savvy-logo-web

SPEAKING FEMINISMS | Preliminary Excercises

Fourth Exercise with Coco Fusco: Performing Politics, Reviewing History

March 9, 2016 | 6pm

Free entrance - donations welcome


Observation of Predation in Humans: A Lecture by Dr. Zira, Animal Psychologist
Studio Museum in Harlem, 2013, (c) Maria Cruz Alarcon

PLEASE FIND THE SERIES' GENERAL CONCEPT BELOW.

[Do you want to bring your kids? We will provide a self-organized child care. If interested please send an email until Monday, MARCH 6, to communications@savvy-contemporary.com with subject line child care and tell us the age of your kid(s). The child care will cost a small fee, the amount of which will depend on the number of children.]

Since the 1980s, Fusco has explored the ways that images contribute to the culturally constructed understanding of identity, and she has investigated the role of intercultural dynamics in the formation of subjectivity. She has created several performance, video art works and critical writings that address intercultural dynamics in visual culture. For her presentation at SAVVY Contemporary, Coco Fusco will share her strategies and experiences of creating works that address colonial histories, gender and racial politics.

Coco Fusco is an interdisciplinary artist and writer and the Andrew Banks Endowed Professor of Art at the University of Florida. Her performances and videos have been presented in the 56th Venice Biennale, two Whitney Biennials (2008 and 1993), the Sydney Biennale, The Johannesburg Biennial, and The Shanghai Biennale amongst many others. Her works have also been shown at the Tate Liverpool, The Museum of Modern Art, The Walker Art Center and Haus Der Kulturen Der Welt Berlin in 2003. She is represented by Alexander Gray Associates in New York.

She is a recipient of a 2014 Cintas Fellowship, a 2013 Guggenheim Fellowship, a 2013 Absolut Art Writing Award, a 2013 Fulbright Fellowship, a 2012 US Artists Fellowship and a 2003 Herb Alpert Award in the Arts. Fusco is the author of A Field Guide for Female Interrogators (2008) and her most recent publication Dangerous Moves: Performance & Politics In Cuba (2015) issued by Tate Publications in London. She is also the editor of Corpus Delecti: Performance Art of the Americas (1999).

With kind support of KW Institute for Contemporary Art: www.kw-berlin.de



Third Exercise with Giovanna Zapperi on Carla Lonzi - The Making of a Feminist Subject

February 14, 2016 | 6pm

Free entrance - donations welcome


Jacqueline Vodoz, Carla Lonzi with a friend, mid-1970s © Fondazione Jacqueline Vodoz e Bruno Danese, Milano.

PLEASE FIND THE SERIES' GENERAL CONCEPT BELOW.

[Do you want to bring your kids? We will provide a self-organized child care. If interested please send an email until Monday FEBRUARY 13 to communications@savvy-contemporary.com with subject line child care and tell us the age of your kid(s). The child care will cost a small fee, the amount of which will depend on the number of children.]

In this exercise, art historian Giovanna Zapperi will discuss her recent book 'Carla Lonzi. Un'arte della vita' (english: 'Carla Lonzi. The Art of Life') on the contemporary legacy of one of the most radical Italian feminist, Carla Lonzi, which will be published soon in Italy by Derive e Approdi.

Lonzi was an Italian writer and art critic, feminist, theorist of the self-consciousness and of the sexual diversity. She was one of the founders of the women's group Rivolta Femminile which placed self-awareness of women and gender difference at the center of their departure.Two of her seminal texts are 'Sputiamo su Hegel' (Let’s Spit on Hegel, 1970) and 'La donna clitoridea e la donna vaginale e altri scritti' (The Clitoridian Woman and the Vaginal Woman, and Other Writing, 1974).

In an interview with the series's co-curator Federica Bueti, Giovanna Zapperi tries, with hesitation, to answer the difficult question who Carla Lonzi is:

"I don’t think I have a definitive answer to this question, perhaps because Lonzi spent all her life trying to escape the very idea that one can be subject to definitions. I would say that Carla Lonzi was an Italian art critic, a feminist, a writer, and a poet. And yet, as someone who struggled against such categories and their power to reduce life to a sum of roles and identities, my own attempt to define her activity will inevitably remain provisional and incomplete. Lonzi experimented with ways of writing “differently” in the context of 1960s-1970s Italian culture, when the country’s social structures were shaken by a growing political contestation — from the workers strikes in the 1960s, to the 1968 revolts, and the autonomous movements that emerged throughout the 1970s — and, of course, a mass feminist movement. She wanted to undo the roles linked to her oppression, while constantly trying to articulate her subjective experience within a collective endeavor."

Read the full conversation here on Makhzin.org.

Giovanna Zapperi is an art historian and critic based in Paris where she received her doctorate from the École des hautes études en sciences sociales (EHESS) in 2005. Her work examines the interrelation of art criticism, visual culture and feminism. Her critical essays have been published widely, including in Les Cahiers du MNAM, Histoire de l’Art, Perspective, Oxford Art Journal, Kritische Berichte, Parachute, Feminist Review. Her dissertation on Marcel Duchamp received the City of Paris Award for Gender studies, and was published in 2012. From 2005 to 2009, she was on the editorial board of the journal Multitudes; from 2007-2009, a visiting Rudolf Arnheim Professor at the Humboldt University in Berlin; and in 2009, a research fellow at the Institute of Advanced Studies in Nantes. In 2010, She became a faculty member of the École Nationale Supérieure d’Art in Bourges, where she teaches history and theory of contemporary art. From 2014–15, she was a fellow at the French Academy in Rome (Villa Medici) where she began working on her book on the criticism and art historical work of radical Italian feminist Carla Lonzi (1931–1982).



