Diane Busuttil, Dulce Garcia, ideadestroyingmuros, GendErotica, ConiglioViola, Tiziana Contino, Gelato Al Veleno Production, Kyram and Julius Kaiser, Sarah Koppel, Anna Lopez, Nicola Ruben Montini, Mery Sut, Chiara Trivelli, Cosimo Terlizzi, Fagarazzi Zuffellato. Sound work by Sergio Racanati and performative installation by Toisha Tucker.
Archivio Queer Italia is a project curated and founded by Giulia Casalini (CUNTemporary co-Director and independent curator). With the help, organization and partcipation of the team at CUNTemporary: Diana Georgiou (co-Director), Beatrice Balfour, Ana Grahovac, Laura Di Nicolantonio and Claudia Rossini. CUNTemporary (based in London) is a non-profit organisation that assists in promoting visibility to queer and feminist theories and art practices.

For more information see the website.
e-mail: press@cuntemporary.org
Web: http://archivioqueeritalia.com
Facebook: https://www.facebook.com/archivioQitalia | Twitter: @ArchivioQueerIT



Colóquio Internacional
13-15 de Março, 2014 | Universidade de Évora, Portugal

Caros Colegas e Caras Colegas,
Enviamos em anexo o “call for papers” do Colóquio Internacional “Novas Cartas, Novas Cartografias: Re-configurando Diferenças no Mundo Globalizado”, que terá lugar na Universidade de Évora, em Março de 2014. Chamamos a vossa atenção para este colóquio, organizado pela Escola de
Ciências Sociais da Universidade de Évora, em parceria com o Projecto de Investigação “Novas Cartas Portuguesas 40 Anos Depois”, da Universidade do Porto.
Pedimos a todos e a todas o favor de o divulgarem. Esperamos que possam participar.
Saudações académicas,
A Comissão Organizadora,

Ana Luísa Amaral (Univ. Porto)
Fernanda Henriques (Univ. Évora)
Rosalina Costa (Univ. Évora)
Paulo Rodrigues (Univ. Évora)
Marinela Freitas (Univ. Porto)

Projecto "Novas Cartas Portuguesas 40 Anos Depois" *
Instituto de Literatura Comparada Margarida Losa
Faculdade de Letras da Universidade do Porto
E. | <ilcprojects@gmail.com>; ilcprojects@letras.up.pt
Web | www.novascartasnovas.com
International Conference
March 13th-15th, 2014 | University of Évora, Portugal

Dear colleagues and friends,
Please find attached the call for papers for the International Conference “New Letters, New Cartographies: Reconfiguring Differences in a Globalized World”,to take place at the University of Évora, in March 2014. We call your attention to this Conference, a joint venture of the School of Social Sciences of the University of Évora and the International Research Project “New Portuguese Letters 40 Years Later”, of the University of Porto


Corinna Till: Talk to the Body

45 Coronet Street, N1 6HD
27 September – 19 October 2013
Private view: Thursday 26 September 6-8.30pm

"Talk to the Body presents a new body of work from Corinna Till. Working for the first time with textiles, large fabric works will be hung and weighted from the ceiling. Cottons, polyester and leatherette are carefully stitched and braced, pitched up and painted upon. Till applies force to the material; creating and alleviating tensions within the fabric.  These methodically made structures provide the architecture for Till’s loose, light handling of paint.

Each work starts with an action. They are holding on and letting go, both literally carrying the shopping, dumping the rubbish, and in terms of how we position ourselves - stance, holding back, holding together, holding tight. In one double-sided work an older woman passes a baton to a younger woman. The relationship is not simple, beneath them lie piled the batons that have been dropped.

There are insistent reminders of our bodily selves, bodies whose requirements and vulnerabilities can be inconvenient, but can also be the source of pleasure. Till’s work is motivated by a desire to utilise switch points between what is in and out of our control – finding openings for manoeuvre, changing minds and shedding skins.

In previous work Till has used painted surfaces provoke sensations and conjectures about how surrounding structures have come to be the way they are. Here, she continues her experimental engagement with painting amongst other things, reminding us of its material status, as one more sticky accretion, that adheres, or soaks in, to fabric."



MOBILE MASSES OF MUSCULAR TISSUE COVERED WITH MUCOUS MEMBRANE LOCATED IN THE ORAL CAVITIES by Elke Auer & Esther Straganz featuring tiny finger sculptures by Felipe Campos

OPENING: 20th september, 7pm
Kunstverein für zeitgenössische Kunst und experimentelle Medien,
Oranienstrasse 46
10960 Berlin

"Now i am no longer alone.
I am sucked in by others.
I am drowning in true depths, without any reference point."
(Lygia Clark)

What you will see and meet from September 21st to October 12th at Scotty Enterprises,
COISAS MOLHADAS E COISAS SECAS/ WET THINGS AND DRY THINGS/ NASSE DINGE UND TROCKENE DINGE, is a selection of what we encountered, touched and got touched by,
during 133 days and nights that we spent in the great mental city of São Paulo.

The exhibition is an assemblage of our project LÌNGUAS E LÌNGUAS/ LANGUAGES AND TONGUES/ SPRACHEN UND ZUNGEN. In portuguese, like in most other latin languages, the word „língua“ means tongue as well as language and therefore combines two raw axes of our art practice, the body (tongue) and its representation (language) in one word. Tonguing a new territory and meeting the material we were researching the works of three brazilian women: Lygia Clark, Clarice Lispector and Suely Rolnik. And as all true encounters involve molecular blurring, the matter created by this three brazilian chain smokers has greatly contaminated our works. LÌNGUAS E LÌNGUAS was and is an attempt to “apprehend the world in its intensive dimensions: as a diagram of forces that affect us and are present in our bodies in the form of sensations.” This line, taken from Suely Rolniks concept of the resonant body, which she came up with to write about the body of work of Lygia Clark, echoes through this exhibition. It handles with sensations, sensations that easily escape from language. Even moist language and even though Clarice Lispector was very good in catching them.

