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Queer and feminist curating
Tate Modern, Starr Auditorium Saturday 19 May 2012, 10.30 – 17.30 Reflecting on the politics and practices of queer and feminist art curating, this symposium invites presentations from an international line-up of artists, curators and critics to address a set of key questions: how do feminist and queer projects emerge as art exhibitions? Can queers and feminists get along with the institutional art world? And can they get along with each other?
10.30 Welcome by Marko Daniel 10.35 Introduction to morning session by Lara Perry 10.45 Keynote Maura Reilly Toward a Curatorial Activism 11.20 Q&A with Maura Reilly and Lara Perry Panel One: Queer Visual Strategies 11.40 FAG: Feminist Art Gallery, Toronto, Allyson Mitchell and Deirdre Logue CAN’T/WON’T 12.00 Lisa Metherell Queer Encounters with Art: (Dis)Orientations Beyond Representations of Sexual Bodies 12.20 Q&A with FAG and Lisa Metherell chaired by Helena Reckitt 13.00 Lunch break 13.55 Introduction to afternoon session by Lara Perry Panel Two: Queer Collections 14.00 Suzana Milevska Staging the Transgression 14.20 Matt Smith Embedding Queer into Collections 14.40 Q&A chaired by Patrik Steorn 15:10 Tea break Panel Three: Queer Contexts 15.40 Introduction to final session by Emily Pringle 15.45 Michael Petry, Corporate Queers: suits, ties and pin-striped shirts. Curating in a business environment; 16.05 Pawel Leskowicz, Queering the National Museum of Poland 16.25 Elke Krasny, Queering Memory: Morzinplatz, Vienna 16.45 Q&A chaired by Emily Pringle
Maura Reilly interview: http://lib.stanford.edu/women-art-revolution/transcript-interview-maura-reilly Civil Partnership? PDF Brighton programme and background: http://arts.brighton.ac.uk/__data/assets/pdf_file/0009/65385/CivilP_Booklet_FINAL_email.pdf Museum of Modern Art New York 4th and 5th Floor Exhibition displays 4% of women in 2004 In 2009 6 works added to permanent collection all feminist work Museum of Contemporary Art in Sydney (MCA), MCA is Australia’s equivalent to Tate Modern, though London didn’t have a museum of modern art until 2000, whereas the MCA has been on its site in the historic centre of Sydney on the harbour on a stretch of water across from the Opera House since 1989 The Collection MCA has 48% female and 52% Male collection.
http://www.mca.com.au/collection/ Director Elizabeth Ann Macgregor is a feminist director has helps to encourage this balance
Compared to the John Kaldor family collection of Contemporary Art, Art Gallery, New South Wales Sydney which has 95% white male collection. http://www.artgallery.nsw.gov.au/exhibitions/new-contemporary-galleries/ Pushed aside a special add on against the privileged white male space.
Cautioned women to not compare like for like female Picasso’s and Seurat’s instead find and celebrate own figures of importance. Institutional racism and sexism, has a strong hold over women. How are we to redefine this space? If the problem lies internally how can we change it in the hands of the masters? Which curatorial tools will be most effective in creating change? The following are a list of Curatorial activists, people who have dedicated career in curation who give voice to those exclusively to feminist, queer, black and ethnic ‘other’ arts Text and subtext- Contemporary Asian Women Artists
Features works by 22 women artists originating from Singapore, Thailand, India, Korea, Japan, Vietnam, Taiwan, Indonesia, Philippines and China. Opened at the Earl Lu Gallery, on 15 June 2000, as a core event of the Singapore Arts Festival 2000, the exhibition will be shown in major cities in Australia, Europe, Asia and North America until 2003.
