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