Shifting Sites: Territories and Space, University of Applied Arts Vienna
9-10 November, 2018

VENUE: Department of Site-Specific Art/Ortsbezogene Kunst
Paulusplatz 5, 2nd floor, 1030 Vienna, Austria

FRI, 09.11.18 

3 pm | Joint visit to Haus der Geschichte Österreich
Meetingpoint: Main entrance Österreichische Nationalbibliothek,Josefsplatz 1, 1015 Wien

7 pm | Exhibition Opening, Activate the Territories, Paulusplatz 5, 1030 Wien
Welcome Gerald Bast (Rector), Paul Petritsch (Head of the Department)
Introduction (Johanna Tinzl, Mechtild Widrich)
Bar Planet Polyester (The Gabi, The George, The Heri, and The Students)

SAT, 10.11.18

2 pm | Welcome (Paul Petritsch)
Introduction, Shifting Sites: Territories and Space (Mechtild Widrich)

2.30 pm | Elke Krasny, Territory of Care. A Planetary Perspective in Architecture and Urbanism

3 pm | Beti Žerovc, Can the High Modernism of Yugoslav Monuments Be Viewed as a Trojan Horse of Capitalism in Socialism?

3.30 pm | Coffee Break

5 pm | Dora Imhof, Imaginary Islands. A Journey Around Andreas Gursky’s Dubai World

5.30 pm | Inge Hinterwaldner, From Heavenly Maneuvers to Atmospheric Turmoil. Aesthetic, Political, and Ecological Dimensions of Sky Art and Space Art

6 pm | Round Table, Concluding panel with participants
The lectures are accompanied by students’ interventions.

7.30 pm | Dinner with all participants, the team and students
Moped, Salmgasse 23, 1030 Wien

Lecture at at Feminist Histories, Radical Women,
MASP Museu de Arte de Sao Paulo, November 12, 2018

Gathering Feminist Resisters: Assemblies, Dinners, Salons, and Tribunals
Curatorial labour can be understood as a work of gathering that brings together non-humans and humans. While curatorial history writing, including critical feminist histories of curating, has by far privileged the exhibition format, this lecture focuses on social, cultural, and activist gatherings. Through a transhistorical this presentation will include the following key examples: Jewish salon culture during the late 18thand early 19thcentury; lesbian salon culture and transracial salons hosted by Negritude women at the early 20thcentury; cultural, social and political activism during the United Nations Decade for Women 1975–1985, highlighting the International Tribunal on Crimes Against Womenand Suzanne Lacy’s International Dinner Party; art activism at the beginning of the 21stcentury, in particular Black Women Artists for Black Lives Matter, initiated by Simone Leigh, and Guess Who’s Coming for Dinner, Too? by Patricia Kaersenhout. The analysis combines art historical materialism and political thought to tease out how curating gatherings practices feminist resistance

2,000 participants at International Tribunal on
Crimes Against Women. 1974

NOVEMBER 12th, 2018
MON | 10h – 18h

Introduction with Adriano Pedrosa and Jochen Volz.
10h30 – 12h30
ANDREA GIUNTA | Radical Women, an Intersectional Perspective
In this presentation I will analyze Radical Women, an exhibition about art made by Latin American and Latinx artists from 1960-1985. Although it starts from what the art world was, and in large part still is – patriarchal, racist, and classist –, this exhibition subverts the patriarchal perspective, here replaced by a feminine and feminist perspective. An authorship of predominantly white female artists persists. However, the agenda of the exhibition goes beyond these appearances. Matters of race and sexual dissidence are addressed in different works, considering perspectives that can be understood from a critical position towards the parameters of the regimented societies of Latin America, whose normative ideal was white and heterosexual. Societies in which some women had recently achieved the right to vote and, like other areas of society, were subject to repression, censorship, imprisonment, and torture.

