As part of the ongoing cyberfeminism series NEWGenNOW, The White Building presents SALT Symposium.
In a climate where traditional modes of articulating refusal through physical action become criminalised or dangerous, language, and furthermore what can be done with it, becomes the only potent weapon left. This symposium will look to errors or interruptions in communication that offer space for disruption and subsequently open up new ways to disobey through glossolalia: to speak in tongues, to be incomprehensible, and to confuse. Taking the form of the manifesto as a starting point, this refusal to accept what is given, and to look for alternatives or space for transformation between the lines, is what characterises the speakers and their subject matter: those who attempt to put into circulation performative gestures of disobedience as models for experimental protest.
SCHEDULE _ TBC
Mali D. Collins is a black poet and writer from the rural Midwest America. Currently residing in New York City, she writes about black contemporary art and the intersections of feminism and media. She is an emerging scholar hoping to return to academia to research intersections of radical blackness and American pop culture.
Guilia Damiani’s project Napoli in the Unmapped Practice of Le Nemesiache: A Feminist Gazetteer gives voice to the untold story of a feminist collective that operated in the 70s and 80s in Napoli, Le Nemesiache, unveiling its relevance for today through essays, transcriptions from films and performances as well as extracts from original and unpublished texts.
Laura Guy is a Lecturer in Critical Studies for Fine Art at Goldsmiths College, University of London and has contributed as a curator to programmes at TATE Liverpool; International Project Space, Birmingham; Archive, Berlin and the Institute of Contemporary Arts, London. She is currently undertaking funded doctoral research at Manchester School of Art under the working title ‘Becoming a Subject of History: Rereading manifesto forms as feminist practice’.
Catherine Grant explores the re-enactment of histories of feminism in contemporary art. She has recently co-edited a special issue of Art History on “Creative Writing and Art History” (April 2011) and a collection of essays on girlhood in contemporary art entitled Girls! Girls! Girls! in contemporary art (2011). An essay on being a ‘fan of feminism’ has been published in the Oxford Art Journal (June 2011).
Performances, Dutch premiere of Men on the Line: Men Committed to Feminism, KPFK, 1972 by Andrea Fraser, Tues 2 Dec 2014, 20:00 hrs, De Balie, Amsterdam and Their desire rang through the halls and into the tower by Alex Martinis Roe alongside a screening, Wed 3 Dec 2014, 20:00 hrs, Casco – Office for Art, Design and Theory,
Men on the Line: Men Committed to Feminism, KPFK, 1972 (2012) is a
work developed by artist Andrea Fraser based on a 1972 live radio
broadcast of a dialogue between several men discussing the importance of
feminist struggle to men, how they respond or fail to respond to their
female counterparts, and the anxieties and struggles that arise. Fraser
transcribed and edited the broadcast and performs as all four
participants, reenacting in her own performance the mens’ difficulty in
moving outside the bounds of their gender and experiencing empathy for
the feminist cause.
The Amsterdam presentation on Tues 2 Dec 2014 at 20:00 hrs of Men on the Line is co-produced by Casco and If I Can't Dance. It is hosted by De Balie, Kleine-Gartmanplantsoen 10, Amsterdam.
Their desire rang through the halls and into the tower (2014) is a
spoken performance by artist Alex Martinis Roe. The artist focuses on
the intertwining histories of Anna Maria van Schurman, the first female
university student in Europe, who attended Utrecht University in the
seventeenth century, and the development of the Netherlands Research
School of Women's Studies at that same university. Based on oral
histories and textual research by Martinis Roe, members of the Graduate
Gender Programme of Utrecht University collectively edited the script
and will perform a group political diagram composed of layered and
partial accounts of this trans-historical community.
The evening begins at Casco in Utrecht on Wed 3 Dec 2014 at 20:00 hrs.
Along with the performance there will be a screening of an earlier work
in the series of Martinis Roe’s research into feminist genealogies
entitled A story from Circolo della rosa (2014) and a brief
introduction by the artist. While the event is free, r.s.v.p. is
required to reserve your place; please send an e-mail to firstname.lastname@example.org.