Between the lines there is the desire for speaking in tongues, spitting spirits, vomiting words, treating words like bodies, stripping a text from a rock.

Ana Pérez-Quiroga: Auto-retrato da artista enquanto parte da Sociedade

Auto-retrato da artista enquanto parte da Sociedade / Artist self-portrait as part of Society, 2013
Inauguração dia 24 entre as 18:00 e as 20:00
Espaço PT Andrade Corvo, 6 Lisboa

"Ana Pérez-Quiroga trilha uma exploração do quotidiano pelos caminhos de subculturas cosmopolitas que se desenvolvem num diálogo com a cultura vigente, hipermoderna, nesta Pós-Modernidade-Tardia, de início de século e fim da Era Pós-Moderna.

O percurso de Ana Pérez-Quiroga é uma captura do quotidiano sob a grande imagem em que se cristaliza a cultura vigente actual. Ou seja, Ana desconstrói pela pequena imagem a ideia de fim das meta-narrativas operado pela Pós-Modernidade e substituída pela Meta-Imagem. A pequena imagem de fragmentos do quotidiano em acto, sem encenações ou montagem ou produção, é a captura do pequeno momento que compõe a vida, o conjunto de eventos que são verdadeiramente importantes e que são comummente desvalorizados em nome dos grandes momentos, mais adequados à Meta-Imagem. A pequena imagem enquanto fragmento do quotidiano é capturada por snapshots, recorrendo a uma câmara de telemóvel. A captura é de momentos quotidianos pelos quais passa, que compõem a vida, numa viagem diária pelo momento presente por entre pessoas, lugares, eventos. A essência da vida é esse momento sempre presente que descuramos porque o vivemos na sua imediatez. O momento é capturado pela máquina porque Ana Pérez-Quiroga o está a viver, não pára de o viver, não se distancia, ela vive-o e a captura da imagem acontece como parte da vida.

Recorre à tecnologia do Instagram para partilhar e produzir as imagens, imediatamente partilhadas no Facebook também, da mesma forma que recorria aos slides antes do surgimento desta nova tecnologia. Este dado é relevante de uma ideia de partilha quotidiana que está dependente da tecnologia disponível. As limitações dos slides são nostálgicas, porque são limitações reconhecidas hoje. Os slides, que era a nova tecnologia no momento permitiam a partilha dessas imagens fotográficas. A fotografia, transformou-se pela potencialidade de divulgação, na sua qualidade e alcance, permitindo um outro desenvolvimento dos seus projectos fotográficos. As imagens fotográficas são imagens similares às imagens que habitam o subconsciente e a que acedemos por associação, despoletada por jogos emocionais. As imagens de Ana Pérez-Quiroga evocam esses momentos, essas emoções vividas, porque capturadas enquanto a artista as vivia. Essas imagens apresentam figuras de amigas e amigos, de objectos, de eventos do momento quotidiano fundamental, o momento da vida real sem produção, sem pré-conceitos, sem a dimensão do socialmente correcto, são enquadrados pelo olhar e capturados pela segunda base dados de Ana, o telemóvel com câmara fotográfica, sendo a primeira o cérebro. Assim a foto-instalação Auto-retrato da artista enquanto parte da Sociedade / Artist self-portrait as part of the society, 2013 é um auto-retrato de Ana Pérez-Quiroga um auto-retrato tão íntimo quanto social, pois é o modo de ver o mundo de afirmar de modo consciente o que lhe é relevante, o que é relevante para a sua vida, esse território de nuclear importância que esquecemos no quotidiano, na nossa formatação pela procura da Meta-Imagem que subsuma o grande evento justificador e organizador de tudo. Os locais, os eventos os amigos revelam essas camadas sociais de subculturas escolhidas, subculturas com identidades colectivas definidas, com conteúdos culturais determinadores e determinados pelos seus participantes pelas quais Ana Pérez-Quiroga navega e com as quais se identifica. As fotografias, fragmentos de uma vida no seu contexto social e íntimo, revelam o modo de ser-no-mundo de Ana Pérez-Quiroga, a artista auto-retratada na vida. A vida por ser um sempre presente e, enquanto tal, uma evidência, escapa ao escrutínio e à consciência desse momento." Vítor Hugo Leal


Challenging Rape and Sexual Violence

North East Feminist Gathering 12/13 October Newcastle.
Fouth Wave Feminism
Challenging Rape and Sexual Violence
Workshops include: why women-only space; exploitation of girls and women; banner making; writing;public speaking; consciousness raising; using social media; disability politics; black feminism;women in political institutions and many more.
£15/£10 students/£5 unwaged. Includes lunch and creche for up to aged 12.
To book see website. North East Feminist Gathering.


Angela Dalinger: Drawings and Paintings

21 de Setembro a 2 de Novembro

21 de Setembro | Inauguração 17h
Galeria Dama Aflita
Rua da Picaria, 84, Porto, Portugal

Angela Dalinger (de)
“Olá sou a Sandra e o meu segundo nome é Angela. Comecei a utilizar o nome artístico Angela Dalinger há cerca de 3 anos atrás, simplesmente porque nunca gostei do meu nome verdadeiro.
Nasci em 1984 e cresci numa pequena cidade na feia baixa saxónica. As coisas por lá não foram muito fáceis. Em 2008 comecei a estudar ilustração na Universidade Pública de Hamburgo. Foi bom sair de onde nasci e ir viver para uma cidade apesar do barulho e das pessoas me estarem a levar à loucura.
Então após ter terminado a licenciatura mudei-me para o local onde vivo agora, isto é, uma pequena aldeia com apenas 100 habitantes.
tenho dois gatos e um grande jardim e estou a pensar arranjar uma cabra para me tratar da relva e ainda uma bicicleta para ir ao supermercado que dista 3km da minha casa. O meu sonho era ter um belo Volvo se possível azul escuro ou verde tanto faz.”
Angela Dalinger


DOMÉSTICA: Call For Publication

Special collaboration with the producers of the documentary Highrise and now Domestica (Housemaids). This is an open call for texts that address the spatial manifestations of 'domestic service'. Housemaids offers compelling insight into the legacies of colonialism and its relationship to domestic workers in 'South America'. The film ruptures the silence about the role of domestic workers in 'Brazilian' society, provoking questions about economic and racial privilege and inequality.

