Work Report of the Learning-on-the-Job Scholarship for the “InVisibilizations. De(s)coloniality and Art (by artists from Latin America in Vienna)” Conference. claudia* sandoval romero |. What was done during the activities of the Learning-on-the-Job scholarship? For the Learning-of-the-Job scholarship my tasks consisted of developing a content framework and to implement it by supporting the moderation of the conference “\nVisibilizations. De(s)coloniality and Art (by artists from Latin America in Vienna)”. The tasks carried out consisted of giving shape to a proposal that could enrich the research and analysis process related to the dissertation “Contact Zones: A Relational Case between the Periphery and Center. The Work of Nora Aslan and Rochelle Costi Framed Within mumok’s Collection and Exhibitions, 1998-2018" through a practical and collective experience. Based on the research analysis, and having realized the absence of female and non- binary artists from the Global South in mumok's exhibition and collection programs (0.4%), more so from Abya Yala (Latin America) (three out of 2966 participations - 0, 24%), the conference “InVisibilizations” acts as a complement and active exercise in epistemological justice, also because there is no precedent at the Academy of Fine Arts for a group of artists from Abya Yala presenting their work in the Aula. It seems it took us 532 years after colonization to have a space in the Academy of Fine Arts. The nature of the proposal, which was characterized by both aesthetic and political positions, led to the need to show a work by each participating artist in the Aula, where an exhibition was held for a week to broaden the conversation. The initiative formed itself a contact zone for other artistic and non-artistic experiences in Austria and abroad. The online newspaper Cultura Latina wrote an encouraging report in this direction, which can be viewed at the following link: https://www.culturalatina.at/es/item/1950-in-visibilizaciones-un-encuentro-para-la- justicia-epistemologica-y-la-celebracion-del-arte-latinx-en-europa The experience of having a space for plural positions has also been shaped by the process of learning the dynamics of communication at a broader institutional level, such as the different institutes of the Academy of Fine Arts, as well as with a wider public reached through public media, and has generated unexpected exchanges that positively transform the project and give it a deeper impact. All these conversations contribute to the content of the conference and to "other" forms of dialogue that should do justice to the idea of de(s)coloniality with which we have been engaged. auciasandovalromero@2. Were there any deviations from the planned activities, if so which ones and why? There was no deviation from the planned activities. The initial aim was to define the framing in which the various positions could be better presented in a conference, and after the Aula was reserved, the idea arose to also set up the space for the aesthetic positions and it was necessary to develop a curatorial concept as a guideline for the materialization of the proposal. The aspect of inviting the artists to accompany the presentation of their practice with a work during an exhibition opened up aesthetic and content-related possibilities in the examination of themes such as "deSconloniality’, "InVisibilizations" by artists from Latin America in Vienna, which were not conceivable in the first phase of the content design of “inVisibilizations" The aim of the conference and exhibition in the Aula was to bring to the table the concept of deScoloniality with a focus on artistic positions in relation to the Abya Yala (Latin America) as a means of actively making visible resistance to power structures (cf. Gomez, Mignolo 2012: 16) imposed by a long history of coloniality ina globalized world (cf. Quijano 2000: 541). In practice, the dialogue with the artists expanded into a very enriching aesthetic context, which also aimed to critically examine colonial relations in the fields of science and the visual arts. Anew budget was also developed for this, which we submitted to various institutes within the Academy for financial support. Setting up the exhibition also required the support of various institutes and departments of the Academy of Fine Arts, for which coordination work was carried out. These tasks were seen as part of the implementation of the conference on a self- organized level, respectfully incorporating the ideas that emerged from the dialogue process to address deScoloniality on an academic and aesthetic level. 3. What experiences and competences were gained or deepened? My research project “Contact Zones: A Relational Case between the Periphery and Center. The Work of Nora Aslan and Rochelle Costi Framed Within mumok’s Collection and Exhibitions, |998-2018" strives for polyphony and to gain a space for voices for female artists from the Global South, which was also gained through the conference and exhibition “InVisibilizations”. The experiences of the conference nurture the dissertation in general deScolonial approaches such as occupying spaces with positions that have been denied these fields and ways of doing by asking, that is, by consensual and collective decisions.The guiding question in the creation of this epistemological exercise called In/Visibilizations has been, how to subvert the canon and the strategies of inclusion/exclusion proper to the hierarchical and symbolic orders dictated by coloniality (Quijano, 2000) and which cross our vital and creative experience in the "contact zone"? And how to propose ways of creating community within the art field, a battlefield marked by the struggle to maintain or improve power relations (Bourdieu [1984] 1995:74)? The proposal of "In/Visibilizations” takes place in the "contact zone" of which Pratt (1991, 1992) and Clifford (1997) speak, in reference to geopolitical aspects, in the sense of embracing migration from the Global South, especially from Abya Yala (Latin America), and legitimizing it as a complex point of enunciation of deScolonial art that is produced from "the margin of the Centre" and in the contact zone formed by the “South in the North” (De Sousa Santos 2016: 19). Our proposal aimed to occupy the space of the Academy to honor the artistic trajectory of the small invited group, which in turn is an echo and the result of the struggles of migrants in Europe who have continuously offered a joyful and loving resistance to erasure and the canon. Of all of these positions, we cannot fail to mention the migrant life experiences that, due to the precariousness of their conditions, will not achieve artistic materialization. These are the positions of the migrant population, those who sustain Europe, those who are the first recipients of political violence and in whom the economic instability and uncertainties of our time are utmost exemplified. The aim of my dissertation consists of shedding light to the extent to which these dynamics are present at the institution of the Center of the art field and the conference/exhibition “InVisibilizations” are practical exercises in achieving presence and voicing. izations” has been an opportunity to share the research experience and to invite my peers to collectively carry out actions also within the art and academic fields that repair our absence, so we can become again the narrator of our own history and thus "the absolute opposition of what the colonial project has predetermined” {Kilomba 2005: 22),https://www.ak! tes/art-theory-and-cultural- studies /events/exhibitions/in-visibilizations-in- visibilizaciones-de-s-coloniality-and- art-by-artists-from-latin-america-in-vienna?set_language=en https://claudiasandovalromero.com/Un:Sichtbarkeiten.html haudict Somber remere claudia sandoval romero