Second Exercise with Ewa Majewska: #Blackprotest as weak resistance. On recent women's mobilizations in Poland and globally.

December 15, 2016 | 6pm

Free entrance - donations welcome

Do you want to bring your kids? We will provide a self-organized child care. If interested please send an email until Monday December 12 to communications@savvy-contemporary.com with subject line child care and tell us the age of your kid(s). The child care will cost a small fee, the amount of which will depend on the number of children.

The #BlackProtest, which started this September, and led to the Women's Strike on the 3 October 2016 and now inspires the International Strike of Women, planned for the 8th March 2017, was about reproductive rights. The Polish government currently plans degrading women to the role of incubators, mere equipment for the prolongation of the species. In this necropolitical perspective the life and health of women are totally instrumentalized, reduced to the role of supportive elements of „national reproduction”. The #BlackProtest started as an internet campaign, invented by Gocha Adamczyk, a member of the Razem left wing party. She suggested, that women should wear black on the 21 September, and that photographs of people wearing black should be collected in social media, together with words of support and solidarity. The black and white photographs of women from all social contexts started to fill the #BlackProtest's social media and became a massive mobilisation of some 200 000 people alltogether, for many the first political gesture in their lives. Than, the General Women's Strike was announced and some 150 000 women in cities big and small stepped in the streets, demanding respect for women, rights and safety and expressing solidarity. It was by far the biggest social mobilisation in Poland after 1989. Later, women in Argentine, Mexico and Corea went on Strike. On the 26 Nov women in Itali held massive demonstrations. Now, a plan for an International Women's Strike was set up and on the 8 March 2017 we expect women from at least 20 countries to go on strike.

The next revolution we look at will be a feminist one. It demands basic rights and resepect, expresses international solidarity, welcomes political activists and women who never participated in politics before. In the simplicity of this mobilisation the commonality – of the participants, of the protest, of the internet activities, of the demands leads to a conclusion, that the common in revolt is the common of the non-heroic, of the ordinary, of the weak. Women and those, who support us, challenge the patriarchal conceptualizations and political practice of resistance, practicing heterogeneity without paternalism, solidarity without hierarchies and politics without exclusion. It is time to discuss and verbalize these strategies, these aims and needs. Let's do it together.

Dr Ewa Majewska – feminist philosopher and activist, currently lives in Warsaw, where she works at the Artes Liberales Department of the Warsaw University. She published several monographs, collected volumes, articles and essays on politics, culture and women, she was active in queer, feminist, anti-border and antiglobalist movements and in the art scene. Her recent publications include: So Far, So Good and La Mestiza from Ukraine? Border Crossing with Gloria Anzaldúa



First Exercise with Övül Durmusoglu: Who will love us to the end of time?

November 15, 2016 | 7pm

Free entrance - donations welcome

We are happy to announce our new series on Feminisms which will be opened by Övül Durmusoglu with her exercise 'Who will love us to the end of time?'.

These are the days of the revenge on the elites, the revenge of the boys who never saw the promises made to them real. They are angry as they have been silenced, made invisible. Yet, they look for a certain kind of transcendence, to be part of a higher goal. Populist politics feed on their frustrations and desire of revenge. But, the angrier the boys, the stronger is their appeal for grandiosity. Some men see the potential of turning this anger into a tool for the creation of new father figures. This mutated form of colonial agency blocks our breathing systems in life and politics. So, what to do? Can new feminist politics help us to address the current crisis of masculinity? How can we build a genderless feminist syntax of decolonization for today and for future?

Övül Durmusoglu is a curator and writer based in Berlin and Istanbul. She is the director/curator of YAMA screen in Istanbul. She worked as curatorial and public program advisor for Gulsun Karamustafa's ongoing exhibition 'Chronographia' at Hamburger Bahnhof for which she has co-edited the exhibition catalogue. She has recently curated 'Future Queer', the 20th year anniversary exhibition for Kaos GL association in Istanbul. In the past, she acted as curator of the festival Sofia Contemporary 2013 titled as 'Near, Closer, Together: Exercises for a Common Ground' and organized different programs and events as a Goethe Institute fellow at Maybe Education and Public Programs for dOCUMENTA (13). Durmusoglu has contributed to several in-print and online publications.


On SPEAKING FEMINISMS:

How does the meaning of ‘feminism’ change in different contexts and times? And, what can we learn from historical feminist practices? “Feminism”, Yemisi Aribisala writes, “cannot be globally defined because Pangaea broke into pieces 250 million years ago and many wild waters and hazardous bush must be traversed to evangelise my kind of savage. The world is not one.” On the other hand, Science-fiction writer Octavia Butler describes it in terms of the act of writing yourself into the world: “You got to make your own worlds. You got to write yourself in it.”

How do we – women, men, transgender, not-men – write ourselves into the world? And, how do we unwrite an already written page? How do we imagine a different language, another collective politics from the perspective of feminist practice today? When vulnerable communities continue to be threated by racism, xenophobia, acts of bullyism, and violence against women, gay and trans-people, we feel the urge to address these and other questions in an attempt to mobilise and develop new feminist politics and practices.

For this series of preliminary exercises, our point of departure is the acknowledgement of a deep, and we hope productive, disagreement on the meaning of and the contemporary valence of this term. Perhaps this is already what feminism is about, a form of collective non-alignment. Through a series of performative events, talks and workshops, SPEAKING FEMINISMS enacts the multiple histories, struggles, and voices that define ‘feminism’ as both a practice and a concept.

The series is curated by Elena Agudio, Federica Bueti and Nathalie Anguezomo Mba Bikoro.