En el presente ensayo apuntamos algunos retos y alternativas a la lógica punitivista desde tradic... more En el presente ensayo apuntamos algunos retos y alternativas a la lógica punitivista desde tradiciones antipatriarcales, antirracistas y descoloniales, como la labor que realizamos desde la Ciudad de México en un colectivo del cual hicimos parte de 2020 a 2023, ofreciendo talleres y acompañando casos de violen- cia sexual y de género, especialmente contra mujeres y personas de la diversidad sexual. En conjunto, ex- ploramos el rol de la creatividad reparativa (Kondo, 2018) a la vez con la imaginación preventiva, como la llamamos, practicadas a través del intercambio, la la- bor creativa y el conocimiento colectivos durante los procesos de acompañamiento. A través de la prác- tica de la justicia transformativa, nuestra intención ha sido crear espacios para las personas (personas migrantes, personas trabajadoras sexuales o en la mira del Estado por distintas razones, entre otras) quienes no pueden, o quieren, recurrir a la policía o instituciones gubernamentales con el fin de (des) aprender, prevenir y responder colectivamente a la violencia sexual y de género.
From the Year 2068: Visionary Fictions and Archival Imaginaries in a Poster Series como espacios ... more From the Year 2068: Visionary Fictions and Archival Imaginaries in a Poster Series como espacios para imaginar y organizar un cambio de manera inter y transgeneracional con colaboración, imaginarios inter y transgeneracionales
Aunque la labor reproductiva –como la enfermería, la limpieza y el cuidado– sostiene nuestras vid... more Aunque la labor reproductiva –como la enfermería, la limpieza y el cuidado– sostiene nuestras vidas, se trata de una labor ampliamente infravalorada y explotada en nuestros entornos y economías cotidianas. Por ello, no es de extrañar que este tipo de labor rara vez se documente en los archivos. Sin embargo, la labor reproductiva no sólo desempeña un papel crucial en los archivos sino también en la producción de historias y futuros planetarios. En sus múltiples invisibilidades, la labor reproductiva desempeña un papel fantasmal en nuestras vidas, en nuestros archivos y para este planeta dañado. ¡Queremos abordar lxs fantasmas de las persistentes luchas por la labor reproductiva!
Este texto emula la forma y estructura de un guion dramatico. En el se desarrolla una visita guia... more Este texto emula la forma y estructura de un guion dramatico. En el se desarrolla una visita guiada al Teatro Maya, a traves de la cual se pretende mostrar las maneras en que lo cultural diferente y lo cultural exotico habitan la arquitectura. El texto aborda este analisis desde una perspectiva especifica, la del travestismo cultural, poniendo especial atencion en el contexto arquitectonico, cultural e historico particular del Teatro Maya, que se inauguro en 1927 en el Centro de Los Angeles en California, Estados Unidos. Al enfocarse en los conceptos de la performatividad y el travestismo de Judith Butler, el “travestismo cultural” de la teorica cultural y literaria Jossianna Arroyo, y el concepto de la “colonialidad del ver” del historiador y teorico de cultura visual Joaquin Barriendos, se analizan tanto los procesos de apropiacion, exotizacion, incorporacion, mercantilizacion y consumo de imaginarios pertenecientes a la modernidad/ colonialidad del Teatro Maya.
"The video Wish (2010) is projected on two screens and the song Black Wish by The Last P... more "The video Wish (2010) is projected on two screens and the song Black Wish by The Last Poets fills the small seminar room of the University Program of Gender Studies (PUEG) at the National Autonomous University of Mexico (UNAM). All of us, participants of the seminar Del queer al cuir: desplazamiento geopolítico sur y desde las periferias / From Queer to Cuir: Geopolitical Displacement from the South and the Peripheries, organized by the poet, essayist and performer Sayak Valencia, rock our bodies to the song’s rhythm and at the end of the video we start a heated debate about gloves, white, brown, black, feminine, masculine, trans hands, fisting and post-porn. I am sitting – by chance and unknowingly – close to Katia Sepúlveda, the Chilean artist whose video has just been presented. She has been living in Germany over the last nine years. Soon enough we get to talk, I thank her for the presentation, and three years later I write her an email, asking if she would be interested in a conversation for a publication in Europe. A few hours later I find her consent in the inbox. The following exchange came about through several emails in a hybrid of German and Spanish, revisions and translations, over a period of one month from the middle of February to the middle of March 2015." In Christiane Erharter, Hans Scheirl, Dietmar Schwärzler, Ruby Sircar (Eds.), Pink Labor on Golden Streets. Queer Art Practices, vol. 17, Berlin: Academy of Fine Arts Vienna, Sternberg Press, 2015
Organized around the project “ausgetrickst and eingenommen Eine
feministische Raum-Pflege in 2 Ar... more Organized around the project “ausgetrickst and eingenommen Eine feministische Raum-Pflege in 2 Arbeitsgängen.” [“outwitted and occupied. A Feminist Space Maintenance in 2 Working Steps.”] (2006) by ArchFem, this article explores how the project and its augmented iteration “Aus dem Jahr 2068 I From the Year 2068” in 2021 – conceived by myself in collaboration with ArchFem, INVASORIX and the Secretariat for Ghosts, Archival Politics and Gaps (SKGAL in its German abbreviations) – engage both science fiction and the archive as spaces for imagining and organizing change with an understanding of their situatedness in time and space, language and culture.
Sharpening the Haze: Visual Essays on Imperial History and Memory, 2020
Besides collective denials of the past (such as brutalities against indigenous peoples), people m... more Besides collective denials of the past (such as brutalities against indigenous peoples), people may be encouraged to act as if they don't know about the present. Whole societies are based on forms of cruelty, discrimination, repression or exclusion which are "known" about but never openly acknowledged … Indeed, distortions and self-delusions are most often synchronized … Whole societies have unmentioned and unmentionable rules about what should not be openly talked about. You are subject to a rule about obeying these rules, but bound also by a metarule which dictates that you deny your knowledge of the original rule.
This article examines the postgraduate Gender and Visual Culture seminar that we have been co-tea... more This article examines the postgraduate Gender and Visual Culture seminar that we have been co-teaching as a team of two (and occasionally three) professors over a four-year period at the public National Autonomous University of Mexico. Throughout this seminar, we have embraced personal and collective experiences in the process of (un)teaching and (un)learning to explore the possibilities of a pedagogy of ‘contagion by contact’, both feminist and critical, encouraging creative formats. Drawing from a range and diverse reflections, we seek to critically explore an amplified challenge of, and the need for, a collaborative and de(s)colon/ial/ising approach towards (un)teaching and (un)learning in the context of the public university as a contentious space of political engagement. This space requires a constant questioning of where to teach from (a politics of location), what to teach (culturally diverse and conflicting worldviews), and how to teach (critical and decolonising methodologi...
This PhD uses a queer reading strategy to explore the performative sites of lucha libre (wrestlin... more This PhD uses a queer reading strategy to explore the performative sites of lucha libre (wrestling in Mexico). My research inhabits the space behind the scene, the space between the ring and the audience, and the space of being part of the audience itself. My reading of the luchas takes place through the camera, the interview, printed works, theoretical investigation, and through the work of artists who draw on lucha libre – including myself. As lucha libre itself cannot be narrowed down to one specific medium, my subject matter allows me to utilize an interdisciplinary perspective to examine its various encounters, spaces, subjectivities and gestures. As well as attending live events in the arenas, watching lucha libre on television, exploring its circulation in artistic and filmic productions and its appropriation in advertisements and political discourse, I have carried out an intervention in a regular lucha libre programme by inventing a character, promoting, constructing and st...
Secretariat for Ghosts, Archival Politics and Gaps (SKGAL) consider the potential self-exploitati... more Secretariat for Ghosts, Archival Politics and Gaps (SKGAL) consider the potential self-exploitation of precarious cultural and academic workers. Their essay and relational map attempt to make visible the conditions of their labour, without becoming fodder for cognitive capitalism.
Issue 52 / November 2021
eds. Helena Reckitt and Dorothee Richter
Instituting Feminism
"Instituting Feminism" reflects on the efforts of curators, artists, and community organisers to move beyond identifying inequities in the cultural industries to devising tools that can foster structural change. Exploring how curators have developed projects informed by feminist politics and aesthetics, contributors also look beyond representational formats to highlight the infrastructures and co-dependencies upon which cultural production relies. Envisaging feminist instituting as an active, relational practice, articles discuss curatorial, artistic, and organisational initiatives that seek to forge alliances with struggles for ecological and social transformation.
