Movements in feminism / feminisms in movement: urgencies, emergencies, promises
A collaboration between the Program Art and Education at the Institute for Education in the Arts at the Academy of Fine Arts Vienna and Belvedere 21. Supported by Municipal Department 57 – Vienna Women’s Affairs (MA 57)
Curated by Elke Krasny , Professor at the Academy of Fine Arts Vienna and Luisa Ziaja , Curator for Contemporary Art at Belvedere, Vienna; together with Lara Perry , School of Humanities, University of Brighton and Dorothee Richter , Director of PhD in Practice in Curating at the ZHdK / University of Reading and Head of MAS in Curating at Zurich University of the Arts www.curating.org .
Screening program curated by Claudia Slanar , Curator Blickle Cinema and Blickle Video Archive at Belvedere 21.
A public program on the relevance of 1968 in the present day
1968 brings to mind social change, insurrection, and liberation, an eventful period of worldwide protests, dismantling authoritarian structures, and creating alternative social models. The public program Joint Ventures, takes place over seven weekends between May and December and will examine how things stand today with regard to the socio-political achievements and demands of the movements of 1968.
Since 2017 women are marching again. Their activism is taking them to the streets, to speaking out, to giving testimony, to blogging, to connecting transnationally via social media. The f-word stirs heated discussions in mainstream media. #MeToo has spurred action on sexual violence. We may well be witnessing the emergence of a new feminist movement. This is owed to rising misogyny, queerphobia, transphobia, racism, xenophobia, exploitative labour conditions, a crisis in reproduction, and a new order of gender politics linked to the rise of the global right. Time to reconsider feminisms in plural and their histories, including those of art making and curating, as they relate to past revolutions, in particular the 1968 year of revolt and protests. Movements in Feminism / Feminisms in Movement: Urgencies, Emergencies, Promises connects current developments in feminist art practice, curating, and cultural production to larger societal and political trends just as much as to translocal, transhistorical, and global matters of feminist concern. Key are feminist politics as they are committed to antiracist, anti-capitalist, and decolonizing struggles. Movements in Feminism / Feminisms in Movement: Urgencies, Emergencies, Promises takes place in the framework of Joint Ventures. A public program on the relevance of 1968 in the present day at Belvedere 21 and includes two screening programs and a two-day event of lectures, workshops, conversations, collective writing, and networking activities.
The program will be held in English.
Tea, coffee, water, fruits and food during breaks.
Free entry. Due to limited seating we kindly ask for registration:
Wednesday, November 28, 2018, 6.30-9 pm
Ashley Hans Scheirl, Dandy Dust , AT/UK 1998, 94 min., English OV with German subtitles
Followed by a conversation between Ashley Hans Scheirl and Claudia Slanar
Friday, November 30, 2018, 2–9.30 pm
2–2.30 pm Welcome and introduction
Stella Rollig (General Director of the Belvedere and Belvedere 21)
Andrea B. Braidt (Vice-Rector of the Academy of Fine Arts Vienna)
Movements in Feminism / Feminisms in Movement: Urgencies, Emergencies, Promises
Luisa Ziaja, Elke Krasny, Lara Perry and Dorothee Richter
2.30–3.30 pm Lecturebr
Daniela Hammer-Tugendhat ,
Lucretia Revisited. On Rape
Moderated by Luisa Ziaja
3.30–4 pm Coffee break
4–5 pm Performance Lecture
Night School – Neda Hosseinyar, Marissa Lôbo, Stephanie Misa, Catrin Seefranz , Unruly Thinking: A Performance Lecture
Moderated by Elke Krasny
5–5.30 pm Coffee break
5.30–7 pm Lectures
Magda Lipska , NIEPODLEGŁE: Women, Independence and National Discourse. Or how Women Are Depicted in National Narratives?
