TOPICS/TAGS: Feminist perspectives, critique of domination, political practice, resistance, being together
The module offers an opportunity to learn, discuss, reflect and produce content around contemporary feminist perspectives and its applications in editing historical and archival material; as well as it strengthens its speculative attitude towards its potentials and urgencies of our present time.
Throughout its history feminism has been making a critique of domination, as well as informing and introducing different modes and models of artistic, discursive, and political practice. Feminism is vital, but also polyphonic and plural, and yet, in its commitment to unpack what a social space and its potentials could be, its focus on the underprivileged, and its force in interrupting normative standards, it aligns different understandings and contexts, legacies, and perspectives together.
During the workshop the participants and the mentor look at how feminist practices give form to resistance and offer entries into resonant, communal, emancipatory, transformative ways of making and being together, with an emphasis on fragile, overlooked, or peripheral voices, and attitudes of working towards pacifism and against gender, class, and race inequalities.
The workshop will focus on the work of several contemporary practitioners of a younger generation, who address issues of feminist practice in their work and professional lives as well as look at some historical examples. What does it mean to live a feminist life today? Who are we responsive and responsible to with our practices?
The workshop is both theory and practice driven. The focus is on artistic practice and a goal is towards unpacking challenging and nuanced ideas and perspectives on contemporary feminism and its relation to the practices of the participants.
The module will represent an opportunity to discuss and reflect on these topics in an informal way, together with the mentor and the invited guests as well as to produce a work (in any form including a possibility to make a video work. The choice will be made by the participants together.).
The mentor will compile and bring the reader including texts and ideas addressed by Adriana Cavarero, Martha Rosler, Sara Ahmed, Moyra Davey, Christa Wolf etc.
Monday November 19th
Guided tour to Cittadellarte, Pistoletto and Arte Povera collections and temporary exhibitions.
Introduction to the Theorem of Trinamics, the symbol of the Third Paradise and the concept of Demopraxy.
Presentation of the module’s program and introduction of the main topics.
Participants’ presentation: motivations and expectations.
Participants and the mentor will introduce themselves through a short presentation of their interests, experience, attitudes, research.
Tuesday November 20th
Feedback-producing questions, finding connections, bringing valuable examples and inspirational material, mapping the field and situating it in a larger context.
Guest introduction Jelena Vesić & a selection of Black wave cinema screening.
Wednesday November 21st
Lecture by Jelena Vesić.
Closed reading of a text and the 1stsession of individual work and one to one conversations.
Thursday November 22nd
Input text/work by Federica Bueti and Skype session with her.
2ndSession of individual/collaborative work, one to one conversations/tutorials with the mentor.
Friday November 23rd
Systematization and formalization of the materials and ideas addressed throughout the workshop and production.
Collective discussion and final presentation.
The mentor will prepare a reader for participants with key texts and films, some of which will be discussed during the week. The reader will include pieces by authors, artists, curators and intellectuals, such as Adriana Cavarero, Martha Rosler, Sara Ahmed, Moyra Davey, Christa Wolf etc.
Katarina Zdjelar is an artist who's artistic practice encompasses video and sound works, publications and the creation of platforms for speculation, knowledge production and exchange. Her most recent work looks at potentials and legacies of pacifist (proto) feminist practices of Kathe Kollwitz and Dore Hoyer. Zdjelar holds an MA in Fine Art from the Piet Zwart Institute in Rotterdam, where she currently lives and works. She is also a graduate of the University of Arts Belgrade and the CENPI, Centre for Contemporary Theatre and Performance Art, Art Theory, Belgrade. Zdjelar represented Serbia at the 53rd Venice Biennale and has participated in numerous solo and group exhibitions internationally at such venues as Stedelijk Museum Bureau Amsterdam; Metropolitan Museum of Photography, Tokyo; Frieze Foundation, London; Casino Luxembourg; The Chelsea Art Museum; De Appel, Amsterdam; Hartware Medien Kunstverein, Dortmund; Museum of Contemporary Art MACBA Barcelona; MCOB Museum of Contemporary Art Belgrade; Museum Sztuki Lodz and Powerhouse, Toronto. She was awarded the Dolf Henkes Prize 2017 and was nominated for the Dutch Prix de Rome Award 2017. Her work explores the way one body encounters another as a site of resistance and possibility, pointing to the fragile agency of collective action in the present.
Zdjelar is core tutor at Piet Zwart Institute (MA Fine Art), WdKA Rotterdam and MAR (Master Artistic Research) at the KABK, Den Hague.
Jelena Vesić is an independent curator, writer, editor, and lecturer. She is the co-founder of Prelom Collective and co-editor of Red Thread – Journal for social theory, contemporary art and activism. She has published numerous essays exploring the relations between art and ideology in the fields of geopolitical art history writing, experimental art, and exhibition practices. Her most recent exhibition is Story on Copy, Akademie Schloss Solitude, Stuttgart, 2017. She also curated Lecture Performance at the Museum of Contemporary Art, Belgrade, and the Kölnischer Kunstverein as well as the collective exhibition project Political Practices of (post-) Yugoslav Art, which critically examined art historical concepts and narratives on Yugoslav art after the dissolution of Yugoslavia. Her recent book On Neutrality, The letter from Melos (with Vladimir Jeric Vlidi and Rachel O'Reilly, 2016) is part of the Non-Aligned Modernity edition of the Museum of Contemporary Art, Belgrade.
Federica Bueti is a writer and editor based in Berlin. She is the editor of ...ment, Journal for Contemporary Culture, Art and Politics (www.journalment.org). Her writing on art and cultural theory has appeared in magazines such as frieze, BOMB, Ibraaz, Makhzin, Flash Art,Carla, X-TRA, a.o., and regularly contributes to critical anthologies and artist monographs. Her current research focuses on feminism, the economies and politics of personal writing, and artist writing.
Federica is part of the curatorial team at SAVVY Contemporary, where she co-curates the series Speaking Feminisms dedicated to the exploration of current feminist practices and the possibilities for new feminist alliances to respond to the challenges of the present. In 2013, she organised the spoken-words series Rhythms, Voices and Ties at Archive Kabinett, Berlin. Her lectures have been held widely including Tate Liverpool, UK; HKW, Berlin, Germany; Witte de With, Rotterdam, Netherlands; Akademie der Künste Der Welt, Cologne, Germany; Hordaland Art Center, Bergen, Norway; dOCUMENTA (13), Kassel, Germany.
She is the editor, with Bonaventure Soh Bejeng Ndikung, of the publication The Incantation of the Disquieting Muse: On Divinity, Supra-Realities or the Exorcism of Witchery, co-published by SAVVY Contemporary and The GreenBox, Berlin. She is currently completing her PhD in Critical Writing in Art at the Royal College of Art, London.
Applicants must submit their application by email to: firstname.lastname@example.org stating “UNIDEE 2018 application (your name)” as a subject line.
Applicants must attach the following documents (up to 8 MB in total):
1 - the application form (DOWNLOAD THE APPLICATION FORM)
2 - a portrait photo of you (JPG format, max 2 Mb)
3 - a selected portfolio (max 3 projects, one single pdf, max 6 Mb)
* The residency fee includes accomodation and half-board service.
Quota di partecipazione