Romane Bernard, Nanne Buurman, Sofia Cecere, Ève Chabanon, Emelie Chhangur, Anna Colin, Angela Dimitrakaki, Berit Fischer, Jennifer Fisher, Thelma Gaster, Nandita Ghandi, Janna Graham, Althea Greenan, Jeanne Guillou, Husseina Hamza, Merete Ipsen, Joyce Jacca, Tracey Jarrett, Daria Khan, Sharlene Khan, La Sala (Alba Colomo and Lucy Lopez), Barbara Lefebvre, Séraphine Le Maire, Oksana Luyssen,Rosa Martínez, Alex Martinis Roe, Erin McCutcheon, Rose Moreau, Camille Morineau, Adele Patrick, Madeleine Planeix-Crocker, Jeanne Porte, Laurence Rassel, Helena Reckitt, Maura Reilly, Dorothee Richter, Secretariat for Ghosts, Archival Politics and Gaps (SKGAL), Nizan Shaked, Cornelia Sollfrank, Ann Sutherland Harris, The Two Talking Yonis, Miska Tokarek, Elena Zaytseva, Catherine de Zegher.
Sharpening the Haze: Visual Essays on Imperial History and Memory, 2020
In this chapter I propose a visual glossary of what I have conceived as delirio güero (white delu... more In this chapter I propose a visual glossary of what I have conceived as delirio güero (white delusion). It derives from my essay film/video performance/fake history show/future re-enactment titled DELIRIO GÜERO WHITE DELUSION 1825, 2018, 2211 and back (2019/2211). The film takes a deep dive into the nitty-gritty of the outlandish acts of nineteenth-century self-appointed discoverer/artist Jean-Friedrich Waldeck, and architect/researcher/photographer Teobert Maler, and the colonial imperial undertakings of the monarchs Charlotte of Belgium and Maximilian of Habsburg in Mexico, along with his follower, the Früchterl [swindler] Anton “Toni” Mayr, a distant relative of the güera filmmaker/artist. My intention is to articulate three keywords that enable a necessarily incomplete dialogue around delirio güero—a dialogue that does not reduce this concept to my audio-visual assemblage but engages it as a complex practice of entanglement and entitlement, implication and aspiration, innocence and ignorance, denial and delusion.
A collaborative and decolonising approach towards (un)teaching and (un)learning Abstract This art... more A collaborative and decolonising approach towards (un)teaching and (un)learning Abstract This article examines the postgraduate Gender and Visual Culture seminar that we have been co-teaching as a team of two (and occasionally three) professors over a four-year period at the public National Autonomous University of Mexico. Throughout this seminar, we have embraced personal and collective experiences in the process of (un)teaching and (un)learning to explore the possibilities of a pedagogy of 'contagion by contact', both feminist and critical, encouraging creative formats. Drawing from a range and diverse reflections, we seek to critically explore an amplified challenge of, and the need for, a collaborative and de(s)colon/ial/ ising approach towards (un)teaching and (un)learning in the context of the public university as a contentious space of political engagement. This space requires a constant questioning of where to teach from (a politics of location), what to teach (culturally diverse and conflicting worldviews), and how to teach (critical and decolonising methodologies).
As educators working at a public university we enter classrooms composed of increasingly diverse ... more As educators working at a public university we enter classrooms composed of increasingly diverse students in which our pedagogical practices and knowledges necessitate more complex and nuanced understandings of race, ethnicity, social class, gender, sexuality and educational level, among other things. Uncovering taken-for-granted assumptions, dominant stereotypes, and educational structures that reproduce inequalities, privilege, discrimination, exclusion and their intersections in universities requires a constant questioning of where to teach from (a politics of location), what to teach (culturally diverse and conflicting worldviews) and how to teach (critical and decolonising methodologies). This article examines the postgraduate Gender and Visual Culture seminar that we have been co-teaching as a team of two (and occasionally three) professors over a four-year period at the public National Autonomous University of Mexico (UNAM) in Mexico City. Throughout this seminar, we have embraced personal and collective experiences in the process of (un)teaching and (un)learning to explore the possibilities of an ‘engaged pedagogy’, in both feminist and critical, encouraging creative formats. In this seminar, participants used different formats and what we call politically committed (un)learning devices, such as debates, visual and cultural methods and practices, physical exercises, mappings of the body, video, performance, radio (the classroom as a radio booth), re-signification of cultural spaces within the university (the museum and the Espacio Escultórico (‘Sculpture Space’, resembling a Coyolxauhqui site) as the basis of our activities of individual and collective learning processes. However, it was not until April 2015 that we opened up the processes of conceptualizing/planning/producing/facilitating/giving a seminar to the participants as part of our pursuit/effort to decolonise our pedagogical practices and the public university as a site of potential (un)teaching and (un)learning. In this regard, the Gender and Visual Culture seminar, in collaboration with professors, was also co-facilitated or co-taught by MANU(EL)(LA)—a research and working group integrated by seven participants, some of them students from different disciplines and degrees of education, and some others currently not enrolled in any educational system (all of them have attended the seminar in previous years). Drawing from a range and diverse reflections, questions and answers of seminar participants, MANU(EL)(LA), and our own assessments, observations and analyses as un-learning process facilitators, in this article we seek to critically explore an amplified challenge of, and the need for, a collaborative and decolonising approach towards (un)learning in the context of the public university as a contentious space of political engagement.
This article examines the postgraduate Gender and Visual Culture seminar that we have been co-tea... more This article examines the postgraduate Gender and Visual Culture seminar that we have been co-teaching as a team of two (and occasionally three) professors over a four-year period at the public National Autonomous University of Mexico. Throughout this seminar, we have embraced personal and collective experiences in the process of (un)teaching and (un)learning to explore the possibilities of a pedagogy of ‘contagion by contact’, both feminist and critical, encouraging creative formats. Drawing from a range and diverse reflections, we seek to critically explore an amplified challenge of, and the need for, a collaborative and de(s)colon/ial/ ising approach towards (un)teaching and (un)learning in the context of the public university as a contentious space of political engagement. This space requires a constant questioning of where to teach from (a politics of location), what to teach (culturally diverse and conflicting worldviews), and how to teach (critical and decolonising methodologies).
All-women art spaces in Europe in the long 1970s
Edited by Agata Jakubowska and Katy Deepwell
All... more All-women art spaces in Europe in the long 1970s Edited by Agata Jakubowska and Katy Deepwell All-women art spaces in Europe in the long 1970s brings together essays about women artists-only exhibitions, festivals, collective art projects, groups and associations. Exploring the idea of heterotopia and feminism as a travelling concept, specific collaborations and initiatives are discussed from Italy, Spain, UK, Portugal, Austria, Poland, Sweden, Germany, The Netherlands and France during 1968-1984. Authors: Susanne Altmann, Agata Jakubowska, Fabienne Dumont, Annika Öhrner, Katy Deepwell, Elke Krasny, Nina Hoechtl and Julia Wieger, Monika Kaiser, Kathleen Wentrack, Katia Almerini, Marcia Oliveira.,
En el presente ensayo apuntamos algunos retos y alternativas a la lógica punitivista desde tradic... more En el presente ensayo apuntamos algunos retos y alternativas a la lógica punitivista desde tradiciones antipatriarcales, antirracistas y descoloniales, como la labor que realizamos desde la Ciudad de México en un colectivo del cual hicimos parte de 2020 a 2023, ofreciendo talleres y acompañando casos de violen- cia sexual y de género, especialmente contra mujeres y personas de la diversidad sexual. En conjunto, ex- ploramos el rol de la creatividad reparativa (Kondo, 2018) a la vez con la imaginación preventiva, como la llamamos, practicadas a través del intercambio, la la- bor creativa y el conocimiento colectivos durante los procesos de acompañamiento. A través de la prác- tica de la justicia transformativa, nuestra intención ha sido crear espacios para las personas (personas migrantes, personas trabajadoras sexuales o en la mira del Estado por distintas razones, entre otras) quienes no pueden, o quieren, recurrir a la policía o instituciones gubernamentales con el fin de (des) aprender, prevenir y responder colectivamente a la violencia sexual y de género.
From the Year 2068: Visionary Fictions and Archival Imaginaries in a Poster Series como espacios ... more From the Year 2068: Visionary Fictions and Archival Imaginaries in a Poster Series como espacios para imaginar y organizar un cambio de manera inter y transgeneracional con colaboración, imaginarios inter y transgeneracionales
Aunque la labor reproductiva –como la enfermería, la limpieza y el cuidado– sostiene nuestras vid... more Aunque la labor reproductiva –como la enfermería, la limpieza y el cuidado– sostiene nuestras vidas, se trata de una labor ampliamente infravalorada y explotada en nuestros entornos y economías cotidianas. Por ello, no es de extrañar que este tipo de labor rara vez se documente en los archivos. Sin embargo, la labor reproductiva no sólo desempeña un papel crucial en los archivos sino también en la producción de historias y futuros planetarios. En sus múltiples invisibilidades, la labor reproductiva desempeña un papel fantasmal en nuestras vidas, en nuestros archivos y para este planeta dañado. ¡Queremos abordar lxs fantasmas de las persistentes luchas por la labor reproductiva!
