Slight Chance at Fabra i Coats, Barcelona
Pilvi Takala
Slight Chance
Opening Friday 15 November 7.30 PM
Until 19.01.2014
Fabra i Coats - Barcelona Contemporary Art Center
C/ Sant Adrià, 20 08030 Barcelona
centredart.bcn.cat
The exhibition Slight Chance by Pilvi Takala (Finland, 1981), curated by Theodor Ringborg at Bonniers Konsthall in Stockholm and expanded and adapted for Fabra i Coats - Barcelona Contemporary Art Centre as a prologue, is the program’s first textual incursion through an artist who basically works with images and time. An analysis rooted in sociology dealt with through the performance that the artist develops in the public space to force situations that are anomalous and unrelated to the rules that govern our social, political and economic order. Situations that demand of everyone involved a new and unexpected exercise in renegotiation —more or less pleasant, more or less uncomfortable— of what has happened.
Public Data Explorer at HL-Projects
Public Data Explorer
09.11 – 22.12.2013
Vernissage
Saturday, November 09 19:00 – 21:30
Part of the Art&ICT Connect 2013 event, the exhibition looks at how public data is produced, shared, and edited to form or transform narrative potential and civil intervention. Projects will be shown, which deal with public domain information, its analysis and potential rewriting.
Featuring: Pilvi Takala (FI), Alexandra Dementieva (RU/BE), Jordan Seiler (US) and Ermias Kifleyesus (ET/BE)
ICT&ART CONNECT 2013 is organized by DG CONNECT, the European Commission’s Directorate General in charge of Information and Communication Technologies – ICT. From November 9th to 11th, at various events, at venues across Brussels, will explore crossings of ICT and ART as a promising path for new technology-based creative responses to contemporary societal challenges. For more information see: ICT&ART CONNECT 2013
HL-Projects
37 Rue Léon Lepage straat 1000 Brussels, Belgium
Thu – Sun 13:00 – 19:00 and by appointment
hl-projects.com
Hong Kong Whistleblowers Club
Friday, 8 November 2013, 19.00 hrs onwards
Para/Site has the pleasure to present Hong Kong Whistleblowers Club, a screening and discussion event curated by Matteo Lucchetti, a current participant of the Para Site International Art Residency.
Developed around the research for Lucchetti’s exhibition Don’t Embarrass the Bureau, opening in February 2014 at the Lunds Konsthall, Lund, Sweden, the event Hong Kong Whistleblowers Club addresses bureaucracy and embarrassment during times of ‘leaked democracy’, using the background of Hong Kong and its image as a diplomatic safe haven. Comprising of a two-part screening programme and a discussion, the event takes place in an undisclosed location. The first part of the screening programme, taking place between 19.30 – 20.30 hrs, includes works by Rossella Biscotti, Jill Magid, Jonas Staal and Pilvi Takala and is followed by an informal discussion between invited speakers and researchers on foreign affairs, media, and human rights. They will look at Hong Kong’s status as a 'safe haven' in the public opinion and ask: how does this media image come into play in the transitional phase that China and Hong Kong and their politics are going through? When Edward Snowden was in Hong Kong, he described it as a "country with the cultural and legal framework" to allow him "to work without being immediately detained". Is Hong Kong’s continuous state of exception in foreign affairs a risky source for diplomatic embarrassment? The content of the second part of the screening programme will not be publicly disclosed.