EUGENIA VARGAS PEREIRA | Accounts Towards a Feminist Conversation
In this presentation, I will approach my experience as a woman and artist in the world of photographers during the 1980s, approaching my works present in the exhibition Radical Women. What did it mean to be a feminist in that decade? How did the art world react to it? I will speak about how the inclusion of the body in my work brought along marks of previous memories and experiences accumulated over time.

JANET TORO | Limits, Creativity, and Resistance
I will show performances and installations made between 1990 and 2017 in Chile and Germany. The works presented are a response to the extreme realities I experienced, in which limits – whether of social, political, or economical terms – delimited a restraining territory. My production is a response to such contexts. Creativity gathered with imagination goes beyond, bringing knowledge together and questioning the borders of contingency with minimal gestures, radical works. They are signs of resistance, and their edges also offer a glimpse of poetry.

14h – 16h

ELKE KRASNY | Gathering Feminist Resisters: Assemblies, Dinners, Salons, and Tribunals

Curatorial labor can be understood as a work of gathering that brings together non-humans and humans. While curatorial history writing, including critical feminist histories of curating, has by far privileged the exhibition format, this lecture focuses on social, cultural, and activist gatherings. Through a transhistorical perspective, this presentation will include the following key examples: the Jewish salon culture during the late 18th and early 19th century; the lesbian and transracial salons hosted by Negritude women at the early 20th century; the cultural, social and political activism during the United Nations Decade for Women 1975-1985, highlighting the International Tribunal on Crimes Against Women and Suzanne Lacy’s International Dinner Party; art activism at the beginning of the 21st century, in particular the collective Black Women Artists for Black Lives Matter, initiated by Simone Leigh, and Guess Who’s Coming for Dinner, Too?, by Patricia Kaersenhout. The analysis combines art historical materialism and political thought to tease out how curating gatherings practice feminist resistance.

RENATA BITTENCOURT | Black Radicalness
This presentation intends to broaden the reflections provided by the exhibition Radical Women: Latin American Art, 1960-1985, focusing on the production of African-American female artists. Names like Adrian Piper, Senga Nengudi, Lorraine O’Grady, and Howardena Pindell are representative of Black women who approached issues related with gender and ethnicity in their works.
KATY DEEPWELL | On the Presence and Politics of Local/Global Dynamics in Feminism and Contemporary Art
Where is feminist activity manifest in contemporary art? How can it exist as so intensely local and at the same time be global in its reach? Is feminism only visible in one form in the arenas of cosmopolitan and international exchanges (the blockbuster exhibition, the art biennale or the art journal)? Is it seen only through certain topics, issues or ideas? Where do the national or regional models of study in art history and criticism touch the reality and multiplicity of women artists’ productions, networks and transnational exchanges? Can feminism only be identified in notions of transmission and engagement through histories or genealogies, or trajectories or does it remain unrecorded and elusive, “out there”? Or is feminism always “recovered,” “constructed” after the fact? Is feminism limited if it is only “uncovered” in key works by individual artists or can its presence across multiple forms and sites be understood only when many group activities, events, exhibitions, publications are recognised?

16h30 – 18h

JUDY CHICAGO | Looking back at The Dinner Party
In October 2017, an exhibition titled Roots of The Dinner Party: History in the Making opened in the galleries of the Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum, where The Dinner Party has been permanently housed since 2007. In conjunction with this exhibit, the National Museum of Women in the Arts in Washington D.C. opened a smaller show, Inside The Dinner Party Studio, which explored my unique collaborative methods. The presentation will survey these two shows and look back at my journey from my early research into what was then an unknown history of women in Western civilization, to the fulfillment of my goal of permanent housing. I will also discuss the ongoing impact of The Dinner Party, which was seen by one million viewers during its worldwide tour from 1979 to 1988 and has attracted 1.5 million viewers since it has been at the Brooklyn Museum.
MAURA REILLY | Curatorial Activism: Resisting Sexism and Masculinism
“Curatorial Activism” is a term I use to designate the practice of organizing art exhibitions with the principle aim of ensuring that certain constituencies of artists are no longer ghettoized or excluded from the master narratives of art. It is a practice that commits itself to counter-hegemonic initiatives that give voice to those who have been historically silenced or omitted altogether—and, as such, focuses almost exclusively on work produced by women, artists of color, non-Euro-Americans, and/or queer artists. In this presentation, I will focus on the importance and mini-historiography of curatorial activist projects that resist sexism and masculinism, and will explore current statistics that substantiate the urgent need for a reevaluation of curatorial practice.