The final essay will be included in Critical Cities: Volume 4, with the book accompanying the film's DVD and will attract a handsome reward of £400. Four additional papers will be published in the online journal Arquitextos.

The texts will be published in partnership with the film’s production company DESVIA and the Federal University of Pernambuco.

DOWNLOAD DETAILED CALL (Deadline: 06 October 2013)

Formats: conversations, visual essays, academic papers, autobiographical commentary.

Abstract: 500-1000 words (from which 5 authors will be invited to write full texts)

Final text: 5000 words maximum.

Deadline: 06 October 2013

Submission: email dora@desvia.com.br


Ao usar uma inovadora e provocativa abordagem, o documentário brasileiro “Doméstica” (2012), oferece um ponto de vista sobre o legado do colonialismo no Brasil e a sua relação com os trabalhadores domésticos. O filme levanta o véu de um longo silêncio em relação ao papel das empregadas domésticas na sociedade brasileira, além de provocar os espectadores, de todas classes sociais, a questionarem a persistência de uma cultura que tem raízes na escravidão.

O filme teve seu lançamento mundial no IDFA (Festival de Documentários de Amsterdão), em 2012, e já participou de importantes festivais no mundo - sendo distribuído comercialmente no Brasil, Estados Unidos e México. Para provocar o debate e a compreensão acerca das questões que envolvem o trabalho doméstico no Brasil, a produtora do filme, DESVIA (www.desvia.com.br) em parceria com Myrdle Court Press (http://www.myrdlecourtpress.net) e com a Universidade Federal de Pernambuco (www.ufpe.br) vai publicar  e divulgar cinco documentos sobre às questões que envolvem o trabalho doméstico no Brasil.


Open Call for new ebooks from KT press feminist writers on feminist art

KT press, publishers of n.paradoxa, is publishing a new book series on feminist art theory and the work of contemporary women artists (visual arts only, post-1970) – into 2013. View the existing series as it develops here. This new series could be characterised as a return to the 18th century tradition of pamphleteering – with a modern digital twist and an ISBN! The first series will contain 5-10 books.
It is intended that each book in the series will be an e-book, sold and circulated at low cost as .epubs from KT press’ website, Amazon's Kindle store and through Ingram's Independent Publisher's Program.
Each book will contain text and images, and where necessary, audio and video files.
The size is c. 40-60 display pages: (c. 8,000-40,000 words).

KT press holds the view that feminism in relation to the visual arts is a contentious subject but it is also an open question about the relationship between art, aesthetics and politics which needs to be debated, especially with regard to the work of women artists. Authors must specify which feminist ideas they are engaging with and where their views of feminism originate. New perspectives and a critical consideration of the legacy of feminism will be valued in selecting this series.
The aim of the series is to publish books containing:
a)    collected conference papers or panel discussions on or about feminist art
b)    translations of writings about feminist art from any language into English for the first time (with commentaries).
c)     discussions of a single woman artist’s work by one or several authors including documentation of their projects (where no monograph exists)
d)    collected writings / performance scripts / art notes by a woman artist on art and her practice (Poems will not be considered).
e)     new polemics about feminist-art-theory and feminist art criticism arising from a single author or a discussion between feminists.
f)     essays engaging in future thinking about feminism in the visual arts or written as new manifestos for the future.
g)     extended discussions of curation or exhibitions as forms of feminist reading or praxis or essays written bringing together works to form virtual exhibitions “of our wishes”.

Ideas developed from theses (MA to PhD) will be considered but authors are asked not to send the thesis itself, only a summary of the key arguments and a description of the subject. Women who have not published a book before are encouraged to apply, if they are prepared to develop their ideas in co-operation with the publisher.

Ideas based in post-structuralist approaches to language, psychoanalysis and social critique of art and politics, cyberfeminist thinking, exploring new art forms, feminist post-colonial critiques, feminisms of the North and South/ East and West, approaches to global diasporas in contemporary art, issue-based political thinking about questions of social justice in relation to contemporary art are all welcome.
KT press operates as a not-for-profit company. Fees to authors will be paid and a royalty on copies sold.  This project is supported by a grant from the Andy Warhol Foundation for the Visual Arts in New York. Potential authors should write to Katy Deepwell at KT press, sending an outline of their idea for an e-book. katy@ktpress.co.uk


re.act.feminism @ Fundació Antoni Tàpies, Barcelona, Spain

re.act.feminism @ Fundació Antoni Tàpies, Barcelona, Spain
15 November 2012 – 17 February 2013

re.act.feminism @ Akademie der Künste, Berlin, Germany
21 June 2013 – 18 August 2013

After a short but successful presentation of the archive at the Tallinna Kunstihoone in Tallinn, Estonia, we are happy to announce the next opening of the “re.act.feminism #2″ – a performing archive at the Fundacio Antoni Tapies in Barcelona, Spain! The continuously growing archive has recently been enlarged by another 13 artists and contains currently more than 233 performance documents, mostly DVD and photography by 163 artists and artist collectives.

Opening: Thursday, 15 November 2012 at 7:30pm
Several artists and the curators Bettina Knaup and Beatrice Ellen Stammer will be present!