Elke Krasny, Feminist Transnationalism: The Activist as Curator
Nataša Petrešin-Bachelez, Intersectionality and Transnational Feminism in Françoise Dasques' Documentary La Conférence des femmes—Nairobi (1985)
Moderated by Lara Perry
7–8 pm Dinner break
8–9.30 pm Lecture
Françoise Vergès , The Black Woman’s Womb. Care, Capital, Race, Feminism
Moderated by Elke Krasny
Saturday, December 1, 2018, 10.30 am–8 pm
10.30 am Welcome and coffee
11 am–1 pm Workshop
Public Feminisms Forum. Collectively: Thinking, Speaking, Writing
(in English and German)
With Anschläge (Lea Susemichel), AUF (Eva Geber, Marietta Schneider), Ona B., Bliss (Marlene Bürgerkurator Engel), Johanna Braun, Frauenhetz (Birge Krondorfer), Lena Fritsch, Intakt (Stella Bach, Julia Bugram, Susanne Kompast), Kunst und Kind (Vasilena Gankovska, Hansel Sato), Sophie Lingg, Margarete Schütte-Lihotzky Raum (Christine Zwingl), MenstruationsNetzwerk (Valentina Mitterer), Migrationsskizzen (Carla Bobadilla), Miss Balthazar’s Laboratory (Lale Rodgarkia-Dara, Stephanie Wuschitz), ÖGGF (Romana Hagyo), Iver Ohm, RADS Radical Anarchist Dangerous Sisters, RitClique (Erica Fischer), Salon Talk (Dudu Kücükgöl, Anna Mendelssohn), Juliane Saupe, Basak Senova, Sorority (Sandra Nigischer, Martina Schöggl), Melinda Tamas, VBKÖ (Stephanie Misa, Ruby Sircar), Wienwoche (Nataša Mackuljak, Ivana Marjanovic), Wirsindfeige.org (Ebru Düzgün, Maren Blume, Magdalena Fischer, Franziska Kabisch, Sophie Utikal).
The workshop is based on texts written by all the contributors. Workshop run by Elke Krasny and Claudia Lomoschitz.
1–2 pm Lunch Break
2–3.30 pm Lectures
Birgit Bosold / Vera Hofmann , Concerted Actions: Women*s Year at Schwules Museum Berlin 2018
Katharina Koch, Revolt She Said. Perspectives and Questions on Feminist Art Curating and Anti-Hegemonic Production of His/Herstories
Moderated by Dorothee Richter
3.30–4 pm Coffee break
4–5 pm Lectures
Lara Perry , Viewing Women's Work in the Art Museum
Dorothee Richter, Artistic and Curatorial Turns, Care and Accelerated Capitalism. From the Sixties to Contemporary Practices in Feminist Perspectives. A Tour de Force
Moderated by Elke Krasny
5–5.15 pm Coffee break
5.15–6.15 pm Lectures
Noit Banai, Biopolitical Regimes of Feminism: 1938 – 1968 – 2018
Övül Ö. Durmusoglu, Who is a Revolutionary?
Moderated by Luisa Ziaja
6.15–6.30 pm Coffee break
6.30–8 pm Workshop
Night School – Neda Hosseinyar, Marissa Lôbo, Stephanie Misa, Catrin Seefranz , Contagious Ideas: A Night School Workshop
Sunday, December 2, 2018, 2–4 pm
2–3 pm Reflecting Movements in Feminism/Feminisms in Movement. A Collective Conversation
3–4 pm Screening
Françoise Dasques, La Conférence des Femmes – Nairobi 1985 , F 1985, 60 min., English and French OV partly with English subtitles
Abstracts and Bios
Biopolitical Regimes of Feminism: 1938 – 1968 – 2018
This lecture explores the shifting Western biopolitical regimes of feminism around three central historical paradigm shifts: 1938 – 1968 – 2018. Specifically, I argue that at each of these moments, feminist potentialities and impossibilities materialized in relation to particular biopolitical regimes that were entangled with a constellation of discursive fields, categories of subjectivization, and relations of power. In these seminal years, we can make visible the construction and contestation of gender and its radical/reactionary limits in the field of modern and contemporary art by considering the experiences and concepts of exile, humanism, and the global precariat.
Art historian and critic, Noit Banai , is Professor of Contemporary Art in the Department of Art History at the University of Vienna; Her book on Yves Klein was published in the 'Critical Lives' series by Reaktion in London in 2014 and she is currently at work on a book project titled Between Nation State and Border State: Modernism From Universality to the Global Subject, which examines the aesthetic mediation of 'Europe' from the post-war years to the present.
Birgit Bosold / Vera Hofmann
Concerted Actions: Women*s Year at Schwules Museum Berlin 2018
Ironically calling back to the International Women’s Year (IWY) given to 1975 by the United Nations, and in light of current discourses on “lesbian visibility” and queer feminism in Berlin’s cultural landscape and LGBTIQ+ communities, a radical intervention into the Schwules* Museum Berlin is currently taking place: a year-long program weaving itself through all levels and spaces of the museum from events to exhibitions, from archive to management. Giving care, voice, budget and space to (queer-)feminist and female* perspectives for a whole year has caused a stir: not only in the institution, which has mainly been a home for white gay male perspectives during its 30-year history, but also within the LGBTIQ+ communities at large. While some in the community have scorned the project and harshly criticized it in the media, new visitors are flocking in as never before. Treating the project as a case study for (queer)-feminist curatorial, artistic and activist practice, we will present the methods of the program including its different formats. Furthermore, we will address the political and psychological conflict zones that have revealed themselves during the year and pair them with an intimate insight into the invisible labour happening in the background. We will share experiences of lack, limitations and sorrows, but also success.