http://universes-in-universe.de/asia/text-subtext/english.htm Personal and political Feminist and writer Carol Hanisch's essay titled "The Personal is Political" appeared in the anthology notes from the Second Year: Women's Liberation in 1970. http://womenshistory.about.com/od/feminism/a/consciousness_raising.htm http://www.thebubble.org.uk/art-photography/feminist-art-the-personal-as-political http://www.carolhanisch.org/CHwritings/PIP.html 1969 Post-feminist in Germany http://www.arthistoryarchive.com/arthistory/feminist/ http://en.wikipedia.org/wiki/Second-wave_feminism Gloria It’s time for a feminist revolution WACK! Connie Butler, Art and the Feminist Revolution, which was looking at art from 1965-1980 - a major exhibition. P.S.1 Contemporary Art Center presents WACK! Art and the Feminist Revolution, the first comprehensive, historical exhibition to examine the international foundations and legacy of feminist art. Organized by MOCA Ahmanson Curatorial Fellow Connie Butler for The Museum of Contemporary Art, Los Angeles, WACK! focuses on the crucial period of the 1970s, during which the majority of feminist activism and art making occurred internationally. http://momaps1.org/exhibitions/view/36 Kiss Kiss Bang Bang
http://www.e-flux.com/announcements/presents-kiss-kiss-bang-bang/ The exhibition “Kiss Kiss Bang Bang. 45 years of Art and Feminism” brings together 69 works of 45 artists from different countries who have initiated and/or continue to produce what has been referred to as “Feminist Art”. The show includes, five documentary videos specifically produced by 3 artists, one collective and one theoritian with the aim to contextualize the feminist artistic practice with the social, political and theoretical feminist movements.
Gender battle curated by Juan Vicente Aliaga Centro Galego de Arte Contemporánea (CGAC)
Galician Center for Contemporary Art Cover of the catalogue Gender Battle “Gender Battle. Lectures, theatre and debates about the rules of gender, sexuality and the impact of feminism in the art of the seventies” 25 to 27 September 2007 Galician Centre for Contemporary Art Santiago de Compostela Galicia (Spain) http://www.cgac.org http://www.e-flux.com/announcements/gender-battle/ La Mirada iracunda the furious gaze In January 2008, the Montehermoso Kulturunea Cultural Centre is initiating a new project directed at the production, exhibition and dissemination of art and contemporary thought, coming within the key strategy of working on the triad formed by “art, culture, society”. his innovative project is a pioneer in Spain in applying the policies of gender equality to the field of culture and contemporary art, in addition to the production of projects and specific research to be integrated into the Centre’s annual programmes. http://www.e-flux.com/announcements/the-furious-gaze/ Donna Avanguardia femminista neglia anni ’70 dall sammlung verbund di Vienna, Galleria nazionale d’arte moderna, Rome At a time of renewed international interest in the art of women and the feminist art the National Gallery of Modern and Contemporary Art, in collaboration with the Sammlung Verbund, Vienna, offers the public a selection of 200 works by 17 artists who in Seventy years have addressed issues such as the pioneering body, the female identity and male-female differences, as well as putting into question its role through the search for new languages or, well, using conceptual and surrealist references. http://www.electaweb.it/mostre/scheda/donna-avanguardia-femminista-negli-anni-70-romagalleria-nazionale-d-arte-moderna-e-contemporanea/it/ Bad girl curators, New museum, New York Unconventional, humorous, and distinctly unladylike, Bad Girls presents the work of 45 artists, including Janine Antoni, The Guerilla Girls and Carrie Mae Weems, who confront gender, race, class and age issues and question methods of visual representation. Essays by Linda Goode Bryant, Cheryl Dunye, exhibition organizers Marcia Tanner (Bad Girls West) and Marcia Tucker define the societal influences that have shaped contemporary notions of femininity, while promoting the subversive wit these "bad girls" use to challenge traditional concepts of marriage, fashion, food, and sex.
Rosa Martinez most influential feminist supporter, Art critic, independent curator and institutional advisor http://www.rosamartinez.com/ Trans sexual express 2001 Barcelona
Sexual identity and sex are the main themes of this exhibition, commissioned by Xabier Arakistain, disc jockey, writer, and independent organiser, and Rosa Martinez, art critic, independent organiser and artistic director of diverse biennial exhibitions. They introduce us to the work of 24 artists from all over the world that explore this theme in their work, and not only from a shocking side of the issue in question, but also as a tool for focusing the rights that should not even be questioned. “They” pretend to make us believe that the male - masculine - heterosexual and the woman feminine - heterosexual are the "natural" prototypes of the human species. By now everyone understands (or should understand) that sexual orientation is a personal choice and that it had nothing to do with sex or gender". That is how they introduce us to this exhibition which explores our most human-wild side. Sexual, social identities. Black or white? Other shades also exist. http://www.shift.jp.org/en/archives/2001/08/trans_sexual_express_barcelona_2001.html 51st Venice Biennale: always A little Further 9,000 square meters of the arsenal’s Corderie and Artiglierie, Rosa Martínez shows works of 49 artists. The title of Rosa Martínez’ exhibition is taken from a fictional character found in one of the small books on the adventures of Corto Maltese, created by the Venetian writer and comic-strip artist Hugo Pratt. In her statement, one correspondingly reads: "Pratt’s writings have turned Corto Maltese into a legend: he personifies the myth of the romantic traveler always open to chance and risk, and always crossing every imaginable frontier in pursuit of his own destiny."