During its stay at the Fundacion Antoni Tapies the archive will be accompanied by a series of lectures & talks initiated in collaboration with Centre de Cultura de Dones Francesca Bonnemaison, the Goethe-Institut Barcelona, the Mercat de les Flors. An Activity Space for educational and research activities in the form of workshops, screenings and presentations will allow the audience to further engage in current questions on performance art and feminism.

The mobile archive will be showcased at the Fundacio Antoni Tapies from 16 November 2012 until 17 February 2013 before returning to Berlin in June 2013 to be presented at the Akademie der Künste, Berlin.

In order to find out more about re.act.feminism #2 and the show in Barcelona, please visit our website


The Women’s Art Library/Make and Feminist Review £1000 research bursary

Living with Make: Art in the Archive

Call for proposals for written research projects based in the Women’s Art Library/Make at Goldsmiths, University of London. This call is open to all, including students.
This year the bursary is presented in association with the Whitechapel Gallery.

Deadline for proposals: 1 October 2013
Bursary period: Jan-Mar 2014
Public launch at Whitechapel Art Gallery: Spring 2014

Women’s Art Library/Make and Feminist Review are inviting artists and curators to propose an original engagement with the notion of archives and identities, starting with over/under/mis-identification with the material collection of the Women’s Art Library.

This is a call for speculative archive projects from which a shortlist of proposals will be selected for a future event at Goldsmiths to coincide with the programme of the newly established Feminist Research Centre. From this selection one project will be chosen and the final work will be presented in the Open Space pages of a forthcoming issue of Feminist Review and feature in a public launch event at the Whitechapel Gallery.

The £1000 bursary will support the successful applicant’s research time in the collection. 

The Women’s Art Library/Make is a collection of art documentation that began as a collective archive by UK-based women artists in the late 1970s. It has since developed into a research resource featuring a wide range of media that include emerging artists active internationally as well as historical archives of individuals and organisations. The Make collection is particularly rich in images and features a unique slide collection, poster collection, videos and photographs as well as audiotapes and ephemera.

Feminist Review provides an accessible site for creative debate in the form of writing and/or visual works that relate to and expand issues in gender scholarship.

The panel consisting of representatives from Feminist Review and Goldsmiths would look for proposals that engage the creative as well as academic sector. A proposal for development and a CV would be required, including good visual documentation if relevant.

For more info contact: Althea Greenan, e-mail: make@gold.ac.uk
tel. 020 7717 2295
Special Collections, Library, Goldsmiths, University of London
New Cross, London SE14 6NW


Smashing the Patriarchy in 100,000 Words? The Use of Feminism in Academic Theses.

Call For Papers:

University of Dundee,
Monday 13th January 2014

A seeming resurgence of student feminism has become visible over the last couple of years; feminist societies and feminist students have engaged visibly and creatively with the feminist debates facing women and society today; from the No More Page 3 Campaign, to the microaggressions and Everyday Sexism Project, and producing photographs of signs reading ‘I need feminism because...’. Online activism has made the spread of information and campaigns more accessible.

But how does the increasing visibility of student feminism translate into academic work? Does it remain a part-time interest, or does it feed and inform our work? Is the academy a welcoming place for those already involved in activism? How does our academic work contribute to feminist activism?

This day of talks, workshops and networking aims to investigate how postgraduate students who use feminist methods and perspectives, or who identify as feminist activists, feel about the relationship between feminism and their academic work. We hope to create a friendly environment in which to discuss these issues, to offer fellow feminist researchers a springboard for further support and collaboration. We welcome papers which critique feminist methodology and interpretations or aspects thereof.

In association with the Feminist and Women’s Studies Association (http://www.fwsa.org.uk) and the University of Dundee, this event will include keynote lectures from those working within the academy and activism, while creating a space for postgraduate students from across the disciplines to discuss their work and their feminisms.

Abstracts of up to 300 words are requested for talks of 15 minutes, to be delivered as part of a workshop setting. We encourage interdisciplinary work.

Topics may include, but are not limited to:

How feminism impacts your approach to your subject
Towards a feminist methodology
Feminism and its relation to identity politics or intersectionality
The relationship between your identities as feminist/activist and academic
Feminist academia: resurgence or decline?
Can feminist research be conducted within the academy?
Is feminist research relevant in 2013?

Abstracts should be emailed to smashingthepatriarchy@gmail.com by 1st October 2013 with a short biography (100 words or less) and a CV.


Apartar del camino: creación y seducciones feministas


Apartar del camino: creación y seducciones feministas

I Congreso Internacional Online del Instituto Universitario de Estudios Feministas y de Género
Del 9 al 20 de enero de 2014

El Instituto Universitario de Estudios Feministas y de Género de la Universitat Jaume I de Castellón organiza el I Congreso Internacional Online. El congreso se organiza en torno a los siguientes ejes temáticos, teniendo en cuenta la perspectiva de género:

-Creación artística, literaria y análisis estético.
-Seducción y Feminismo
os textos de las ponencias se editarán en formato electrónico con ISBN.

Participación en el Congreso:
Las propuestas de ponencias deberán enviarse antes del 20 de octubre al correo electrónico: if@uji.es, en formato Word e indicando en el asunto: Creación y seducciones feministas. En las propuestas se debe incluir:
-Nombre autor/a o autores/as
-Resumen de 500 palabras
-Palabras clave
-Breve currículum que no exceda de 2 páginas en el que se indique líneas de investigación, publicaciones recientes
-Correo electrónico
El comité científico evaluará las propuestas y comunicará antes del 1 de noviembre su aceptación. En el caso de que se recibiera un número excesivo de propuestas que cumplan los requisitos formales y de calidad requeridos y no pudieran albergarse todas en el aula virtual del Congreso, se incluirían igualmente en la publicación e-book del mismo.