Birgit Bosold has been a member of the board of the Schwules Museum Berlin since 2006. She is responsible for the museum’s finances and was instrumental in its strategic reorientation, including the (co-)curation of exhibitions. She was project director and co-curator of the exhibition Homosexualität_en, initiated by the Schwules Museum in collaboration with the German Historical Museum, shown at both museums in 2015 and then 2016 at the LWL-Museum für Kunst und Kultur, Münster. Responsible for the 2017 projects Ein anderer Blick. Postkoloniale Perspektiven im Schwulen Museum and Queering Holocaust History as well as a research and exhibition project on the persecution and repression of lesbian women and gay men in Hesse (1945–1985). Together with Vera Hofmann, project director for the 2018 Women*s Year at Schwules Museum Berlin. In this context, together with Carina Klugbauer, she curated the exhibition Lesbisches Sehen (The Lesbian Gaze).
Vera Hofmann is an artist and has been a member of the board of directors of the Schwules Museum Berlin since 2016. She initiates and works on strategic projects to foster the opening of the Schwules Museum towards a contemporary museum for the whole spectrum of queerness. Together with Birgit Bosold, project director of Women*s Year at Schwules Museum Berlin . In this context, she curated the film lounge 12 Moons , the lecture series our own feminismS and the Dyke Bar: SPIRITS – formats for intergenerational, intersectional, queer mutual learning with a strong focus on aesthetic considerations of (semi-)public space and qualities of queering. As an artist, she has shown her work at De Appel Arts Centre, Amsterdam; Benaki Museum, Athens; Haus der Kulturen der Welt, Berlin; Palais de Tokyo, Paris; and Pori Art Museum, Finland. She established and has worked in the artist collective BENTEN CLAY.
Andrea B. Braidt
Since the late nineties, she has been teaching at Austrian universities, focusing on Gender/Queer Studies, film genres and narratology; She was Visiting Researcher in the USA and Canada, 2003 to 2004 Visiting Professor at the Gender Studies Department of the Central European University in Budapest, and from 2004 to 2011 Senior Scientist for Film Studies at the Department of Theatre, Film and Media Studies (TFM) of the University of Vienna. Since October 1, 2011, Andrea B. Braidt has been Vice-Rector for Art | Research at the Academy of Fine Arts, Vienna. In June 2011 she was offered an Elise Richter position by the FWF (Austrian Science Fund) for her habilitation project Erregung erzählen. Film-Perspektivierung, Gender, Empathie ("Narrating Arousal. Film Perspectivation, Gender, Empathy"). From 2012 to 2016 she was chairwoman of the Gender Studies Association Austria: www.oeggf.at . Selected books include: Film-Genus. Gender und Genre in der Filmwahrnehmung . Marburg: Schüren 2008; Porno. Montage AV , 18./2, 2009 (Ed., together with Patrick Vonderau); John Cassavetes. Filmmaker. Maske und Kothurn , 55./4, 2009 (Ed., together with Elisabeth Büttner); Screenwise. Film Fernsehen Feminismus . Marburg: Schüren 2004 (Ed., together with Monika Bernold, Claudia Preschl
La Conférence des Femmes – Nairobi 1985 , F 1985
60 min., English and French OV partly with Engl. subtitles
After Mexico 1975 and Copenhagen 1980, the United Nations choose the “Dark Continent” for the Third International Women’s Conference. Running in parallel to the official Governments Conference, the Non-Governmental Organizations Forum was attended by 14 000 women. For 10 days, they met on the University Campus to discuss feminist and general political issues: peace, development, Apartheid, Islam, lesbianism, violence and sexual mutilation, the conflict between Israel and Palestine, etc… (Centre audiovisuel Simone de Beauvoir)
Övül Ö. Durmusoglu
Who is a Revolutionary?
Coloured and white, north and south, we all hear what Audre Lorde means when she says, “The master’s tools will never dismantle the master’s house.” When YPJ fighter, Roza Haseke, says, “We, as women, need to break the mentality that controls women. We need to know ourselves, know our agency, our strength, we need to protect ourselves,” she is in the same line with Lorde decades later in another geography of oppression. “I am a revolutionary,” repeated the Black Panther's Fred Hampton to the crowds he was addressing in the 1960s. The mode of address has changed drastically in the last few decades as the process of subsuming our political and social subjectivities under micro and macro control models brought us to our current deranged predicament. While the taken for granted left structures collapse all around the world, it is time to echo Hampton back asking 'Who is a revolutionary?' Beyoncé's populist, feminist and ancestral proposal, for example, may not be fully convincing for some. However, it proves to be turning the tables around discourses of ancestry and decoloniality. The Carters shot their video in the Louvre Museum and Vogue invited its first black photographer, Tyler Mitchell, to photograph Beyoncé for its cover. There is and has been a trend for diversity in fashion and radical chic feeds into this. To be able to fight the trends into a durable institutional change, to resist categorisation and stabilisation requires force and volatile thinking, to surprise the master in an unexpected alliance of images and histories, it is crucial for women to echo each other across histories and narratives of oppression.
