Lectures

Oslo Architecture Triennale 
2 October, 2019, 16:00 – 18:00
ROM for kunst og arkitektur, Maridalsveien 3, Oslo
Organiser ROM and Oslo National Academy of the Arts

With the general neoliberalization of life all work and no play has shifted to all play is work. Given the Oslo Triennale’s radical suggestion of linking new forms of play to the concept of degrowth, it is of interest to reflect on how taking back play can, our could, be a viable form of resistance against the biopolitical paradigm of neoliberal capitalism and its exhausting 24/7 ideology.

Historically, the playground developed as a pedagogical site not merely dedicated to children’s play, but much rather teaching children the right way of playing. This lecture focuses on uses of the playground in both literal and figurative terms. Who’s taking the children to the playground while parents are at work? Which parts of the world are considered their playground by those who are in power? How can we start envisioning or dreaming new forms of play given the historically gendered and racialized ideas of the playground? 

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Buchvorstellung mit Elke Krasny
23. September 2019, 20:30

Pro qm – thematische Buchhandlung zu Stadt, Politik,
Pop, Ökonomiekritik, Architektur, Design, Kunst & Theorie 
Almstadtstraße 48-50
D-10119 Berlin

Today, architecture and urbanism are capital-centric, speculation-driven, and investment-dominated. Many cannot afford housing. Austerity measures have taken a disastrous toll on public infrastructures. The climate crisis has rendered the planet vulnerable, even uninhabitable. This book offers an alternative vision in architecture and urbanism that focuses on caring for a broken planet. Rooted in a radical care perspective that always starts from the given, in the midst of things, this edited collection of essays and illustrated case studies documents ideas and practices from an extraordinarily diverse group of contributors.

Focusing on the three crisis areas of economy, ecology, and labor, the book describes projects including village reconstruction in China; irrigation in Spain; community land trust in Puerto Rico; revitalization of modernist public housing in France; new alliances in informal settlements in Nairobi; and the redevelopment of traditional building methods in flood areas in Pakistan. Essays consider such topics as ethical architecture, land policy, creative ecologies, diverse economies, caring communities, and the exploitation of labor. Taken together, these case studies and essays provide evidence that architecture and urbanism have the capacity to make the planet livable, again.

Fitz, Krasny, Architekturzentrum Wien (Eds)
Critical Care. Architecture and Urbanism for a Broken Planet
MIT Press, 2019, 9780262536837
EUR 35.90

Elke Krasny und Eva Kuschinski
Vorträge und Gespräch, 20.9.2019, 19.00

alpha nova & galerie futura
Weibliche Visionen in Kultur Politik und Kunst e.V.
Am Flutgraben 3, 12435 Berlin

Vorträge „Reproduktionsort und Ware: Die Wohnung als Kristallisationspunkt gesellschaftlicher Widersprüche“ von Eva Kuschinski und „Grundrisse der Reproduktion. Die Haushaltsfrage“ von Elke Krasny (PhD) mit anschließendem Gespräch.

Die Wohnung wie wir sie heute kennen, ist ein Ort, an dem gesellschaftliche Widersprüche sichtbar werden und sich auch räumlich manifestieren. Sie hat sich (idealtypisch) als der Ort herausgebildet, an dem Menschen sich erholen, zurückziehen, Hausarbeit machen, geschützt sind, essen, schlafen, ihren Alltag verbringen. Zugleich ist sie aber als Ware in Kapitalkreisläufe eingebunden. Im Vortrag geht es darum, aus feministisch-materialistischer Perspektive die Einbettung der Wohnung in diese widersprüchlichen gesellschaftlichen Verhältnisse zu diskutieren und so auch aktuelle politische Verhandlungen der Wohnungsfrage – und warum sie sich wie für wen stellt – kritisch in den Blick zu nehmen.

Wer sammelt den Müll auf am Montag in der Früh nach der Revolution, fragte die feministische Künstlerin Mierle Laderman Ukeles im Jahr 1969. Wir müssen fragen: Wer entsorgt den Müll nach acht Stunden in der Fabrik? Wer ist im Atelier, während gekocht wird? Aus der Perspektive des feministischen Marxismus auf reproduktive Arbeit werden Wohnungsgrundrisse von Bauhausbauten in Dessau und Gemeindebauten des Roten Wien untersucht. Der Vortrag verfolgt Grundrisse der Reproduktion und verbindet die Haushaltsfrage mit der Geschichte der Architekturmoderne und des Feminismus.