20 de octubre de 2013: entrega de propuestas.
1 de noviembre de 2013: aceptación de propuestas.
1 de diciembre del 2013: recepción de originales.
9-20 de enero del 2014: Congreso
Al realizarse completamente online días antes de la realización del congreso se facilitarán las claves necesarias a los/as ponentes y asistentes.

Comité científico:
Jordi Luengo López (Universidad Pablo Olavide de Sevilla)
Belén Ruiz (Universidad de Málaga)
Denise Bussoletti (Universidade Federal de Pelotas)
Yolanda Marco (Universidad Nacional de Panamá)
Marian L.F. Cao (Universidad Autónoma de Madrid)
Carmen María Fernández Nadal (Universitat Jaume I de Castellón)
Paloma Palau Pellicer (Universitat Jaume I de Castellón)

Presentación de originales y formato
Su extensión no deberá ser superior a 15 páginas, más las posibles imágenes, y a espacio 1’5. El texto se enviará en formato «Word»
Tipo de letra Times New Roman, o similar, fuente 12.
Se utilizará el sistema Harvard de citación, siguiendo el modelo que se puede ver a Dossiers feministes, 16. Mujeres, creación y dolor http://www.if.uji.es/sites/default/files/Dossiers16.PDF


Instituto Universitario de Estudios Feministas y de Género (IF)
Facultad de Ciencias Humanas y Sociales (Despacho HC2S29DL)
Campus Riu Sec
Universitat Jaume I
E-12071 Castelló de la Plana (Espanya)
+34 964 72 9971


.dpi 28 / Call for Projects: Gender(ed) Cultures on the Internet

Call for Submissions
.dpi issue 28 (fall 2013)
Deadline: 13 September 2013

Themed Section: Gender(ed) Cultures on the Internet
Guest Editor: Jennifer Chan

In the Themed Section of its 28th issue, .dpi is looking at the internet as a heterogenous space that allows for the deliberation and challenging of gender ideals.

On the internet, like-minded users find communities of interest based on mobilizing conversations around feminism and masculinism alike. Donna Haraway and Coco Fusco suggest that the early internet may have precipitated emancipatory potentials for the performance of gender, as receding boundaries between bodies and machines would allow for historically invisibilized and marginal gender subjectivities to be heard. Conversely, the imbalanced history of representational structures upheld by museum and academic art institutions run up against these optimistic intentions on the internet. In light of a vast majority of Wikipedia editors identifying as male and recurring uproars over representation disparity in video games and net art, the gaps in representation of women and queer people in technology and new media art remain unexplained and unresolved. On one hand, the complex, intertwined relationship between social discourse and representations of gender
online could be examined, since rigid ideals of masculinity and femininity are still dominant in online communities like OKCupid et AskMen and MPUA (pickup artists) forums. On the other, artistic practice that co-opts and/or questions these definitions may open doors for new ways of understanding the social construction of gender.

While Cyberfeminist collectives of the 90s sought to specifically infiltrate the male-dominated arena of net.art, feminist networked practices are pluralist today. Early artistic users such as Netochka Nezvanova and the late LaTurbo Avedon exploit the apparent anonymity of networks to project unstable personas and interests. Nowadays, online feminist critique reflects gendered realities and aspirations of users, ranging from subversive pop cultural remix to latent commentary in image aggregation on tumblrs. Elsewhere on the internet, honest writing by bloggers and writers such as Karley Sciortino (Slutever) et Marie Calloway have invoked blogosphere uproar over the “correct” artistic self-representation of female sexuality. Ultimately, binary notions of gender (masculinity and femininity) as an acculturated performance of imitating socialized ideals manifests in technology, and is also a product of technology. Yet these conventions are rendered
unstable by user deliberation of such representations within the informal space of the web (1). What kinds of practices and representations are currently important to women and queer people? What conversations reflect the realities of gender distribution in art on the internet? What would a truly postgender online environment look like? What kinds of uses of the network breach existing ideas of bodily performativity?

Submission of completed articles may include (and are not limited to):
- analyses of queer, transgender, and/or heterosexual culture online;
- networked art practices and conversations on feminism and queerness;
- descriptions of non-academic, artistic and social feminist conversations and practices facilitated by the internet;
- the gendered structure of the internet;
- feminist analyses on internet subculture;
- interviews with creatives who work within related themes;
- statements and manifestos;
- alternative histories of online feminist art practice.

Completed texts and/or projects by interested participants of all sexualities and orientations are welcomed.
(1) Jack Judith Halberstam. "Automating Gender : Postmodern Feminism in the Age of the Intelligent Machine", Feminist Studies, Vol. 17, No. 3. (Automne 1991), 440.

To Submit
.dpi is looking for submissions relevant to (or stemming from) “the Web”, including text, image, sound, video, animation, interactive works, or others, and any combination of these, produced collaboratively or individually. Types of submissions include (but are not limited to) short essays, criticism, interviews, case studies, reviews, reports, creative works (or extracts), and other imaginative responses. The editorial committee encourages the submission of non-academic contributions (or that go beyond the academic style). Text length can vary between 500 and 1500 words (maximum), depending on the form and the media used.

Please send your submission (along with relevant images, videos, hyperlinks, etc.), a short biography (100 words) per person involved, an abstract (100 words), as well as 2 to 5 keywords, by Friday, 13 September 2013 to: revuedpi(at)gmail.com

An honorarium is offered depending on the length and complexity of the contribution. The authors and artists are responsible for all copyright related to the submitted content.

Submissions that fall outside of the Themed Section are also welcomed and will be considered for publication in the Field Studies Section (“hors dossier”).

Based in Montreal and published online, .dpi opens a unique and bilingual space for dialogue and interdisciplinary critical reflection, research, experimentation, documentation, and positions and propositions, situated at the intersection of art, technology and feminisms. The journal is a platform where the bold, critical, engaged and curious contributor may question issues related to feminism (in all its varieties), art and digital culture.