Xabier Arakistain http://www.arakis.info/ Independent curator, former director of the Centro Cultural Montehermoso Kulturunea, a pioneering centre in the development and application of gender-equality policies in the fields of contemporary art, thought and culture, from December 2006 to December 2011. Spear headed unique programme for feminist art 100 programmes
Kasahara Michiko (1957- ) http://www.cafamuseum.org/en/Seminars/SeminarsDetails_jz_276 Chief Curator of Tokyo Metropolitan Museum of Photography, Lecturer, Meiji Gakuin University. Born in Nagano prefecture, Japan. B.A. in Sociology, Meiji Gakuin University, Tokyo, 1983 M.A. in photography, Columbia College, Chicago, 1987. Curator of Tokyo Metropolitan Museum of Photography from 1989 to 2002. Curator of Museum of Contemporary Art, Tokyo from 2002 to 2006.
Women vs feminist
Japanese women artists before and after World War II, 1930s-1950s Railways in art: inventing the modern - Senior Curator, Tochigi Prefectural
http://www.art.pref.tochigi.lg.jp/en/collection/collection05.html Tochigi Prefecture has a mild climate, relatively few natural disasters, abundant rivers, and beautiful scenery, perhaps best represented by Nikko National Park.. The Tochigi Prefectural Museum was founded in October ,1982 as a general museum, aimed at acquainting as many people as possible with Tochigi's nature and culture. We conduct research in seven different fields: earth science, botany, zoology, archaeology, history, folklore, arts and crafts. The museum exhibits the results of its research. There are numerous exhibits such as dioramas of mountains and rivers, indigenous flora and fauna, past lifestyles and cultural heritage of our prefecture. Jaun Vicente Aliaga Although his work was always theoretically informed, it was the onset of Aids and the silence on the topic in Spain that meant a turning point in his career. His work did much to break taboos on sexuality and make homosexuality visible as an artistic position. http://andrejkoymasky.com/liv/fam/bioa2/aliaga01.html
Professor of Art Theory at the Unisar Politecnica da Valencia 1960’s gender art
Maura Reila http://www.griffith.edu.au/visual-creative-arts/queensland-college-art/staff/maura-reilly 3500 square feet exhibition space Elizabeth the Sackler centre for feminist art Founding curator of the Sackler Center for Feminist Art at the Brooklyn Museum, she co-curated (with Linda Nochlin) the critically acclaimed ‘Global Feminisms’, ‘Ghada Amer: Love Has No End’, as well as organized the permanent reinstallation of Judy Chicago’s The Dinner Party, 1974–79.