Övül Ö. Durmusoglu is a curator, researcher and writer based in Berlin, currently visiting curator at Kunstuniversität Linz. One of the curators for Volksfronten steirischer herbst 2018 edition in Graz; guest professor for curatorial theory and praxis in Nuremberg Fine Arts Academy in 2017; artistic director of the festival Sofia Contemporary 2013 titled Near, Closer, Together: Exercises for a Common Ground ; curated programs for 10th, 13th and 14th Istanbul Biennials; coordinated and organized programs and events at Maybe Education and Public Programs for dOCUMENTA (13). Curator of A World of Ten Thousand Things , Pi Artworks Istanbul (2018), Brief Flashes Against A World (Languages of Future) , Kunsthal Extra City, Antwerp (2017); The Finger That Shows The Moon Never Moons , Dan Gunn Berlin (2017); Future Queer , ARK Kultur Istanbul (2016).
Lucretia Revisited. On Rape
The lecture will focus on the long-lasting discourse on Lucretia as the pivotal figure of rape. The key aspect will be on methodological questions: to demonstrate the specifics of a gender and socio-cultural orientated approach in relation to a conservative history of art. It’s also about the specificity of art with respect to a normative discourse.
Daniela Hammer-Tugendhat was a professor for the history of art at the University of Applied Art in Vienna until 2012 and still teaches there as a Hon. Prof. Her research on the methodology of art history as a cultural science (Kulturwissenschaft) is focused on Early Modern painting, specifically from the Netherlands, ranging from the representational politics of text and image, to gender studies, and the politics of emotions in the arts. In 1986. she organized the third conference for women art historians in Vienna. In 2010 she was awarded with the Gabriele Possanner State Prize for the promotion of gender democracy. Her book The Visible and the Invisible. On Seventeenth-Century Dutch Painting was published in 2015.
Night School – Neda Hosseinyar, Marissa Lôbo, Stephanie Misa, Catrin Seefranz
Unruly Thinking: A Performance Lecture
Night School casts a critical and political eye over education and deals with urgent questions of the present. What is recognized as knowledge? Who decides what knowledge is? What other forms of knowledge can we think in? Night School combines learning and unlearning and desire. It will not cease to talk about normalization, marginalization, discrimination, or seeing through dominant thinking and acting, never forgetting that school is as much a place of perpetuation as it is of social change. This collective lecture instigates vocabularies, irritates the order, and provokes misunderstandings. It's not about consuming knowledge, but acknowledging dystopic realities–it's less about ourselves, but about the forces of narratives (of saberes ).
Contagious Ideas: A Night School Workshop
Night School counts on the body of the school. It considers school to be a place that allows us to rethink an unjust and oppressive order. That allows a thinking beyond the already established, as a school is a place not just for perpetuation but for change. A change in. school is being fought for by committed educators, activists, and movements.
The Night School covers forms, bodies, methods, positions, geographies and fantasies, which contribute to what we could call a decolonization of knowledge and learning, and hopefully, a pedagogy of possibility. This means it is an education that insists on the possible. It is about the imaginary, of how to think and create against and together–intellectually, affectively, bodily, and existentially. It is about the possibilities of alliances and discord and the conditions for collective political thought and action.
The workshop will start with a retrospective, a narration through the archival material of Night School, and the second half, an exchange with participants on a reflection of their own experiences and approaches to different methodologies of teaching, learning, unlearning, and to question the idea of “knowledge” itself.
Neda Hosseinyar is an Iranian artist and youth worker based in Vienna, Austria. She graduated from Yazd University of Fine Arts in Painting and currently finalizes her studies in Post Conceptual Art Practices at the Academy of Fine Arts Vienna. In her artistic practice including installation, painting, prints, video and performative intervention, she intends to give a critical analysis of socio-political structures in relation to (post-)migration art and cultural production. Her interdisciplinary work has been presented through various platforms in Tehran, Isfahan, Yazd, Vienna, Linz, San Sebastián and Baku, as well as in cooperation with the Wiener Festwochen 2017, Burgtheater 2017 and Weltmuseum Wien 2018. Her current artistic project deals with the topics dispersion, displacement, fragmentation, and transformation in the context of living in the diaspora.