Medo e Feminismos: Maria Gil e Miguel Bonneville



Maria Gil e Miguel Bonneville

NEGÓCIO Rua de O Século, nº 9 porta 5
Sexta, 26 de Julho às 21.30 
Sábado, 27 de Julho às 21.30 

Duração: 1h aprox.
Entrada para uma conferência: 5€ - Entrada para as duas conferências: 7,5€
Entrada estudante em grupo para as duas conferências: 5€ 
Nesta palestra, duas pessoas, que manifestam um saber arquivista sobre medos, estão sentadas lado a lado para evocar medos passados presentes e futuros; autobiográficos ou não. Medos que se transformam em medos sociológicos, em manifestações do controlo político que é exercido sobre a sociedade, sobre as pessoas. A partir dos conflitos internos de cada performer constrói-se uma apresentação fragmentada com direito a pequenos actos de sarar que não pretendem mais do que transformar veneno em remédio.

De forma nostálgica e pessoal evocam-se algumas das performances mais significativas para a arte da performance feminista, seguindo-se uma reflexão pessoal sobre a prática do feminismo nos dias de hoje. A palestra termina com a recriação de duas performances feministas do século XX.

Ficha Artística
Direcção: Maria Gil
Co-Criação: Maria Gil e Miguel Bonneville
Apoio Cénico: Pedro Silva
Produção: Teatro do Silêncio 2013

Projecto apoiado pela Fundação Calouste Gulbenkian
A bilheteira do NEGÓCIO abre às 21h
reservas@zedosbois.org | Tel: 00351 21 343 02 05
+ info: zé dos bois


Cristina Mitrense / MAKE –METALIBRARY /An Interactive exhibition

2 - 13 September 2013

The Women’s Art Library at Goldsmiths University of London is pleased to present MAKE–METALIBRARY at the Special Collections ,an exhibition by multidisciplinary artist Christina Mitrentse. METALIBRARY is a site specific interactive floor based installation gathering together the complete MAKE magazine archive (issues 1- 92) made available to the public in the library’s special collection reading room, and emerging from Mitrentse’s ongoing Add To My Library project. Two screenings project background information from Vol.II & III archive of ATML, in dialogue with the ‘Wounded Book Sculptures’ to be displayed in cabinets: a selection of feminist vintage Penguin publications shot with riffle create bullet holes, have been introduced by Mitrentse as a series of appropriated, ready-mades since 2010. A selection of new large wall based colour drawings and an exclusive printed edition, extensively designed to expand the MAKE publication front covers and archive of the future, providing also a connection between the special collections reading room and the main Library, where a ‘Book-Skoob Tower’ rises to the 1st floor. The exhibition features contextual writings by Areti Leopoulou art historian, CACT curator & Dr. Christina Gramma- tikopoulou of InteRartive magazine.

Christina Mitrentse is a multidisciplinary London based artist, freelance curator and educator. She is known for constructing provocative narratives and poetic ensembles of idiosyncratic institutions through manifold processes of vintage book-sculpture, drawing, screen-printing, and productions of site-specific installations.

Special Collections /Rutherford Building
Goldsmiths, University of London
New Cross
London SE14 6NW UK
Reception: Wednesday 4 September 6-8pm
RSVP required: a.greenan@gold.ac.uk
Open: Mon – Fri 10am - 5pm Wed 10am-7pm
MAKE-A new special edition, colour drawing on paper, 110x90cm © Christinamitrentse 2013


Ana Pérez-Quiroga convida para a apresentação do projecto artístico Breviário do Quotidiano #8
e lançamento do website que o integra www.anaperezquirogahome.com

Ana Pérez-Quiroga abre-nos a porta de sua casa. A artista vive num apartamento pombalino na Baixa de Lisboa, último andar com varanda florida e vista para o Tejo.
Na sua casa, como em qualquer outra, encontram-se múltiplos objectos, uns com carácter meramente funcional outros sem função aparente. Resultam de uma cronologia não linear de escolhas e acasos, de experiências e expectativas, uma acumulação de sedimentos que revela o gosto, personalidade e quotidiano de quem a habita.

Em Breviário do Quotidiano #8, Ana alarga a possibilidade de fruição da sua casa também enquanto objecto artístico, uma instalação participativa. Convertida em instalação, o utilizador pode estabelecer uma relação performativa com o espaço e os seus objectos. O projecto permite não só que que a casa seja arrendada temporariamente, como a participação de eventos artísticos em torno de um jantar mediante marcação e a aquisição da maioria do seus objectos, mesmo os mais improváveis, aos quais é atribuído um valor monetário. É também possível adquirir fotografias da casa ou dos seus objectos como obras de arte, assinadas e numeradas pela artista.
MUDE - Museu do Design e da Moda, Colecção Francisco Capelo
Rua Augusta 24
1100-053 Lisboa


Conversa com André Sousa e Luisa Cunha

Galeria Quadrado Azul, Lisboa
28 Junho, 18h30

Rua Reinaldo Ferreira, 20-A
1700-323 Lisboa, Portugal

(conversa pontuada por vídeos e truques de magia) no contexto da exposição "A cantiga é de farra, tange o pandeiro, assobia-se no refrão", acontece uma conversa com André Sousa e Luisa Cunha, na Galeria Quadrado Azul, em Lisboa.


Finissage HETERO Q.B. - Lisbon

25 June (Tuesday) 6.30 p.m.
Truth Tales: Queer artistic strategies
Ana Pérez-Quiroga, Patrícia Guerreiro, paula roush, Maria Lusitano, artists
João Manuel de Oliveira, researcher on gender studiesand Nuno Crespo, art critic.