The work is commissioned by Casco and is also a collaboration with the
Graduate Gender Programme of Utrecht University and co-presented with If
I Can't Dance, Amsterdam. It is co-funded by Einstein Foundation Berlin
and realized with the support of the Graduate School for the Arts and
Sciences at the Berlin University of the Arts and the Samstag Program.
Opening: Vendredi 28.11.2014 19:00- 23:00
B B B - 7 Rue d´Ecosse 1060 St.Gilles/Bruxellles - 0496210321
Organizational schemes, networks, interconnection and principles of scale and composition are determinant in Mafalda’s work. Expanded drawings on murals or ground works cull their information from computer interface, books and archives to create a simplified imagery that reflects “a moment/place in a mental or social structure of relations.” The artist also considers that they offer a comment on the specific context for which the work was produced. http://www.mafaldasantos.net/
Working mainly in several music- and cinema related activities, he laboured in editing (sound & video),
some voice narration for documentaries, subtitling, translation and has made both video and sound installations in the context of Art exhibitions. https://www.facebook.com/garciadaselva
In recent years the ‘archival turn’ in feminist scholarship and gender and queer theory has expanded talk of the archive well beyond history - and indeed well beyond traditional forms of scholarship - to prompt debates and interventions across academic areas, and between scholars, cultural practitioners, archivists and activists over the modes and politics of archiving, and the ways in which feminists and others create, construct and research ‘archives’.
This workshop is designed as a space for discussion across disciplines about the ways in which we understand, theorise and use archives from different academic perspectives, the ways in which archives and archival research is gendered, and the ways in which feminist interventions are changing the definition and shape of archives in the process.
The day will consist of two panel presentations (morning and afternoon), followed by a final roundtable and reception. There will be plenty of time for group discussion and exchange of ideas and experiences among speakers and participants.
10:00 REGISTRATION 10:30-11:30 KEYNOTE ADDRESS Maria Tamboukou: Entanglements in the archive of feminist memories 11:30-12:00 COFFEE (Own arrangements; various options on campus) 12:00-1:30 PANEL 1: PERFORMING ARCHIVES Maria del Mar Yanez-Lopez: Art historical representation and accountability: re.act.feminism #2 – a performing archive Eleanor Roberts: Restless images: the feminist performances of Rose Finn-Kelcey Avanthi Meduri: Performing in the postcolonial archive 1:30-2:30 LUNCH (Own arrangements; various options on campus) 2:30-3:30 PANEL 2: STORIES, VOICES, MEMORIES Holly Pester: Anecdote, gossip and fiction as modes of aberrant research Holly Ingleton: Sounding out archival interventions 3:30-4:30 RESPONDENT
Followed by GENERAL DISCUSSION 4:30-5:30 WINE RECEPTION
Audio and texts by Adam Potts, Amelia Ishmael, Angus Carlyle, Aya Kasai, C.D. Rose, Charlie Fox, Christian Patracchini, Christof Migone, Craig Dworkin, David Mollin and Salomé Voegelin, David Toop and Rie Nakajima, Elena Biserna, Elin Øyen Vister, Georgia Rodger, Helena Hunter, Julie Lillelien Porter, Leif Elggren, Lorena Muñoz-Alonso, Mark Peter Wright, Patrick Farmer, Phil Owen, Psykick Dancehall, Richard Skinner, Signe Lidén, Tone Gellein, Ursula Nistrup, Will Montgomery.
"Letter against repression and criminalization of civil protests in Mexico"
November 22nd, 2014
Enrique Peña Nieto President of Mexico
Miguel Ángel Osorio Chong Ministry of the Interior
Jesús Murillo Karam Attorney General
Special Rapporteurship for Freedom of Expression Inter-American Commission on Human Rights Organization of American States
To the international community
To the general public,
wish to express our deepest alarm and anger over the repressive actions
that the government of Mexico has systematically demonstrated in
response to the public unrest generated by the disappearance of the 43
students from Ayotzinapa?s Teacher?s College.