The seminar Feminist Histories, Radical Women, organized in partnership with Pinacoteca de São Paulo, gives continuity to a previous event held in MASP in February 2018, counting on the presence of female artists, researchers, activists, and curators.
This second event presents itself as a forum where artists, curators, and theorists can approach the main topics related with feminism and art, thus engendering new perspectives in connection with the exhibition Radical Women: Latin American Art, 1960-1985, parallelly taking place at Pinacoteca de São Paulo and based on a theme that concerns MASP’s curatorial project for 2019.
It is also part of the research undertaken for the exhibition Histories of Women, Feminist Histories, expected to come about in MASP between August and November 2019. The exhibition is split in two parts: Histories of Women, which includes artworks from several territories, styles, and pictorial genres, ranging from the 16th century until the late 19th, and Feminist Histories, comprising artists of different nationalities who work around feminist ideas or in response to them in the 21st century.
The seminar integrates the public program of the exhibition Radical Women: Latin American Art, 1960-1985, curated by Cecilia Fajardo-Hill and Andrea Giunta, and organized by the Hammer Museum of Los Angeles, currently on display at Pinacoteca de São Paulo until November 19th.
Organization: Adriano Pedrosa, André Mesquita, Isabella Rjeille, and Jochen Volz.

The Hysterical Complex in Feminist Political Thought

Lecture by Elke Krasny at 
Hysteria, Politics, and Performance Strategies
Nov 1. 2018
UCLA, Royce Hall 303 


Programm PDF download


SYMPOSIUM, Schwules Museum Lützowstraße 73, Berlin

Programm PDF Download

12. Oktober 2018

12.30–14.00 Willkommens-Brunch

14.00–16.00 Konzertierte Aktionen?

Vortrag, Birgit Bosold und Vera Hofmann: Jahr der Frau_en im Schwulen Museum Berlin.

16.30–17.30 Aktivismus: Vermitteln? Sammeln?

Vortrag, Sophie Lingg: Feministisches Arbeiten am k(l)einen Ort. Vermittlung in Peripherie, analog bis digital. Frauenmuseum Hittisau, Vorarlberg, Österreich.

Vortrag, Iver Ohm: Ziviler Ungehorsam und Widerstand in Ausstellungen – Über (Re-)Präsentation und (Re-)Produktion von Aktivismus in der Kunst(vermittlung).

17.30–18.30 Kuratieren im Salon: Intime Öffentlichkeiten 

Votrag, Elke Krasny: Freund_innenschaft, Kompliz_innenschaft: Von intimen Öffentlichkeiten im Salon.

19.00–20.00 Internationale Friedensarbeit von Frauen

Vortrag und Gespräch, Mathilde ter Heijne und Lena Fritsch: Blood, Sweat, and Tears: Friedensaktiviismus.

20.00–22.00 Gemeinsames Abendessen

13. Oktober 2018

11.00–13.00 Mit Archiven arbeiten

Lecture Performance, Maren Blume, Andrea Haas und Chantal Küng: Echos aus dem Archiv. Feministische Kreise und kollektive Räume der 70er/80er. Verbindungslinien zwischen den Archiven von Intakt in Wien, Doris Stauffer in Bern, Le Archinaute in Genua und dem Schwulen Museum in Berlin.