Due to the limitation and confidentiality of the space, this event is only open via registration. Please kindly register by emailing us at ethan@para-site.org.hk with Hong Kong Whistleblowers Club as the subject header. Upon registration, further information will be provided via secured email.
www.para-site.org.hk
www.para-site.org.hk
FROM MORN' TILL MIDNIGHT
FROM MORN' TILL MIDNIGHT
JULIAN BECK STEVE BISHOP ADRIANO COSTA LENA HENKE ALEXIS HUNTER VINCENZO LATRONICO TOBIAS MADISON & FLAVIO MERLO KATRINA PALMER CORIN SWORN PILVI TAKALA JAY TAN
Opening 1 November at 6pm
2 November -18 December 2013
From Morn’ Till Midnight is the title of a painting dated 1946 by Julian Beck (*1926, died 1986), founder of the Living Theatre, abstract expressionist and poet. Alongside Robert Motherwell, Mark Rothko, Willem de Kooning, Jackson Pollock and Yves Kline his lively paintings were exhibited at Peggy Guggenheim’s groundbreaking gallery “Art of this Century”. Although inspired by this prominent group of abstract expressionist painters he turned the act of painting into a live gesture which involved the whole body, making the picture and the painter a single entity. Along with his wife, actress Judith Malina, he was the original engine of the avant-garde performance group “The Living Theatre” established in 1947. This is where he would fuel his artistic fervour until the end of his life, promoting ideas of anarcho-pacifism and liberalism throughout Europe, South America and the US.
From Morn’ Till Midnight tries to translate his idea of living acts into the concept of possibilities and time. Imagining the time lapse of a day as representation of a life-time-action, the space is conceived as stage for creation, destruction and poetry. The artists involved share the common trait of a demand for confrontation with action, voiced by dynamic gestures, opposing time that elapses passively but provoking change though active participation.
The central visionnaire installation by Tobias Madison and Flavio Merlo is an in-situ work that uses water to amplify sound. The work is intended as a play activated and performed by the computers, the gallery itself through its water and workers as an actual Frankenstein. The recording of the performance Frankenstein by the Living Theatre held in Berlin in 1965 is filtered, edited and sent back through the help of water; a swimming pool and sculpture of a stage that recovers the idea of action and freedom.
Supportico Lopez - Berlin
Kurfürstenstrasse 14/b
Berlin 10785
Frieze / Emdash Award
Emdash Award 2013 recipient Pilvi Takala gave the opportunity to decide on how to use the majority of the Award production budget to a committee of children between 8–12 year old from the Eastside Youth Centre in Bow, London. After their research and development costs, the children have £7,000 to play with. Following a series of summer workshops, the Committee meet in a dedicated area within Frieze Projects and make a public announcement of their decision on Friday 18 October.
See video clips of the committee members talking here:
Undercover: A Dialect at VISUAL Centre for Contemporary Art, Carlow
Undercover: A Dialect at VISUAL Centre for Contemporary Art, Carlow
05 October - 05 January
Work by Stephen Brandes, Aaron Lawless,
Berndnaut Smilde, aiPotu: Anders Kjellesvik and Andreas Siqueland, Jeronimo
Hagerman, Magdelena Jitrik, Fiona Larkin, Sean Lynch, Pilvi Takala & Lucy
Lippard
Undercover: A Dialect is an exhibition exploring the ways in which artists can
be involved in covert and hidden activities in public, often acting out
individual trajectories away from any public attention. It takes the position
that artistic activity is not about fitting into a consensus of what art in
public should be, and identifies with work that enjoys an undercurrent of
improvisation and frugality, haphazard formality, and changeability.
The exhibition will take place in the
galleries at VISUAL, and in sites around Carlow town and include new work by
Aaron Lawless and Stephen Brandes. Berndnaut Smilde will create a cloud for
VISUAL as part of his ongoing Nimbus Series. Transient a cloud will hang
momentarily in the galleries at VISUAL allowing the artist a brief time to
capture an image for print, this will remain as a reminder when the cloud that
has evaporated. Norwegian Collective aiPotu will offer open air bathing
to the public through a sculptural installation made of recycled timber and
featuring Norwegian Pine soap.