Neoqueer 2004, he Center on Contemporary Art (CoCA), Seattle http://artcataloging.net/glc/qcan041/qcan041b.html http://cocaseattle.org/Shows/neoqueer/neoqueer_seattletime_potterf.htm Burning down the house, Building a feminist Art Collection
Burning Down the House: Building a Feminist Art Collection is an exhibition of nearly fifty works focusing on recent acquisitions and major loans, including works by artists such as Kiki Smith, Tracey Emin, Tracey Moffatt, and Lorna Simpson. http://www.brooklynmuseum.org/exhibitions/burning_down_the_house/ PPOW Carolee Schneemann http://www.ppowgallery.com/press_release.php?id=31 http://www.youtube.com/watch?v=lm1lB8QEozI
Wu Hung is Harrie A. Vanderstappen Distinguished Service Professor in Chinese Art History, Director of the Center for the Art of East Asia, and the Consulting Curator of the Smart Museum of Art at the University of Chicago. http://www.mocp.org/Leaflet_Symposium_FINAL.pdf Camille Morineau Elles @centre Pompidou All male work put in storage and brought out all female artists. Un presentenced to act in this way, increased attendance to permanent collection by 25% Connie Butler Robert Lehman Foundation Chief curator of Drawing at the museum of modern art, Head of the modern women Fund. Wack! Art and the feminist Revolution Difficult to get approval for female exhibitions and change permanent exhibitions Can systemic changes be made when their ware area studies and added on. MOMA women arts project. Collection strategy is integrated approach shifting, systemic foundational, intelligent and strategic. Women arts in the permanent collection three women in the collection only in MOMA during 1990s
QA with Lara Perry The white male artist is the faux or place to move away from. Queer and feminist can be strange bed fellows. Hide and seek-was a curated, revisionist approach, Jonathan Cats curated the exhibition and didn’t realise that only 25% of the artists represented were women. Queer curators can forget about representation. Xabier Arakistain always does 50% male to women in Spain only works from feminist perspective, deals with sex and gender categories . Some young queer people think feminist doesn’t include queer or lesbian which is not his approach. Not doing things which are on the family tree, looking at subject matter within fan is bacon’s work. Linda Mao – how we raise our boys and girls, Barbie dolls vs guns. Gender neutral children will still adopt external influences. Interventionist approaches in the collections Hard if not impossible to change permanent collections. There has to be a way to make feminist curatorial network to make a general forum Feminist and curation network, found it hard to professionally declare they are feminists. Being a part of a network help this feeling of being involved. Patriarchy- is the enemy or otherwise called hegemonic discourse of arts history The feminist art base- online resource Global feminisms there is no single definition in the same way we can’t agree on a single meaning to queer.
FAG- Collective Feminist Art Group We Can’t Compete, we Won’t Compete, We Can’t keep Up, we won’t keep down Why would we want to be winners in this oppressive hierarchical system. HAG NAG BRAG Not going to be brought or sold by institutions or government, Community based project. Artists will always be paid. Gut economies, trusts from their friends. A right to be unhappy with the art world is currently. Labour of existence the unsettle present tenses, working to our existences. Communally envisioned and strategic FAG flags that we are not just about women we are feminist and gay men are well marketed to help each other up the market system. Civil partnerships between queering and feminising institutional spaces with an aim to make them less institutional. TIFF 200 women female makers born in flames film festival. Proposed in non-normative ways, tends to other queer things, artist to earn without expectation Detached form public funding, entitling artists to gain public support people step forward and give us funds we don’t Matrons contribute, privately owned publicly funded organisation. The fag matronage programme Don’t do big fund raising campaigns; we don’t think government funding should go away it should increase. Patronage in Canada is minimal. Matronage enables us to work with the community. Riot girl and DIY cultural FAG has no website site or marketing, they have a facebook page as they want to be as less bureaucratic as possible 3 expected exhibitions had 5 in the first year 7 screenings We will enable
Lisa Metherell http://www.lisametherell.co.uk/ Queer encounter with Art (Dis) Orientations Artist and researcher influenced by the following: David Halperin queer theory: http://web4.uwindsor.ca/clubs/ooc/main.nsf/a1b249f15dfa39be8525730600490eda/98cef5d05242 3ab1852574640065fd23/$FILE/1b%29%20The%20Normalization%20Of%20Queer%20Theory.pdf Queer at odds with normal, nothing in particular to what it refers. What is a queer encounter? What is important…Is not that ‘anyone might be queer’ but that is something queer might happen to anyone. Deborah Britzman http://www.freireproject.org/content/deborah-britzman-1 Carl Andre http://www.theartstory.org/artist-andre-carl.htm Equivalent VIII 1966 Some spaces extend certain bodies and simply do not leave room for others. Spaces become straight, which allows the straight bodies to extend Rectangular groups of any number imply potential extension; they do not seem to imply incompletion, no matter how Glitter, 2009 uncertain oblique movements, lost in crevasses, can be taken out of the space through be trodden. Can’t be triangulated or mapped, where does it start and end. Work-in Progress Desk Installation, 2009 four mirror balls under a desk, changing moving lights have visible effects on the viewer orientation moves to disorientation because patterns of light can followed. Over inclusion of bodily sensations. Work-in-Progress Desk installation,2009 the grey desk does not stay in the space it is slight suspended above the floor, with three legs. A draw is slightly open which can be moved which alters the relationship between body and the desk. Queering the moment with the work. Grasping something by letting it through your fingers.
