Description: “What happens when Ariadne and (the) Minotaur – the secondary characters of an ancient Greek myth – meet each other in the labyrinth? The clip “Ariadne and Minotaur” is an exploration of possible answers, where otherness became a place for self-expression, beyond the logic of the phallus, characterized by binary oppositions and hierarchical power relations”.
Press release by re.act.feminism
Re.act.feminism #2 – A performing archive
Editors: Bettina Knaup, Beatrice Ellen Stammer
Publisher: Nürnberg: Verlag für moderne Kunst
Content: 318 pages
Published by Verlag für moderne Kunst Nürnberg and Live Art Development Agency London
Berlin: re.act.feminism Book Launch
Finally – after three years of project development, seven exhibitions across Europe and numerous events – we are very happy to present the re.act.feminism book and cordially invite you to our book launch on:
Wednesday, 26 March 2014, 7pm – Künstlerhaus Bethanien, Kottbusser Str. 10, Berlin, Germany
We will introduce the book, but most of all on the occasion, we’d like to celebrate with you! Also there is the unique opportunity to auction one of the re.act.feminism archive modules or other paraphernalia during this evening.
This book of 320 pages includes eight essays by curators and scholars Kathrin Becker, Mathias Danbolt, Eleonora Fabião, Bettina Knaup, Laima Kreivytė / Oxana Sarkisyan / Mare Tralla / Reet Varblane, Laurence Rassel / Linda Valdés, Angelika Richter and Rebecca Schneider, seven visual essays, more than 200 illustrations, the biographies of all the 180+ participating artists and an appendix with German translations. Published by Verlag für moderne Kunst Nürnberg and Live Art Development Agency London.
Retail price: 29,- €
Special offer only on 26 March 2014! The book will be on offer for a discounted price. Special editions will be available with signatures by some of the artists and writers.
Looking forward to meet you at this occasion
Beatrice E. Stammer and Bettina Knaup and team
re.act.feminism – a Performing Archive is an ongoing long-term archive, and an exhibition project on feminism and performance art travelling throught Europe from 2011 to 2013 with archives, exhibtions, workshops, performances, talks, research and now a book.
The works in the archive have been chosen based on their potential and relevance for today’s feminist and queer debates and artistic strategies. The aim of the curators is to create a living archive and they have created great resource site about feminist and queer performance artists.
Barbara Hammer as Claude Cahun in A Gay Bar from barbara hammer on Vimeo.
Barbara Hammer performed Claude Cahun, May 6 – 7, 2011 at The Kitchen, NYC, in Emily Roysdon’s A Gay Bar Called Everywhere (With Costumes and No Practice).
Artist Statement by avant-garde filmmaker and lesbian feminist Barbara Hammer, USA.
doubt it / talk series:
a conversation between Josh Faught and Julia Bryan-Wilson
Tues, Dec 10, 7-10 pm
n/a – 4303 West St, Oakland, USA
doubt it / talk series is pleased to present a conversation between 2012 seca award winning artist Josh Faught and Julia Bryan-Wilson, associate professor of modern and contemporary art at the University of California, Berkeley. Using the strategy of conversation and dialogue, the talk between Faught and Bryan-Wilson will think through contemporary sensibilities within queer art and making.
doubt it / talk series is a collaborative project to create a physical and social space for contemporary artists to perform queer practices as an artistic extension through lectures, performances and screenings. doubt it / talk series aims to move beyond a determined examination of queer sensibilities and make space for the potentiality of alternative embodiments, dialogues and art practices.
doubt it / talk series is supported by southern exposure’s alternative exposure grant program
About Nao Bustamante
Nao Bustamante is an internationally known American performance and video artist originally from California, now based in New York. Her work includes performance art, sculpture, installation and video. She has exhibited her works in Usa, England and Finland.In 2000 she received the GLBT Historical Society Arts Award. In 2001 she received the prestigious Anonymous Was a Woman fellowship and in 2007 named a New York Foundation for the Arts Fellow, as well as a Lambent Fellow. Currently, Bustamante holds the position of Associate Professor of New Media and Live Art at Rensselaer Polytechnic Institute, NY, USA.
About Amelia Jones
“Amelia Jones practices a queer, anti-racist, feminist history and theory of twentieth and twenty-first century Euro-American visual arts, including performance, film, video,and installation—articulated in relation to increasingly global frameworks. Jones’s teaching presents canonical as well as marginal practices across twentieth and twenty-first century cultural practices, seeking to present contingent histories of art, performance, and visual culture and their discursive and theoretical frameworks.Jones’s courses integrate intellectual histories of various modes of critical thought,including those articulated through art practice and criticism, philosophy, and identity politics (among others).” – FIU Art + Art History Department
Amelia Jones is the author of Seeing Differently: A History and Theory of Identification and the Visual Arts (Routledge, 2012). She is currently writing a book on queering performance. After the above talk she got an interesting question from a member of the audience regarding sexuality and queerness: “I hear the word, the Queering of Art, just kind of tossed around a lot lately and… I kind of have been thinking with that obviously for some kind of people being either being a sexual or gender identification. You know, how there seems to be this kind politics to it, when it like the queer artist is not necessarily queer or a non-queer artist queering art? How do you feel about the two? It seems to have turned a bit into a catch all phrase.”
Amelia Jones’ Answer: “That is an excelent question. And that is going to be the really hard part about this book, avoiding making anything that is kind of cool i.e. unexpected, QUEER. One thing that I would say is of the artist [Nao Bustamante's] that I am looking at, I don’t even know what her sexual object choice is. I actually have no idea. So in that sense it has nothing to do with what person’s sexual practices are, but I find her approach to gender and sexuality totally queering, the same way… And again this is opening it up a little bit that criticism of making it a little bit to broad. But I do find it usefull to think how you can perform in a way to queer performances itself. If we think of performance as being on a TV show. She is trowing our understanding of that into questioning that is quite confusing, so I guess that I would try to be really specific about it, but not tie it to sexual practices, sexual orientation, or what ever. But it is a really good question and I want to be careful about it. Obviously I have read a lot of queer theory, but I want just to make sure that I don’t use it to lightly or too broadly, so that it looses its values. But all the artists that I am looking at are explicitly working on the sexual gendered body, which also in every case is racialized and classed, and so one of the things that I am really interested in is this artist making it possible to seperate out all these identifications; so it is quite different from what you know a lesbian and a feminist would have done in the 1975… she might have gotten up and talked about the lesbian experience; It is not at all what this is about. This is really a 1990s and 2000s kind of phenomenon, is building on feminist, queer and anti-racist theory, and is doing this work that is really confusing our expectations… in fact Heather Kassel(?) is one of the other artists, who’ll probably appear in the book (…) He is transgendered, and so that is like explicitedly transgendered, so that is a case, where I’ll really have to think about how that affects the boundaries of what I mean by queer.”