Marissa Lôbo is an activist and artist born in Bahia, Brazil, living and working in Vienna after some years in Italy and Portugal. She studied Post-Conceptual Art at the Academy of Fine Arts Vienna and is a PhD candidate in Philosophy there. In her artistic, often performative, work she addresses hegemonic sexualised and racialized body regimes trough decolonial proposals. For many years she was the head of the cultural department of the association maiz, a self-organization of migrants, where she created projects between cultural and political education, trying to programmatically connect politics, education and the arts from a migrant perspective. She was the co-organizer of the project Bodies of Knowledge and is co-founder of the projects kültüř gemma! and night school.
Born in Cebu City, Philippines, Stephanie Misa is an artist, curator and doctoral Student at the University of the Arts Helsinki. She currently lives in Vienna, Austria where she graduated from the Academy of Fine Arts Vienna in Installation Arts & Sculpture with Prof. Monica Bonvicini in 2012. She holds a master from the Interactive Telecommunications Program, Tisch School of the Arts, New York University. Her work consistently displays an interest in complex and diverse histories, relating to these topics through her video work, sculpture, installations, prints, and collages. Her current artistic research looks at the persistence of languages relegated to its oral form, and the activation of this “orality” outside the usual educational modes of instruction— its evolution, cannibalism, appropriation of terms, and creative becomings. She is a co-curator of ARCHIPELAGO MOUNTAIN , currently on view at the Exhibition Laboratory in Helsinki. www.stephaniemisa.com
Catrin Seefranz is a cultural worker and researcher based in Vienna. With a long-time working experiences in the art world (e.g. documenta 12, Film Festivals Viennale or Identities), an academic background in Latin American and cultural studies, and research experience (University of the Arts, Zurich) she tries to contribute with her work to a critique of hegemonialities and colonialities within the field of arts and art education. Her research interests range from Latin American, specifically Brazilian modernisms to today’s art field and its institutions. She has published the book Tupi Talking Cure on Freud, Psychoanalysis and Brazilian modernism. She is part of the transnational research network Another Roadmap , trying to map critical, first of all decolonizing practices of art education. Since 2012 she is head of kültüř gemma!, a project promoting migrant positions in the field of arts and culture. With Galia Baeva and Marissa Lôbo she founded the initiative oca: linking arts, education, activism and research with the perspective of political education.
Revolt She Said. Perspectives and Questions on Feminist Art Curating and Anti-Hegemonic Production of His/Herstories
Which ideal claims are linked to the production of feminist art spaces? With which realities are they confronted? What does a feminist practice of curating mean in this context? The lecture will give an insight into the history, processes and work of the feminist art space alpha nova & galerie futura by presenting its concept and resulting practices and structures. Founded in 1986 alpha nova & galerie futura once started out as an explicit women’s project, acting in the spirit of the second wave feminism in Western Germany of fighting for women’s rights and emancipation. A generational change of the curatorial collective in 2012 went along with a strong reflection on changes in positions, practices and strategies of feminist art curating. By presenting selected projects of the past years as well as a current one – Revolt She Said – decolonial and feminist perspectives on 68, questions and (self)reflections on the production of history/herstory, knowledge, and representation and which role race and gender play for (non)visibility within this context, will be discussed. What are the preconditions for non-hierarchical, solidary and inclusive ways of collaboration, knowledge production and sharing as well as for forms of exhibiting and representation?
Katharina Koch is director and co-curator of the feminist art space alpha nova & galerie futura in Berlin, Germany. She holds a PhD in Cultural Anthropology from the Humboldt-Universität zu Berlin and a M.A. in Cultural Anthropology, Cultural Studies, Social Sciences and Gender Studies. Her fields of activity range from curatorial to academic-theoretical work. She is a filmmaker and realized several documentaries. Her main topics are feminism, art in public space, participative art, and film.
Feminist Transnationalism: The Activist as Curator
This lecture looks at feminist activism as a form of care, and by extension, as (proto)curatorial labour. Transnational feminist activism relies on collaboration and exchange and requires intellectual, reproductive, affective, and emotional labour. Adopting a transhistorical approach, through the juxtaposition of early 20 th century women-led salon culture; political, social, and art-based activism in the wake of 1975, proclaimed the International Women’s Year by the United Nations; and current 21 st century art activism, the lecture emphasizes the dimension of care in activism. The suggestion of a speculative genealogy of feminist internationalism with open beginnings and open ends includes examples such as the Nardal sisters and their Clamart Salon in Paris, the International Tribunal on Crimes Against Women , Suzanne Lacy’s International Dinner Party , and Guess Who’s Coming for Dinner, Too? by Patricia Kaersenhout.