Also included in this exhibition is
955,000 an exhibition catalogue curated by Lucy Lippard for Vancover Art
Gallery in 1970. Involving loose leaf submissions by over 70 artists on index
cards with instructions for artworks, proposals for unrealized projects, hand
drawn notes and explanations, it holds contributions by Hans Hacke, Bruce
Nuaman, Robert Smithson, Barry Flanagan and Eva Hesse. Lippard’s 955,000 offers
a snapshot of a time when art was undergoing changes that would radically shape
the practices of artists and their relationship to the public.
Michele Horrigan will give a
curators talk at 2.30pm on Saturday the 5th of October.
Undercover: A Dialect is curated by artist and
curator Michele Horrigan, who is founder and curatorial director of Askeaton
Contemporary Arts.
The 2nd NED JAMES FESTIVAL OF WOMEN'S WERK
21/09 - 16/11 2013
Celine Berger
Celine Condorelli
Sophie Hope & Jenny Richards
Sally O'Reilly
Monika Striker
Pilvi Takala
Carey Young
+ commissioned text by
Nathalie Hartjes
Division of Labour &
WORCESTER CITY GALLERY
Foregate Street WR1 1DT
http://www.divisionoflabour.co.uk/exhibitions.html
info & press
Four to the Floor // (Far) Below the Bassline at Cultural Center
LIISA LOUNILA/FANNI NIEMI JUNKOLA/PILVI TAKALA
Four to the Floor // (Far) Below the Bassline
20.9.-12.11.2013
PODROOM
Curator: Mika Hannula
Opening and talk with the artists, Liisa Lounila, Fanni Niemi-Junkola and the curator of the exhibition, Mika Hannula
Friday, September 20 at 8 pm
The exhibition of the three Finnish artist is a result of the continued collaboration with Mika Hannula, one of the curators of the 53rd October Salon, entitled Good Life, physical narratives and spatial imaginations (Belgrade, 2012). The idea of the exhibition is to create and generate a situation for exhibiting contemporary video artists that becomes anchored to the site where it is shown.
The themes addressed in these works deal with the big issues: death, crises but also with playful hope and chance. Therefore the title which suggests the following: we are looking at and with topics and matters that go deep, far below the surface, far below even the deepest of the deep bass line. That’s why the somehow cryptic, double sided title – Four to the Floor // (Far) Below the Bassline – which stresses the wish and the need to create a platform for video works that focus on their singularities (only one work is shown at a time) and on their themes and topics that are connected deep into the images of the everyday life.
(taken from the concept of Mika Hannula)
Supported by FRAME foundation, Finland.
Thanks to al artists and Embassy of Finland in Belgrade.
Podroom is supported by Erste bank.
Rehearsal of the Real at Kunstverein Nürnberg
Rehearsal of the Real
Nevin Aladag, Adam Linder, Pilvi Takala, Diego Tonus
21.09. – 24.11.2013
Eröffnung: Freitag, 20. September 2013, 19 Uhr
Begrüßung: Peter Naumann (Vorsitzender)
Einleitung: Simone Neuenschwander (Direktorin)
Mit der Performance Ma Ma Ma Materials von Adam Linder am Eröffnungsabend um 20 Uhr.
