Lectures

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
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FREE INSCRIPTIONS ON THE DAY OF THE EVENT
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NOVEMBER 12th, 2018
MON | 10h – 18h

10h
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 

burschenschaft-hysteria-600_

Programm PDF download

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.

| Seminar: Art, public space and progress
| Lecture | Public Art: On Critical Urban Practice
| Hordaland Art Centre, Bergen, Norway – 17/09/15

Ines-Doujak_Vigil_Vienna,2010

Ines Doujak, Vigil (Mahnwache), Morzinplatz, Vienna, July 9 – Oct 1, 2010

KUNST UND BILDUNG
Wiener Vorlesung vom 4. März 2015
Wiener Rathaus, Wappensaal, 1., Lichtenfelsgasse 2, Feststiege II

“Auf der Wiener Secession steht: ‘Der Zeit ihre Kunst. Der Kunst ihre Freiheit’ (Ludwig Hevesi). Diese Sätze führen zu Folgesätzen: Der Zeit ihre Lehre. Der Lehre ihre Freiheit. Gemeinsam veranlassen diese Sätze, über die Verhältnisse zwischen Kunst und Bildung nachzudenken. Was tun Kunst und Bildung? Wie kann künstlerische Produktion als unabschließbarer Prozess ein Weiter-Arbeiten, ein Weiter-Denken, ein Weiter-Bilden fordern und ermöglichen? Ausgehend von Beispielen aus meiner kuratorischen und lehrenden Praxis werde ich zeigen, wie das Unabschließbare, das Unfertige künstlerisch, politisch und gesellschaftlich weiter arbeitet. In die Vorzukunft gedacht, werden Kunst und Bildung nie fertig geworden sein. Dort liegt ihr utopischer Horizont.“

Elke Krasny

 

Begrüßung: Rektorin Mag.a Eva Blimlinger
Antrittsvorlesung der Professur “Kunst und Bildung” an der Akademie der bildenden Künste Wien: Univ.-Prof.in Mag.a Elke Krasny
Anschließend Diskussion mit Eva Blimlinger und Elke Krasny
Moderation: Univ.-Prof. Dr. Hubert Christian Ehalt
Datum: Mittwoch, 4. März 2015, 19 Uhr
Ort: Wiener Rathaus, Wappensaal, 1., Lichtenfelsgasse 2, Feststiege II

Eine Veranstaltung in Kooperation mit der Akademie der bildenden Künste Wien

Lecture at the Medialab Prado. 2015, February 2

Esta conferencia y debate se enmarca dentro del seminario público Urbanismo Afectivo que tendrá lugar en Madrid durante los días 3, 4 y 5 de Febrero de 2015 organizado por Interdisciplinary Centre for Urban Culture and Public Space (Vienna University of Technology), VIC Vivero de Iniciativas Ciudadanas e Intermediae-Matadero.

La conferencia se impartirá en inglés sin traducción.

medialab-prado_elke-krasny_3.2.2015_b

For streaming this video please go to http://medialab-prado.es/article/hands-onurbanismtherighttogreen#

Lecture at the International Le Corbusier Seminar
10–13 December 2014, Cyprus International University, Nicosia, Lefkoşa

Progamm

Research + Reflect: Le Corbusier’s Voyage Re-Visited

When Le Corbusier set out East on his pilgrimage to the Orient, he followed the earlier model of the Grand Tour.

The word voyage reveals complex material, epistemological, and political constellations. A voyage, by definition, is geared towards discovery. It can also be understood as an enterprise. The etymology points to the co-implications of voyage, research, resources, imperialism, and colonialism.

In 2011, I used Le Corbusier’s Voyage as a model for a curatorial research project and together with photographer David Bergé retravelled five of the citites along Le Corbusier’s original itinerary. In Athens, Belgrade, Istanbul, Rome, and Vienna I conducted interviews with architects, artists, theoreticians, activists, and urban scholars to discuss key aspects of Le Corbusier’s Voyage. The insights gained from these interviews form the basis for my lecture. Theoretically, I am interested in exploring, the epistemological and critical implications of the prefix re (back, again,  anew, undoing) with regard to (curatorial) research when re-visiting the legacy of the Voyage.

DavidBergé©Joeri Thiry, STUK Kunstencentrum-1_1000pxl

Installation: Le Corbusier’s voyage reORIENTed 1911-2011, ElkeKrasny, DavidBergé, ARTEFACTFESTIVAL 2013
13-24 February 2013, STUK KUNSTENCENTRUM LEUVEN, Photo: Joeri Thiry, STUK Kunstencentrum

 

 

| Stephan Weiss Lecture Series: Cooperative Cities
| Thursday, November 20, 2014 at 5:00 pm to 9:00 pm
| The New School | Anna-Maria and Stephen Kellen Auditorium, Sheila C. Johnson Design Center
| 66 Fifth Avenue New York, NY 10003

Schedule

5:00-5:30 p.m.– Introduction
5:30-6:00 p.m.– Silvia Federici, New York City, USA.
6:00-6:30 p.m.– Ana Rodriguez, Quito, Ecuador.
6:30-6:45 p.m.– Recess
6:45-7:15 p.m.– Doina Petrescu, Paris, France.
7:15-7:45 p.m.– Elke Krasny ,Vienna, Austria.
7:45-8:45 p.m.– Discussion
8:45-9:00 p.m.– Drinks

