^_^

Play G por Grupo Micropolíticas de la desobediencia sexual

Play_G: Máquinas porno-geométrico-deseantes.

Las investigaciones de Adriana Minoliti comenzaron por la pregunta cuestionadora a la ausencia del cuerpo femenino en la pintura metafísica. Una pregunta política de carácter historiográfico que reveló la intensidad de una realidad compartida: en las imágenes los silencios también se pronuncian en la lengua totalizadora del deseo heteronormado, obturando o invisibilizando otros deseos posibles. Desde entonces Minoliti extiende en su obra sus observaciones sobre la sexualidad de las formas en el mundo de la representación. Pero estas preguntas, aquí agitadas, no buscan centrarse en la identificación normada de esos sentidos, sino en experimentar la erótica de la geometría multiplicando su potencia deseante, desbordando y extrañándose de la corporalidad humana como único campo posible de placer. Esta geometría sexy funciona como un striptease político que suavemente, por un lado, deja caer el velo que cubre a la historia del arte como un aparato discursivo sin cuerpo y sin deseo, disputando la aparente inocencia de las formas construida en la historia de las imágenes, y por otro, revela la participación del arte en la complejidad de los dispositivos de producción de cuerpos sexuados.
En la producción de Minoliti PLAY_G opera como un artefacto sexomutante que trafica revoltosa y promiscuamente imágenes y referencias de la historia del arte y de la pornografía, de la decoración de interiores y los computer graphics de los ochenta, del diseño y las sexualidades cuir, descalzándolas de sus enclaves disciplinarios normalizados. En los potentes montajes y desamarres que hace proliferar, PLAY_G desarma y estalla la dura estabilidad de las reparticiones binarias entre naturaleza/cultura, cuerpo/tecnología, concepto/experiencia, modelo/copia, masculino/femenino. Trabaja desde un programa de crítica sexopolítica al orden naturalizado de lo visual, pero también de revuelta y explosión de los placeres sobre otros campos de la existencia, como la arquitectura, la decoración y la propia historia como relato.
En el trabajo de Minoliti los cuerpos operan como territorio de proliferación nómade de fragmentos que interrumpen y desarman su unidad anatómica y llaman a interrogar, allí donde la inesperada intrusión de la geometría o el diseño deshace dicha unidad, las lógicas de poder que los producen (políticamente) como cuerpos sexuados o, mejor, heterosexuados. En tal sentido, PLAY_G interpela desafiantemente la matriz sexopolítica del régimen heterosexual en su producción disciplinaria de los cuerpos, las mismas condiciones de inteligibilidad por las que un cuerpo se vuelve pensable o enunciable (y vivible). Pero para Minoliti no se trata solamente de advertir que los cuerpos son el resultado de tecnologías políticas que los producen. En PLAY_G los cuerpos devienen artefactos porno-maquínicos, cyborgs porno-geométricos, monstruos geométrico-orgásmicos. El entorno doméstico del living y el dormitorio, el mobiliario y la geometría, el animal print y las tramas de diseño, no constituyen un mero paisaje o fondo para los cuerpos. En PLAY_G nada tiene que ver con una sumatoria yuxtapuesta, parte-por-parte. Por el contrario, cuerpos, geometría y espacios se habitan recíproca y promiscuamente. La geometría se vuelve dispositivo libidinal, carne, pulso. PLAY_G habilita devenires post-humanos de los cuerpos que, a la vez que desarman sus ordenamientos sexopolíticos normalizados (cuirizándolos), agitan la pregunta por sus potencias (por lo que un cuerpo puede).
La G abierta en el título constituye una invitación a explorar estos extrañamientos de lo humano. PLAY_G podría leerse rápidamente como "Play Girl", como una inversión de Play Boy. Pero Play Boy no es PLAY_B. Al mantener la G abierta Minoliti no solo advierte sobre los rígidos binarismos que operan en la producción sexogenérica de los cuerpos, sino que al mismo tiempo pone en evidencia las asimetrías de poder entre los dos polos del par binario y el lugar de enunciación privilegiado del varón heterosexual en el control y la administracion de lo posible representado. La G abierta inaugura un campo de virtualidades no previsibles a priori que, lejos de quedar clausurado en las lógicas prescriptivas de la representación, reactiva la apuesta de los feminismos radicales al articularse como plataforma política desde donde problematizar las epistemologías dominantes y sus mecánicas de poder / saber.
PLAY_G diagrama su productividad poético-política en la desterritorialización proliferante de máquinas deseantes contrasexuales (post-humanas, inclasificables), que apuesten a explorar los límites de lo deseable y lo imaginado, invitándonos en esa apertura a un devenir mas allá de las formas, humanas o geométricas. Se trata de interrogar y agitar nuevas posibilidades del cuerpo, del placer, de la erótica y de las subjetividades, por movilizar la invención imaginante en un devenir y un por-venir de cuerpos-porno-geométricos posibles, donde se extiendan de manera incontrolable los placeres.
Grupo Micropolíticas de la desobediencia sexual
Grupo de investigación dirigido por Fernando Davis e integrado por Fermín Eloy Acosta, Fernanda Carvajal, Nicolás Cuello, María Disalvo, Fernanda Guaglianone, Laura Gutiérrez y Alejandro Paiva, con sede en la Facultad de Bellas Artes de la Universidad Nacional de La Plata. La investigación propone el estudio de las representaciones de sexualidades no normativas en las prácticas artísticas contemporáneas, en las artes visuales, la performance y la producción audiovisual y multimedial, desde las perspectivas teóricas y metodológicas de los feminismos y la teoría queer. La noción de “desobediencia sexual” apunta a pensar las estrategias poético-políticas mediante las cuales estas prácticas ponen en cuestión los ordenamientos de saber / poder de la biopolítica en la producción y control de los cuerpos. Éstos constituyen el territorio privilegiado de inscripción de la norma, pero a la vez operan como potencias políticas, lugares de resistencia crítica, de invención de torsiones contra-disciplinarias y de movilización de nuevos procesos de subjetivación disidente.