Queer:reading:room, 2011 http://www.lisametherell.co.uk/qrroffice/gallery.html Two spaces one using glow sticks, tilted desk spaces, bodies that are at an angle to the world or willing to use this space. Still work as desk which is workable and strange. The ground is a flat plan which works from. The hope of changing direction is that we don’t always know where Sara Ahmed Questions Play between the feminist and the gay male. Obviously the use of the gay male as FAG and Lisa’s work more association with a gay boy disco bunny. L M- I like the cheap moment of the throw away culture. I also use sound in my work, to connect bodies through audio sensations. I also use Polari 1960s huge Williams and Kenneth Paddock Thieves’ camp, sailors travelling, carnival travellers FAG works exceptional envy of FAGs work the system; I’ve tried to get in the system and failed. Rationalising the history of the word and we are opening the dialogue of the word as well it is contentious, its cheeky some disagree and it does provoke. We have been called FAGs individually we’re not trying to create a distinction. LM- O do overtly reference both, I still trying to evade the interpretation. Common themes approach, not a academic I went to art schools in the 1980s to pursue art. Being able to reject other previously made theories need to have confidence to articulate where previous thought have come from. Finding the people you want to work with and move from that point. Handing over responsibilities to other and building collective responses to work and ways of working stop ritualising and controlling aspects of the work and the direction.
Edwin Coco CLIT co lesbian I Toronto papers responding Playing with documenting FAGing Forward on the name tag putting another artist of feminist person to build an archive and network of names. Curiosity aspect I want the audience and the participation not just Widening the experience of language AND- expenses words continuingly moving outwardly, some movements FAG Sisterhood not based in gender or privilege .
Introduced to Laura in break Patrik Steorn http://feminismandcurating.pbworks.com/w/page/44328295/Patrik%20Steorn How can objects be queered? Such as activities with unexpected events, how is queer leaking out of the normative events. Queer desire identity power Finding objects to relate to LGBT community, what they said it is the museum that collect art on the grounds of artistic of atheistic quality. Interpretative approach together with social context to enter discussion. Queercraft, diversity of human life can be difficult to fully reprint and museums singular authority voice dominates.
Dr. Suzana Milevska Staging the transgression
Dr. Suzana Milevska is a theorist of visual art and culture based in Skopje, Macedonia. Currently she teaches art history and theory at the Faculty of Fine Arts – University Ss. Cyril and Methodius in Skopje. She holds a PhD in visual culture from Goldsmiths College‐London. She curates international exhibitions, conferences and artistic research projects that engage in postcolonial critique, visual culture, feminism and gender theory. In 2004, she was a Fulbright Senior Research Scholar in Library of Congress. Recently she published her book Gender Difference in the Balkans (Saarbrucken: VDM Verlag, 2010) and edited The Research Machine (Ljubljana: P.A.R.A.S.I.T.E. Institute, 2010).
Faculty of Fine arts-Skopje Queer square, naked conference, feminist http://www.ilgaeurope.org/home/guide/country_by_country/fyr_macedonia/queer_square_skopje Aba Temkova, once upon a time in Piazza Navona 1978, oil on canvas, 117 x 117cm collection of the museum of contemporary art, Skopje. A family is not orthodox, but a mixture of different people. Profiled as typical female artist of Skopje. Eng. CURATOR= Mac. KURATOR Mac. KUR=Eng. DICK DICKATOR In this paper general introduction on the relation between feminist and queer theories and technologies and regimes of representation
The method and methodologies applied by various feminist and queer researcher artist or curators the eventual implications on art in general. Old values can be threaten by alternative queer views Widely accepted assumption Feminist and queer curatorial methods and methodologies However, general feminist and queer methodologies and curatorial practice can be distinguished and linked because of the come on questions feminists and queer curators ask The positioning of the curator within the research curatorial process Main concerns The main political concerns of feminist artists are of course not unique to feminist art As any other feminists, feminist’s artists also deal with the question How to change inequality in representations In this presentation I will look back half naked conference The project was supposes to discuss the complex and reciprocal relations between feminist and queer body politics during Festival queer square Skopje 2007. The project was to mark the anniversary of the association for free sexual orientation MASSO the first LGBT Q org in Macedonia. Response against the conservative cultural policies of the local municipality, the Orthodox Church and the hypocritical foreign officials. The original concept of the project comprised of three separates What are the difference between feminist body and queer body? The square has always been the public space where since Greek agora until Tiananmen Square the public opinion change. The queer square festival Elke Krystufek/Dans Murray-Wassink’s project naked conference Dressed conference, 2007 Naked Conference and ½ 2007 Private apartment Resulted in the artist Vasil becoming naked.
