que quem está ferido não se recolha, antes despeje o seu sangue no mundo

que quem está ferido não se recolha, antes despeje o seu sangue no mundo
Originally uploaded by litcha sparletta

Performance - Carla Cruz
Festival Feministizarte - Braga
Auditório Calouste Gulbenkian
Foto por Luís Estáquio
27.11.09

FeministizARTE – Festival de Arte Feminista

O Núcleo de Braga da UMAR - União de Mulheres Alternativa e Resposta - vai trazer a arte feminista à cidade. De 27 a 29 de Novembro de 2009, Braga será ponto de encontro para diversas expressões artísticas, num projecto pioneiro a nível nacional.
Neste sentido, o núcleo dispôs-se a reunir, no Museu Regional de Arqueologia Dom Diogo de Sousa, no Museu Nogueira da Silva e na Torre de Menagem e no Auditório Adelina Caravana do Conservatório de Música Calouste Gulbenkian, produtos artísticos de jovens criadores nacionais e internacionais das mais diversas áreas, relacionados com as temáticas feministas.

O FeministizARTE – Festival de Arte Feminista englobará exposições permanentes de livre acesso, contando com as participações de Ana Pereira, André Alves, Carla Cruz, Cristiana Miranda, Maciel Cardeira, Maria Lusitano Santos, Nádia Duvall, Poderiu, Renato Roque, Rosa Vaz, Suspiria Franklyn; e, apresentações pontuais com bilheteira, no auditório principal da Escola de Música Calouste Gulbenkian, de AbztraQt Sir Q, Carla Cruz, GATA (Grupo de Activismo e Transformação pela Arte), Flávio Rodrigues, Micaela Maia e Teresa Vila Verde.
A par destas, está agendada, para dia 28 de Novembro, uma tertúlia sobre Arte e Feminismos, no Museu Nogueira da Silva, com as presenças de Ana Gabriela Macedo, Ana Paula Canotilho, Angélica Lima Cruz, Cristiana Pena, Maria José Magalhães.
Para acompanhar esta iniciativa visite o blog: http://feministizarte.wordpress.com/. Neste espaço poderá encontrar o programa do festival, @s artistas, os locais onde decorrerão as actividades, bem como outras informações de relevo para que possa ficar a conhecer melhor esta iniciativa. Fazemos também algumas sugestões para estadia e alimentação, podendo os participantes do evento usufruir, nalguns casos, de tarifários especiais.

Contactos: http://mail.google.com/mail/h/k4u2kad0x4b5/?v=b&cs=wh&to=feministizarte@gmail.com ou http://mail.google.com/mail/h/k4u2kad0x4b5/?v=b&cs=wh&to=umarbraga@gmail.com
Para mais informações sobre o Núcleo de Braga da UMAR: http://umarbraga.wordpress.com/

Camille Claudel

Camille Claudel
Torso de Clotho
Museu de Orsey Paris

Isabel Allende

If I Can't Dance Tonight with Yael Davids

Learning To Imitate

Wednesay, 25 November, 20.00 hrs
Frascati, Nes 63, Amsterdam
Bookings: +31 (0)20 626 68 66, tickets €10 (€7,50 discount).

If I Can’t Dance, I Don’t Want To Be Part Of Your Revolution is pleased to announce 'Learning To Imitate', a performance by Yael Davids. By asking the question: "what is a lecture?" and further: "how to give a lecture as an artist?" 'Learning To Imitate' can be positioned in relation to the current reactivation of the genre of the lecture performance as well as its legacies. It is also connected to a recurrent trope in Yael Davids' work namely: the voice.

'Learning To Imitate' forms a pretext for contemplating the idea of 'having a voice'.
The emancipatory connotations are addressed, as well as the relation of the voice to the body and to vision. Divergent examples of the manifestation and affects of the voice in theatre, cinema, literature and law are reviewed and shown in manifold ways.

With the prospect of having to speak and perform herself, Davids decided to approach the lecture as an exercise. She trained herself to learn the text by heart and analysed the lecture in relation to its constitutive parts, such as audience, stage, voice, text and positions in space. Putting 'work' at the core of the action, 'Learning To Imitate' circumvents the lecture and its representational characteristics and instead, articulates both ideas and delivery in their seminal state.
Yael Davids (born in 1968 in Kibbutz Tzuba, Israel) is based in Amsterdam. Recent solo presentations include 'Project Mechelen', organized by MuHKA Antwerp as part of 'All that is Solid', Mechelen (2009), 'Learning to Imitate' in Objectif Exhibitions, Antwerp (2008), Laura Bartlett Gallery, London and 'End on Mouth in Absentia', Galerie Akinci, Amsterdam (2007). She participated in 'Democratic Acts', Bolzano, in the '2nd Herzliya Biennial', Tel Aviv, in 'Place Beyond Borders', Cittadellarte Fondazione Pistoletto, Biella (2009), in 'Here We Dance', Tate Modern, London (2008), 'Playground' Festival, STUK, Leuven, 'Hapzura', The Israeli Center of Digital Art, Holon, 'Artempo: Where Time Becomes Art', Palazzo Fortuny, The 52nd Venice Biennale, Venice, and 'Memorial to the Iraq War', ICA, London (2007).

