SATURDAY 19 AUGUST 1:30 pm
FEMINISM AND THE ARCHIVE + panel discussion with Althea Greenan (Curator at the Women’s Art Library at Goldsmiths University), Samia Malik (from the Women of Color Index reading group that explores the Women’s Art Library catalogue at Goldsmiths to visibilize WoC artists’ work) and Julia Wieger (co-director of Hauntings in the Archive! and co-founder of the Secretariat for Ghosts, Archival Politics and Gaps (SKGAL), at the VBKÖ).
LFFF2017 will screen the European premiere of feature documentary Hauntings in the Archive! This will be followed by a short talk by Selina Robertson on her research with the Rio Cinema’s 1980s–1990s feminist film curation archive.
Hauntings in the Archive! reflects on and exposes the his/herstory/ies of the Austrian Association of Women Artists (VBKÖ) through its century-old archive of letters, photos, catalogues and thousands of other documents. The Secretariat for Ghosts, Archive Politics and Gaps curates the material to conjure up the spectres of the multiple lives of the VBKÖ that meet and share the scene in the film: ghosts of national socialism encounter colonial fantasies and old and new feminist agencies.
Saturday, August 26, 7pm, Complejo Cultural Universitario, BUAP
Tuesday, September 26, 6pm, CINE.AR Sala Gaumont
¡HECHIZOS EN EL ARCHIVO!/HAUNTINGS IN THE ARCHIVE! attempts a long, fragmentary cut through the his/hertory/ies of the Austrian Association of Women Artists (VBKÖ). Founded in 1910, the VBKÖ was one of the first organizations in Europe to represent the artistic and economic interests of women artists. In 2017 the association is still active and it faces ghosts of national socialist ideologies and of colonial fantasies as well as spectres of old and new feminist agencies.
A film and production by the SECRETARIAT FOR GHOSTS, ARCHIVAL POLITICS AND GAPS
Narrators AMOR GUTIÉRREZ, NAOMI RINCÓN GALLARDO
Music OPEN MUSIC ARCHIVE
Sound design CHRIS JANKA
Edited by NINA HOECHTL, EDUARDO THOMAS
Camera LIESA KOVACS, NICK PROKESCH
Color correction JUAN LUIS VELAZQUEZ
Written and directed by NINA HOECHTL AND JULIA WIEGER
Lecture “Againstogether in lucha libre (in Mexico)” (in German)
in the frame of the year’s subject „appropriation – body & soul“
Wednesday, April 5, 2017, 2pm
Zeitbasiertes Wohnzimmer DO0458
Presentation and exhibition A(R)MANDO VO(I)CES A Gloria Anzaldúa Thought Gallery with Verena Melgarejo Weinandt in the frame of the international conference BEYOND BORDERS: Literaturas y culturas transfronterizas mexicanas y chicanas
On November 11, 2016 INVASORIX participated with the video presentation MY GÜERX SKIN HURTS HORRIBLY. -Sí, cómo no. in SOUND GENDER FEMINISM ACTIVISM SGFA 2016 White Noise, University of the Arts London.
As cuir-feminists in a white supremacist capitalist patriarchy – as our imaginary friend bell hooks so accurately termed it – we attempt to intervene in its white noise in order to interrupt its hissing seemingly tranquilizing yet numbing sound. Moreover, in the mexicano context at least half of our group are read and addressed as güerxs: the word may refer to personas with blond hair and/or fair skin and/or to their supposedly “higher” social and cultural status, thus it might be also used to güeriar/flatter in order to get something.
While associating white noise with an opaque and subaudible power, which hierarchically organizes bodies, lands, resources and access, among others, through a reggaetón song we seek to address these complex intersections as well as the power dynamics, blind spots, and different privilegios such as racial, class and educational aspects within our group: How do they affect, transform, challenge, hinder and lessen relationships, dialogues, work and the ethical, political and creative risks we take? How could our reggaetón song be a fertile ground to provocar cuir-feminist empowerment and a significant descolonial gesture challenging its essentializing association of “latinx” y “caribeñx” as well as its intrinsic relation with dancing, physicality and sexualidad?
My essay “Wrestling With Burlesque, Burlesquing Lucha Libre” is part of Performance and Professional Wrestling, edited by Broderick Chow, Eero Laine, Claire Warden and with contributions by Keiko Aiba, Stephen di Benedetto, Janina Bradbury, Broderick Chow, Morgan Daniels, Carrie Dunn, Jon Ezell, Stephen Greer, Jamie Lewis Hadley, Nina Hoechtl, Charles Hughes, Eero Laine, Heather Levi, Laura Katz Rizzo, Sharon Mazer, Nicholas Porter, Claire Warden, Nicholas Ware (London and New York: Routledge, 2017)
Performance and Professional Wrestling is the first edited volume to consider professional wrestling explicitly from the vantage point of theatre and performance studies. Moving beyond simply noting its performative qualities or reading it via other performance genres, this collection of essays offers a complete critical reassessment of the popular sport.