Questions How is a woman’s gaze different from a gay’s or lesbian gaze? How does that difference influence e the ways in which the different genders and sexual preference view the world? And how they view art? What constitutes obscenity and pornography- des this differs in feminism and queer? Where do they come from? What are results are they always separate?
Matt Smith Embedding Queer into Collections http://www.caa.org.uk/exhibitions/archive/2012/tradition-and-innovation-five-decades-of-harrowceramics/matt-smith.html http://www.mattjsmith.com/consultancy.html The ladies of Llangollen 2010
Birmingham Museum and Art Gallery, 2010/111 Other Stories The Stanley and Audrey Burton Art Gallery, University of Leeds, 2012 http://www.leeds.ac.uk/gallery/ Unravelling Nymans Nymans House National trust, 2012 Queering the Museum Changing straight space with a queer filter, queer connections needed highlighting, the museum took risk, and the entrance has a statue of a male body with the head of a female. Then 2000 green carnations were used to queer the space. Green carnation used in Victorian times. Visual signifiers were important to gay men, Simeon Solomon 1840-1905
Bacchus 1867 Solomon’s sensual but androgynous images can be linked with his own homosexuality. His career collapsed in 1873 when he was convicted of homosexual offences and spent the last twenty years of his life living mainly in London workhouse. Interested why this is the message that was chosen within the space. Hedrick – Athlete strangling a python. (Collection in RACA) The Ladies of Llangollen 2010, North Wales ladies who settle down together instead of arranged marriage Ceramics tea room trade activity looking for in a tea cup glass cubical. Three cheers to the Groom and groom Jake’s progress – coming out and engaging in activities that gay men enjoy. University of Leeds Edward carpenter 1824, http://en.wikipedia.org/wiki/George_Merrill_%28gay_activist%29 George Merrill open gay couple. Oral histories from Brighton Our story Brighton oral histories collection for LGBT Embedded into contemporaneous objects Connected to picture into the collection ‘I couldn’t believe how easy it was to slide into a relationship with a woman. I’d always thought you had to be very different from what I thought I was, in order to be able to do that- Vale Graham (1949-1990), 1989 Image of Blue Trevor Bell Circular testimonies Unravelling Nymans Oliver Messel Linley Anne and Oliver Business partner who he lived with- Family tree doesn’t reflect the relationships they have. Oliver was a famous set designer in the 1950’s,.
Over sizes bonnet military dress styled form Oliver’s designs.
Groin and nose blow of the sculpture Collection have many queer stories hidden positive same sex alliances are being drawn out in material culture, cards poster items which can be collected and stored. Each project was a collaborative effort with the house and would not have happened without them,. Questions National identities How is it made possible? SM- it’s not possible Curation took a long process of negotiation in team s and element had to be removed. Sweden- all have to include apart drawing in audiences and be inclusive and report against this. Andy- Birmingham City Council stone index- work put forward. Governance to show representations.
MS- audience changed, audiences came much further afield to come in and attend the exhibition deliberately. Methodologies How do we find the missing stories? MS0 Birmingham show how do you make something that was not there. I wanted to celebrate that queer is messy and have a mixed response. I’m still wrestling with this. S- Methodology stems out of the research however avoid killing the joy; need to be open and response to the materials. SM- mentioned poverty and equality Back to Back- commissioned the theatre group to respond to local history. 20 groups When we see something that is resonating with us it has a huge impact on us. Brixton art gallery archive Tate lack of detail. Archiving at the Tate Normative power of the institution hetro-normative power, reinforcement of negative powers.