The last decades have seen an upsurge of art- and design-led urban activist practices propelled by the renewed commitment to “the right to the city.” In the face of scarce and inconsistent public financing, as well as predatory and profit-driven economic and urban development, citizen-driven micro urban economies have emerged as vital to sustaining urban communities across the world. The Fall 2014-Spring 2015 Stephan Weiss Lecture Series focuses on ways in which artist- and designer-activists have conceptualized and fostered the co-production of non-hierarchical and cooperative urban economic models. Two public events featuring academics, scholars-practitioners and activists will delve into the roles designers and artists are playing as agents of such urban transformations, and the affordances that design and art processes offer to civic, grassroots and community organizations involved in the creation of new organizational forms and practices of urban solidarity.

Commoning the City: From Survival to Resistance and Reclamation.
Silvia Federici

In response to the intense crisis communities are experiencing across the world, depriving millions of their basic means of subsistence, women are “leaving the home” and constructing more cooperative forms of social reproduction that are profoundly transforming our cities, increasingly blurring the separation between urban and rural, private and public space. Drawing upon these experiences, this paper explores how the “commoning” initiatives that women have taken in urban spaces—often motivated purely by economic necessity—have changed the process of social reproduction, giving women more social power and challenging institutional politics. The author argues that at the “point zero of reproduction” survival becomes a transformative force.

We Stay in San Roque: Networks, Labour, and Social Cooperation.
Ana Rodriguez

In the context of gentrification processes around historic city centers, local communities face pressures from government authorities, real estate developers, and property speculators. In the specific case of San Roque’s Market in Quito, its strategic location makes the neighborhood highly attractive to large-scale investment for real estate development, and emblematic of global trends targeting heritage cities to turn them into destinations for tourism. These processes have prompted communities to organize and mobilize, strengthening their position and building defense fronts. Looking at these processes and the need to raise awareness about issues related to “the right to the city” from concrete experiences designed towards the “cooperative city,” this paper illustrates work the author has done in San Roque, work which started as a research commission, developed into a process of community mediation, and has now evolved into a collective action and new form of social cooperation network: the Knowledge Network for San Roque. The group addresses relationships of exploitation within the market, and seeks to halt the ongoing precariousness its workers experience. A space of struggle is constituted, involving multiple actors, and it is clear that the problem of the market is a prism of greater urban issues pertaining to the city. In this perspective the importance of the metabolic role of the market in the city (San Roque feeds 34% of the city population) allows a new horizon for actors who want to ensure the survival of San Roque’s market.

A Feminine Reconstruction of the Commons.
Doina Petrescu
This paper explores how the “commons’’ is a political architectural project that is central to feminist strategies for reconstructing our social, political, affective and cognitive agency. The paper draws on a number of projects developed by Atelier d’architecture autogérée with residents in Paris and its suburbs to demonstrate how these processes of sexed, spatial and ecological invention—processes whose “agents’’ are mostly women—produce new social relations of and for the commons.

Unplanned History: Communities of Resistance.
Elke Krasny
The title of this presentation proposes a paradox as its starting point: unplanned history. History eludes planning, since it has already happened. Yet the writing of history, as feminist and post-colonial scholarship has shown, needs both care and planning. The focus of this presentation is on communities of resistance and practices of hospitality, and the intersecting issues of self-organization and austerity, supported action and precarity of bodies, labor, space and resources. The author’s research-based curatorial work will be described through the 2011-2012 project “Mapping the Everyday. Neighbourhood Claims for the Future,” a collaboration with the Downtown Eastside Women’s Centre, an example of feminist self-organization and solidarity urbanism in Vancouver, B.C. She will also discuss her book Hands-On Urbanism: The Right to Green, which explores urban gardening through the lens of self-organization, dynamics of migration, and resistant practices.

More information on the Urban Colloquium Lecture Series

Lecture by Elke Krasny
May 16, 2014

Matratze/ Matrize: Substanz und Reproduktion im Wohnen. Konzepte in Kunst und Architektur
Gästehaus der Universität Bremen, Teerhof 58, 28199 Bremen, 15.–18. Mai 2014
Internationale Tagung des Forschungsfeldes wohnen+/-ausstellen in der Kooperation des Instituts für Kunstwissenschaft und Kunstpädagogik an der Universität Bremen mit dem Mariann Steegmann Institut. Kunst & Gender.

Mattress/Stencil: Substance and Reproduction in Living. Concepts in Art and Architecture
International conference of the research program wohnen+/-ausstellen (living+/-exhibiting),  a collaboration between the Institute of Art History and Art Education at the University of Bremen and the Mariann Steegmann Institute. Art & Gender.

MARIANN-STEEGMANN-INSTITUT_Matratze--Matrize--Substanz-und-Reproduktion-im-Wohnen.1

MARIANN-STEEGMANN-INSTITUT_Matratze--Matrize--Substanz-und-Reproduktion-im-Wohnen.2b