Elke Krasny , cultural theorist, urban researcher, writer, and curator. Professor of Art and Education at the Academy of Fine Arts Vienna. Krasny holds a PhD from the University of Reading, UK. Curatorial works include Critical Care. Architecture and Urbanism for a Broken Planet 2017–19, together with Angelika Fitz; On the Art of Housekeeping and Budgeting in the 21st Century 2015, together with Regina Bittner; Hands-On Urbanism. The Right to Green 2012; 2018 lectures include Learning from Activism: Social-Practice in Feminist Art , Middlesex University London; Intimate Publics at the Salon, Schwules Museum Berlin ; Critical Care. Architecture, Global Dwelling, and Planetary Ethics, University of Thessaly Volos ; Care + Repair. Feminist Spatial Practices , WCCW Los Angeles; Wandering Wombs and Arching Bodies, UCLA Los Angeles; Gathering Feminist Resisters: Assemblies, Dinners, Salons, Tribunals , MASP Sao Paulo; Recent essays include: 'Exposed: The Politics of Infrastructure in VALIE EXPORT's Transparent Space' in Third Text 144; ‘The Salon Model: The Conversational Complex’ in Feminism and Art History Now edited by Victoria Horne and Lara Perry, and ‘Citizenship and the Museum: On Feminist Acts’ in Feminism and Museums edited by Jenna Ashton.
NIEPODLEGŁE : Women, Independence and National Discourse. Or how Women Are Depicted in National Narratives?
In my presentation I will focus on the image of woman and womanhood shaped by in 20th-century narratives of national liberation. The point of my analyses is the exhibition Niepodległe: Women, Independence and National Discourse currently on view at the Museum of Modern Art in Warsaw which I prepared in frames of the reseach project Women on Aeroplanes curated by Annett Busch, Marie-Hélène Gutberlet and myself. The exhibition examines the role played by women in the historical narratives of national liberation. Taking the centenary of the revival of Polish independence as its starting point, the exhibition looks at pivotal moments in history and at various liberation movements: beginning with the year 1918, through 1945 – when the political discourse of independence expanded to include the decolonization of the global South – all the way up to 1989, when the fall of Communism ushered in a new era of globalization. The show reveals the gendered character of national narratives and strives to undermine its patriarchal order in order to shape a more diverse representation of women and the way they are depicted in history.
Magda Lipska is a curator and art theoretician. She studied Cultural Sciences at the University of Warsaw and Humboldt University in Berlin, and Contemporary Art Theory at Goldsmiths College, University of London. Since 2008 she is a curator at the Museum of Modern Art in Warsaw. Her recent curatorial projects include: Niepodległe: Women, Independence and National (2018), Danwen Xing. A Personal Diary (2017), Lest the Two Seas Meet (2015), co-curated with Tarek Abou El Fetouh and After Year Zero (2015), co-curated with Anselm Franke, Annett Busch, and Heidi Ballet. She is a co-founder of the multi-local research project Women on Aeroplanes focused on the political and artistic (under)representation of women in the 1950–70 liberation movements and the initiator of a residency program for a Syrian filmmaker at the Museum of Modern Art in Warsaw.
Viewing Women's Work in the Art Museum
Alongside some feminist art practice of the period, the pioneering Womanhouse exhibition organized by the CalArts Feminist Art Program in 1972 playfully inverted the conventional division between domestic life and art exhibition. Proposing a home as a museum, and the themes of feminized domestic labor as the proper concern of art, the strategies of the Womanhouse exhibition brought the labor of 'social reproduction' into visibility as a part of the art world. This talk will explore how those activities have continued to occupy the spaces of the art museum under a range of guises, from the work of education departments to artistic and curatorial practices that put social relations at the heart of contemporary art practice. These reflections invite speculation as to how we could create a feminist revolution in the function of social reproduction in the art museum, today.
Lara Perry is a Principal Lecturer in History of Art and Design at the University of Brighton. Her interest in gender, feminism and the museum was first articulated in a book Facing Femininities: Women and the National Portrait Gallery, 1856-1900 (Ashgate, 2006) and most recently in an investigation of 'The Artist's Household: On Gender and the Division of Artistic and Domestic Labour in Nineteenth century London' ( Third Text , 31/1, 2017). She has collaborated on a number of projects exploring feminism and curating including co-editing issue 29 of OnCurating, and Politics in a Glass Case: Feminism, Exhibition cultures and Curatorial transgressions (2013) with Angela Dimitrakaki.
Intersectionality and Transnational Feminism in Françoise Dasques' Documentary La Conférence des femmes—Nairobi (1985)
Within the recent history of post-1968 feminisms in France, the feminist video documentation and archiving institution Centre Audiovisuel Simone de Beauvoir in Paris, founded in 1982 by the feminist activist and actress Delphine Seyrig and authors of activist documentary videos Carole Roussoupoulos and Ioana Wieder, and the film La Conférence des femmes—Nairobi (1985) commissioned by the Centre, hold an important position. This exceptional one-hour documentary conceived by Françoise Dasques depicts the proceedings of Nairobi’s seminal 1985 NGO Forum of women’s groups from all over the world. The intense polemical speeches at the event addressed topics such as the Palestinian struggle, female genital mutilation, transnational alliances of LGBTQI communities, practices of self-defense, and the various significations of veiling women’s bodies in post-revolutionary Iran. These topics were all debated exclusively by women—across races, classes, and sexual orientations. The historical moment in Nairobi and this documentary exemplify intersectionality at work, a few years before Kimberlé Williams Crenshaw’s theorization revealed the term's full scope.