www.kunstvereinnuernberg.de
Kunstverein Nürnberg
Albrecht Dürer Gesellschaft
Kressengartenstraße 2, D - 90402 Nürnberg
5th Moscow Biennale Special Project / 0 Performance – The Fragile Beauty of Crisis
0 Perfomance – The fragile beauty of crisis
Moscow State Exhibition Hall "New Manege"14.09 - 05.10.2013
Curator: Mirjam Varadinis
Artists:
Bas Jan Ader (Netherlands)
Arturo Hernandez Alcazar (Mexico)
Pawel Althamer (Poland)
Nina Beier & Simon Dybbroe Møller (Denmark)
Trisha Brown (USA)
Stefan Burger (Switzerland/Germany)
Mircea Cantor (Romania)
Chto Delat (Russia)
Collective actions (Russia)
Peter Fischli/ David Weiss (Switzerland)
Christina Hemauer and Roman Keller (Switzerland)
Adelita Husni-Bey (Italy/Lybia)
Goldin + Senneby (Sweden)
Georg Keller and Zofia Kwasieborska (Switzerland)
San Keller (Switzerland)
Muchomory (Russia)
Ahmet Ögüt (Turkey)
Roman Ondak (Slovakia)
Adrian Paci (Albania)
Annaïk Lou Pitteloud (Switzerland)
Pratchaya Phinthong (Thailand)
Katerina Šedà (Czech Republic)
Nedko Solakov (Bulgaria)
Ksenia Sorokina (Russia)
Mladen Stilinovic (Serbia - Croatia)
Pilvi Takala (Finland)
Performative strategies have become an important part of contemporary art practices in recent years. After a high peak of performance art in the 1960s and 70s, a young generation of artists is discovering the medium of performance again and explores ephemeral and process-oriented ways of working rather than object based art works.
The special project for the 5th Moscow Biennale entitled „0 Performance – The Fragile Beauty of Crisis” reflects on this phenomenon with a special focus on the double meaning of the word ‘performance‘ – a term that is used both in artistic and economic language. While for many years a persisting belief in endless economic growth and performance was the dominant paradigm, the current economic crisis made the failure of this neoliberal system evident and created – or better creates – a moment of ‘zero performance’ in wide areas of Europe.
While this ‘zero performance’ has existential consequences for many people, it offers also an opportunity to reflect on alternative methods that escape and break with the capitalist logics of efficiency and the pressure of constant production. Time has become one of the most precious goods today. Moments of pause or non-performance are not only extinct but considered improper in work life. The exhibition „0 Performance – The Fragile Beauty of Crisis” is exploring the creative potential of this moment of non-productivity or “zero” performance linking it on one hand to the economic crisis we live through and on the other hand to Mladen Stilinovic’ “Praise of Laziness”, a manifesto that the artist wrote in 1993 to reflect on questions of artistic production and the differences between eastern and western artists.
http://5th.moscowbiennale.ru/en/program/special_projects/0_perfomance_en.html
5th Moscow Biennale Special Project / Ghost In The System - Scenarios For Resistance
Ghost In The System - Scenarios For Resistance
National Centre for Contemporary Arts, Moscow
14.09 - 05.10.2013
Curators: Xander Karskens, Irina Gorlova
Participants: Guido van der Werve, Joost Conijn, Erik van Lieshout, Renzo Martens, Nathaniel Mellors, Julika Rudelius, Pilvi Takala
What remains the potential of art in a crisis-ridden world, a world subjugated to the cynicism of neoliberal capitalism and ever-expanding globalization? As Theodor Adorno already argued half a century ago, resistance to the ‘totally administered world’ is both absolutely necessary yet utterly impossible. The gargantuan task resting on the artists’s shoulders today is to try and navigate this paradox without losing faith or succumbing to resignation, and to try and find ever new ways to imagine the world around us differently.
The artists in “Ghost in the system – scenarios for resistance” each hold individual artistic positions in which they navigate the possibilities of refusal, in order to resist the hegemony of the governing order. In doing so, they aspire to generate debate and conflict – whether actively responding to sociopolitical reality on the world’s stage, or negotiating the forces of individual subjectivity. From Renzo Martens’s provocative analysis of the economy of poverty to Guido van der Werve’s exhaustive exploration of against-the-grain self-determination, the exhibited artists look for ways to counter the forces that govern us, using the work of art as a site for resistance and speculation.
“Ghost in the system – scenarios for resistance” brings together a selection of recent video works and installations from the collection of De Hallen Haarlem. De Hallen Haarlem is a museum for modern and contemporary art in Haarlem, that presents an international program of temporary exhibitions, public programs, and collection presentations. Since 2000, its collection focus has shifted towards photography and video. Focusing on a broad range of performative strategies in contemporary art, it comprises important contemporary works by artists like Paul McCarthy, Rineke Dijkstra, Andrea Fraser, Nan Goldin, Erik van Lieshout, Guido van der Werve, and Artur Zmijewski.