Este texto emula la forma y estructura de un guion dramatico. En el se desarrolla una visita guia... more Este texto emula la forma y estructura de un guion dramatico. En el se desarrolla una visita guiada al Teatro Maya, a traves de la cual se pretende mostrar las maneras en que lo cultural diferente y lo cultural exotico habitan la arquitectura. El texto aborda este analisis desde una perspectiva especifica, la del travestismo cultural, poniendo especial atencion en el contexto arquitectonico, cultural e historico particular del Teatro Maya, que se inauguro en 1927 en el Centro de Los Angeles en California, Estados Unidos. Al enfocarse en los conceptos de la performatividad y el travestismo de Judith Butler, el “travestismo cultural” de la teorica cultural y literaria Jossianna Arroyo, y el concepto de la “colonialidad del ver” del historiador y teorico de cultura visual Joaquin Barriendos, se analizan tanto los procesos de apropiacion, exotizacion, incorporacion, mercantilizacion y consumo de imaginarios pertenecientes a la modernidad/ colonialidad del Teatro Maya.
"The video Wish (2010) is projected on two screens and the song Black Wish by The Last P... more "The video Wish (2010) is projected on two screens and the song Black Wish by The Last Poets fills the small seminar room of the University Program of Gender Studies (PUEG) at the National Autonomous University of Mexico (UNAM). All of us, participants of the seminar Del queer al cuir: desplazamiento geopolítico sur y desde las periferias / From Queer to Cuir: Geopolitical Displacement from the South and the Peripheries, organized by the poet, essayist and performer Sayak Valencia, rock our bodies to the song’s rhythm and at the end of the video we start a heated debate about gloves, white, brown, black, feminine, masculine, trans hands, fisting and post-porn. I am sitting – by chance and unknowingly – close to Katia Sepúlveda, the Chilean artist whose video has just been presented. She has been living in Germany over the last nine years. Soon enough we get to talk, I thank her for the presentation, and three years later I write her an email, asking if she would be interested in a conversation for a publication in Europe. A few hours later I find her consent in the inbox. The following exchange came about through several emails in a hybrid of German and Spanish, revisions and translations, over a period of one month from the middle of February to the middle of March 2015." In Christiane Erharter, Hans Scheirl, Dietmar Schwärzler, Ruby Sircar (Eds.), Pink Labor on Golden Streets. Queer Art Practices, vol. 17, Berlin: Academy of Fine Arts Vienna, Sternberg Press, 2015
Organized around the project “ausgetrickst and eingenommen Eine
feministische Raum-Pflege in 2 Ar... more Organized around the project “ausgetrickst and eingenommen Eine feministische Raum-Pflege in 2 Arbeitsgängen.” [“outwitted and occupied. A Feminist Space Maintenance in 2 Working Steps.”] (2006) by ArchFem, this article explores how the project and its augmented iteration “Aus dem Jahr 2068 I From the Year 2068” in 2021 – conceived by myself in collaboration with ArchFem, INVASORIX and the Secretariat for Ghosts, Archival Politics and Gaps (SKGAL in its German abbreviations) – engage both science fiction and the archive as spaces for imagining and organizing change with an understanding of their situatedness in time and space, language and culture.
Sharpening the Haze: Visual Essays on Imperial History and Memory, 2020
Besides collective denials of the past (such as brutalities against indigenous peoples), people m... more Besides collective denials of the past (such as brutalities against indigenous peoples), people may be encouraged to act as if they don't know about the present. Whole societies are based on forms of cruelty, discrimination, repression or exclusion which are "known" about but never openly acknowledged … Indeed, distortions and self-delusions are most often synchronized … Whole societies have unmentioned and unmentionable rules about what should not be openly talked about. You are subject to a rule about obeying these rules, but bound also by a metarule which dictates that you deny your knowledge of the original rule.
This article examines the postgraduate Gender and Visual Culture seminar that we have been co-tea... more This article examines the postgraduate Gender and Visual Culture seminar that we have been co-teaching as a team of two (and occasionally three) professors over a four-year period at the public National Autonomous University of Mexico. Throughout this seminar, we have embraced personal and collective experiences in the process of (un)teaching and (un)learning to explore the possibilities of a pedagogy of ‘contagion by contact’, both feminist and critical, encouraging creative formats. Drawing from a range and diverse reflections, we seek to critically explore an amplified challenge of, and the need for, a collaborative and de(s)colon/ial/ising approach towards (un)teaching and (un)learning in the context of the public university as a contentious space of political engagement. This space requires a constant questioning of where to teach from (a politics of location), what to teach (culturally diverse and conflicting worldviews), and how to teach (critical and decolonising methodologi...
This PhD uses a queer reading strategy to explore the performative sites of lucha libre (wrestlin... more This PhD uses a queer reading strategy to explore the performative sites of lucha libre (wrestling in Mexico). My research inhabits the space behind the scene, the space between the ring and the audience, and the space of being part of the audience itself. My reading of the luchas takes place through the camera, the interview, printed works, theoretical investigation, and through the work of artists who draw on lucha libre – including myself. As lucha libre itself cannot be narrowed down to one specific medium, my subject matter allows me to utilize an interdisciplinary perspective to examine its various encounters, spaces, subjectivities and gestures. As well as attending live events in the arenas, watching lucha libre on television, exploring its circulation in artistic and filmic productions and its appropriation in advertisements and political discourse, I have carried out an intervention in a regular lucha libre programme by inventing a character, promoting, constructing and st...
Secretariat for Ghosts, Archival Politics and Gaps (SKGAL) consider the potential self-exploitati... more Secretariat for Ghosts, Archival Politics and Gaps (SKGAL) consider the potential self-exploitation of precarious cultural and academic workers. Their essay and relational map attempt to make visible the conditions of their labour, without becoming fodder for cognitive capitalism.
Issue 52 / November 2021
eds. Helena Reckitt and Dorothee Richter
Instituting Feminism
"Instituting Feminism" reflects on the efforts of curators, artists, and community organisers to move beyond identifying inequities in the cultural industries to devising tools that can foster structural change. Exploring how curators have developed projects informed by feminist politics and aesthetics, contributors also look beyond representational formats to highlight the infrastructures and co-dependencies upon which cultural production relies. Envisaging feminist instituting as an active, relational practice, articles discuss curatorial, artistic, and organisational initiatives that seek to forge alliances with struggles for ecological and social transformation.
Romane Bernard, Nanne Buurman, Sofia Cecere, Ève Chabanon, Emelie Chhangur, Anna Colin, Angela Dimitrakaki, Berit Fischer, Jennifer Fisher, Thelma Gaster, Nandita Ghandi, Janna Graham, Althea Greenan, Jeanne Guillou, Husseina Hamza, Merete Ipsen, Joyce Jacca, Tracey Jarrett, Daria Khan, Sharlene Khan, La Sala (Alba Colomo and Lucy Lopez), Barbara Lefebvre, Séraphine Le Maire, Oksana Luyssen,Rosa Martínez, Alex Martinis Roe, Erin McCutcheon, Rose Moreau, Camille Morineau, Adele Patrick, Madeleine Planeix-Crocker, Jeanne Porte, Laurence Rassel, Helena Reckitt, Maura Reilly, Dorothee Richter, Secretariat for Ghosts, Archival Politics and Gaps (SKGAL), Nizan Shaked, Cornelia Sollfrank, Ann Sutherland Harris, The Two Talking Yonis, Miska Tokarek, Elena Zaytseva, Catherine de Zegher.
Sharpening the Haze: Visual Essays on Imperial History and Memory, 2020
In this chapter I propose a visual glossary of what I have conceived as delirio güero (white delu... more In this chapter I propose a visual glossary of what I have conceived as delirio güero (white delusion). It derives from my essay film/video performance/fake history show/future re-enactment titled DELIRIO GÜERO WHITE DELUSION 1825, 2018, 2211 and back (2019/2211). The film takes a deep dive into the nitty-gritty of the outlandish acts of nineteenth-century self-appointed discoverer/artist Jean-Friedrich Waldeck, and architect/researcher/photographer Teobert Maler, and the colonial imperial undertakings of the monarchs Charlotte of Belgium and Maximilian of Habsburg in Mexico, along with his follower, the Früchterl [swindler] Anton “Toni” Mayr, a distant relative of the güera filmmaker/artist. My intention is to articulate three keywords that enable a necessarily incomplete dialogue around delirio güero—a dialogue that does not reduce this concept to my audio-visual assemblage but engages it as a complex practice of entanglement and entitlement, implication and aspiration, innocence and ignorance, denial and delusion.