Nataša Petrešin-Bachelez is an independent curator and writer. Among the projects and exhibitions, she curated are Show Me Your Archive and I Will Tell You Who is in Power (with Wim Waelput, KIOSK, Gent), Resilience. Triennial of Contemporary Art in Slovenia at Moderna galerija/Museum of Contemporary Art (Ljubljana), transmediale.08 at HKW (Berlin), Our House is a House that Moves at Living Art Museum (Reykjavik), Let's Talk about the Weather at the Sursock Museum (with Nora Razian and Ashkan Sepahvand, Beirut), and in France: The Promises of the Past at the Centre Pompidou (with Christine Macel and Joanna Mytkowska). Between 2010 and 2012, she was co-director of Les Laboratoires d'Aubervilliers and co-founder of the network of art institutions Cluster. She is co-organizer of the seminar "Something You Should Know" at EHESS, Paris (with Elisabeth Lebovici and Patricia Falguières), and a member of the research group Travelling Féministe, at Centre audiovisuel Simone de Beauvoir. Between 2014 and 2017 she was the chief editor of the online platform L'Internationale Online , and was the chief editor of the Manifesta Journal between 2012 and 2014. Curator of the Contour Biennale 9 (2018–19), and together with Giovanna Zapperi works on the first exhibition around the videos by the French feminist and actress Delphine Seyrig (LAM, Lille and Museo Reina Sofia, Madrid, 2019–20).
Artistic and Curatorial Turns, Care and Accelerated Capitalism. From the Sixties to Contemporary Practices in Feminist Perspectives. A Tour de Force.
My first step in investigating the notion of different turns in art and curating would be to construct a historical relation to former re-readings of what art might entail. To see what an intervention in contemporary art could do with a re-reading of parameters and of protocols, we have to discuss or to sketch its condition and the changes it makes possible. What is the state of art that is targeted by changing certain notions of art? Is contemporary art the lubricating layer of internationally acting accelerated capitalism? Is the contemporary curator to be seen as the paradigmatic post-Fordist neoliberal figure, allegedly preserving the ability to act as cultural author, traveling the world, networking and being involved with the most creative minds (the artists) plus the richest in the world, transgressing borders, cultural differences and class distinctions. Can one, or we together save curating as a critical activity, as an exciting form of knowledge production which propose very different forms of subjectivation, different forms of communing, different forms of working together on shared interests?
Dorothee Richter (curator, filmmaker, author) is director of the PhD in Practice in Curating programme, University of Reading and Zurich University of the Arts, Professor in Contemporary Curating at the University of Reading, she is head of the MAS in Curating, ZHdK www.curating.org , publisher of OnCurating, www.oncurating.org and involved in the OnCurating Project Space. She is also a Fluxus Specialist. www.fluxusnow.net
Stella Rollig has been CEO and Artistic Director of the Belvedere since January 2017. She studied German and Art History at the University of Vienna and later worked as an arts journalist (for ORF, Der Standard and others). From 1994 to 1996 Rollig was the Austrian Federal Curator for the Fine Arts; during this time, she also founded Depot, Kunst und Diskussion at MuseumsQuartier Wien. From 2004 to 2016 she was Artistic Director of the LENTOS art museum in Linz and from 2011 also Director of NORDICO Stadtmuseum Linz. In addition to her curatorial roles, Rollig has taught at numerous institutions.
Ashley Hans Scheirl
Dandy Dust , AT/UK 1998
94 min., English OV with German subtitles
Director, script, editing: Ashley Hans Scheirl, camera and digital animation: Jana Cipriani, costumes: Amory Peart, sound design: Jewels/Jason Barker, music: Yossarian, Emma EJ Doubell, Bent
With: Ashley Hans Scheirl, Suzie Krueger, Tre Temperilli aka Trash, Leonora Rogers-Wright, Svar Simpson, Angela de Castro, Del la Grace Volcano, Sarah Schulman, Sue Golding aka Johnny de Philo, Tina Keane
A cyborg with a split personality and fluid gender zooms through time to collect his/her selves in a struggle against a family obsessed by lineage: This cartoon-like futuristic low-budget horror satire by the Austro-British filmmaker Ashley Hans Scheirl turns the real into the absurd, for the duration of a small cybernetic, chemo-sexual film adventure at least. Identity is just a matter of creativity, and far beyond cinema‘s limitations. (Stefan Grissemann)
Ashley Hans Scheirl is an Austrian filmmaker, performance artist, and painter and an important representative of the international queer and transgender scene, who first became known for her experimental films. Scheirl’s work is transmedial, transdisciplinary and transformative. She has been a professor for Contextual Painting at the Academy of Fine Arts in Vienna since 2006. Ashley Hans Scheirl’s work has been shown internationally at exhibition spaces (amongst them the New Museum in New York, the Shedhalle in Zürich, and the Nova Galerija in Zagreb), at film festivals, and at documenta 14 in Athens and Kassel.