playground

arenero con "juegos"

aborto legal es vida en el Flasherito

https://www.facebook.com/elflasherito.diario?fref=ts


Review - Arte Al Dia - Victoria Verlichak


Thursday, April 18, 2013

ADRIANA MINOLITI
Daniel Abate - LEA, Buenos Aires
by Victoria Verlichak
The work of Adriana Minoliti (Buenos Aires, 1980) attracted attention when she won the Currículum Cero Award (2004), organized by Ruth Benzacar gallery.

In Playroom, a grand painting installation made up of five panels, she highlighted once again the importance of color and showed her determination to occupy space. Playroom was completed with some objects, a publication in black and white, and with ornamentation that recalled, precisely, a family “playroom”. In this almost homely atmosphere, set up in Daniel Abate gallery with walls painted in pink and matching curtains, the artist resorted to mixture. She populated her landscapes with figures with geometric edges, which broke the apparently idyllic views of nature. She shook the viewer by proposing signs to decipher and visions to unveil, which on account of their sexual connotation were far from being linear.

In parallel with Playroom, Minoliti exhibited pieces Sin título of the Fantasía series in the opening show of the Laboratory of artistic experimentation, LEA, a project of the Faena Arts Center that offers a framework for a dozen artists to research and further develop their work. Minoliti´s paintings and drawings entered into an insuperable dialogue with the work of German artist Franz Ackermann, exhibited in another room of that art center in Puerto Madero.

http://www.artealdia.com/International/Contents/Reviews/Adriana_Minoliti

test

actually there is a better qustionary that Amy Sillman made as a response to the letter i sent to you befor:
 
showing 35% women is, sad to say, not all that bad gender-wise,  compared to many places.
But wanna feel shitty?
There is so much else one can investigate:
Like:
1. What have they bought lately for their collection?
2. How much did they pay for it, especially comparative prices of different genders/etc?
3. Did they produce a catalog for the artists they show, and how many monographic catalogs for what demographics?
4. How much do people's catalogs cost, how much for women/men/etc? 
5. How many pages are their catalogs? 
6. What # of reproductions do they contain?
7. Who was asked to write for these catalogs?
8. Who was asked to do lectures or educational stuff associated with each show?
9. Who works in the curatorial dept?
10. Which artists have the curators worked with before, especially for solo shows, and what's THAT demographic breakdown?
11. How much are curators paid?
12. What are their jobs?
13. How do they find out about artists?
14. Do they do studio visits, and to whom?
15. Who are the other advisors to the curators? 
16. What demographics are the primary benefactors to the museum?
17. How are they asked to participate?
18. Who's in the personal collections of the trustees????
 