Topics such as the suspension of disbelief, simulation, silence and speech, physical culture, and the performance of pain within the squared circle are explored in relation to professional wrestling, with work by both scholars and practitioners grouped into seven short sections:
A significant re-reading of wrestling as a performing art, Performance and Professional Wrestling makes essential reading for scholars and students intrigued by this uniquely theatrical sport.
In July the Sekretariat für Geister, Archivpolitiken und Lücken (Secretariat for Ghosts, Archival Politics and Gaps – SKGAL) will present the project SPUKEN IM ARCHIV!/HAUTINGS IN THE ARCHIVE! through a series of performative screenings:
SPACE I: Künstlerhaus Büchsenhausen
Tuesday, July 5, 2016, 7 pm
SPACE II: FÜNFZIGZWANZIG
Wednesday, July 6, 2016, 6:30 pm
Ort III: [esc] medien kunst labor
Friday, July 8, 2016, 9 pm
Ort IV: das weisse haus
Tuesday, July 12, 2016, 7 pm
HAUNTINGS IN THE ARCHIVE! is a film and research project by SKGAL which deals critically with the hi/herstory/ies and archive of the Austrian Association of Women Artists (VBKÖ).
SKGAL is a working group of the VBKÖ, an institution that was founded in 1910 as one of the first organizations in Europe that represented the interests of women artists. While the feminist origins of the association provide an impressive and important point of reference – and this includes contemporary perspectives – the hi/herstory/ies of the association are ambivalent: In 1938 the VBKÖ committed to cooperation with the National Socialist regime. Furthermore, over the several decades following 1945, it did not break away from its everyday routines and personnel which stemmed from National Socialist period. A radical change in the direction of the subject matter and content finally took place in the late 1990s through a clear generational shift of the VBKÖ’s board. Hand-in-hand with the new direction, the VBKÖ established its archive in 2004 and began its involvement in the contemporary feminist art context of Vienna.
In this context, SKGAL asks how hi/herstory/ies can/could be written in a self-organized women’s artist association. Moreover, how can an association which now fosters contemporary feminist artistic agendas establish a vital connection between historical debates and contemporary queer, feminist art productions? And how can it do so with artistic means?
Through the performative screenings, HAUNTINGS IN THE ARCHIVE!, SKGAL invites you to follow the ghosts of the VBKÖ, and to join them in reconsidering the material in the archive of the association in order to challenge it through debates and interpretations. For this project SKGAL will appropriate historical images and textual material from the archive, it will indicate gaps, reclassify material, and bring about a variety of connections. In the project, ghosts haunt places, voices and images, and they show strategies as well as the power of hi/herstory/ies. Along with the ghosts, SKGAL aims to contradict the unequivocal consolidations of history and will thereby attempt to update the hi/herstory/ies in the archive in order to shift views on its material. This way it is possible for the archivist Sabine Harik, who compiled the archive of the VBKÖ, the philosophers Jacques Derrida and Michel Foucault, the feminist artists network INTAKT, the art historian Julie M. Johnson, the cultural scientist Kate Eichhorn and the artist VALIE EXPORT to come together in order to challenge the hi/herstory/ies of an old association for women artists!
Gefördert aus den Mitteln von / Funded by SHIFT.
BETWEEN WORD AND IMAGE
A Gloria Anzaldúa Thought Gallery
Opening: March 17, 2016, 5:30pm
Exhibition: March, 18 – April 16, 2016
Casa de Cultura U.A.E.M. en Tlalpan
Triunfo de la Libertad #9, Mexico City
Borderlands/La frontera: la nueva mestiza (PUEG, 2015)
by Gloria Anzaldúa
with interventions by
Marisa Belausteguigoitia (Facultad de Filosofía y Letras, UNAM)
Coco Gutierrez-Magallanes (independent researcher)
Julianne Gilland (LLILAS Benson Latin American Studies and Collections, Universidad de Texas/Austin)
“No se raje, rolitx”, performative appropriation by Una
Performative readings by MANU(EL)(LA)
Closing: comments by Alicia Gaspar de Alba and artist Alma López (UCLA)
A day before the opening, on March 16 at 5pm the conversation
Imagen, cuerpo y palabra: los documentos de Gloria Anzaldúa y La Archiva/DIWO de Mónica Mayer
with Julianne Gilliand (director of the Nettie Lee Benson Latin American Collection) Mónica Mayer (feminist artist) and Karen Cordero (feminist art historian and curator)
will take place at the MUAC.