As part of the workshop on the theme of masquerade If I Can't Dance... together with critic and curator Lars Bang Larsen is currently tutoring at the Piet Zwart Institute in Rotterdam, Yael Davids will reflect on the performance in a conversation with Vanessa Desclaux, curator at Bloomberg Space in London, on the 26th of November. On the 17th of November at 19.30. Lars Bang Larsen will present the first public lecture in a series of three, also part of this workshop. For more information, please visit: pzwart.wdka.hro.nl

For further information, please contact Marcel van den Berg, or call +31 (0)20 3378711.
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If I Can't Dance Tonight is dedicated to the exploration of current developments in performance and focuses on the notion of masquerade. So far, twelve ‘Tonights’ have taken place featuring Jon Mikel Euba, Suchan Kinoshita, Joachim Koester, Olivier Foulon, Sarah Pierce, Keren Cytter, Emma Hedditch, Maria Pask, Jimmy Robert, Ivana Müller, Stefanie Seibold & Teresa Maria Diaz Nerio, and Rutch Buchanan. Upcoming ‘Tonights’ feature The Otolith Group, Aurélien Froment & Youri Dirkx and Luca Frei. From its inception in 2005, If I Can't Dance.. has explored performative practices in visual art, both within the context of the white cube and the black box. The collaboration with Frascati Theatre in Amsterdam offers the exciting opportunity to stimulate discourse between visual arts and theatre by articulating specific approaches within visual arts towards the discipline of performance and other performative media, testing mutual and conflicting strategies. If I Can't Dance Tonight is curated by Frederique Bergholtz in collaboration with Maaike Gouwenberg.

If I Can't Dance Tonight is generously supported by the Mondriaan Foundation, SNS Reaalfonds, Amsterdams Fonds voor de Kunst and Prins Bernhard Cultuurfonds.

Gender Check

Gender Check
Femininity and Masculinity in the Art of Eastern Europe

Gender Check is the first comprehensive exhibition featuring art from Eastern Europe since the 1960s focusing on gender roles. Twenty years after the fall of the Berlin Wall, curator Bojana Pejić, along with a team of experts from 24 different countries, has put together a selection of more than 400 works including paintings, sculpture, installations, photography, posters, films and videos. The exhibition features more than 200 artists and thus paints an exceptionally diverse picture of a certain chapter in art history that remained largely undiscovered until recently, and which could also have a significant impact on contemporary gender discourse. Gender Check follows the shifts and changes in the representation of male and female role models in art, taking a particular look at how they develop under different socio-political conditions.

The exhibition shows the interrelationship between art and history, taking both a chronological and thematic approach. Up to the 1960s, heroic male and female workers were the dominant figures in the socialist realist artistic tradition. At the time, unofficial art reacted to the state’s reality-transforming programme of a “sexless society” with irony and exposed it for what it was. Following the period of collective state utopian aesthetics, a variety of individual and more open tendencies emerged on a local level - periodically provoking a hostile response - that created independent spaces for nonconformist art. ... (more)

Bojana Pejic research on Montenegro

READING GENDER. Art, Power and Politics of Representation in Eastern Europe

No registration is needed to attend the symposium.

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Friday, 13 November 2009

14:00 - 14:45

Introduction: Christine Böhler, Rainer Fuchs, Bojana Pejić

Section I: CAN FEMINISM SPEAK EAST?
Moderator: Hedwig Saxenhuber

14:45 - 15:30	Katrin Kivimaa, Twenty Years Later: Actually Existing Feminism and Art in EasternEurope
15:30 - 16:00	Artist’s presentation: Anna Daučíková
16:00 - 16:30	Artist’s presentation: Mare Tralla
16:30 - 16:45	Questions and answers
16:45 - 17:15	Coffee break
17:15 - 18:00	Vjollca Krasniqi, Returning the Gaze: Gender and Power in Kosovo
18:00 - 19:15	Experts’ panel: Ivana Bago, Laima Kreivyte, Suzana Milevska, Almira Ousmanova, Angelika Richter. Moderator: Mara Traumane
19:30	Performance, Egle Rakauskaite, For Guilty without the Guilt. Trap. Expulsion from Paradise

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Saturday, 14 November 2009

Section II: FUCK YOUR GENDER
Moderator: Johanna Schaffer

10:00 - 10:45	Juan Vicente Aliaga, Strange Fruit. Sexual Diversity, Art and Politics in Today’s World
10:45 - 11:00	Break
11:00 - 13:30	Statements by Jet Moon and Agnieszka Morawinska. Discussion with Juan Vicente Aliaga, Agnieszka Morawinska, Johanna Schaffer. Moderator: Jet Moon

Section III: SUBVERTING CANONS
Moderator: Bojana Pejić

14:30 - 16:00	Perspectives on Gender and the Canon of Art History. Discussion with Edit András and Griselda Pollock
16:00 - 16:45	Keti Chukhrov, Art - Between Gender and the Canon of Art History
16:45 - 17:15	Coffee break
17:15 - 19:00	Local and International Canons. Discussion with Katy Deepwell, Silvia Eiblmayr, Marina Grzinić, Izabela Kowalczyk, Gislind Nabakowski. Moderator: Bojana Pejić

Why is feminism suddenly so »sexy«?

Why is feminism suddenly so »sexy«?
Analysis of a »resurgence« based on three exhibition catalogues
Bojana Pejic

Charles Esche has recently discussed a cult feminist artwork, Laura Mulvey and Peter Wollen ’s film, »Riddles of the Sphinx« (1977) and formulated the title of his essay as a question: »What does it mean to say that feminism is back?« He remarks: »The current rush to recall, and even restage first-way feminism in the art world is at least gratifying. Yet it is also somehow tragic that it has taken until recently to remember what we choose to forget so deliberately over twenty years before. To help to understand why feminism is again suddenly en vogue, it is probably essential to think through whatcaused it slip out of fashionable art discourse for the last decades.«[1] (see Springerin)