14.00–16.00 Curating Care

Roundtable, Lorena Juan Gutiérrez, Beatrix Klein, Birga Meyer, Rosario Talevi, Inga Zimprich, Vera Hofmann. Moderiert von Elke Krasny & Birgit Bosold.

16.30–17.30 Performative Szenen

Vortrag, Fabio Otti: Sex im Club

Vortrag, Claudia Lomoschitz: Performative Historiografie als kuratorische Erinnerungspraxis.

18.00–21.00 Essen, Trinken, Reden

Vorbereitet von Birgit Bosold, Lena Fritsch, Vera Hofmann, Elke Krasny.

Eine Zusammenarbeit des Dissertierendenseminars Kunst und Bildung der Akademie der bildenden Künste Wien, Leitung Prof. Dr. Elke Krasny, und den Jahr der Frau_en-Kurator_innen des Schwulen Museums Berlin, Birgit Bosold und Vera Hofmann.




25. Juni 2018, 18.00 – 20.30 
Nordbahnhalle, Leystraße 157/Ecke Taborstraße, 1020 Wien 

Nordbahnhof Erinnern verbindet historische Forschung, Erinnerungsarbeit, Kunst im öffentlichen Raum und Vermittlung mit aktueller Stadtentwicklung. 

Historiker*innen und Künstler*innen geben am 25. Juni in kurzen Vorträgen Einblick zu Fragen der Erinnerungsarbeit in Stadtgeschichte und Stadtentwicklung. Danach erfolgt eine gemeinsame Begehung der Freien Mitte am Nordbahnhofareal mit der Architektin Lina Streeruwitz.

Begrüßung: Bezirksvorsteherin Uschi Lichtenegger

Elke Krasny und Jade Niklai: Nordbahnhof Erinnern. Das Projekt 
Michaela Raggam-Blesch und Dieter J. Hecht: Nordbahnhof 1943–1945
Birgit Johler: Prekäres Wohnen nach 1938
Barbara Staudinger und Hannes Sulzenbacher: Kuratieren als Erinnern
Zsuzsi Flohr und Eduard Freudmann: „Was sie unterließ, haben wir getan.“ Wien Morzinplatz
Lina Streeruwitz: Die Freie Mitte. Eine Begehung

Moving Image as Document_1min42

Filmstill aus Marlene Wanzenböck und Lilli Sagi, Moving Image as Document:Representations of the Historical Building of Nordbahnhof, HD-Video, 2017;

Book launch: November 10, 2017, 19:00
Buchhandlung ChickLit, Kleeblattgasse 7, 1010 Vienna

Welcome to the book launch of ‘Feminist Futures of Spatial Practice’! Book editor Meike Schalk and authors Elke Krasny, Helena Mattsson and Sara Brolund de Carvalho will share insights from the book with a lively Q&A.

ABOUT THE BOOK: Architecture and the arts have long been on the forefront of socio-spatial struggles, in which equality, access, representation and expression are at stake in our cities, communities and everyday lives. Feminist spatial practices contribute substantially to new forms of activism, expanding dialogues, engaging materialisms, transforming pedagogies, and projecting alternatives. 40 contributing authors include international practitioners, researchers, and educators, from architecture, the arts, art history, curating, cultural heritage studies, environmental sciences, futures studies, film, visual communication, design and design theory, queer, intersectional and gender studies, political sciences, sociology, and urban planning.