“Ghost in the system – scenarios for resistance” presents works by a young generation of artists, which is representative for the international character of the artist community in the Netherlands. Many of them have been participants in internationally acclaimed postgraduate educational institutions like the Rijksakademie or De Ateliers in Amsterdam. They are widely exhibited in the Netherlands and abroad.
http://5th.moscowbiennale.ru/en/program/special_projects/ghosts_en.html
http://www.ncca.ru/en/events.text?filial=2&id=1042
Image Employment at MoMA PS1
Image Employment
September 5–October 7, 2013
http://momaps1.org/exhibitions/view/375
Image Employment presents recent moving image works that investigate various modes of contemporary production. The selected works illustrate differing approaches to the subject, from observational films that avoid participation in capitalistic image creation, to videos that engage corporate omnipotence by employing its processes, as well as works that complicate these two tendencies.
Many of the films in the exhibition take an oppositional approach to commercial image making. In Kevin Jerome Everson's Quality Control African-American workers from an Alabama dry-cleaning factory are shown relentlessly carrying out their jobs in real time. Everson explores the duration and physicality of labor through a series of lengthy shots that draw attention to particular tasks such as working the pant press or ironing shirts.
Alternately, many video works in this exhibition employ corporate processes and communication by reiterating corporate imagery and intervening into sites of emergent industries and globalized consumption. DIS' Watermarked I Kenzo Fall 2012, for example, arose out of a paid commission for Kenzo's seasonal menswear collection. The work reflexively dramatizes the commercial advertisement form through the absurd excesses of the actors' expressions, the politically correct racial composition, and a stock media infused aesthetic.
Invoking the cyclical and growing convergence between labor, consumption, and that which propels them, Image Employment examines different ways artists use moving image work to engage and confront contemporary modes of production.
Week 1: September 5–8:
Workers Leaving...
Workers Leaving The Factory
Auguste and Louis Lumière, 1895, 1 min, 35mm to video, b&w, silent, France
Workers Leaving the Factory
Harun Farocki, 1995, 36 min, video, color and b&w, 1:1,37, Germany
Workers Leaving the Googleplex
Andrew Norman Wilson, 2011, 11 min, HD video, color and sound, United States
Workers Leaving the Job Site
Kevin Jerome Everson, 2013, 6:30 min, 16mm to HD video, color, silent, United States Courtesy of the artist; Trilobite-Arts DAC and Picture Palace Pictures
Week 2: September 12–14:
Long Takes and The Object of Labor
Long Takes
Quality Control
Kevin Jerome Everson, 2011, 71 min, 16mm to HD video, b&w and sound, United StatesCourtesy of the artist; Trilobite-Arts-DAC and Picture Palace Pictures
Lunch Break
Sharon Lockhart - TBC, 2008, 83 min, 35 mm transferred to HD video, color and sound, United States
The Object of Labor
Sack Barrow
Ben Rivers, 2011, 21 min, 16mm to HD video, color and sound, United Kingdom
Unstable Object
Dan Eisenberg, 2011, 69 min, HD video, color and sound, U.S./Germany/Turkey
Week 3: September 26–30:
Dream Factory
Stealing Beauty
Guy Ben-Ner, 2007, 18 min, SD Video, color and sound, Israel
The Trainee
Pilvi Takala, 2008, 13 min, HD Video, color and sound, Finland
A New Product
Harun Farocki, 2012, 36 min, HD video, color and sound, Germany
People's passion, lifestyle beautiful wine, gigantic glass towers, all surrounded by water
Neil Beloufa, 2011, 10 min, HD video, color and sound, France
Watermarked I Fall 2012
DIS, 2012, 2 min, HD Video, color and sound, United States
Strategies
Harm van den Dorpel, 2011, 5 min, HD video, color and sound, The Netherlands
Green Screen Refrigerator
Mark Leckey, 2010, 17 min, HD video, color and sound, United Kingdom
De-employed
Michael-Bell Smith, 2012, 3 min, HD video, color and sound, United States
Strike
Hito Steyerl, 2010, 30 sec, HD single channel video, color and sound, Germany
K-CoreaINC.K
Ryan Trecartin, 2009, 33 min, HD video, color and sound, United States
Week 4: October 3–7:
The Movement of Capital
Part I:
The Financial Crisis
Superflex, 2009, 12:23 min, HD video, color and sound, Denmark
Open Outcry
Ben Thorp Brown, 2013, 15 min, HD video, color and sound, United States
Unsupported Transit
Zachary Formwalt, 2011, 14:25 min, HD single channel video, color and sound, United States
Part II:
China Town
Lucy Raven, 2009, 51:30 min, photographic animation, United States
MoMA PS1
22-25 Jackson Ave. at the intersection of 46th Ave.