A collaborative and decolonising approach towards (un)teaching and (un)learning Abstract This art... more A collaborative and decolonising approach towards (un)teaching and (un)learning Abstract This article examines the postgraduate Gender and Visual Culture seminar that we have been co-teaching as a team of two (and occasionally three) professors over a four-year period at the public National Autonomous University of Mexico. Throughout this seminar, we have embraced personal and collective experiences in the process of (un)teaching and (un)learning to explore the possibilities of a pedagogy of 'contagion by contact', both feminist and critical, encouraging creative formats. Drawing from a range and diverse reflections, we seek to critically explore an amplified challenge of, and the need for, a collaborative and de(s)colon/ial/ ising approach towards (un)teaching and (un)learning in the context of the public university as a contentious space of political engagement. This space requires a constant questioning of where to teach from (a politics of location), what to teach (culturally diverse and conflicting worldviews), and how to teach (critical and decolonising methodologies).
As educators working at a public university we enter classrooms composed of increasingly diverse ... more As educators working at a public university we enter classrooms composed of increasingly diverse students in which our pedagogical practices and knowledges necessitate more complex and nuanced understandings of race, ethnicity, social class, gender, sexuality and educational level, among other things. Uncovering taken-for-granted assumptions, dominant stereotypes, and educational structures that reproduce inequalities, privilege, discrimination, exclusion and their intersections in universities requires a constant questioning of where to teach from (a politics of location), what to teach (culturally diverse and conflicting worldviews) and how to teach (critical and decolonising methodologies). This article examines the postgraduate Gender and Visual Culture seminar that we have been co-teaching as a team of two (and occasionally three) professors over a four-year period at the public National Autonomous University of Mexico (UNAM) in Mexico City. Throughout this seminar, we have embraced personal and collective experiences in the process of (un)teaching and (un)learning to explore the possibilities of an ‘engaged pedagogy’, in both feminist and critical, encouraging creative formats. In this seminar, participants used different formats and what we call politically committed (un)learning devices, such as debates, visual and cultural methods and practices, physical exercises, mappings of the body, video, performance, radio (the classroom as a radio booth), re-signification of cultural spaces within the university (the museum and the Espacio Escultórico (‘Sculpture Space’, resembling a Coyolxauhqui site) as the basis of our activities of individual and collective learning processes. However, it was not until April 2015 that we opened up the processes of conceptualizing/planning/producing/facilitating/giving a seminar to the participants as part of our pursuit/effort to decolonise our pedagogical practices and the public university as a site of potential (un)teaching and (un)learning. In this regard, the Gender and Visual Culture seminar, in collaboration with professors, was also co-facilitated or co-taught by MANU(EL)(LA)—a research and working group integrated by seven participants, some of them students from different disciplines and degrees of education, and some others currently not enrolled in any educational system (all of them have attended the seminar in previous years). Drawing from a range and diverse reflections, questions and answers of seminar participants, MANU(EL)(LA), and our own assessments, observations and analyses as un-learning process facilitators, in this article we seek to critically explore an amplified challenge of, and the need for, a collaborative and decolonising approach towards (un)learning in the context of the public university as a contentious space of political engagement.
This article examines the postgraduate Gender and Visual Culture seminar that we have been co-tea... more This article examines the postgraduate Gender and Visual Culture seminar that we have been co-teaching as a team of two (and occasionally three) professors over a four-year period at the public National Autonomous University of Mexico. Throughout this seminar, we have embraced personal and collective experiences in the process of (un)teaching and (un)learning to explore the possibilities of a pedagogy of ‘contagion by contact’, both feminist and critical, encouraging creative formats. Drawing from a range and diverse reflections, we seek to critically explore an amplified challenge of, and the need for, a collaborative and de(s)colon/ial/ ising approach towards (un)teaching and (un)learning in the context of the public university as a contentious space of political engagement. This space requires a constant questioning of where to teach from (a politics of location), what to teach (culturally diverse and conflicting worldviews), and how to teach (critical and decolonising methodologies).
All-women art spaces in Europe in the long 1970s
Edited by Agata Jakubowska and Katy Deepwell
All... more All-women art spaces in Europe in the long 1970s Edited by Agata Jakubowska and Katy Deepwell All-women art spaces in Europe in the long 1970s brings together essays about women artists-only exhibitions, festivals, collective art projects, groups and associations. Exploring the idea of heterotopia and feminism as a travelling concept, specific collaborations and initiatives are discussed from Italy, Spain, UK, Portugal, Austria, Poland, Sweden, Germany, The Netherlands and France during 1968-1984. Authors: Susanne Altmann, Agata Jakubowska, Fabienne Dumont, Annika Öhrner, Katy Deepwell, Elke Krasny, Nina Hoechtl and Julia Wieger, Monika Kaiser, Kathleen Wentrack, Katia Almerini, Marcia Oliveira.,
Programa de seminario: Aunque la creación artística es inherentemente colectiva y a menudo colabo... more Programa de seminario: Aunque la creación artística es inherentemente colectiva y a menudo colaborativa, el imaginario omnipresente dentro del mundo del arte es que el proceso creativo es singular e individual, es decir, solitario. La curadora Maria Lind pregunta, con razón, "¿hasta qué punto las prácticas colaborativas pueden reclamar agencia contra el culto del individuo?" También en los espacios de las ciencias sociales feministas, o con toque feminista, lxs autorxs individualxs siguen siendo igualmente dominantes. Este seminario revisará textos y videos que realizaron al menos dos personas para analizar sus métodos de investigar y formas de escribir/crear juntxs, el potencial que tienen para explorar de manera colectiva la subjetividad de la investigación así como de un (des)aprendizaje más profundo sobre unx mismo y lxs demás, entre otras cosas.
El sistema extractivista, que presenciamos en la actual coyuntura de neoliberalismo y globalizaci... more El sistema extractivista, que presenciamos en la actual coyuntura de neoliberalismo y globalización, implica un aumento directo de la violencia contra comunidades indígenas y campesinas así como contra los cuerpos y las vidas de las mujeres. Produce migraciones forzadas y desaparece miles de cuerpos. Trae consigo la muerte de los territorios, de las comunidades y sus formas de vida, el aniquilamiento de los ecosistemas.
El objetivo de este seminario es explorar métodos como el “rechazo a investigar” (Eve Tuck y K. Wayne Yang), la "fabulación crítica" (Saidiya Hartman) y “la fotografía ‘inmostrable’” (Ariella Azoulay) para pensar cómo nuestras investigaciones y/o prácticas artísticas podrían ayudar a contar y mostrar historias que hablen de violencia y el extractivismo sin ser violentas ni extractivas. ¿Cómo no practicar un “extractivismo cognitivo” (Lianne Betasamosake Simpson) ni un “extractivismo epistémico” (Ramón Grosfoguel) ni una “mirada extractiva” (Macarena Gómez-Barris)?
La investigación, la narrativa, la cultura visual así como las prácticas artísticas y las performances son igualmente vitales tanto para la perpetuación de las prácticas violentas y extractivas como para su reto y resistencia. Entonces, en nuestro diversos campos, ¿qué formas de observar, estar, investigar, sentipensar, imaginar y escribir/crear/performear pueden redireccionar nuestras miradas y prácticas? ¿Cómo podemos practicar una percepción en contra de la mirada extractiva? ¿Qué significa fabular de manera crítica y/o rechazar a investigar para imaginar de manera distinta los futuros?
El seminario contará con la presencia de diferentes invitadxs (Ilana Coleman, Elena Pardo, Luisa Pardo/Lagartijas Tiradas al Sol, Tajëëw Díaz-Robles, Nabil Yanai) que interactuarán con el grupo de diversas maneras; revisaremos trabajos de Maria Thereza Alves, Carolina Caycebo, Naomi Rincón Gallardo y visitaremos la exposición de Cecilia Vicuña en el MUAC; y en su transcurso leeremos Cometierra (2019) de Dolores Reyes.