The film program accompanying Movements in Feminism / Feminisms in Movement addresses the contested definitions of “feminism“ and “feminist“ from a historical perspective. In 1985 French filmmaker Françoise Dasques portrays a seminal conference and its participants. There, the topics of inclusion and intersectionality are passionately discussed and ultimately leave the women’s movement shattered and split. However, there’s also a radical questioning of gender identity as well as gender relations becoming apparent. These debates are “culminating” in Ashely Hans Scheirls Sci-Fi-film Dandy Dust from 1998 with a “gender-fluid“ main protagonist. Situated between human and machinist being, Dandy knows precisely about the power of representation and how to construct and deconstruct an image. Could we preserve this knowledge from the future in/to our present times?
Claudia Slanar is an art historian, writer, and curator of the Blickle Cinema and Blickle Video Archive at Belvedere 21. She has lectured on creative writing and conceptual, spatial art practices at the University of Applied Arts, in Vienna as well as at Webster Private University. In her curatorial and discursive practice, she deals with the performativity of historical narratives as well as the changing role of artistic authorship in contemporary society. She has published on performative practices, film and spatial theory in several international books and exhibition catalogues.
The Black Woman’s Womb. Care, Capital, Race, Feminism
Françoise Vergès will discuss two terrains affected by Capital, Race, State and patriarchy–reproductive rights and the cleaning/caring industry–to trace how a racialized nexus–birth control/migrations/environment–has affected Black women. She will look at the ways in which reproduction was racialized for feeding primitive accumulation during the slave trade–the African womb was capitalized–then she will move to post World War II when the West constructed a discourse and imposed practices that connected birth control in the Global South, control of migrations and concern for the environment. She will show that these politics are part and parcel of a reconfiguration of the feminine exploited workforce in cleaning/caring.
Françoise Vergès , Chair of Global South(s) at the Collège d'études mondiales in Paris, part of the Fondation Maison des sciences de l'homme. She was a feminist and antiracist journalist and editor in the 1980s, before doing her BA and PhD in the United States (PhD in Political Theory at University of California/Berkeley). Her areas of research are: postcolonial studies, South-South exchanges, coloniality and independence policies, feminism, etc. She regularly works with artists, produces exhibitions, is the author of documentary films on Maryse Condé and Aimé Césaire. She was project advisor for Documenta 11 in 2002 and the Triennale de Paris in 2011. Her publications include: Le ventre des femmes. Capitalisme, racialisation, féminisme , Albin Michel, Paris, 2017; Exposer l'esclavage: méthodologies et pratiques ( Exposing slavery: methodologies and practices ), Africultures, Paris, 2013; L'Homme prédateur. Ce que nous enseigne l'esclavage sur notre temps ( Predatory humans. What slavery tells us about our era ), Albin Michel, Paris, 2011; Ruptures postcoloniales ( Post-colonial rupture ), with Nicolas Bancel, Florence Bernault, Pascal Blanchard, Ahmed Boubakeur and Achille Mbembe, La Découverte, Paris, 2010.
Luisa Ziaja is an art historian, writer, and curator. She has been curator for contemporary art at the Österreichische Galerie Belvedere Vienna since 2013 and co-director of the postgraduate program in exhibition theory and practice ecm – educating/curating/managing at the University of Applied Arts Vienna since 2006. She was a lecturer at Zurich University of the Arts, Technical University Vienna, Academy of Fine Arts Vienna and Vienna Artschool and is part of the board of the discursive platform schnittpunkt – exhibition theory & practice. In her curatorial and discursive practice, she deals with the relation between contemporary art, society, and politics (of history) as well as with the histories and theories of exhibiting. She is the author and co-editor of numerous exhibition catalogues as well as anthologies on contemporary art, curating, and art and exhibition theory, among others the publishing series curating. ausstellungstheorie & praxis at Edition Angewandte/de Gruyter, Berlin/Boston and Handbuch. Ausstellungstheorie und –praxis , Vienna/Cologne/Weimar: Böhlau/UTB, 2013.