An image is a bridge between evoked emotion and conscious knowledge; words are the cables that hold up the bridge. Images are more direct, more immediate than words, and closer to the unconscious. Picture language precedes thinking in words; the metaphorical mind precedes analytical consciousness.
Gloria Anzaldúa, Borderlands: the new mestiza = La frontera, 1987
When I studied painting and writing, I discovered that I could create concrete universes. Rather, I didn’t create them; I was the conductor for them, the channel.
Gloria Anzaldúa, “Creativity and Switching Modes of Consciousness,” 1986
BETWEEN WORD AND IMAGE. A Gloria Anzaldúa Thought Gallery, exhibited for the first time in the south of the Río Bravo, confronts us inevitably and creatively with the following questions: How do we read and take up the visual and textual work of Anzaldúa today, here in Mexico? What role do borders play? Borders, we inhabit, we survive and where we live. How does Anzaldúa help us give tongue/language and sense to the ways in which race relations, gender, sexuality, ethnicity and class are configured in Mexico and the Borderlands? What is she saying/showing to us? How current/relevant are her thought and intellectual propositions?
A self-described “Chicana, tejana, working-class, dyke-feminist poet, writer-theorist,” Gloria Anzaldúa also saw herself as a nepantlera, one who navigates a liminal space between worlds, identities, and ways of knowing. Just as fluid movement between English, Spanish and Nahuatl was central to Anzaldúa’s teaching and writing, so too was the interplay between words and images an essential element of her self-expression.
The words and images presented for the first time in Mexico come from transparency drawings, notes, and diagrams that Anzaldúa presented to her audiences at workshops and lecture “gigs” across the United States of America. Some are undated, but many were created during one of the most active periods of her teaching career, in the mid-1990s.
These vivid documents provide an intimate view into Anzaldúa’s creative process and demonstrate the centrality of imagination and visuality to the author’s theories of knowledge and consciousness. Anzaldúa explores borders and builds bridges that allow contact, friction, and mixture with the unexpected, the foreign, the queer, the “other,” which is, in many instances, the reverberation of the self and the collective memory.
SELECTION FROM THE ANZALDÚA PAPERS AT THE BENSON LATIN AMERICAN COLLECTION
THE UNIVERSITY OF TEXAS AT AUSTIN
Julianne Gilland, Coco Gutiérrez-Magallanes, Nina Hoechtl, Rían Lozano
Curatorial assistents: Alana Varner y Frank Rodriguez (at the LLILAS Benson Latin American Studies and Collections – University of Texas/Austin), MANU(EL)(LA) (in the Casa de Cultura de la UAEMéx)
Translations: Coco Gutiérrez-Magallanes, Nina Hoechtl, Valerie Leibold, Rían Lozano, Mauricio Patrón.
Convened by Casa de Cultura de la UAEMéx, Campus Expandido/MUAC, LLILAS Benson Latin American Studies and Collections, Universidad de Texas/Austin, Tepetongo. Balneario Crítico y Centro Cultural Border.
Uncanny Materials | Foundational Moments of Art Education
Opening | 10.03.2016, 7.00 p.m.
Exhibition dates | 11.03.2016 – 16.05.2016
Venue | Academy of Fine Arts Vienna, main building, Schillerplatz 3, 1010 Vienna, xhibit
A curatorial exhibition, research and education project
Opening hours: Tue–Sun, 10.00 a.m.–6.00 p.m., admission free
Special opening hours: 28.03.2016 (Easter Monday), 01.+05.05.2016 and 16.05.2016 (Whit Monday) / 10.00 a.m.–6.00 p.m.
Opening: Thursday, March 10, 2016, 7:00 p.m.
Welcome address: Eva Blimlinger, Rector of the Academy of Fine Arts Vienna
Introduction: Elke Krasny and Barbara Mahlknecht, Institute for Education in the Arts, Studio of Art and Education
Curators: Elke Krasny and Barbara Mahlknecht
Exhibition design in collaboration with Alexander Ach Schuh
With contributions by
Tal Adler/Friedemann Derschmidt/Elisabeth Samsonow/Karin Schneider/Anna Szöke/Niko Wahl, Anna Artaker, Eva Blimlinger, Ramesch Daha, Zsuzsi Flohr/Benjy Fox-Rosen/Eduard Freudmann/Eva Reinold/Luisa Ziaja, Lena Rosa Händle, Minna L. Henriksson, Belinda Kazeem-Kaminski, Gila Kolb, Martin Krenn, Ina Markova/Rosemarie Burgstaller/Sophie Bitter-Smirnov, Verena Pawlowsky, Sabine Plakolm, Birgit Peter, Dirk Rupnow, Hansel Sato, Sekretariat für Geister, Archivpolitiken und Lücken (Nina Höchtl und Julia Wieger), Anna Schürch, Bernadette Settele, Nora Sternfeld, Suely Rolnik, Wer hat Angst vor dem Museum? (Imayna Caceres/Pêdra Costa/Verena Melgarejo Weinandt).
