Gloria Evangelina Anzaldúa—theorist, Chicana, feminist—famously called on scholars to do work that matters. This pronouncement was a rallying call, inspiring scholars across disciplines to become scholar-activists and to channel their intellectual energy and labor toward the betterment of society. Scholars and activists alike have encountered and expanded on these pathbreaking theories and concepts first introduced by Anzaldúa in Borderlands/La frontera and other texts.
Teaching Gloria E. Anzaldúa is a pragmatic and inspiring offering of how to apply Anzaldúa’s ideas to the classroom and in the community rather than simply discussing them as theory. The book gathers nineteen essays by scholars, activists, teachers, and professors who share how their first-hand use of Anzaldúa’s theories in their classrooms and community environments.
The collection is divided into three main parts, according to the ways the text has been used: “Curriculum Design,” “Pedagogy and Praxis,” and “Decolonizing Pedagogies.” As a pedagogical text, Teaching Gloria E. Anzaldúa also offers practical advice in the form of lesson plans, activities, and other suggested resources for the classroom. This volume offers practical and inspiring ways to deploy Anzaldúa’s transformative theories with real and meaningful action.
Contributors: Carolina E. Alonso, Cordelia Barrera, Christina Bleyer, Altheria Caldera, Norma E. Cantú, Margaret Cantú-Sánchez, Freyca Calderon-Berumen, Stephanie Cariaga, Dylan Marie Colvin, Candace de León-Zepeda, Miryam Espinosa-Dulanto, Alma Itzé Flores, Christine Garcia, Patricia M. García, Patricia Pedroza González, María del Socorro Gutiérrez-Magallanes, Leandra H. Hernández, Nina Hoechtl, Rían Lozano, Socorro Morales, Anthony Nuño, Karla O’Donald, Christina Puntasecca, Dagoberto Eli Ramirez, José L. Saldívar, Tanya J. Gaxiola Serrano, Verónica Solís, Alexander V. Stehn, Carlos A. Tarin, Sarah De Los Santos Upton, Carla Wilson, Kelli Zaytoun
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.
Contribuciones por 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.).
Inauguración | 28.03.2019, 19.00 hrs
Exhibición | 29.03.2019 – 25.05.2019
Lugar | xE – espacio de la exhibición de la Academy of Fine Arts Vienna, Eschenbachgasse 11, esquina Getreidemarkt, 1010 Viena
Curadores: Véronique Boilard, Andrea Haas, Nina Höchtl, Julia Wieger
Participantes: 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 Wild
Ego Ahaiwe Sowinski/Aida Wilde, carteles inspirados en los carteles de la Women’s Art Library, Goldsmiths, University of London, Empowered PrintWorks, 2015, foto: Will Cenci
Como el universo, el corazón de la producción cultural consiste en materia y energía oscuras.1 Estas masas y movimientos invisibles se forman a partir de prácticas espontáneas, amateurs, autónomas, activistas, autogestionadas y coleectivas que juegan un papel fundamental en el trabajo cultural feminista. Un trabajo mal pagado o no retribuido que evita deliberadamente la visibilidad o no tiene eleccion de permanecer invisible. ¡Es la materia oscura e invisible que mantiene el sector cultural funcionando!
DARK ENERGY. Feminist Organizing, Working Collectively explora formas de organización feministas y de producción de conocimiento en el sector cultural. Poniendo en el centro las prácticas colaborativas feministas materiales y performativas, a través del trabajo de artistas, archiveras, diseñadoras y activistas, inscritas desde perspectivas feministas, queer y descolonizadoras.
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 años sufragio femenino | 50 años movimiento 68
Inauguración: jueves, 25.10.2018 a las 18:30 hrs
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
All-women art spaces in Europe in the long 1970s
Edited by Agata Jakubowska and Katy Deepwell
The texts gathered in this volume embrace women artists-only exhibitions, festivals, collective art projects, groups and associations, organised in the long 1970s in Europe (1968-1984). These all-women art initiatives are closely related to developments within the political and politicized women’s movement in Europe and America but what emerges is the varied and plural manner of their engagements with feminism(s) alongside their creation of ‘heterotopias’ in relation to specific sites/ politics/ collaborative art practices.
With texts by Katia Almerini, Susanne Altmann, Katy Deepwell, Fabienne Dumont, Nina Hoechtl and Julia Wieger, Agata Jakubowska, Monika Kaiser, Elke Krasny, Annika Öhrner, Márcia Oliveira, Kathleen Wentrack.