Eva Kuschinski lebt in Hamburg und arbeitet dort seit 2015 als wissenschaftliche Mitarbeiterin an der HafenCity Universität. Zuvor hat sie unter anderem in Frankfurt am Main Humangeographie und Soziologie studiert. Im Rahmen ihres Dissertationsprojekts denkt sie über materialistisch-feministische Perspektiven auf die Wohnungsfrage nach. Auch darüber hinaus ist sie interessiert an solchen Zugängen zu Stadt und Gesellschaft und deren Vermittlung. 2018 arbeitete sie beispielsweise mit dem feministischen Theaterkollektiv Swoosh Lieu an deren Stück „WhoReclaims?! – ein collagierter Streifzug durch die Raumfrage“, das utopische Momente und Praktiken feministischer Raumnahme portraitierte.

Elke Krasny, PhD, ist Professorin an der Akademie der bildenden Künste Wien. Sie forscht und kuratiert zu Fragen von Feminismen, Arbeit, Ökonomie, Ökologie und Erinnerungspolitiken in Architektur, Urbanismus, zeitgenössischer Kunst und Kunstvermittlung. Jüngste Vorträge: ‘Gathering Feminist Resisters. Assemblies, Dinners, Salons, and Tribunals’, Museo de Arte de Sao Paulo; Wandering Wombs and Arching Bodies. The Hysterical Complex in Feminist Political Thought’, University of California Los Angeles und ’Kuratieren im Salon. Intime Öffentlichkeiten‘ Schwules Museum Berlin. 2019 hat sie gemeinsam mit Angelika Fitz das Buch Critical Care. Architecture and Urbanism for a Broken Planet (MIT Press) herausgegeben.

Die Veranstaltung findet statt im Rahmen der Reihe „Feministische Wohngeschichte(n) für die Zukunft. Berlin, Bauhaus und darüber hinaus“ (6.9.-18.10.2019).

Event auf facebook

Erinnerung, Trauma, Widerstand, Veränderung
Gegenwärtigkeit, trans­nationale Verflechtungen und Geschichtspolitiken in der Kunstvermittlung

Vortrag, 19. September 2019
Akademie der bildenden Künste Wien
IKL Karl-Schweighofer Gasse 3, 1070 Wien
11.00, Raum 3.06

Die Vergangenheit ist das Problem der Gegenwart. Erinnerung ist das um­kämpfte Terrain von Ideologien und Interessen. Kunst artikuliert Verhält­nisse zur Vergangenheit. Kunst mobilisiert Erinnerung. Kunstvermittlung ist nicht nur Teil der kritischen Aufarbeitung und Reflexion dieser Verhältnisse, sondern auch handelnde Akteur_in in der Veränder­barkeit und Veränderung dieser Verhältnisse. Erinnerungs-Aktivismus bringt Denk- mäler zu Fall, führt zur Errichtung neuer Museen, klagt Reparation ein, fordert Repatriation. Transnationale Verflechtungen im Erinnerungs-Aktivismus und seinen Geschichts­­politiken erörtert der Vortrag an Hand von aktuellen Entwicklungen in Berlin, Cape Town, Seoul und Wien. Die Wunden, Traumata, und Konflikte der Vergangenheit sind die Wunden, Traumata, und Konflikte der Gegenwart. Der Vortrag reflektiert deren Gegenwärtigkeit und Vergegenwärtigung in kunstvermittelnder Erinnerungsarbeit und Trauerarbeit als Aufgabe und Herausforderung für kunstbasierte, forschungsgeleitete und gesellschaftlich involvierte Praxis in der Lehre und im Kuratieren.

New Zealand Institute of Architects APL Design Series
NZIA APL Design Series
Christchurch Art Gallery
Montreal Street
Christchurch

I will be giving lectures on Critical Care, the research I did on Architecture and Urbanism for a Broken Planet, together with Angelika Fitz at the Az W Architekturzentrum Wien in Auckland on August 12, in Wellington on August 13, and in Christchurch on August 14. The other speakers are Lindley Naismith & Jane Aimer – Scarlet Architects and Patrick Clifford Architectus.

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Critical Care – Architecture and Urbanism for a Broken Planet, Installation view Az W Architekturzentrum Wien. Photo by Peter Putz.

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.

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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 

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Programm PDF download