On July 9, 1941, a decree stipulating the foundation of a “master school for art education and the training of secondary school art teachers” went out from the Reichsministerium für Wissenschaft, Erziehung und Volksbildung (Reich Ministry for Science, Education, and People’s Education) in Berlin to the Academy of Fine Arts Vienna. The beginning of the institutionalization of a program for art teachers at the Academy, which is still largely unappraised seventy-five years later, has now been made the subject of a curatorial exhibition, research and education project.
Based on research by the historians Ina Markova, Rosemarie Burgstaller, and Sophie Bitter-Smirnov, the project’s curators, Elke Krasny and Barbara Mahlknecht, have conceived of an open archive for the exhibition. This installation allows for an understanding how National Socialism informed art education: materials from the Academy’s University Archive – personnel sheets, lists of students, curricula, exam regulations, minutes of professorial staff meetings, budgets, lists of master school awards and materials to be provided – document the institutional routine.
Activists and artists, many of whom have studied at the Academy of Fine Arts Vienna or are teaching there now, were invited to present works or develop performances related to the subject. The artists’ positions articulate activist interventions into the memory of institutions, relate to the standardization and disciplining of bodies through education, and reveal how women’s politics were implicated in National Socialism. Some of the works reflect present-day changes in the realm of “multidirectional memory” (Michael Rothberg) and the meaning of “migrants’ situated knowledge” (Ayse Güleç) in regard to politics of history.
On April 20 and 21, 2016, an international symposium with lectures, talks, and workshops will explore issues of institutional memory, National Socialist educational policy, the connections between politics of remembrance and artistic practices and question critically hegemonic histories in the field of art education.
Wed, March 16, 2016, 4:00 p.m., xhibit
A Look Back into the Museum
Performance lecture with Wer hat Angst vor dem Museum? (Imayna Caceres, Pêdra Costa, and Verena Melgarejo Weinandt)
Tue, April 5, 2016, 1:30 to 5:30 p.m., xhibit
In Haunted Archives: (Post-)National Socialist Times, Decolonial Futures
Secretariat for Ghosts, Archival Politics, and Gaps (Nina Höchtl and Julia Wieger)
Wed, April 20, 2016, 9:30 a.m. to 9:00 p.m.
Thur, April 21, 2016, 10:00 a.m. to 4:00 p.m.
Studio Building of the Academy, Multi-Purpose Space
Turning (to) the Archive. Institutional Histories, Educational Regimes, Artistic Practices, and Politics of Remembrance
Symposium: lectures, discussions, and workshops by contributions from Tal Adler/Friedemann Derschmidt/Elisabeth Samsonow/Karin Schneider/Anna Szöke/Niko Wahl, Eva Blimlinger, Zsuzsi Flohr/Benjy Fox-Rosen/Eduard Freudmann/Eva Reinold/Luisa Ziaja, Minna L. Henriksson, Gila Kolb, Elke Krasny, Martin Krenn, Barbara Mahlknecht, Verena Pawlowsky, Sabine Plakolm, Birgit Peter, Dirk Rupnow, Anna Schürch, Bernadette Settele, Nora Sternfeld, Suely Rolnik.
Tue, May 3, 2016, 3:00 to 5:30 p.m., xhibit
The course Kunst, Öffentlichkeit und Geschichtspolitik (Art, Public Sphere, and Politics of History) visits the exhibition Belinda Kazeem-Kaminski (German).
Tue, May 10, 2016, 5:00 p.m., gathering place: x hibit
1941: A Politics-of-History Walk through Vienna
With students from the course Kunst und Öffentlichkeit (Art and the Public Sphere) taught by Elke Krasny (German)
Wed, May 11, 2016, 11:00 a.m., xhibit
The Missing Monument – Commemoration in Progress
Workshop as part of Zsuzsi Flohr’s course Commemoration in Progress (English)
Fri, May 13, 2016, 4:00 p.m., xhibit
Curators’ tour (German/English)
Special thanks for their support and cooperation extend to
Eva Blimlinger and Andrea B. Braidt; the University Archives, the University Library and the Graphic Collection of the Academy, as well as the many others who have supported this project.