Peña Nieto?s statements about using state forces on November 19th, and
the excesses committed by the anti-riot police and other security bodies
against the peaceful civilian demonstration on November 20th,
constitute ominous signs that threaten the peaceful development of the
citizens? protest movement. Legitimate public outrage and mobilization
movements in response to violence and impunity in Mexico are a direct
consequence of the inefficiency of the Justice apparatus and a lack of
confidence in the security forces. It is obvious that the same
apparatus, deeply involved in corruption scandals, is incapable of
offering a political solution to the conflict that the country is going
through. For these reasons, the Global Network #AyotzinapaSomosTodos and
the signatories below make the following demands and points:
We alert governments, media and international organizations of the risks
involved in criminalizing and repressing civil protests in Mexico. The
use of State forces is not the solution to the political unrest that the
country is experiencing, and this approach only increases Human Rights
violations and conflicts between citizens and the government as well as
violating the citizenry's rights of political expression.
Claims made by government officials that the social movement and its
media are part of a destabilization campaign are very disturbing and
must be rejected.
3. We support the intervention of the
Inter-American Human Rights Commission of the OAS in the cases of
extrajudicial killings and disappearances in Mexico. The international
Community must demand that the Mexican government respect the human
rights treaties it has signed.
4. We demand the immediate release
of the demonstrators who were arbitrarily arrested on November 20th,
2014, during the peaceful demonstration in Mexico City's Central Square.
We demand that the charges the judicial apparatus has filed against
these citizens be retracted and that the authorities stop their transfer
to remote prisons where they do not have legal assistance. We firmly
denounce violations of the judicial process, including the hindering of
defense attorneys from seeing their clients and providing proof of their
innocence. The liberation of political prisoners is crucial for the
restoration of the credibility of Mexican institutions.
We urge a fast response from the authorities and the recipients of this letter.
“Harbour of Antuérpia: cruzamentos históricos" / "Quatre mois dagelijks sur Antuérpia + Bélgica", por Carla Filipe.
Sábado, 8 de Novembro, 16h
Galeria Múrias Centeno
Rua Miguel Bombarda 531 Porto
Esta instalação apresenta dois conjuntos de desenhos e colagens resultantes da sua residência artística na Air Antwerp. Carla Filipe apresenta-nos um retrato da cidade de Antuérpia, projectando uma abordagem de cariz histórico, que encontra na zona portuária da cidade um foco inicial mas cujo alcance se estende muito para lá da sua delimitação geográfica.
Harbour of Antuérpia: cruzamentos históricos
A pesquisa alicerça-se em documentos adquiridos em Antuérpia, coligindo cadernos escolares da década de 60 com temas variados, que vão da história aos estudos de modelismo e moda (sendo também esta uma das imagens representativas da cidade). É com base nesta documentação que a artista concebe uma abordagem cronologicamente dilatada, recuando até aos tempos da nossa expansão marítima, à criação da feitoria portuguesa na Flandres e ao impacto decisivo que esta teve no florescimento de Antuérpia, projectando a cidade como centro da “economia do mundo” no séc. XVI.
O porto de Antuérpia encerra também um pequeno capítulo da história do judaísmo. Muitos dos judeus portugueses (sefardistas), expulsos do território nacional entre 1492 e 1497, fugiram para Antuérpia, vindo a desempenhar um papel significativo no desenvolvimento cultural e económico dos Países Baixos.
Centrando-se numa cidade estrangeira, este estudo acaba por ser para a artista – pelas razões acima evocadas – uma forma de compreender melhor o seu próprio país. Portugal, hoje endividado, outrora grande potência.
Quatre mois dagelijks sur Antuérpia + Bélgica
O título deste grupo de trabalhos é composto por três idiomas: francês, o flamengo (holandês) e o português, língua materna da artista, expressa no nome da cidade e do país. A amálgama linguista presente no título tem como propósito contrariar as “fronteiras” entre o Norte e Sul da Bélgica, divisão que vemos replicar-se numa Europa que, paradoxalmente aos modelos sócio-económicos preconizados, se apresenta cada vez mais demarcada por regionalismos.
O trabalho apresentado compõe-se de colagens e desenhos que partem das observações e vivências da artista durante a sua permanência nesta cidade flamenga. O conjunto de suportes utilizados, que vão dos acetatos, cartões, até aos recortes de revistas que a artista foi reunindo, traduzem plasticamente o diálogo entre materiais adquiridos em lojas, em alfarrabistas ou, simplesmente, encontrados.
Patente | 8 Novembro - 29 Dezembro | 2014 Terça - Domingo | 15h - 20h