Carta a galeria recalmando equidad en sus muestras

Dear artist/curator/critic/audience
This is an open letter directed to the director Dr Thomas Köhler at the Berlinische Galerie about the statistics of female v/s male representation of the temporary exhibitions there. (In short: In total 34 male artists have been represented with solo-shows in-between 2007 and 2013, and only 11 female artists (24%). As for the group shows, Berlinische Galerie has shown in total 268 male artists and 94 female artists (26%) during the same time.)
The open letter needs to be signed by as many engaged persons as possible before we send the text to Monopol or Frieze d/e who we hope will publish the letter, and if they don't we will post the letter on the Berlinishe Galerie facebook-site and as many other places we can think of. Please read the letter and consider to sign it. If so, please send your name to Power Ekroth powerekroth@gmail.com or hannah goldstein hannah@hannahgoldstein.net as soon as possible. If you feel that the letter is important: please pass this letter on so that we can get as many signatures as possible before February 7th when we will send it to the magazines. It will still be possible to sign the letter after February 7th.
All best /power and hannah

OPEN LETTER TO DR. THOMAS KÖHLER, DIRECTOR OF BERLINISCHE GALERIE
Dear Dr. Thomas Köhler,
During a seminar at the Nordic Embassies in Berlin the other week, you were asked about the ratio of female artists v/s male artists in the collection and the temporary exhibitions at the Berlinische Galerie for which you are the director of. You mentioned that you didn't know exactly the percentages of female artists represented by your institution, but that you were positive that the result was going to be a good one if you did the math. We know how difficult it is to review one's own work through the gender-perspective glasses, especially when one doesn't have the correct statistics presented in black and white. We wanted to help you out, and hence we did the math for the exhibitions over the past years at the Berlinische Galerie from what we could find from your official website. The result is below with the essential information highlighted. 
2013:
Solo shows in total: 8 (25% female artists represented in solo shows)
Female artist: 2
Male artist: 6
Group shows in total: 3 (16% female artists represented in the group shows)
1st show included 16 artists: 3 women 13 men (1 unknown NSH Architekten)
2nd show included 30 artists: 4 women 26 men
3rd show included 12 artists: 2 women 10 men
2012
Solo shows in total: 3 (0% female artists represented in solo shows)
Female artist: 0
Male artist: 3
Group shows in total: 3  (22% female artists represented in the group shows)
1st show included 33 artists: 7 women 26 men
2nd show included 5 artists: 3 women 2 men
3rdshow included 25 artists: 4 women 21 men
2011
Solo shows in total: 9 (22% female artists represented in solo shows)
Female artist: 2
Male artist: 7
Group shows in total: 1 (25% female artists represented in the group shows)
1st show included 16 artists: 4 women 12 men 
2010
Solo shows in total: 7 (57% female artists represented in solo shows)
Female artists: 4
Male artists: 3
Group shows in total: 2 (24% female artists represented in the group shows)
1st show included 53 artists: 13 women 40 men
2nd show included 2 artists: 0 women 2 men
One group show with missing information of the gender ratio: MDF Berlin

