Of Other Bodies, a show gathering together some new articulations of the politics of the body. Of Other Bodies features recent works by Pauline Boudry & Renate Lorenz, Kevin Burns and Falke Pisano, and draws on interpretations of illness, disability and bodily difference offered by radical 'crip theory'. Sharing the critical perspective of queer theory on the representation of bodies, pleasures, and identities, crip theory exposes neoliberal disciplines of 'compulsory able-bodiedness' (McRuer, 2006) and proposes an even more 'thorough resistance to regimes of the normal' (Warner, 1993:xxvi)
Circumnavigating established disability narratives of overcoming, heroism and pitifulness, the works in Of Other Bodies rethink the possibilities offered by instances of bodily crisis, disruption and difference.
Of Other Bodies will be accompanied by a public programme of collateral events including HOLO, a performance-lecture by Kevin Burns, commissioned by CCA, on February 27th at 7pm.
For further events, please visit our website www.cca-derry-londonderry.org
Pauline Boudry & Renate Lorenz (CH, DE) In their primarily filmic works, the two artists deal with the emergence of photography and film against the backdrop of colonial history and the invention of body norms. Historical photographs, texts or songs become the starting point for their search for alternative (sexual) practices and ways of living, conjoining with subversive approaches from pop, glamour, and camp. Recent exhibitions include PER SPECULUM ME VIDEO, Frankfurter Kunstverein (2013); Patriarchal Poetry, Badischer Kunstverein, (2013); Toxic, Laboratoires d'Aubervilliers, as part of the Triennale Paris (2012); Patriarchal Poetry, Badischer Kunstverein (2013); A Toxic Play in Two Acts, South London Gallery (2012); and No Future / No Past,Swiss Off-Site Pavilion, 54th Venice Biennale (2011).
Kevin Burns' (NI) performance-lecture for Of Other Bodies reconsiders the role of speech disfluency – 'stammering' or 'stuttering' - as a disruption of economic and cultural norms. Burns examines the capacity of stammering to expand the boundaries of what is considered 'speech', by tracing the mutation and re-deployment of spoken gesture in digital speech and cloud-data technology.
Falke Pisano (NL, DE) works across a range of media and modes, including sculpture, drawing, video, performance-lectures and texts. Her work, The Body in Crisis (2011-), tracks changing conditions of the human body in historical moments of crisis. Pisano recently held solo exhibitions at The Showroom, London (2013) and De Vleeshal, Middelburg (2012). Her work was included in the Istanbul Biennial (2013), the Shanghai Biennale (2012), and the 53rd Venice Biennale (2009). In 2013, she received the Prix de Rome. Originally from the Netherlands, Pisano lives and works in Berlin.
31/01/2014
29/01/2014
Teresa Serrano Albur de Amor
31 de enero: 20 h,
Museo ARTIUM de Vitoria,
Teresa Serrano. Albur de amor.
Una exposición que ofrece parte de su singular y poderosa producción
artística, centrada en torno a perspectivas y discursos sobre el género,
desde ópticas feministas y que integra una amplia selección de obras
audiovisuales- en total 11 videoinstalaciones y 3 vídeos más montados en
pantallas planas- y fotográficas, que he seleccionado y agrupado en
siete áreas temáticas, que van desde la violencia de género, al control
y la posesión del otro, el aislamiento y la falta de comunicación, las
parodias deconstructoras de prototipos y clichés femeninos, el trabajo
femenino, las obsesiones y miedos propios, o el inicio de nuevos caminos
liberadores y solidarios.
Curadoria: Margarita Aizpuru
Carla Filipe: From Head to Tail
Opening: Wednesday, January 29, 7pm
MUSEU BERARDO, Lisbon
The work of Carla Filipe (n. 1973) has been proved one of the most significant projects happening in Portugal at the end of the last decade. The artist´s study makes an archeology on the issues and ways of life that aroused, in the course of modernity, associated with certain expectations of another world reality whose implementation has proved quite different. Many of Carla´s work go toward an autobiographical nature, some relate to episodes of micro-stories, others to the social and political history. They all consist of a narrative structure where the object, the design, installation and word are recurring media.
"from head to tail" is an unprecedented large-scale project undertaken for this exhibition at Museu Coleção Berardo and gathers some previous work along new material. Focusing on research on the Portuguese Railways and bringing into the space of the museum fragments of houses, architectural structures, furnishings, collections of uniforms, union flags, elements and functional mechanisms of everyday railway stations, fictional and documentary films or drawing plans of machines, which will articulate with each other, moving along other autobiographical waste in order to create a ghostly file, which dismisses any claim to scientific approach to reveal a sensitive knowledge of an historical reality.
As in most of Carla Filipe´s work, in "from head to tail" the objects from the world, related to each other, beyond its instrumental functions trace a beam of relations susceptible of defining a broad set of narratives that complicate its apparent simplicity or even insignificance. They become a supplement among the missing stories that run them and resend them. As such, proving to be the assignment of space for memory that the work of Carla Filipe wake´s up and reinvents.