Emily Pringle Head of Learning at the Tate Michael Petry- Corporate Queers: Suits ties and Pin-striped Shirts Intuitionally homophobic, hidden histories find ways to open up histories. How do we get intuitions to change fundamentally? Externals at the University of Brighton actually arranged this and Tate Modern accepted the idea to host this conference. Pride exhibition in New York. Clifford Change, world 2nd largest law firm, sponsors an LGBT art exhibition.- (an anus) Pin stripe notion, taking the pin stripe shirt and Turing it into a soccer ball pattern. Sadie Lee- clothed ladies in bed, older laddies Children looking at baboons with tits non offensive 7 foot 2inchs man print 6 foot 2inchs created a separate darken room which you had to request to enter. 20th Century New art gallery in Warsall, male same sex lovers. Two separate rooms the 15 years old and the 18 years old (public institution) Issues with Father and son with shotgun’s Craig Wilson Hunters Working class representations of masculinity. Workers who go along with the hunt, they don’t ride with the other horse men. Clifford Chance said no said no because he was a gay man who had taken an image of a child which wasn’t his. He’s with his father with a gunTake pictures of his own family. Naked image of his sister and dad. Twomby and Rauschenberg and their 1952 honeymoon trip to Europe. Robert his partner Rauschenberg went on a honey moon. However Tate displayed it as Twombly went on honeymoon with his wife. Even though he left his wife and one year old daughter. Heterosexual filtering Sigh on the Spanish steps Formalist approach to photography Museums are supposed to be supporting representation. LGBT workers at Clifford Chance wanted representation.
ARS Homo Erotica 11 June – 5 September 2010 Curator: Paweł Leszkowicz Designer: Raman Tratsiuk Assistant curator: Ewa Witkowska http://www.mnw.art.pl/index.php/en/temporary_exhibitions/exhibitions/art55.html
Homoerotic Polish art Foreign press about the exhibition Extended version of the speech given by Professor Jack Lohman at the openning of the exhibition Ars Homo Erotica Artists taking part in the exhibition This exhibition is contemporary and historical, erotic and political. The title designates homoerotic art related to same-sex desire and love. Ars Homo Erotica is immersed in the tradition of culture while touching on the current politics of minority rights. It combines myths and the history of art with the contemporary and the debate on the condition of democracy. It builds on the philosophy of eroticism as an experience formative to humanist ideas and their affirmation of the joy of life and sex, even in the face of repression. The exhibition proposes a different perspective on the history of culture, the collection of the Museum, and the art of Central and Eastern Europe. Works from the collection of the National Museum in Warsaw as well as works of specially invited contemporary artists survey the history of culture, from Antiquity until the present, from the point of view of the homosexual imagination. This perspective points to a different canon of art and love in Western civilisation and liberates it of the heteronormative filter and taboo. The homoerotic is taken as an aesthetic and erotic quality present in visual representation. The selection criterion is not the artist’s orientation, it is the theme or context of the work.
To select works from the perspective of female and male homoerotic iconography is to queer the museum collection, to reach areas of the unconscious and to renew the methods of their presentation. It also aims to uncover and accentuate many forgotten artefacts and to highlight neglected meanings. The forms of male and female homosexuality have differed throughout history, a diversity of universality. Hence the transhistoric and eclectic profile of the presentation which introduces a world of images full of allusions, codes and subtexts. They were the only means of expressing homosexuality in times of oppression. The exhibition affords the opportunity to recall double meanings of mythological and biblical stories. In order to systematise the multitude of representations and metaphors, the exhibition has been divided into thematic sections which juxtapose historical and contemporary works of art. This creates a narration with a graded politics, erotics, and aesthetics. Let us enter the homoerotic universe but never forget that eroticism and desire are more than the senses and the body: they are aspects of the inner life of human beings, the history of culture, and the politics of mores. All these layers are presented in the exhibition. The exhibition begins in the main lobby. Time of Struggle is devoted to art engaged in the politics of sexuality and human rights. The visitor is introduced to the history of culture through the current political situation in Central and Eastern Europe and will thus bear in mind the social context when journeying across the various dimensions of the homoerotic. The social context has always been controversial, as it is today, and art has always had to face norms imposed on sexual diversity. Homoerotic Classicism is a gallery of Classical and Classicist male nudes and portraits reminiscent of antique gods and heroes of homosexual myths and stories. Classicism was an aestheticinspired by the art of ancient Greece and Rome. This is where homosexual imagination of European culture originated. Homoerotic Classicism takes us to the roots of Western civilisation, art, erotics, and democracy. Male Nude presents various forms of the sensuous male nude, from 19th century academic studies and realist painting to contemporary gay art. Male Couples and Ganymede accentuate the Romantic and erotic iconography of male couples in literal contemporary works and in the metaphorical, mythological and religious art of the past. We witness a homo-mythology of relationships: Hyacinth and Apollo, Achilles and Patroclus, David and Goliath, Zeus and Ganymede. Saint Sebastian is the section devoted to the greatest homoerotic icon of Christianity and its impersonations, from Renaissance painting to video art. Lesbian Imaginarium is a collection of paintings of different femininity throughout the history of art. It presents the continuum of female homoeroticism in visual culture from Sappho, figured on antique vases, to contemporary portraits of lesbian couples. Transgender is the section of the exhibition relating to concepts and representations of identities located between the genders, transgressing the normative, binary gender system. Works of art take us from mythical androgyny to contemporary masquerades and politics of gender subversion.