2009
Solo shows in total: 7 (14% female artists represented in solo shows)
Female artists: 1
Male artists: 6
Group shows in total: 2 (37% female artists represented in the group shows)
1st show included 38 artists: 14 women 24 men
2nd show included 19 artists: 7 women 13 men
2008
Solo shows in total: 7 (14% female artists represented in solo shows)
Female artist: 1
Male artist: 6
Group shows in total: 4 (23% female artists represented in the group shows)
1st show included 10 artists: 3 women 7 men
2nd show MDF no names given
3rd show included 4 artists: 0 women 4 men
4th show included 8 artists: 2 women 6 men
2007
Solo shows in total: 4  (25% female artists represented in solo shows)
Female artists: 1
Male artists: 3
Group shows in total: 6 (31% female artists represented in the group shows)
1st show included 29 artists: 14 women 15 men
2nd show included 2 artists: 1 women 1 men
3rd show included 9 artists: 3 women 6 men
4th show included 20 artists: 6 women 14 men
5th show included 26 artists:  3 of unknown gender (no first-name information for these, so we count these as female even if we sincerely doubt they were) and 23 men
6th show included 5 artists: 1 woman 4 men
There are a few group shows that don’t mention the exhibiting artists, the MDF shows mentioned above so we can't add the statistics from them. 
If we combine the years we find that the solo shows has been with in total 34 male artists in-between 2007 and 2013, and only 11 female artists (24%). As for the group shows, Berlinische Galerie has shown in total 268 male artists and 94 female artists (26%) during the same time. 
Now we know what the statistics says about the exhibitions at Berlinische Galerie and we absolutely don't see the results as good. At all. We hope and believe you agree with us. 
We realize that you started your job in 2008, so you are in no way responsible for the deploring result of either 2007 or most likely not many shows in 2008 either, or possibly even 2009. And we know it is hard to reverse centuries of discrimination. What we have done here is only a simple counting-experiment, and unfortunately we have not yet done any research about how culturally diverse the program at Berlinische Galerie has been over the years for instance. But we sincerely hope that the current numbers will encourage you to start fresh with a hope that the city of Berlin, as diverse and sprawling as it actually is, will be represented with a much more balance in the future when it comes to essential criteria of equality within representation. 
We would also sincerely encourage you to immediately start a revision of your collection as we are sure you will find holes, or even crates, where female, trans-gendered or artists who are not white are lacking of representation. Only then you will be able to start patching up what can still be patched up, this would help rectify some of the strange assumptions made today about why so few female artists are represented in the canon of the history of art. The Berlinische Galerie today unfortunately and unforgivably gives the impression that the contemporary art world and Berlin is not diverse. As artists and curators living in Berlin, we know that this gives a terribly wrong impression and we would hope you would publicly announce a new route for the Berlinische Galerie.
Power Ekroth and hannah goldstein and YOUR NAME HERE (along with others as well)?  

wynne greenwood



http://www.wynnegreenwood.com
http://www.wynnegreenwood.com
http://www.wynnegreenwood.com


Wynne Greenwood is a queer feminist artist who works with video, performance, music and object-making to practice culture-healing. Her work has been included in performances and exhibitions at independent and institutional spaces internationally, including the Tate Modern, Whitney Biennial, The Kitchen and On the Boards. From 1999 - 2006, Greenwood performed the multimedia art-band Tracy + the Plastics. Upon ending the project, Greenwood shifted her focus to installation and object-based work, exhibiting with Susanne Vielmetter Los Angeles Projects and Lawrimore Project in Seattle. Most recently, Greenwood participated in Anti-Establishment, a group show at Bard College's Center for Curatorial Studies, and released the full-length music album A Fire To Keep You Warm. Greenwood also teaches performance and video through workshops and after-school programs.

cuando muestran solo chicos...

y galerista se defiende: "mis mejores amigas son mujeres"

gaby cepeda: GIM girls of the internet museum




porno abstracto

El porno abstracto capta una tentación (sexual) en tanto materia y formas sin ser literal en la representación de la heterosexualidad
Son las obras que interpelan los modos normales (normalizados) de atracción: produce una alternativa a los dispositivos de deseo por tanto invitan a la disidencia sexual en un nivel no racional o significado. Son pospornograficas porque buscan excitar el sistema nervioso del espectador pero critican los estatutos de la pornografia. Su mecanismo de disidencia se relaciona íntimamente con la teoría Queer pero no cae en ilustraciones de los textos sino que se aplican estas teorías al lenguaje formal de los propios medios pictóricos y visuales pre-racionales. La teorías de género al servicio de la pintura. Es un modo de infiltrar reflexiones sobre los cuerpos en circuitos del arte que desdeñan de la crítica feminista por ejemplo.


Una interpretación política de la abstracción según las lecturas de género, se basa en la posibilidad de generar dudas no racionales sobre lo establecido. Toda la sociedad se erige sobre reglas que denomina naturales, normales o necesarias, y no lo son. Estas posturas se asientan a través de la reiteración de imágenes heteronormativas, como propagandas constantes. Insinuar una relación sexual entre figuras geométricas y cuerpos indefinidos origina en el espectador un raro ejercicio mental de creación de la acción que -por falta de referencias literales- será una proyección de sus propios deseos.


Se trata de un geometría Drag porque toma el cuerpo plástico de la geometría en la historia del arte y lo transforma en algo nuevo y trans: geometría como herramienta biopolítica.

ABORTO. TU DECISIÓN. INFORMATE

ABORTO. TU DECISIÓN. INFORMATE
Folleto sobre utilización del Oxaprost. Descargar aquí