Vorherige Geschichte

Europa zuerst!


MOVEMENTS IN FEMINISM / FEMINISMS IN MOVEMENT: URGENCIES, EMERGENCIES, PROMISES

1. Dezember 2018, 10.30 bis 20 Uhr

Biopolitical Regimes of Feminism: 1938 – 1968 – 2018

Noit Banai

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.


Who is a Revolutionary?

Övül Ö. Durmusoglu

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).

Workshop

Public Feminisms Forum. Collectively: Thinking, Speaking, Writing

With Anschläge (Lea Susemichel), AUF (Eva Geber, Marietta Schneider), Ona B., Bliss (Marlene Bür- gerkurator 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, RitClique (Erica Fischer), Salon Talk (Dudu Kü- cükgöl, Anna Mendelssohn), Juliane Saupe, Basak Senova, Sorority (Sandra Nigischer, Martina Schöggl), Melinda Tamas, VBKÖ (Stephanie Misa, Ruby Sircar), Wienwoche (Nataša Mackuljak, Iva- na Marjanovic), Wirsindfeige.org (Malu Blume, Ebru Düzgün, 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.


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


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


Noit Banai, Biopolitical Regimes of Feminism: 1938 – 1968 – 2018

Övül Ö. Durmusoglu, Who is a Revolutionary?

Moderated by Luisa Ziaja


Workshop

Night School - Neda Hosseinyar, Marissa Lôbo, Stephanie Misa, Catrin Seefranz, Contagious Ideas: A Night School Workshop


Nächste Geschichte

Einleitung