...nuestros cuerpos y nuestras experiencias son ese sitio complejo de conflicto a través del cual... more ...nuestros cuerpos y nuestras experiencias son ese sitio complejo de conflicto a través del cual nuestro trabajo político está mediado… Intersecciones: esa juntura donde todos los caminos de nuestra identidad-género, raza, clase y sexualidad convergen. Esa juntura nos regresa primero y siempre a casa…-Cherrie Moraga
Mi feminismo está asentado no en abstracciones incorporables sino en realidades corporales. El cuerpo material es el centro y central. El cuerpo es el terreno del pensamiento y la imaginación….. Nuestra tarea is to envision Coyolxauhqui, not dead and decapitated, but with eyes wide open. Our task is to light up the darkness -Gloria Anzaldúa
Seminario de Investigación (10 sesiones presenciales y 6 sesiones autogestionadas)
Miércoles: 11-14 hrs
CAMPUS EXPANDIDO-MUAC
Como segunda parte de la edición de este seminario, a partir de lecturas de textos teóricos y de conferencias y talleres de diferentes invitadxs, lxs participantes nos reuniremos durante todo el semestre con el fin de formular y abordar algunas preguntas relacionadas con las producciones teóricas y las prácticas feministas, queer/cuir, descolonizadoras, performáticas y colectivas: ¿Cómo aprehendemos sobre cuerpos en tránsito e imágenes en movimiento? ¿Cómo se comprende y visualiza el cuerpo individual y el cuerpo social? ¿Qué comprendemos por técnicas (filosofías) y estrategias (prácticas) de resistencia desde nuestros cuerpos? ¿Cómo operan prácticas visuales y performáticas otras hoy y aquí en el entorno de violencia contra los cuerpos - individuales y colectivos-? ¿Cómo se sostienen, se reproducen y se aprenden de manera individual y colectiva visualidades “ex-céntricas”? ¿Cómo mantener esfuerzos colectivos sin reproducir jerarquías, exclusiones, explotaciones y discriminaciones entre las personas que tratan de trabajar juntas? ¿Cómo se inserta y (se) afecta todo esto en “lo público”? ¿Podemos pensar juntxs el cuerpo individual y colectivo como potencia de visualidad y resistencia?
COORDINADO POR:
Coco Gutiérrez Magallanes (Estancia Postdoctoral, Instituto de Ciencias Sociales Y Humanidades "Alfonso Vélez Pliego", BUAP, Puebla)
Una Pardo (Artista y docente, Maestra en Estudios de Arte Universidad Iberoamericana, Ciudad de México) en colaboración con Alejandra Gorráez Puga y Ariadna Solis (Estudiante de la maestría en Historia del Arte, UNAM)
Cultura Visual y Género: PRACTICAS COLECTIVAS, 2017
Seminario Quincenal de Investigación (10 sesiones)
Miércoles: 11-13 hs
CAMPUS EXPANDIDO-MUAC
IMPA... more Seminario Quincenal de Investigación (10 sesiones) Miércoles: 11-13 hs CAMPUS EXPANDIDO-MUAC IMPARTIDO POR: Rían Lozano (Instituto de Investigaciones Estéticas-UNAM) Coco Gutiérrez Magallanes (Investigadora Postdoctorante del ICSYH "Alfonso Vélez Pliego", BUAP, Puebla) Nina Hoechtl (Investigadora Independiente y Artista Visual) “Uno no se puede descolonizar solito porque, como decía Jim Morrison y también Foucault, a los señores los llevamos adentro por cobardía y pereza”. -Silvia Rivera Cusicanqui
A partir de presentaciones y talleres de diferentes invitadxs, lxs participantes de este seminario nos reuniremos durante todo el semestre con el fin de formular y abordar algunas preguntas relacionadas con las producciones teóricas y las prácticas feministas, queer/cuir, descolonizadoras, performáticas y colectivas: ¿Cómo operan estas prácticas hoy y aquí? ¿Cómo se sostienen, se reproducen y se aprenden de manera colectiva? ¿Cómo mantener esfuerzos colectivos sin reproducir jerarquías, exclusiones, explotaciones y discriminaciones entre las personas que tratan de trabajar juntas? ¿Cómo se inserta y (se) afecta todo esto en “lo público”?
Tras cinco años ininterrumpidos de trabajo, el curso Cultura Visual y Género propone, en este semestre, realizar una vista panorámica con lxs protagonistas de algunas de las prácticas que nos han acompañado y con las cuales hemos ido organizando nuestra formación política y epistemológica.
Sin embargo, el concepto de traducción cultural, tal y como hoy lo entendemos, no ha surgido de l... more Sin embargo, el concepto de traducción cultural, tal y como hoy lo entendemos, no ha surgido de la teoría tradicional de la traducción sino de su crítica radical articulada por vez primera a comienzos de los años veinte en el ensayo seminal de W. Benjamin La tarea del traductor. Lo novedoso de este texto radica en que Benjamin se deshace de la idea del original y, por tanto, del binarismo de la teoría tradicional de la traducción. Una traducción, para Benjamin, no se refiere a un texto original, no tiene nada que ver con la comunicación; su propósito no es portar significado. Benjamin ilustra la relación entre el llamado original y la traducción utilizando la metáfora de la tangente: la traducción es como una tangente que toca el círculo (o sea, el original) en un solo punto, sólo para continuar su propio camino (B. Buden).
En colaboración con MANU(EL)(LA) (grupo de estudiantes)! Título de la actividad académica:! Cultu... more En colaboración con MANU(EL)(LA) (grupo de estudiantes)! Título de la actividad académica:! Cultura visual y género. TRADUCCIONES DESCOLONIZADORAS II: NEPANTLERAS, ARCHIVAS (DIY) Y REPERTORIAS (DIWO)!
Research is one of the ways in which the underlying code of imperialism and colonialism is both r... more Research is one of the ways in which the underlying code of imperialism and colonialism is both regulated and realized. It is regulated through the formal rules of individual scholarly disciplines and scientific paradigms [including the arts], and the institutions that support them (including the state.) Linda Tuhiwai Smith, Decolonizing – Research and Indigenous Peoples, 1999
Este seminario busca abrir un espacio de debate y reflexión en torno a la intersección de la investigación, las metodologías feministas, queer/cuir, decoloniales y la práctica artística, enfrentando los modos de hacer y las perspectivas de diversxs artistas y teóricxs y con el fin de cuestionar los problemas específicos creados por el choque de mundos tan diversos, supuestamente, como las mismas prácticas artísticas y científicas. ¿Cómo es posible llevar a cabo una investigación en el contexto del (neo)colonialismo? La teórica educativa y decolonial Linda Tuhiwai Smith señala que las metodologías y los métodos de investigación, las teorías que los informan, las preguntas que se generan y los estilos de escritura y de hacer arte que se emplean, en su conjunto, son actos significativos que necesitan ser considerados cuidadosa y críticamente antes de ser aplicados : en otras palabras, deben ser descolonizados. Entonces, ¿cómo pensar en estrategias descolonizadoras en la investigación, el análisis y/o las prácticas artísticas y culturales? ¿Cuáles son las formas en que lxs artistas
Objetivo del seminario y descripción de contenidos: El seminario pretende brindar a lxs participa... more Objetivo del seminario y descripción de contenidos: El seminario pretende brindar a lxs participantes herramientas teóricas y metodológicas para investigar y trabajar con ciertas prácticas culturales relacionadas con la noción de performance, performatividad y actos de género. Partiendo del marco teórico proporcionado por los estudios de cultura visual y el llamado feminismo de la tercera ola, analizaremos prácticas y teorías relacionadas con "devenires queer/cuir", con la producción de "estéticas performativas". La discusión será organizada a partir del análisis de ciertas figuras teórico-artísticas y literarias de reciente creación como el "drag radical", el "drag transtemporal", el "drag abstracto" (Renate Lorenz) o el "drag cultural" (Jossianna Arroy) Algunas de nuestras sesiones serán conducidas por invitadxs relacionados con la escena cultural y artística mexicana e internacional. El programa se completará con la asistencia a actividades satélites y un programa de performances que comunicaremos a lxs estudiantes al comienzo del curso.
Título de la actividad académica: Cultura visual y género. GUIONES (IN)VISIBLES Y RETOS FEMINISTA... more Título de la actividad académica: Cultura visual y género. GUIONES (IN)VISIBLES Y RETOS FEMINISTAS, QUEER/CUIR, DESCOLONIZADORES Horario (se sugiere no emplear los lunes por ser día festivo con frecuencia) hora, día y sede (Unidad de Posgrado, FFyL, etc.) Miércoles de 11 a 14 hs (algunas de las sesiones cambian de horario y de día de la semana: véase el programa detallado) Sala de Conferencias. MUAC Cupo máximo del grupo 30 Planteamiento (explicación del propósito del curso) Este seminario busca abrir un espacio de debate, reflexión y performance en torno a la intersección de la investigación, las metodologías feministas, queer/cuir, de(s)coloniales y las propias prácticas, enfrentando los modos de hacer y las perspectivas de diversxs artistas y teóricxs, con el fin de explorar cómo los modos de investigación habitan la práctica. La teórica educativa Linda Tuhiwai Smith señala que las metodologías y los métodos de investigación, las teorías que los informan, las preguntas que se generan y los estilos de escritura y de hacer arte que se emplean, en su conjunto, son actos significativos que necesitan ser considerados cuidadosa y críticamente antes de ser aplicados. En otras palabras, deben ser descolonizados. Entonces, en nuestro diversos campos, ¿qué guiones de investigación ya parecen ser pre-establecidos y se dan por sentados sin cuestionarlos? ¿Cómo pensar en estrategias descolonizadoras en la investigación, el análisis y/o las prácticas artísticas y culturales? ¿Cuáles son las formas en que lxs artistas performean, comunican y transmiten sus diversos saberes? A través de sus formas ¿a qué guiones se refieren? O, preguntando de otra manera, ¿qué guión se encuentra detrás de sus formas? En este sentido, el seminario se enfoca en el guión como método de varias prácticas: El guión como texto en sí mismo, como una práctica de escritura creativa, como una guía de impartir clases/talleres/seminarios, como base para diferentes procesos de investigación y para presentaciones (performáticas) académicas y/o artísticas.
