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Nelly van Doesburg


FUENTE: http://www.snap-dragon.com/nelly_van_doesburg.htm


Nelly van Doesburg from the catalogue for the Piet Mondrian Centennial Exhibition, Guggenheim Foundation, 1971


Some Memories of Mondrian


"This brings us to the question of Mondrian's relation to women. Although he was in his fifties when I knew him in Paris, the subject of women was ever on his lips. He would interrupt any type of conversation in order to comment with boyish enthusiasm upon the physical attractiveness of some admired example of the opposite sex. His taste was catholic in this respect, ranging from the refined beauty of a number of female acquaintances to the more direct appeal of pin-up posters. 6 He was completely captivated by the charms of Mae West, who at the time was quite young, but nonetheless used artificial make-up in a way that Mondrian found attractive. Indeed, his ideal wife would have been precisely this kind of youthful love goddess, whose chief virtue of character would be the patience to spend long hours in a corner of his pristine studio knitting or watching him paint — a Mae West in crinolines, so to speak. Perhaps Mondrian himself realized that these two ideals were difficult to combine, as his often repeated disappointments in love graphically illustrated. Like Brancusi, whose personality was otherwise so different and who was much less inhibited in his enjoyment of female company, Mondrian had adopted a pattern of life which did not allow any realistic prospect of ordinary domestic relationships. Each of these artists was so devoted to his profession that there was, in fact, little room left over in their lives for the daily companionship of any woman. It is as difficult to imagine any ordinary woman feeling comfortably at home either in the sparsely furnished atelier of Mondrian or amidst the clutter of statuary with which Brancusi surrounded himself. This is not to say that Mondrian did not feel a need for female companionship. Its absence in his life, I sensed often, was regretted deeply by Mondrian and came as close as anything could to constituting a personal tragedy. To some extent this unfulfilled need was relieved by the attention of various female acquaintances and friends, such as two Polish girls living in Antwerp who occasionally would visit him in Paris and share an evening of dancing with him. Yet, something always seemed to "happen" which prevented the creation of more lasting bonds. Probably underneath it all such bonds would have been felt to constrict him as an artist, and, in any case, it would have taken an extraordinary type of woman to adapt to the life provided by Mondrian."

Carta a galeria reclamando 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.

miriam schapiro

http://en.wikipedia.org/wiki/Pattern_and_Decoration


silvia federici



escritora, profesora y activista feminista. 

Al analizar la quema de brujas, Federici no sólo desentraña uno de los episodios más inefables de la historia moderna, sino el corazón de una poderosa dinámica de expropiación social dirigida sobre el cuerpo, los saberes y la reproducción de las mujeres. Esta obra es también el registro de unas voces imprevistas (las de los subalternos: Calibán y la bruja) que todavía hoy resuenan con fuerza en las luchas que resisten a la continua actualización de la violencia originaria.


para descargar>>>> http://espanol.free-ebooks.net/ebook/Calib-n-y-la-bruja/pdf



Poderes de la perversión, Julia Kristeva

La abyección no es sólo un aspecto de la ‘constitución’ del sujeto parlante. Se relaciona con su discurso cultural: arte, literatura, filosofía, etc. Se conecta con las prácticas transgresivas en general, con la experiencia de cruzar límites y manejar prohibiciones.

La abyección, por su parte, es la condición en la cual la identidad se encuentra perturbada, donde se produce un colapso del significado.


“Abyecto. Es algo rechazado del que uno no se separa, del que uno no se protege de la misma manera que de un objeto. Extrañeza imaginaria y amenaza real, nos llama y termina por sumergirnos.
No es por lo tanto la ausencia de limpieza o de salud lo que vuelve abyecto, sino aquello que perturba una identidad, un sistema, un orden. Aquello que no respeta los límites, los lugares, las reglas. La complicidad, lo ambiguo, lo mixto. El traidor, el mentiroso, el criminal con la conciencia limpia, el violador desvergonzado, el asesino que pretende salvar… Todo crimen, porque señala la fragilidad de la ley, es abyecto, pero el crimen premeditado, la muerte solapada, la venganza hipócrita lo son aun más porque aumenta esta exhibición de la fragilidad.
[…] la abyección es inmoral, tenebrosa, amiga de rodeos, turbia: un terror que disimula, un odio que sonríe, una pasión por un cuerpo cuando lo comercia en lugar de abrazarlo, un deudor que estafa, un amigo que nos clava un puñal por la espalda…”


http://filosofiadelarte.com/2011/06/lo-abyecto-y-la-abyeccion-en-el-arte.html
http://www.elhablador.com/est17_guerrero1.html

preciado

1 http://www.youtube.com/watch?v=mAQCCacL08c&feature=related

3 http://www.youtube.com/watch?v=EGqD6_coqFk&feature=related



presenta el libro pornotopia, que sera muy abusado de mi parte para queer deco

judith butler


tunga

video de la expo de tunga en galeria millan, san pablo

laurie anderson




compilado de videos para disfrutar: ACA

pintorAs


http://www.proyectopintoras.blogspot.com.ar/

jo baer

http://www.jobaer.net/

lee lozano

una nueva conocida, que aparentemente a cierta edad en los 70, dejo de hablarle a las mujeres,....no imaginar cual era su estrategia, pero si me gusto su pinturas de herramientas:

mujeres creando (bolivia)

http://www.mujerescreando.org/

Un espacio feminista en la ciudad de La Paz, un espacio inédito del feminismo autónomo que se explica de esta manera:
Si estuviéramos en el siglo XIX la virgen de los deseos sería un Quilombo, un lugar de esclavas huidas que se juntan a organizarse en libertad. Si estuviéramos en el siglo XVI,  sería en vez, quien sabe un convento.
La “Virgen de los Deseos” es una forma de recoger una estrategia que las mujeres hemos tenido a lo largo de la historia, estrategia que ha pasado por la huida de la reclusión y la construcción de un espacio concreto para nosotras.

virginie despentes

P. Para usted la femineidad es una forma de servilismo, un puterío. Una mujer sumisa es una mujer sin rostro, ¿por dónde empieza la revolución?
R. Convertirse en lesbiana sería un buen comienzo.
P. No se termina, según dice, disfrazándose de hombres para avanzar. ¿Cómo inventar la femineidad bajo presión sin caer en el conservadurismo o tirando de ideas preconcebidas?
R. No nos disfrazamos de hombres más que ellos. Lo que se define como lo que les pertenece, no les pertenece y no les conviene, ni más ni menos que a las que nacemos mujeres. Imaginar que la fuerza de carácter, la energía, la agresividad, el deseo, o los trapos más prácticos que seductores nos pertenecen en tanto que hembras es una herejía. A cada una le toca definir, según su trayectoria precisa y en la medida de sus posibilidades adónde quiere ir. Que opongan a mi femineidad el ejemplo de una novela donde dos mujeres matan a todo el mundo es una estupidez. No escribo para honrar ni deshonrar mi femineidad, sino en un contexto preciso y sobre emociones que no poseen género.

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