Liljestrand Foundation, Honolulu, Hawai‘i
Design Conversation Series:
Brigitte Shim & Elke Krasny present
“Building Our Collective Memory – The House / Museum”

Thursday, February 14, 2019 at 5:30 p.m.

The modern house has been the site for great experiments and invaluable exploration in new ways of living. The House / Museums exist in different forms around the world. Liljestrand House has transformed from a single family house to a new House / Museum. It is amongst a growing number of global house museums that provide visitors with a deeper understanding of the radical types of spatial innovations that have been explored through the house in the modernist period.

We hope you will join us for Brigitte & Elke’s “Building Our Collective Memory – The House / Museum” presentation and conversation. Together, they will present a range of significant House / Museums around the world providing a context to the important work being done at Liljestrand House. Attendees will have the opportunity to engage with them throughout this informal discussion and cocktail event at the inspired setting of the Liljestrand House. 

info [at] liljestrandhouse.org | (808) 537-3116
3300 Tantalus Drive, Honolulu, Hawai‘i 96822


Interiors Buildings Cities — Lecture, 21 December, 2018, 12:45-15:45

Delft University of Technology, Architecture of the Interior, Room C
Julianalaan 134, Delft, The Netherlands

Looking forward to giving a lecture on ’Intimate Publics: Feminist Spatial Practices’ at Interiors Buildings Cities. We will explore the politics of intimacy and discuss how feminist spatial practices contribute to activism in domestic and public space.


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

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

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.


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


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