Long Island City, NY 11101
Borderline at La GAD Marseille
Border Line
30.8.-8.11.2013
Elvire BONDUELLE
Mathieu CARMONA
Antonio CONTADOR
Bastien COSSON
Mathieu VAN EYCK
ELMGREEN & DRAGSET
GENERAL IDEA
Pierre HUYGHE
Kate OWENS
Pilvi TAKALA
Dana WYSE / Jesus Had A Sister
Curators : Charlotte COSSON & Emmanuelle LUCIANI
La GAD – Galerie Arnaud Deschin
34 rue Espérandieu 13001 MARSEILLE – France
http://lagad.eu/
The Invisible Lady
The Invisible Lady
Stina Krooks Stiftelse Anniversary exhibition
16.8.–21.10.2013
New works by: Erkka Nissinen, Aurora Reinhard, Hans Rosenström, Pilvi Takala
Amos Anderson Art Museum
Yrjönkatu 27, 00100 Helsinki
Finland
www.amosanderson.fi
Helsingin Sanomat henkilökuva
http://www.hs.fi/kulttuuri/Se+kumma+tyyppi+väkijoukossa/a1375414874087
Players at Parallel /// Oaxaca
Pilvi Takala
Players
15 Sept -18 Oct
Parallel Oaxaca
Santo Tomás esq. José López Alavez, 68040 Oaxaca, Mexico
+52 951 132 6544
http://paralleloaxaca.wix.com/paralleloaxaca
The Door Between Either And Or at Kunstverein Munich
Door Between Either And Or
13 July–25 August 2013
Opening: Friday 12 July, 7pm
Kunstverein MunichGaleriestraße 4
80539 Munich
80539 Munich
A three-part project consisting of a group exhibition, symposium and publication supported by Bundeskulturstiftung. Door Between Either And Or brings together international artists, theorists and partners to reflect upon conditions surrounding female artistic, theoretical and institutional practices and contemporary gender studies within the changing landscape of biopolitics affected by a burgeoning digital economy.
Part 1
Group exhibition co-curated by Judith Hopf & Marlie Mul and Kunstverein Munich
Chantal Akerman, Jana Euler, Isa Genzken, Morag Keil, Jeanne Mammen, Georgie Nettell, Josephine Pryde, Carol Rama, Gerda Scheepers, Amy Sillman, Pilvi Takala, Gili Tal
Saturday 13 July–25 August 2013
Opening: Friday 12 July, 7pm
Kunstverein Munich, Galeriestraße 4, 80539 Munich
Opening: Friday 12 July, 7pm
Kunstverein Munich, Galeriestraße 4, 80539 Munich
Part 2
‘Sex Beyond Gender?’