Autoproclamada "chicana, tejana, de clase trabajadora, poeta, tortillera-feminista, escritora-teó... more Autoproclamada "chicana, tejana, de clase trabajadora, poeta, tortillera-feminista, escritora-teórica", Gloria Anzaldúa se vio a sí misma como una "nepantlera", como alguien que navega en el espacio liminal entre mundos, identidades y formas de conocimiento. Así como el movimiento fluido entre el inglés, el español y el náhuatl era central para la enseñanza y la escritura de Anzaldúa, también lo eran la interacción entre las palabras y las imágenes como elemento esencial de su propia expresión. Estas palabras e imágenes presentadas en la pagina, son parte de los dibujos, notas, diagramas y pensamientos que Anzaldúa presentó en talleres y conferencias. Algunos materiales no están fechados pero muchos fueron creados durante uno de los períodos más activos de su carrera como docente, a mediados de la década de 1990. http://www.uaemculturatlalpan.com/entrepalabraeimagen.html
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A self-described “Chicana, tejana, working-class, dyke-feminist poet, writer-theorist,” Gloria Anzaldúa also saw herself as a nepantlera, one who navigates a liminal space between worlds, identities, and ways of knowing. Just as fluid movement between English, Spanish, and Nahuatl was central to Anzaldúa’s teaching and writing, so too was the interplay between words and images an essential element of her self-expression. The page presents some transparency drawings, notes, diagrams and thoughts that Anzaldúa shared with her audiences at workshops and lecture “gigs”. Some are undated, but many were created during one of the most active periods of her teaching career, in the mid-1990s.
All-women art spaces in Europe in the long 1970s , 2018
All-women art spaces in Europe in the long 1970s
Edited by Agata Jakubowska and Katy Deepwell
A... more All-women art spaces in Europe in the long 1970s
Edited by Agata Jakubowska and Katy Deepwell
All-women art spaces in Europe in the long 1970s brings together essays about women artists-only exhibitions, festivals, collective art projects, groups and associations. Exploring the idea of heterotopia and feminism as a travelling concept, specific collaborations and initiatives are discussed from Italy, Spain, UK, Portugal, Austria, Poland, Denmark, Germany, The Netherlands and France during 1968-1984.
Value: Art: Politics
296 pages | January 2018
Hardback ISBN 9781786940582 • £80.00
For more information on All-women art spaces in Europe in the long 1970s and to order online please visit: www.liverpooluniversitypress.co.uk
Performance and Professional Wrestling (edited by Broderick Chow, Eero Laine, Claire Warden) is t... more Performance and Professional Wrestling (edited by Broderick Chow, Eero Laine, Claire Warden) is the first edited volume to consider professional wrestling explicitly from the vantage point of theatre and performance studies. Moving beyond simply noting its performative qualities or reading it via other performance genres, this collection of essays offers a complete critical reassessment of the popular sport.
Topics such as the suspension of disbelief, simulation, silence and speech, physical culture, and the performance of pain within the squared circle are explored in relation to professional wrestling, with work by both scholars and practitioners grouped into seven short sections: Audience Circulation Lucha Gender Queerness Bodies Race A significant re-reading of wrestling as a performing art, Performance and Professional Wrestling makes essential reading for scholars and students intrigued by this uniquely theatrical sport.
Este texto se sitúa entre fronteras: en límites reales y metafóricos que nos van a llevar a trans... more Este texto se sitúa entre fronteras: en límites reales y metafóricos que nos van a llevar a transitar entre texto e imágenes, pero también entre la frontera que separa el norte y el sur del río Bravo, entre las fronteras que cruzan las perspectivas de raza, clase, sexualidad y género, las que marcan las disciplinas artísticas (visuales o literarias), las que separan el salón de clase de la sala del museo. También las fronteras lingüísticas que transitan entre el español, el inglés y el náhuatl. Todo esto lo haremos por medio de una figura tan compleja y fronteriza como la de la autora chicana Gloria Anzaldúa: escritora y poeta, lesbiana, feminista, y también maestra (explicaremos la importancia de destacar la labor pedagógica en el trabajo que presentamos). De manera más específica, lo vamos a hacer con el trabajo de esta autora recogido en la exposición “Entre palabra e imagen. Galería de pensamiento de Gloria Anzaldúa”, inaugurada en marzo de 2016 en el centro de Tlalpan, y conformada por una selección de fondos del archivo de Gloria Anzaldúa, albergado en la Benson Latin American Collection (University of Texas, Austin). Esta exposición fue curada por Julianne Gilland, entonces directora de la Nettie Lee Benson Latin American Collection; las tres autoras de esta trabajo: Nina Hoechtl, Coco Gutiérrez Magallanes y Rían Lozano, y la colaboración de manu(el)(la): un grupo de estudiantes y profesoras, ligados al seminario Cultura Visual y Género del posgrado de la UNAM. Nuestro objetivo fundamental es demostrar cómo Anzaldúa, poeta y maestra, ejercía sus dos actividades principales, escribir y enseñar, mediante el uso de “metáforas visuales”, donde imagen y texto aparecen como bino- mio inseparable. Además nos detendremos a analizar el papel protagonista que la autora confería a lo visual en el desarrollo del conocimiento. Como ella misma decía: "An image is a bridge between evoked emotion and conscious knowledge; words are the cables that hold up the bridge. Images are more direct, more im- mediate than words, and closer to the unconcious. Picture language precedes thinking in words; the metaphorical mind precedes analytical conciousness"
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Papers by Nina Hoechtl
feministische Raum-Pflege in 2 Arbeitsgängen.” [“outwitted and occupied. A Feminist Space Maintenance in 2 Working Steps.”] (2006) by ArchFem, this article explores how the project and its augmented iteration “Aus dem Jahr 2068 I From the Year 2068” in 2021 – conceived by myself in collaboration with ArchFem, INVASORIX and the Secretariat for Ghosts, Archival Politics and Gaps (SKGAL in its German abbreviations) – engage both science fiction and the archive as spaces for imagining and organizing change with an understanding of their situatedness in time and space, language and culture.
Issue 52 / November 2021
eds. Helena Reckitt and Dorothee Richter
Instituting Feminism
"Instituting Feminism" reflects on the efforts of curators, artists, and community organisers to move beyond identifying inequities in the cultural industries to devising tools that can foster structural change. Exploring how curators have developed projects informed by feminist politics and aesthetics, contributors also look beyond representational formats to highlight the infrastructures and co-dependencies upon which cultural production relies. Envisaging feminist instituting as an active, relational practice, articles discuss curatorial, artistic, and organisational initiatives that seek to forge alliances with struggles for ecological and social transformation.
Romane Bernard, Nanne Buurman, Sofia Cecere, Ève Chabanon, Emelie Chhangur, Anna Colin, Angela Dimitrakaki, Berit Fischer, Jennifer Fisher, Thelma Gaster, Nandita Ghandi, Janna Graham, Althea Greenan, Jeanne Guillou, Husseina Hamza, Merete Ipsen, Joyce Jacca, Tracey Jarrett, Daria Khan, Sharlene Khan, La Sala (Alba Colomo and Lucy Lopez), Barbara Lefebvre, Séraphine Le Maire, Oksana Luyssen,Rosa Martínez, Alex Martinis Roe, Erin McCutcheon, Rose Moreau, Camille Morineau, Adele Patrick, Madeleine Planeix-Crocker, Jeanne Porte, Laurence Rassel, Helena Reckitt, Maura Reilly, Dorothee Richter, Secretariat for Ghosts, Archival Politics and Gaps (SKGAL), Nizan Shaked, Cornelia Sollfrank, Ann Sutherland Harris, The Two Talking Yonis, Miska Tokarek, Elena Zaytseva, Catherine de Zegher.