Finissage of the programme:  HETERO Q.B. - International Video Programme

Free admission

Museu Nacional de Arte Contemporânea - Museu do Chiado
Rua Serpa Pinto, 4
1200-444 Lisbon

further information:



Dirección y Comisariado: MARGARITA AIZPURU

Los Encuentros Internacionales de Arte y Género comenzaron su andadura en el año 2004, este año 2013 desarrollamos la IX edición. El enfoque de estos Encuentros sigue siendo la interrelación del arte, las mujeres, el género y los discursos y planteamientos feministas, todo ello teniendo en cuenta el contexto y situación de discriminación de las mujeres en las sociedades contemporáneas, y en particular en el ámbito de la creación y las artes.

Esta constatación nos demuestra la necesidad de seguir trabajando en líneas específicas que den cabida, promocionen y difundan los enfoques tanto de pensamiento como de prácticas artísticas, que desde perspectivas de género las mujeres vienen desarrollando dentro y fuera de nuestras fronteras, recorriendo distintas temáticas que les afectan en las sociedades contemporáneas, y ello en colaboración con distintas entidades e instituciones, gracias a las cuales es posible realizar estos Encuentros.

Unos Encuentros dentro de los cuales se van a mostrar tanto obras audiovisuales de artistas, como líneas de pensamiento y enfoques teórico-prácticos que se encuadran dentro de los discursos de género y feminismo en el arte, recorriendo diferentes temáticas que a las mujeres les afectan en las sociedades contemporáneas, y dentro de los objetivos y en desarrollo de lo dispuesto en el artículo 26 de la Ley Orgánica 3/ 2007 de 22 de marzo para la igualdad efectiva de hombres y mujeres y la Ley 12/2007, de 26 de noviembre, para la promoción de la igualdad de género en Andalucía.

Este año 2013 se están desarrollando diversas actividades integradas por una serie de ciclos de vídeo de mujeres artistas desde ópticas de género y/o feministas, así como conferencias, debates y cursos, que se van a ir desarrollando a lo largo del año, en diferentes espacios y que se irán anunciando en cada momento. Ahora, y como Bloque II de los Encuentros, se van a ofrecer dos sesiones de conferencias y dos ciclos de vídeo monográficos de las artistas Cecilia Barriga y Teresa Serrano en el Centro Cultural Cajasol.

Contenido/Programa del BLOQUE II de los Encuentros:

Presentación del Bloque II de los Encuentros Internacionales de Arte y Género por parte de la Fundación Cajasol y la Directora de los Encuentros.

LUGAR: la Sala Juan de Mairena del Centro Cultural Cajasol (C/Laraña, 4. Sevilla)

Dentro de esta sesión se integra una conferencia de la realizadora CECILIA BARRIGA sobre su propia obra audiovisual y un ciclo de vídeos seleccionados de la artista.
Ciclo de vídeos de la realizadora a exhibir:
- Meeting Two Queens. Vídeo, 1990, 14’
- En el río. Vídeo, 2006, 6’
- El día del euro. Video, 2007, 6'
- Casa de Red. Video, 2011, 8'
- 5000 Feminismos más. Vídeo, 2010, 7 ‘21’’
- Ahora, indignación. Video, 2013, (extracto de 10’)

Duración aproximativa de la exhibición de vídeos: 65 minutos.
Semblanza de la conferenciante: 

Nace en Chile y en 1977 se radica en Madrid, aunque también ha vivido en Nueva York, La Habana, Berlín, Zúrich y Concepción de Chile.
Lleva más de 20 años trabajando en la creación audiovisual y ha realizado obras de diversas características, géneros y formatos, como cine ficción, documental, video creación, performance, etc. Sus trabajos han sido exhibidos en cine, televisión y museos de arte contemporáneo de distintos países.
Dentro del género de la ficción, destaca su primer largometraje TIME’S UP! que obtuvo varios premios en festivales internacionales. Y fue seleccionado en el Festival Internacional de Cine de San Sebastián, 2000. recibiendo reconocimiento y premios internacionales como el Festival de Cine Independiente de New York, Festival de la Habana, Amiens y Creteil en Francia, Viña del mar en Chile, Independent Hong Kong Film Festival, etc.
Dentro del documental también han destacado obras importantes por un arriesgado estilo de creación muy personal. Como LA HERIDA DE MI OJO, documental realizado en Cuba. 1994, realizado con un formato radicalmente doméstico que narra un espontáneo paseo por las calles de la Habana. Se ha presentado en diversos festivales internacionales, incluido el Festival de Cine de La Habana. Ganó el Premio del Público en el Festival Internacional de Cine de Mujeres de Madrid.
EL CAMINO DE MOISÉS, 2003, es uno de los 20 documentales más destacados emitidos por Documentos TV y que trata de una forma muy abierta e innovadora el tema de la identidad de género.
NI LOCAS NI TERRORISTAS, 2005, propone un retrato colectivo de madres que lucharon contra los narcotraficantes en Galicia. Y que Televisión Española seleccionó para la Noche Temática.
Dentro del género de la experimentación destaca su internacional video experimental MEETING TWO QUEENS, (Encuentro entre dos Reinas) 1991, referenciado como trabajo de culto por muchas universidades norteamericanas y que ha participado en varias muestras de arte internacional. Se ha presentado en diversos museos del mundo, como MOMA. Whitney Museum, NY, Museo Reina Sofía, Madrid, Bilmuseet Umea, Suecia, Centre Pompidou, París entre otros.

