٠ Varda’s feminist tableaux (l’une chante, l’autre pas) ٠

Feminist performance, the Engelian way PAPA ENGELS La double journée pauvre maman c’est bien épuisant et c’est mal payé Friedrich Engels l’avait dit dans la famille aujourd’hui l’homme est le bourgeois et la femme est le prolétariat Il avait raison papa Engels il avait raison car à la maison l’homme est le bourgeois et la femme est le prolétariat C’est papa le chef pauvre maman le seigneur du fief le roi tout puissant (…) Continue reading ٠ Varda’s feminist tableaux (l’une chante, l’autre pas) ٠

٠ Varda: Qu’est-ce qu’être femme? ٠

Each time I see a poster like that, I think it’s absurd to constantly see naked women. It feels like I’m on the poster. Each time a woman is undressed to sell a product… – It’s me they undress. – Me they display. – Me they despise. – Me they desire. – Me they criticize. – Me they buy. – Me they order by phone. – Me they pay for by check or cash. Me they offer as fodder for men’s desire. – Go on, keep complaining! Soon we’ll no longer desire you. How sorry you’ll be! – I have … Continue reading ٠ Varda: Qu’est-ce qu’être femme? ٠

┐ If the erect penis is not ‘wholesome’ enough to go into museums it should not be considered ‘wholesome’ enough to go into women └

© Robert Mapplethorpe, portrait of Louise Bourgeois, 1982 “Nearly a decade later, Fillette would figure prominently in a photographic portrait of Bourgeois by Robert Mapplethorpe. The portrait, in which the (then-) seventy-year-old artist smiles mischievously for the camera while carrying the sculpture in the crook of her arm, was commissioned by the Museum of Modern Art as the frontispiece to its catalogue for Bourgeois’s 1982-83 retrospective. What MoMA printed in its catalogue, however, was a tightly cropped detail of the portrait focusing on Bourgeois’s face. Fillette was excised from the image altogether.14 By placing Mapplethorpe ‘s 1982 photograph (and its … Continue reading ┐ If the erect penis is not ‘wholesome’ enough to go into museums it should not be considered ‘wholesome’ enough to go into women └

┐ Contemporary housekeeping or How to stumble on a stove └

© Catherine & Harriet Beecher, in American Woman’s Home, 1869 © family archive © Erica Brejaart, Untitled, from the series Portraits of Mothers and Housewives © Erica Brejaart, Untitled, from the series Portraits of Mothers and Housewives “In the Divine Word it is written, “The wise woman buildeth her house.” To be “wise,” is “to choose the best means for accomplishing the best end.” It has been shown that the best end for a woman to seek is the training of God’s children for their eternal home, by guiding them to intelligence, virtue, and true happiness. When, therefore, the wise … Continue reading ┐ Contemporary housekeeping or How to stumble on a stove └

┐ Caitlin Rueter └

How To Be is a series of exercises that revisit and reimagine early 19th century primers for “young ladies.” I stumbled upon these manuals while researching 19th century etiquette books. Most include etiquette but only as part of a more comprehensive course of education. They were intended for upper-class girls and women who had few opportunities for formal schooling. Instead, girls took their lessons from these books, serials and pamphlets and from their mothers or older sisters at home. The manuals include subjects ranging from etiquette and fashion to archery and riding, from botany, entomology and mineralogy to painting, dancing … Continue reading ┐ Caitlin Rueter └

┐ Sabrina Gschwandtner └

© Sabrina Gschwandtner, Hula Hoop, 16 mm film, polyamide thread, 2010. Watch & See exhibition, Gustavsbergs Konsthall, Sweden, 2009. © Sabrina Gschwandtner, Quilts in Women’s Lives (left) and What is a Dress (right), 16 mm film, polyamide thread, cotton thread, 2009 “My quilts utilize film footage from early Feminist documentaries. I re-work these narratives by sewing them into new configurations and adding in my own footage. The source of the historical footage is the Fashion Institute of Technology (FIT), which recently de-accessioned the 16 mm films in their library. Anthology Film Archives took some of FIT’s films into their archives … Continue reading ┐ Sabrina Gschwandtner └

┐ Cara Judea Alhadeff └

© Cara Judea Alhadeff, Lost Valley, from the conscious dream project © Cara Judea Alhadeff, kunst-stoff, from the conscious dream project © Cara Judea Alhadeff, Exploratoreum, from Gestation (singles) © Cara Judea Alhadeff, south american tropical room, from gestation project © Cara Judea Alhadeff, art and revolution’s wailing women heads, from gestation project “As a Deleuzian nomadic feminist, my photographic work explores a dynamic disequilibrium. My photographs play with inter-relating imbrications—concurrent, multiple, contradictory tendencies.My pedagogical and art-based research explores the possibilities of radical citizenship by actively cultivating vulnerability through corporeal inquiries. Irreducibly allusive corpo-visual language unfolds as embodied rhizomatic vulnerabilities. … Continue reading ┐ Cara Judea Alhadeff └

┐ roots & fruits #7 – Inês Beja └

© Inês Beja, The Roaring © Inês Beja, Untitled #3, from the series Jumping at Shadows Inês is a chameleon or, as she puts it, a shape-shifter. From my point of view what she is now is a creative force: obsessive, eager to learn, aiming for the perfect tool, the perfect dress, the perfect light, the perfect shot. I believe these are arguments enough to keep an eye on her and see where all this passion (borderline destructive force?) can take her. Her work made me think of a written piece of work, so instead of dragging on parallels between … Continue reading ┐ roots & fruits #7 – Inês Beja └

┐ Sarah Maple └

© Sarah Maple, ‘Self portrait with Fried Eggs’, C-Type Print, 2008 © Sarah Maple, ‘I’ve got status anxiety (text)’ – Acrylic on paper collage © Sarah Maple, ‘I’ve got status anxiety’, C-Type Print, 2009 Sasha: When told that the theme of the current No More Potlucks was Ego, you quickly responded, “I have a lot to say about that bastard.” Please tell me what you meant by that. In other words, when you hear the word ego, what or whom does it conjure up in your mind? Daniel MacIvor: Ah, Ego. Makes a great fuel but a shitty engine. It … Continue reading ┐ Sarah Maple └

┐ Cabello / Carceller, II └

© Cabello / Carceller, Off Escena: If I were…, Madrid 2011 Gender Issues1 “How can we explain a term which is in itself so complicated, but which most of society is determined to simplify? How can we explain that the majority prefer to appear not to understand its diversity? And what is it that makes this pretense possible? Why do gender differences still exist as bipolarized and insurmountable categories? Who benefits from the continuation of this binary split? Why is it indispensable to pathologize those who transgress gender boundaries? Why do most of the transgender representations existing in the collective … Continue reading ┐ Cabello / Carceller, II └