EDITORS: Meike Schalk, Thérèse Kristiansson, and Ramia Mazé


Schalk, Meike / Kristiansson, Thérèse / Mazé, Ramia:
Feminist Futures of Spatial Practice

Spurbuchverlag 2017, 384 Seiten
43,20 Euro

Care+Repair – A Growing Exhibition at the Public Workspace by Az W — Eine wachsende Ausstellung im öffentlichen Arbeitsraum des Az W

Nordbahnhalle 21.6.–31.7.2017 — daily 2-10 pm / tägl 14.00–22.00

Care+Repair, in the context of the Vienna Biennale
How can we repair the future? And, how does this involve architecture and urbanism? For this exhibition and research project curated by Angelika Fitz and Elke Krasny the Az W Architekturzentrum Wien establishes a public workspace at Nordbahnhalle in one of Vienna’s largest innercity urban development areas. [Directions]

At Nordbahnhalle, the following six international teams of architects, a-works – Cristian Stefanescu/Bergen, Gabu Heindl/Vienna, Zissis Kotionis+Phoebe Giannisii/Volos, rotorRotor/Brüssel, Meike Schalkk/Stockholm und Rosario Talevi/Berlin, show one of their projects relevant to Care+Repair in an exhibition design by Alexander Schuh.
The first two weeks of July each of the teams will work in tandem with one of the following local experts, Zuzana Ernst, Can Gülcü, Martin Riesing, Beatrice Stude, Brigitte Felderer and students of the Master Program Social Design at the University of Applied Arts Vienna, and Hansel Sato, to develop Care + Repair prototypes at Nordbahnhof.
The exhibition at Nordbahnhalle, consultation hours, walks, talks, discussions, and reading groups invite the public to join Care+Repair at Nordbahnhof. [Programme]


Photo: Care Walk Nordbahnhof with Elke Krasny/Academy of Fine Arts Vienna, 2016

How can we repair the future? And how can architecture and urbanism contribute to this? Working in tandem with local experts six international teams of architects develop Care + Repair prototypes on site at the Nordbahnhof. An extensive programme invites people to visit the public work space next to the water tower.

How can very different kinds of knowledge be effectively combined to create neighbourhood networks, new types of communal spaces and housing, the use of existing materials and protecting nature in the city? An exhibition hosted in a former warehouse on location presents projects by the invited architectural teams that show how the Care + Repair approach interacts with the existing urban fabric, taking it into the future.

Documentation of the working processes for the Care + Repair prototypes is added to this growing exhibition on an ongoing basis. An international symposium launches the prototype development. With visits, discussions and workshops throughout the entire duration the public workspace extends an invitation to work jointly on finding solutions for repairing the future.


This Place Is Pretty Good — 9 architectural approaches to Brăila Cristian Stefanescu. Photo Irina Pata.


Care + Repair forms part of the VIENNA BIENNALE 2017: Robots. Work. Our Future, which unites designers, architects and visual artists by the joint aim to make a better tomorrow: The VIENNA BIENNALE is organized by the MAK – Austrian Museum of Applied Arts / contemporary Art, the University of Applied Arts Vienna, The Kunsthalle Wien, the Az W – Architekturzentrum Wien, and the Vienna Businness Agency with support from the AIT Austrian Institute of Technology as a non-university research partner.

Friday, June 17th, 2016, 10am–10pm (Lectures)
Saturday, June 18th, 2016, 10am–3pm (Workshops)
Fr 17. Juni, 10-22 Uhr (Vorträge) / Sa 18. Juni, 10-15 Uhr (Workshops)
Kunstschule Wien, Denkwerkstatt Sandleitenhof | Rosenackerstr. 14, 1160 Wien
Anmeldung bis 13. Juni erbeten: oder t.0676 3526743

Just Food – Interanationales Symposium (German/English)
kuratiert von Elke Krasny und Hansel Sato

Suppenküchen für Obdachlose und geflüchtete Menschen, Bäuerinnen im Kampf gegen patentiertes Saatgut, urbane Gemeinschaftsgärten, selbstorganisierte Samentauschbörsen: Nahrungsmittel und ihre Produktion sind ein umkämpftes Territorium, in dem sich aktuell Widerstand organisiert. Food Justice Movements praktizieren neue Formen der Selbstorganisation und fordern Verteilungs-und Ressourcengerechtigkeit.
Vorträge, Walks, gemeinsames Essen und Workshops bei dem Symposium Just Food geben die Möglichkeit, die Arbeit von Aktivist_innen, Forscher_innen und Künstler_innen zu globalisierter industrialisierter Landwirtschaft, Kolonialgeschichte, Migration, Geschlechterdifferenzen und urbanen Transformationsprozessen kennen zu lernen und zu diskutieren.