Pedro Lapa
Artist Director
MUSEU BERARDO, Lisbon
Centro Cultural de Belém
Praça do Império
1449-003 Lisbon - See more at: http://en.museuberardo.pt/museum/visiting-museum#sthash.jWYrwUz9.dpuf
Praça do Império
1449-003 Lisbon - See more at: http://en.museuberardo.pt/museum/visiting-museum#sthash.jWYrwUz9.dpuf
Centro Cultural de Belém
Praça do Império
1449-003 Lisbon - See more at: http://en.museuberardo.pt/museum/visiting-museum#sthash.jWYrwUz9.dpuf
Praça do Império
1449-003 Lisbon - See more at: http://en.museuberardo.pt/museum/visiting-museum#sthash.jWYrwUz9.dpuf
Centro Cultural de Belém
Praça do Império
1449-003 Lisbon - See more at: http://en.museuberardo.pt/museum/visiting-museum#sthash.jWYrwUz9.dpuf
Praça do Império
1449-003 Lisbon - See more at: http://en.museuberardo.pt/museum/visiting-museum#sthash.jWYrwUz9.dpuf
Centro Cultural de Belém
Praça do Império
1449-003 Lisbon - See more at: http://en.museuberardo.pt/museum/visiting-museum#sthash.jWYrwUz9.dpuf
Praça do Império
1449-003 Lisbon - See more at: http://en.museuberardo.pt/museum/visiting-museum#sthash.jWYrwUz9.dpuf
The work of Carla Filipe (n. 1973) has been proved one of the most significant projects happening in Portugal at the end of the last decade. The artist´s study makes an archeology on the issues and ways of life that aroused, in the course of modernity, associated with certain expectations of another world reality whose implementation has proved quite different. Many of Carla´s work go toward an autobiographical nature, some relate to episodes of micro-stories, others to the social and political history. They all consist of a narrative structure where the object, the design, installation and word are recurring media.
"from head to tail" is an unprecedented large-scale project undertaken for this exhibition at Museu Coleção Berardo and gathers some previous work along new material. Focusing on research on the Portuguese Railways and bringing into the space of the museum fragments of houses, architectural structures, furnishings, collections of uniforms, union flags, elements and functional mechanisms of everyday railway stations, fictional and documentary films or drawing plans of machines, which will articulate with each other, moving along other autobiographical waste in order to create a ghostly file, which dismisses any claim to scientific approach to reveal a sensitive knowledge of an historical reality.
As in most of Carla Filipe´s work, in "from head to tail" the objects from the world, related to each other, beyond its instrumental functions trace a beam of relations susceptible of defining a broad set of narratives that complicate its apparent simplicity or even insignificance. They become a supplement among the missing stories that run them and resend them. As such, proving to be the assignment of space for memory that the work of Carla Filipe wake´s up and reinvents.
Pedro Lapa
Artist Director
16/01/2014
MIGUEL BONNEVILLE #6 & QUÉ HACEN A ESTAS HORAS LOS CORONELES?
17 & 18 e 24 & 25 de Janeiro às 19h30
MUSEU DE ARTE CONTEMPORÂNEA DE VIGO
Príncipe 54 | 36202 Vigo
Entrada Gratuita
Material Memória é um ciclo de artes cénicas e cinema comissariado por Pablo Fidaglo, apresentado no contexto da exposição 'Veraneantes', patente no Museu de Arte Contemporânea de Vigo. Miguel Bonneville apresenta a performance Miguel Bonneville #6 e estreia Qué hacen a estas horas los coroneles? - performance em colaboração com o artista Pablo Fidalgo Lareo.
MIGUEL BONNEVILLE #6
17 e 18 de Janeiro às 19h30 Em Miguel Bonneville #6 comecei uma nova fase do meu trabalho. Um trabalho com uma filosofia mais aprofundada sobre o tema da identidade. Sobre as questões de autoria, originalidade, solidão, identidade, narcisismo, autobiografia. As autobiografias feitas por mulheres sempre foram, ao longo da história, vistas como incompletas, descontinuas, incoerentes, fragmentadas ou privadas. Vejo assim também o meu trabalho, pois sei que uma autobiografia coerente, continua e narrativa é uma impossibilidade. Será sempre incompleta, em continua transformação e regeneração.
Concepção e Interpretação: Miguel Bonneville
Colaboração: Sofia Arriscado, Joana Craveiro, Joana Linda, Rita Só, Cláudia Varejão, Sara Vaz
Edição de vídeo: Sofia Arriscado
Design: Inês Ferreira, Joana Linda
Fotografia: Ynaiê Dawson, Joana Linda
Co-Produção: Duplacena
Apoio: Eira, Iberlínguas
QUÉ HACEN A ESTAS HORAS LOS CORONELES?