El video experimental EL ORIGEN DE LA VIOLENCIA, 2004, que ha participado en la muestra Cárcel de amor, del Museo Reina Sofía Centro de Arte Caixa Forum de Barcelona, entre otros.
OJO EJE, 2008, film experimental en colaboración con la directora suiza Claudia Lorenz, presentado en al Festival Internacional de San Francisco 2009.
En 2010 realizó una colaboración con la artista norteamericana Suzanne Lacy con el documental y video experimental, EL ESQUELETO TATUADO, realizado para el Museo Reina Sofía.
Realizó la producción del video documental y proyecto de intervención arquitectónica, CASA DE RED, que fue un proyecto seleccionado y apoyado por VEGAP (Fundación Arte y Derecho de España).
En 2013 Finaliza el largometraje documental TRES INSTANTES UN GRITO.

LUGAR: la Sala Juan de Mairena del Centro Cultural Cajasol (PONER AQUÍ LA DIRECCIÓN EXACTA DEL SALÓN DE ACTOS)

Dentro de esta sesión se integra una conferencia de la directora de los Encuentros, comisaria independiente y crítica de arte MARGARITA AIZPURU: Video y género en Latinoamérica, una aproximación y un ciclo de vídeos de la artista mexicana TERESA SERRANO seleccionados por la conferenciante.

Ciclo de vídeos a exhibir:
- A room of her own. Corto. 7’. 2003
- Boca de tabla. Corto. 13’. 2007
- Control remoto. Corto ficción. 3’ 43’’. 2001
- Glass celing . Videoperformance. 2’15’’ 2008
- Efecto camaleón . Videocreación. 2’28’’. 2004
- La mesa . Videocreación. 3’. 2007
- Restraint . Videoperformance. 3’. 2006

Duración aproximativa de la exhibición de vídeos: 35 minutos.

Licenciada en Derecho y Licenciada en Geografía e Historia, especialidad de Historia del Arte, Universidad de Sevilla. Ha sido profesora asociada en la Universidad Carlos III de Madrid, en las asignaturas de Introducción al Arte Contemporáneo e Historia del Cine. Habitualmente imparte cursos en universidades privadas como la Universidad Antonio de Nebrija, Fundación Claves de Arte, o colaboraciones en las públicas como la UIMP o la Universidad de Sevilla, entre otras, así como en diversas entidades privadas y fundaciones impartiendo talleres, cursos y conferencias en diferentes campos del arte contemporáneo.

Se ha dedicado paralelamente a la organización y dirección de actividades culturales y artísticas diversas y al comisariado de exposiciones de arte contemporáneo desde finales de los años ochenta: ciclos de vídeo, performances, conciertos, jornadas, seminarios, talleres, etc. Debiendo resaltarse su labor de difusión y potenciación de las mujeres artistas y los discursos feministas en el arte, por la cual se le concedió, en el año 2009, la mención especial de la Delegación de la Mujer del Ayuntamiento de Sevilla.
Cabe mencionar sus trabajos en los años noventa en las áreas de exposiciones temporales del Centro George Pompidou y de la Fundación Cartier de París, o el capc Museo de arte Contemporáneo de Burdeos, en Francia.
Desde finales de los noventa y hasta ahora, ha seguido realizando, de forma más intensa aún, su actividad profesional pudiendo destacarse, entre otras actividades: su dedicación como programadora y comisaria del área “Zona Emergente” del Centro Andaluz de Arte Contemporáneo, desde 1999 hasta el año 2003. La programación de artes plásticas de la Casa de América de Madrid, en el año 2003-2004. La dirección de la primera Bienal de Arte de Acción de Granada, año 2001. Y desde el año 2004 la organización y dirección de los Encuentros Internacionales de Arte y Género, que este año van por su novena edición.

Por otro lado serían de destacar sus múltiples comisariados de exposiciones, entre otros: Esther Ferrer, de la acción al objeto y viceversa (Koldo Mitxelena de San Sebastián, 1996, y Centro Andaluz de Arte Contemporáneo, 1998). La Muestra de videoperformance internacional desde perspectivas feministas Erase una vez…..del mínimal al cabaret: 70’s-90’s, co-comisariado junto a Mar Villaespesa (Teatro Central de Sevilla, el Museo Nacional Centro de Arte Reina Sofía y el MEIAC de Badajoz ,1996). El Bello Género: convulsiones y permanencias actuales (Sala de exposiciones de la Plaza de España, Comunidad de Madrid, 2001). La Costilla Maldita (CAAM de las Palmas de Gran Canaria, 2004). Carrera de fondo (Convento de Santa Inés de Sevilla, 2005) o La Feminidad Craquelada (Sala Alameda de la Diputación Provincial de Málaga y en el CAS, Convento de San Clemente, de Sevilla, 2007-2008). La performance expandida (Fundación Rafael Botí de Córdoba, 2006, y Fundación Cultural CAJASOL de Sevilla, 2008). El Surexpress….a (Casa Encendida de Madrid, 2007, y Centro de las Artes de Sevilla, 2008). Survideovisiones I (Espacio de INICIARTE de Santa Lucía de Sevilla, 2009. Fundación Simón I. Patiño, La Paz, Bolivia, 2010. Centro Cultural Español de Montevideo, Uruguay ,2010). Survideovisiones II (Convento de Santa Inés de Sevilla, Consejería de Cultura, 2011). La palabra visual: inmersiones y desplazamientos de la palabra a la imagen y viceversa” (Fundación Rafael Botí de Córdoba, 2010-2011). O Teresa Serrano. Albur de amor (CAAM, las Palmas de Gran Canaria, 2012, y TEA de Tenerife, 2013).

Así mismo es asidua conferenciante, miembro de jurados y ejerce la crítica de arte independiente.


invito / invitation opening Autoritratti. Iscrizioni del femminile nell'arte italiana contemporanea - MAMbo 11 maggio / May 11

We are pleased to invite you to the opening of the exhibition
Autoritratti. Iscrizioni del femminile nell'arte italiana contemporanea
Saturday 11th May 2013 h 6 p.m.
MAMbo - Museo d'Arte Moderna di Bologna (via Don Minzoni 14 - 40121 Bologna)