Symposium mit Beiträgen von:
Dieter Behr, Carla Bobadilla, Ronit Eisenbach, Phoebe Giannisi & Zissis Kotionis, Sonja Stummerer & Martin Hablesreiter („honey & bunny“), Zuzana Ernst (Projekt „A Wiener, halal!“), Elke Krasny, Hansel Sato, Ula Schneider.

In den von Elke Krasny sowie Hansel Sato an der Akademie der bildenden Künste geleiteten Lehrveranstaltungen haben Studierende des Fachbereichs Kunst und Bildung am Institut für das Künstlerische Lehramt Beiträge für das Symposium erarbeitet.

Zissis Kotionis_Phoebe Giannisi-The-Ark-in-Venice-560x371

The Ark by Zissis Kotionis und Phoebe Giannisi. Greek pavillion at the 12th Biennale of Architecture, Venice 2010.

Friday, May 6, 2016 | 5.30 pm to 9 pm, at Migros Museum
Saturday, May 7, 2016 | 10 am to 5 pm, Zurich University of the Arts

Concept Elke Krasny, Lara Perry, Dorothee Richter

With contributions by Amelia Jones, Maura Reilly, Helena Reckitt, Sigrid Schade, Dorothee Richter, Lara Perry, Elke Krasny, Hilary Robinson, Stella Rollig, Lina Džuverović and Irene Revell, Laura Castagnini, Susanne Clausen, Michaela Melian. Videoprogramme: Martina Mullaney, Szuper Gallery, Plan C, Liv Wynter, Louise Fitzgerald, PUNK IS DADA

Detailed information:



Vortrag im Rahmen des ÖGFA_Schwerpunkts
Hinter den Bildern | Teil 2: Politisches
22. April 2016 | 19.00

Räume der IG Architektur, Gumpendorfer Straße 63b, 1060 Wien

Das folgende Argument ist als bekannt vorauszusetzen: Architektur kann nur im Raum erfahren werden. Architektur kann nur durch die Begehung vor Ort zu Beschreibung, Analyse und Theoretisierung finden. Demgegenüber gilt es jedoch, (sich) immer wieder eindrücklich vor Augen zu führen, dass sich sowohl die Architektur der Moderne/des Industriekapitalismus als auch die Architektur der Globalisierung/der Postindustrialisierung durch ihre Bildwerdung behaupten.

Durch die Fotografie wurde die moderne Architektur zum Argument. Die Architektur und die Fotografie sind historisch untrennbar miteinander verbunden. Diese historiographische Einsicht muss in die Gegenwart erweitert werden. Globalisierte Architekturproduk- tion und über soziale Plattformen verbreitete digitalen Fotografie sind auf das engste miteinander verknüpft.

Der Vortrag geht der Frage nach, auf welche Art und Weise die Praxis des Kuratierens zwischen der Architektur und der Fotografie Stellung bezieht. Anhand von exemplarischen Architekturausstellungen des 20. und 21. Jahrhunderts werden die durch die Fotografie erzeugten Blickregime auf Architektur, durch welche Bedeutungsproduktion, Kanonisierung, Einordnung und In-Mehrwert-Setzung hervorgebracht werden, analysiert. Darüber hinaus wird am Beispiel von „Architektur beginnt im Kopf. The Making of Architecture“ und „Penser tout haut / Fair l’architecture“ einem Projekt aus meiner eigenen kuratorischen Praxis erläutert, wie die forschende Kuratorin als Fotografin agiert, um die konventionalisierten Blickregime befragend und querend in den Blick zu nehmen.