Archive presents Polish posters for works of famous homosexual film and theatre directors, playwrights, and artists. Karolina Bregula, Campaign http://karolinabregula.com/files/downloadable/pdf/k_bregula_portfolio.pdf Let them see us 2003
Organization LORI (Croatia), Love is love, (2003) , photograph, (visual campaign for lesbian rights)
David Cerny, Entropa, 2008
Blue Noses, Kissing policemen (An ephoy)
Goldin, NanPiotr and Jörg on their hotel bed, Wolfsburg, Germany, 1997 http://en.wikipedia.org/wiki/Nan_Goldin Homoerotic Classicism
Zbyslaw Marek Maciejewski, self-portrait 1978 Francesco Buoneri, 1610 saint Sebastian
Francasco Guarino, S S 1639
Giacinto Brandi, 1630 Stasys Eidrigevicius, Arrows 2003 Krysztof Jung, 1980 Wojciech Fangor, Sebastian 1955 Karol Raszisiszewski 2010 Sebastian Lesbian imagination Kalpis with an image of Sappho Athens
Queen Christina of Sweden, move poster 1934 Federico Carvelli, Diana and Callisto Tanja Ostojic, marina grzinic
Izabella Gustowska, love
Mirella karadjova, pure love
Anna Daucikova, videos
Catherine Opie 1998
Transgender El kazovskij, the Good Shepard
Kees van Dongen, Portrait of
Lidia Krawczyk, genderqueer The critical museum 2011 publication Tomasz kitlinski, queer bibliobgraphy Male nude Agencja Gazeta Queering the National Museum of Poland Warsaw summer 2010 Karolina Bregula, let us us be 2010
Elke Krasny Queering Memory: Morzinplatz, Vienna Gedenkstatte fur die opfer des osterreichischen freiheitskampfes 1938-1945 Hoscauste victims in Vienna Houses a centre commemorating those who fought against fascism. Niemals Vergess- never Forget
To never forget Niemals vergessen plague. Self-initiated monument to those who stood against fascism. The victims themselves created a social production and took it the sculpture into their own hands. Slaps of quarry stone were used from the quarry people were forced to work in. Legal status of homosexual victims post holocaust, they were considered ordinary criminals, they changed this status and gained legal rights to compensation. 2005 public monument 1918 for the first world and 1945 end to WWII Reflecting basin pink water with the word queer within the basin. Hygiene problem that stopped it from being built. Rosenplatz, pink triangle subverted changed symbol 2nd to the rainbow http://www.koer.or.at/cgi-bin/page.pl?id=256;lang=en
Mahnwache/Vigil by Ines Doujak Cornflower blue- ideological association model for the Prussian uniforms. 1933-8 when the nazi’s used this colour as a symbol of recognition. People appeared shot on pickets near bus stop between train and airport Growing monument, with a raised platform to view above the art work. Kunst for all Question Observation by Emily Pringle Presenting people and representing people How do you remember people authentically? Things don’t happen unless you have a powerful sponsor Idea of context, the museum being an agent of change. Museum can be a space for critical dialogue and change. What extent can it be an agent of change. Builds expectation and audience, when audiences start questioning and demand more change. Becomes harder to not listen, Feminist way of being 50% as much as possible Am I being inclusive am I a part of the solution or the problem. Ep- the institution will always change however it may not be the change that you always want. Nothing is guaranteed but putting things in place. 30 years ago to engage with work from Brixton Gallery context. Act up and Stone wall big institutions that engage with work.
Tate is more able to do this and have an obligation to lead these changes. Public are ready and happy to engage with this work. Policy wide change on labelling to enforce change. Commonwealth criminalisation The Wall label is the most debated aspect of the space How to remember and the politics of who to remember.
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