This article examines the postgraduate Gender and Visual Culture seminar that we have been co-teaching as a team of two (and occasionally three) professors over a four-year period at the public National Autonomous University of Mexico (UNAM) in Mexico City. Throughout this seminar, we have embraced personal and collective experiences in the process of (un)teaching and (un)learning to explore the possibilities of an ‘engaged pedagogy’, in both feminist and critical, encouraging creative formats. In this seminar, participants used different formats and what we call politically committed (un)learning devices, such as debates, visual and cultural methods and practices, physical exercises, mappings of the body, video, performance, radio (the classroom as a radio booth), re-signification of cultural spaces within the university (the museum and the Espacio Escultórico (‘Sculpture Space’, resembling a Coyolxauhqui site) as the basis of our activities of individual and collective learning processes.
However, it was not until April 2015 that we opened up the processes of conceptualizing/planning/producing/facilitating/giving a seminar to the participants as part of our pursuit/effort to decolonise our pedagogical practices and the public university as a site of potential (un)teaching and (un)learning. In this regard, the Gender and Visual Culture seminar, in collaboration with professors, was also co-facilitated or co-taught by MANU(EL)(LA)—a research and working group integrated by seven participants, some of them students from different disciplines and degrees of education, and some others currently not enrolled in any educational system (all of them have attended the seminar in previous years).
Drawing from a range and diverse reflections, questions and answers of seminar participants, MANU(EL)(LA), and our own assessments, observations and analyses as un-learning process facilitators, in this article we seek to critically explore an amplified challenge of, and the need for, a collaborative and decolonising approach towards (un)learning in the context of the public university as a contentious space of political engagement.
Drawing from a range and diverse reflections, we seek to critically explore an amplified challenge of, and the need for, a collaborative and de(s)colon/ial/ ising approach towards (un)teaching and (un)learning in the context of the public university as a contentious space of political engagement. This space requires a constant questioning of where to teach from (a politics of location), what to teach (culturally diverse and conflicting worldviews), and how to teach (critical and decolonising methodologies).
Edited by Agata Jakubowska and Katy Deepwell
All-women art spaces in Europe in the long 1970s brings together essays about women artists-only exhibitions, festivals, collective art projects, groups and associations. Exploring the idea of heterotopia and feminism as a travelling concept, specific collaborations and initiatives are discussed from Italy, Spain, UK, Portugal, Austria, Poland, Sweden, Germany, The Netherlands and France during 1968-1984. Authors: Susanne Altmann, Agata Jakubowska, Fabienne Dumont, Annika Öhrner, Katy Deepwell, Elke Krasny, Nina Hoechtl and Julia Wieger, Monika Kaiser, Kathleen Wentrack, Katia Almerini, Marcia Oliveira.,
feministische Raum-Pflege in 2 Arbeitsgängen.” [“outwitted and occupied. A Feminist Space Maintenance in 2 Working Steps.”] (2006) by ArchFem, this article explores how the project and its augmented iteration “Aus dem Jahr 2068 I From the Year 2068” in 2021 – conceived by myself in collaboration with ArchFem, INVASORIX and the Secretariat for Ghosts, Archival Politics and Gaps (SKGAL in its German abbreviations) – engage both science fiction and the archive as spaces for imagining and organizing change with an understanding of their situatedness in time and space, language and culture.
Issue 52 / November 2021
eds. Helena Reckitt and Dorothee Richter
Instituting Feminism
"Instituting Feminism" reflects on the efforts of curators, artists, and community organisers to move beyond identifying inequities in the cultural industries to devising tools that can foster structural change. Exploring how curators have developed projects informed by feminist politics and aesthetics, contributors also look beyond representational formats to highlight the infrastructures and co-dependencies upon which cultural production relies. Envisaging feminist instituting as an active, relational practice, articles discuss curatorial, artistic, and organisational initiatives that seek to forge alliances with struggles for ecological and social transformation.
Romane Bernard, Nanne Buurman, Sofia Cecere, Ève Chabanon, Emelie Chhangur, Anna Colin, Angela Dimitrakaki, Berit Fischer, Jennifer Fisher, Thelma Gaster, Nandita Ghandi, Janna Graham, Althea Greenan, Jeanne Guillou, Husseina Hamza, Merete Ipsen, Joyce Jacca, Tracey Jarrett, Daria Khan, Sharlene Khan, La Sala (Alba Colomo and Lucy Lopez), Barbara Lefebvre, Séraphine Le Maire, Oksana Luyssen,Rosa Martínez, Alex Martinis Roe, Erin McCutcheon, Rose Moreau, Camille Morineau, Adele Patrick, Madeleine Planeix-Crocker, Jeanne Porte, Laurence Rassel, Helena Reckitt, Maura Reilly, Dorothee Richter, Secretariat for Ghosts, Archival Politics and Gaps (SKGAL), Nizan Shaked, Cornelia Sollfrank, Ann Sutherland Harris, The Two Talking Yonis, Miska Tokarek, Elena Zaytseva, Catherine de Zegher.
This article examines the postgraduate Gender and Visual Culture seminar that we have been co-teaching as a team of two (and occasionally three) professors over a four-year period at the public National Autonomous University of Mexico (UNAM) in Mexico City. Throughout this seminar, we have embraced personal and collective experiences in the process of (un)teaching and (un)learning to explore the possibilities of an ‘engaged pedagogy’, in both feminist and critical, encouraging creative formats. In this seminar, participants used different formats and what we call politically committed (un)learning devices, such as debates, visual and cultural methods and practices, physical exercises, mappings of the body, video, performance, radio (the classroom as a radio booth), re-signification of cultural spaces within the university (the museum and the Espacio Escultórico (‘Sculpture Space’, resembling a Coyolxauhqui site) as the basis of our activities of individual and collective learning processes.
However, it was not until April 2015 that we opened up the processes of conceptualizing/planning/producing/facilitating/giving a seminar to the participants as part of our pursuit/effort to decolonise our pedagogical practices and the public university as a site of potential (un)teaching and (un)learning. In this regard, the Gender and Visual Culture seminar, in collaboration with professors, was also co-facilitated or co-taught by MANU(EL)(LA)—a research and working group integrated by seven participants, some of them students from different disciplines and degrees of education, and some others currently not enrolled in any educational system (all of them have attended the seminar in previous years).
Drawing from a range and diverse reflections, questions and answers of seminar participants, MANU(EL)(LA), and our own assessments, observations and analyses as un-learning process facilitators, in this article we seek to critically explore an amplified challenge of, and the need for, a collaborative and decolonising approach towards (un)learning in the context of the public university as a contentious space of political engagement.
Drawing from a range and diverse reflections, we seek to critically explore an amplified challenge of, and the need for, a collaborative and de(s)colon/ial/ ising approach towards (un)teaching and (un)learning in the context of the public university as a contentious space of political engagement. This space requires a constant questioning of where to teach from (a politics of location), what to teach (culturally diverse and conflicting worldviews), and how to teach (critical and decolonising methodologies).
Edited by Agata Jakubowska and Katy Deepwell
All-women art spaces in Europe in the long 1970s brings together essays about women artists-only exhibitions, festivals, collective art projects, groups and associations. Exploring the idea of heterotopia and feminism as a travelling concept, specific collaborations and initiatives are discussed from Italy, Spain, UK, Portugal, Austria, Poland, Sweden, Germany, The Netherlands and France during 1968-1984. Authors: Susanne Altmann, Agata Jakubowska, Fabienne Dumont, Annika Öhrner, Katy Deepwell, Elke Krasny, Nina Hoechtl and Julia Wieger, Monika Kaiser, Kathleen Wentrack, Katia Almerini, Marcia Oliveira.,
El objetivo de este seminario es explorar métodos como el “rechazo a investigar” (Eve Tuck y K. Wayne Yang), la "fabulación crítica" (Saidiya Hartman) y “la fotografía ‘inmostrable’” (Ariella Azoulay) para pensar cómo nuestras investigaciones y/o prácticas artísticas podrían ayudar a contar y mostrar historias que hablen de violencia y el extractivismo sin ser violentas ni extractivas. ¿Cómo no practicar un “extractivismo cognitivo” (Lianne Betasamosake Simpson) ni un “extractivismo epistémico” (Ramón Grosfoguel) ni una “mirada extractiva” (Macarena Gómez-Barris)?
La investigación, la narrativa, la cultura visual así como las prácticas artísticas y las performances son igualmente vitales tanto para la perpetuación de las prácticas violentas y extractivas como para su reto y resistencia. Entonces, en nuestro diversos campos, ¿qué formas de observar, estar, investigar, sentipensar, imaginar y escribir/crear/performear pueden redireccionar nuestras miradas y prácticas? ¿Cómo podemos practicar una percepción en contra de la mirada extractiva? ¿Qué significa fabular de manera crítica y/o rechazar a investigar para imaginar de manera distinta los futuros?