24 e 25 de Janeiro às 19h30
Por onde começar a luta real? O que fazer quando já não faz sentido ir se manifestar? Contra quem apontar? Essa violência exercida sobre o mundo só é credível quando um conta o seu relato íntimo e pessoal. Para isso, falarão com políticos, líderes dos seus respectivos países, economistas, e sobretudo, militares. Ainda que os dois se declarem abertamente opostos ao exército, não podem deixar de se perguntar que pensa o exército numa situação limite como a actual. Querem perguntar: Posso falar com o presidente esta noite? Posso falar com o rei? Posso dizer-lhe o que penso deste país? Posso levantar o exército tal como Mishima? O que fazem a estas horas os coronéis?
Paulo Fidalgo e Miguel Bonneville conhecem-se em 2012 em Lisboa. Compreendem que levam anos a desenvolver trabalhos paralelos e decidem oferecer uma conferência para o explicar. Este projecto é apoiado por Azala (País Basco), Fundação Gulbenkian e Marco Vigo. Estreia em Vigo.
08/01/2014
PRACTISING FEMINISM : Activism and Practice @ goldsmiths, London
PRACTISING FEMINISM
The 2nd day of the Practising Feminism series will look at practices in relation to feminism and activism and will consider how feminist strategies of protest are being deployed in contemporary political events including embodied protest. Some of the questions to be addressed include; Who are these practices speaking for and to? What is their role within a wider context of activism? Are they symbolic or actual agents of change? What can we learn from a feminist critique of the relationship between art and politics?
Thursday 23rd Jan RHB 137A 6pm
Supported by Art Research Programmes, Department of Art, Goldsmiths and the Centre for Feminist Research
23rd/ 24th January
Activism and Practice
The second series of workshops and lectures,
Practising Feminism, will happen this month. Practicing Feminism considers 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 2nd day of the Practising Feminism series will look at practices in relation to feminism and activism and will consider how feminist strategies of protest are being deployed in contemporary political events including embodied protest. Some of the questions to be addressed include; Who are these practices speaking for and to? What is their role within a wider context of activism? Are they symbolic or actual agents of change? What can we learn from a feminist critique of the relationship between art and politics?
Evening Lecture: Sara Ahmed 'Feminist Killjoys (And Other Willful Subjects)'
Friday 24th Jan
2 workshop sessions and a screening by Cinenova. Participants and
details of the confirmed schedule for the day will be circulated next
week. If you require any other info please contact
Linda Stupart linda.stupart@gmail.com or
Karen Henderson klhende@hotmail.com
Supported by Art Research Programmes, Department of Art, Goldsmiths and the Centre for Feminist Research
06/01/2014
All women art spaces as heterotopias - Helsinki
University of Helsinki, August 29-31 2014
Deadline: January 30, 2014
Open panel at the Fourth Biennial Conference of the European Network for Avant-garde and Modernism Studies UTOPIA (www.eam2014.com)
One of the important elements of the women's art movement emerging in the 1970s was the creation of all women art spaces. They existed for a longer period of time or just during one exhibition or even one performance. They were to offer an alternative to the unfriendly reality of male-dominated art world and aimed at creating an environment where women artists could address the experiences of women. The most famous of them - Womanhouse (Los Angeles 1972) - has already been thoroughly analysed. This panel seeks to explore much lesser known women art spaces functioning in different European countries. Its focus will be on the 1970s but proposals that deal with initiatives that were undertaken later are also invited. Papers are expected to analyse ideas, forms of their implementation and effects of these diverse heterotopias. The panel chair's proposal to characterise all women art spaces as heterotopias is to be discussed.
Chair: Agata Jakubowska (Hab. Ph. D.), Associate Professor at Department of Art History, Adam Mickiewicz University, Poland (jagata@amu.edu.pl)
Deadline: January 30, 2014
Open panel at the Fourth Biennial Conference of the European Network for Avant-garde and Modernism Studies UTOPIA (www.eam2014.com)
One of the important elements of the women's art movement emerging in the 1970s was the creation of all women art spaces. They existed for a longer period of time or just during one exhibition or even one performance. They were to offer an alternative to the unfriendly reality of male-dominated art world and aimed at creating an environment where women artists could address the experiences of women. The most famous of them - Womanhouse (Los Angeles 1972) - has already been thoroughly analysed. This panel seeks to explore much lesser known women art spaces functioning in different European countries. Its focus will be on the 1970s but proposals that deal with initiatives that were undertaken later are also invited. Papers are expected to analyse ideas, forms of their implementation and effects of these diverse heterotopias. The panel chair's proposal to characterise all women art spaces as heterotopias is to be discussed.
Chair: Agata Jakubowska (Hab. Ph. D.), Associate Professor at Department of Art History, Adam Mickiewicz University, Poland (jagata@amu.edu.pl)
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