This volume presents ten visual essays that reflect on the historical, cultural and socio-political legacies of empires. Drawing on a variety of visual genres and forms, including photographs, illustrated advertisements, stills from site-specific art performances and films, and maps, the book illuminates the contours of empire’s social worlds and its political legacies through the visual essay. The guiding, titular metaphor, sharpening the haze, captures our commitment to frame empire from different vantage points, seeking focus within its plural modes of power. We contend that critical scholarship on empires would benefit from more creative attempts to reveal and confront empire. Broadly, the essays track a course from interrogations of imperial pasts to subversive reinscriptions of imperial images in the present, even as both projects inform each author’s intervention.
Contributions by Ahmad Barclay, Carla Bobadilla, Giulia Carabelli (ed.), Ian M. Cook, Miloš Jovanović (ed.), Annika Kirbis (ed.), Nataša Mišković, Deniz Sözen, and Jeremy F. Walton (ed.).
Opening | 28.03.2019, 7.00 p.m.
Exhibition dates | 29.03.2019 – 25.05.2019
Venue | xE – Exhibition room of the Academy of Fine Arts Vienna, Eschenbachgasse 11, Corner Getreidemarkt, 1010 Vienna
Curators: Véronique Boilard, Andrea Haas, Nina Höchtl, Julia Wieger
Participants: Felicity Allen; Anti*Colonial Fantasies – Imayna Caceres, Sunanda Mesquita, Sophie Utikal; Chantal DuPont; ff. Feministisches Fundbüro; Martha Fleming und Lyne Lapointe; Vera Frenkel; Anne Golden; Althea Greenan; Minna Henriksson; Belinda Kazeem-Kamiński; Annette Krauss and the shifting team at the Casco Art Institute; lamathilde; Tanya Mars; Diane Poitras; Anne-Marie Proulx; Martha Rosler; Ego Ahaiwe Sowinski; Sekretariat für Geister, Archivpolitiken und Lücken; Vidéographe; Joyce Wieland; Aida Wilde
Opening hours: Tue–Fri, 11.00 a.m. – 6.00 p.m., Sat: 11.00 a.m. – 3.00 p.m., closed on Sun, Mon and holidays, free access
Ego Ahaiwe Sowinski/Aida Wilde, poster inspired by placards of the Women’s Art Library, Goldsmiths, University of London, installation view, Empowered PrintWorks, 2015, photo: Will Cenci
Like the universe, the realm of cultural production consists mostly of dark energy and matter.1 These invisible masses and movements form from spontaneous, amateurish, autonomous, activist, self-organized, collective practices that play an important part for feminist cultural work. This is also a matter of the unpaid or underpaid labor of those who deliberately shun visibility or have no choice but to remain invisible. It is the invisible dark matter that keeps the cultural sector going!
DARK ENERGY. Feminist Organizing, Working Collectively explores feminist forms of organization and knowledge production in the cultural sector. It gives center stage to the visual, material and performative characteristics of feminist collaborative practices. It asks how these forms of organization and production are influenced by their general economic setup and what begins to sway politically in this context. Which forms of creative dark matter and knowledge can be practiced, produced, and disseminated when, where, and how?
The exhibition brings together a diverse range of efforts that tackle these questions in different contexts and times. Through the work of the participating artists, archivists, designers, and activists the exhibition provides insights from feminist, queer, decolonizing perspectives into the forces that collide with(in) art institutions and organizations.
1 Gregory Sholette, Dark Matter. Art and Politics in the Age of Enterprise Culture, London: Pluto Press 2011.
Historically, Los Angeles and its exhibition market have been central to the international success of Latin American cinema. Not only was Los Angeles a site crucial for exhibition of these films, but it became the most important hub in the western hemisphere for the distribution of Spanish language films made for Latin American audiences. Cinema between Latin America and Los Angeles builds upon this foundational insight to both examine the considerable, ongoing role that Los Angeles played in the history of Spanish-language cinema and to explore the implications of this transnational dynamic for the study and analysis of Latin American cinema before 1960. The volume editors aim to flesh out the gaps between Hollywood and Latin America, American imperialism and Latin American nationalism in order to produce a more nuanced view of transnational cultural relations in the western hemisphere.
100 Years Women’s Right To Vote | 50 Years 68 Movement
curated by contemporary collective graz
with Iris Andraschek, maschen (Julia Rosenberger, Korinna Lindinger), Andrea Schlemmer,
Sekretariat für Geister, Archivpolitiken und Lücke
Opening: Thursday, 25.10.2018 at 6:30 pm
adapted from a page from Maria Strnad, Österreichische Trachtendirndl (Traditional Austrian Dirndls), (Vienna: Sogra Modeverlag, 1950), Courtesy Department of Ultimology
What Where (2018)
Research project and installation
Commissioned by steirischer herbst’18 Volksfronten
Produced by steirischer herbst and Grazer Kunstverein. Coordinated by Fiona Hallinan, Nina Höchtl, Kate Strain, and Julia Wieger
María del Socorro (Coco) Gutiérrez Magallanes, Nina Hoechtl, Rían Lozano
This article examines the postgraduate Gender and Visual Culture seminar that we have been co-teaching as a team of two (and occasionally three) professors over a four-year period at the public National Autonomous University of Mexico. Throughout this seminar, we have embraced personal and collective experiences in the process of (un)teaching and (un)learning to explore the possibilities of a pedagogy of ‘contagion by contact’, both feminist and critical, encouraging creative formats.
Drawing from a range and diverse reflections, we seek to critically explore an amplified challenge of, and the need for, a collaborative and de(s)colon/ial/ising approach towards (un)teaching and (un)learning in the context of the public university as a contentious space of political engagement. This space requires a constant questioning of where to teach from (a politics of location), what to teach (culturally diverse and conflicting worldviews), and how to teach (critical and decolonising methodologies).
in Tijdschrift voor Genderstudies, Amsterdam University Press, Volume 21, Number 2, June 2018, pp. 153-170
curated by Enar de Dios Rodriguez
“Current signs” is a project to which contemporary artists were invited to express their actual concerns and demands in form of protest banners. What must we demand or protest against? What needs to be expressed publicly? What statements need to be taken to the streets? The resultant 16 protest banners designs, conceived by a wide range of artists, give a visual answers to these poignant questions. Printed in editions of 50, these banners will be on view at das weisse haus from the 20th of February to the 31st of March, where visitors could take them for free as long as they are available.
This project is born from the need to address concerns related to our current political landscapes and the raise (and acceptance) of far-right, xenophobic and racist ideologies. As always – but maybe now more than ever – we need to make visible our demands, to share with each other our ideas, our worries and our needs. Current signs aims to encourage this exercise of the right to demonstrate and protest.
Pablo Chiereghin / Anetta Mona Chişa & Lucia Tkáčová / Johannes Gierlinger / Marina Gržinić & Aina Šmid / Siggi Hofer / Klub Zwei / Milan Mijalkovic / Ryts Monet / monochrom / Ivette Mrova Zub / Yoshinori Niwa / Sekretariat für Geister, Archivpolitiken und Lücken (SKGAL) / UBERMORGEN / Flora Watzal / Christina Werner / WochenKlausur
EXHIBITION at das weisse haus
Opening February 20, 2018, 7 pm
Duration: February 21 – March 28, 2018 // Tuesday to Friday 1pm –7pm, Saturday 12am – 5pm, or by appointment