Symposium co-organised by Kerstin Stakemeier and Kunstverein Munich
Symposium co-organised by Kerstin Stakemeier and Kunstverein Munich
Keynote speakers: Mladen Dolar and Matteo Pasquinelli
Respondents: Trix Dexcess, Motel Gendarm, Jana Gertke, Johanna Gonschorek, Philipp Gufler, Glitz à Hammahai, Emma Hedditch, Johanna Klingler, Liane Klingler, Sarah Lehnerer, Judith Neunhäuserer, Julia Schöll, Kerstin Stakemeier, Angela Stiegler, Meike Tischer, Frauke Zabel, Veronika xxxxxx
Respondents: Trix Dexcess, Motel Gendarm, Jana Gertke, Johanna Gonschorek, Philipp Gufler, Glitz à Hammahai, Emma Hedditch, Johanna Klingler, Liane Klingler, Sarah Lehnerer, Judith Neunhäuserer, Julia Schöll, Kerstin Stakemeier, Angela Stiegler, Meike Tischer, Frauke Zabel, Veronika xxxxxx
Film program curated by Megan Fraser
Sunday 14 July 2013, 11am–6pm
Amerika Haus, Karolinenplatz 3, Munich
Amerika Haus, Karolinenplatz 3, Munich
Followed by a conversation between Madeleine Bernstorff, Patrizia Dander, Emma Hedditch, Bettina Englerth and Karin Hofmann at Haus der Kunst, Prinzregentenstraße 1, 80538 Munich
Free entry
. To book a place, please email k.m@kunstverein-muenchen.de.
Part 3
Publication with Black Dog Publishing
Door Between Either And Or Part 1
What are the conditions of production for artists working today? It could be said that Institutional Critique has been instrumental in the formation of certain self-awareness from artists toward their own practices. This development has significantly contributed to a changing professionalism within art production, whereby the artist becomes more involved in the conditions in which their artworks are produced, made visible and consumed. Today these conditions are not only defined by the parameters of the art institution—as they were criticised by conceptual art practices in the 1970s and 1990s respectively—but have expanded into heterogeneous configurations of relationships, links and currencies. As such, art production today is no stranger to the heightened connectivity and ‘attention economy’ normally associated with digital sociability.
For this group exhibition Judith Hopf and Marlie Mul have selected work by an intergenerational group of artists, which represent a multiplicity of female attitudes towards the conditions of art production in which their work has been and is contextualised historically and within the present.
Door Between Either And Or Part 2‘Sex Beyond Gender?’
This symposium gravitates around questions of where digitality as a state of contemporary capitalism leaves our genders and sexes. The potential transgressive behaviour of digital media will be discussed in relation to binary gender distinctions within psychoanalytic theory. How far are these binaries omnipresent in our actions, thoughts, desires and feelings, and can they become transposed and actualised in pushing for a ‘sex beyond gender?’
Two groups of respondents will react to lectures by international keynote speakers Mladen Dolar and Matteo Pasquinelli and debate their theories in terms of a possible praxis. Following the discussion filmmaker Megan Fraser will present a curated film program. Afterwards at Haus der Kunst, artist Emma Hedditch, film curator and theorician Madeleine Bernstorff and organisers of the feminist film festival Bimovie, Karin Hofmann and Bettina Englerth will join Patrizia Dander, curator of the exhibition So Much I Want to Say: From Annemiek to Mother Courage – Goetz Collection at Haus der Kunst in conversation and together trace the influence of Laura Mulvey’s seminal essay “Visual Pleasure and Narrative Cinema” from 1975.
Door Between Either And Or Part 3Following Parts 1 and 2, a publication documenting the exhibition and symposium with commissioned texts and contributions from international partners will be published by Black Dog publishing.
Partners:Door Between Either And Or is supported by Bundeskulturstiftung
Symposium in co-operation with cx centrum
für interdisziplinäre studien der Akademie der Bildenden Künste München
Subscribe to:
Posts (Atom)