El seminario contará con la presencia de diferentes invitadxs (Ilana Coleman, Elena Pardo, Luisa Pardo/Lagartijas Tiradas al Sol, Tajëëw Díaz-Robles, Nabil Yanai) que interactuarán con el grupo de diversas maneras; revisaremos trabajos de Maria Thereza Alves, Carolina Caycebo, Naomi Rincón Gallardo y visitaremos la exposición de Cecilia Vicuña en el MUAC; y en su transcurso leeremos Cometierra (2019) de Dolores Reyes.
Mi feminismo está asentado no en abstracciones incorporables sino en realidades corporales. El cuerpo material es el centro y central. El cuerpo es el terreno del pensamiento y la imaginación….. Nuestra tarea is to envision Coyolxauhqui, not dead and decapitated, but with eyes wide open. Our task is to light up the darkness -Gloria Anzaldúa
Seminario de Investigación (10 sesiones presenciales y 6 sesiones autogestionadas)
Miércoles: 11-14 hrs
CAMPUS EXPANDIDO-MUAC
Como segunda parte de la edición de este seminario, a partir de lecturas de textos teóricos y de conferencias y talleres de diferentes invitadxs, lxs participantes nos reuniremos durante todo el semestre con el fin de formular y abordar algunas preguntas relacionadas con las producciones teóricas y las prácticas feministas, queer/cuir, descolonizadoras, performáticas y colectivas: ¿Cómo aprehendemos sobre cuerpos en tránsito e imágenes en movimiento? ¿Cómo se comprende y visualiza el cuerpo individual y el cuerpo social? ¿Qué comprendemos por técnicas (filosofías) y estrategias (prácticas) de resistencia desde nuestros cuerpos? ¿Cómo operan prácticas visuales y performáticas otras hoy y aquí en el entorno de violencia contra los cuerpos - individuales y colectivos-? ¿Cómo se sostienen, se reproducen y se aprenden de manera individual y colectiva visualidades “ex-céntricas”? ¿Cómo mantener esfuerzos colectivos sin reproducir jerarquías, exclusiones, explotaciones y discriminaciones entre las personas que tratan de trabajar juntas? ¿Cómo se inserta y (se) afecta todo esto en “lo público”? ¿Podemos pensar juntxs el cuerpo individual y colectivo como potencia de visualidad y resistencia?
COORDINADO POR:
Coco Gutiérrez Magallanes (Estancia Postdoctoral, Instituto de Ciencias Sociales Y Humanidades "Alfonso Vélez Pliego", BUAP, Puebla)
Una Pardo (Artista y docente, Maestra en Estudios de Arte Universidad Iberoamericana, Ciudad de México) en colaboración con Alejandra Gorráez Puga y Ariadna Solis (Estudiante de la maestría en Historia del Arte, UNAM)
Miércoles: 11-13 hs
CAMPUS EXPANDIDO-MUAC
IMPARTIDO POR:
Rían Lozano (Instituto de Investigaciones Estéticas-UNAM)
Coco Gutiérrez Magallanes (Investigadora Postdoctorante del ICSYH "Alfonso Vélez Pliego", BUAP, Puebla)
Nina Hoechtl (Investigadora Independiente y Artista Visual)
“Uno no se puede descolonizar solito porque, como decía Jim Morrison y también Foucault, a los señores los llevamos adentro por cobardía y pereza”. -Silvia Rivera Cusicanqui
A partir de presentaciones y talleres de diferentes invitadxs, lxs participantes de este seminario nos reuniremos durante todo el semestre con el fin de formular y abordar algunas preguntas relacionadas con las producciones teóricas y las prácticas feministas, queer/cuir, descolonizadoras, performáticas y colectivas: ¿Cómo operan estas prácticas hoy y aquí? ¿Cómo se sostienen, se reproducen y se aprenden de manera colectiva? ¿Cómo mantener esfuerzos colectivos sin reproducir jerarquías, exclusiones, explotaciones y discriminaciones entre las personas que tratan de trabajar juntas? ¿Cómo se inserta y (se) afecta todo esto en “lo público”?
Tras cinco años ininterrumpidos de trabajo, el curso Cultura Visual y Género propone, en este semestre, realizar una vista panorámica con lxs protagonistas de algunas de las prácticas que nos han acompañado y con las cuales hemos ido organizando nuestra formación política y epistemológica.
Este seminario busca abrir un espacio de debate y reflexión en torno a la intersección de la investigación, las metodologías feministas, queer/cuir, decoloniales y la práctica artística, enfrentando los modos de hacer y las perspectivas de diversxs artistas y teóricxs y con el fin de cuestionar los problemas específicos creados por el choque de mundos tan diversos, supuestamente, como las mismas prácticas artísticas y científicas. ¿Cómo es posible llevar a cabo una investigación en el contexto del (neo)colonialismo? La teórica educativa y decolonial Linda Tuhiwai Smith señala que las metodologías y los métodos de investigación, las teorías que los informan, las preguntas que se generan y los estilos de escritura y de hacer arte que se emplean, en su conjunto, son actos significativos que necesitan ser considerados cuidadosa y críticamente antes de ser aplicados : en otras palabras, deben ser descolonizados. Entonces, ¿cómo pensar en estrategias descolonizadoras en la investigación, el análisis y/o las prácticas artísticas y culturales? ¿Cuáles son las formas en que lxs artistas
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A self-described “Chicana, tejana, working-class, dyke-feminist poet, writer-theorist,” Gloria Anzaldúa also saw herself as a nepantlera, one who navigates a liminal space between worlds, identities, and ways of knowing. Just as fluid movement between English, Spanish, and Nahuatl was central to Anzaldúa’s teaching and writing, so too was the interplay between words and images an essential element of her self-expression. The page presents some transparency drawings, notes, diagrams and thoughts that Anzaldúa shared with her audiences at workshops and lecture “gigs”. Some are undated, but many were created during one of the most active periods of her teaching career, in the mid-1990s.
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Edited by Agata Jakubowska and Katy Deepwell
All-women art spaces in Europe in the long 1970s brings together essays about women artists-only exhibitions, festivals, collective art projects, groups and associations. Exploring the idea of heterotopia and feminism as a travelling concept, specific collaborations and initiatives are discussed from Italy, Spain, UK, Portugal, Austria, Poland, Denmark, Germany, The Netherlands and France during 1968-1984.
Value: Art: Politics
296 pages | January 2018
Hardback ISBN 9781786940582 • £80.00
For more information on All-women art spaces in Europe in the long 1970s and to order online please visit: www.liverpooluniversitypress.co.uk
Topics such as the suspension of disbelief, simulation, silence and speech, physical culture, and the performance of pain within the squared circle are explored in relation to professional wrestling, with work by both scholars and practitioners grouped into seven short sections:
Audience
Circulation
Lucha
Gender
Queerness
Bodies
Race
A significant re-reading of wrestling as a performing art, Performance and Professional Wrestling makes essential reading for scholars and students intrigued by this uniquely theatrical sport.
Todo esto lo haremos por medio de una figura tan compleja y fronteriza como la de la autora chicana Gloria Anzaldúa: escritora y poeta, lesbiana, feminista, y también maestra (explicaremos la importancia de destacar la labor pedagógica en el trabajo que presentamos).
De manera más específica, lo vamos a hacer con el trabajo de esta autora recogido en la exposición “Entre palabra e imagen. Galería de pensamiento de Gloria Anzaldúa”, inaugurada en marzo de 2016 en el centro de Tlalpan, y conformada por una selección de fondos del archivo de Gloria Anzaldúa, albergado en la Benson Latin American Collection (University of Texas, Austin).
Esta exposición fue curada por Julianne Gilland, entonces directora de la Nettie Lee Benson Latin American Collection; las tres autoras de esta trabajo: Nina Hoechtl, Coco Gutiérrez Magallanes y Rían Lozano, y la colaboración de manu(el)(la): un grupo de estudiantes y profesoras, ligados al seminario Cultura Visual y Género del posgrado de la UNAM.
Nuestro objetivo fundamental es demostrar cómo Anzaldúa, poeta y maestra, ejercía sus dos actividades principales, escribir y enseñar, mediante el uso de “metáforas visuales”, donde imagen y texto aparecen como bino- mio inseparable. Además nos detendremos a analizar el papel protagonista que la autora confería a lo visual en el desarrollo del conocimiento. Como ella misma decía:
"An image is a bridge between evoked emotion and conscious knowledge; words are the cables that hold up the bridge. Images are more direct, more im- mediate than words, and closer to the unconcious. Picture language precedes thinking in words; the metaphorical mind precedes analytical conciousness"