Workshop: Decolonizing Knowledge and Life through Theory and Art

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17.05.2011, Tuesday/M1 at 16.00 to 23.00/

The workshop will be conducted by guest lecturer Ivana Marjanović, PhD candidate, Academy of Fine Arts Vienna.
LANGUAGE: German and English/ download pdf>>

The work that will be done as part of the workshop in the summer semester 2011 will be structured around the production of the book VOCABULARY OF DECOLONIALITY and it will consist of readings and discussions related to the book’s contributions.

Luzenir Caixeta – Minoritized Women Effect a Transformation in Feminism
María Galindo – Mujeres Creando

Also in relation to the workshop texts we read in the past and presently
M1 at 20.30 film program organized by Tjasa Kancler PhD student visiting us from Barcelona. Program on topics as postporn, and different strategies of resistance projects.

1) If You Lived Here Still….
_gentrification, bureaucratic complicity, increasing privatisation of the public sector; the limits in the representation of the social

Video-interview with Martha Rosler
The (in)visibility of the socially underprivileged and the properties of the urban spaces they inhabit formed the starting point for Martha Rosler’s archive project If You Lived Here… first presented at the Dia Art Foundation in New York City in 1989, with which she undertook radical approach towards the systems and conditions underlying housing and homelessness such as gentrification, bureaucratic complicity or non-compliance and increasing privatisation of the public sector. For the exhibition at La Virreina, Centre de la Imatge in Barcelona (2010) the archive was complemented with local references to several collectives engaged in work with the housing crisis in the specific context of the city of Barcelona and by debates with representatives of collectives and local organizations on different forms of cultural activism and new strategies for social representation.

Martha Rosler (New York, 1943)
Since the early 1970s, through her numerous works and projects, traversing diverse working methods from documentary to performative, literary to organisational, Martha Rosler has progressively sought ways for socially engaged art practice and critical feminist position, to reconnect the private and public spheres, domestic space and media culture and the urban environment in confrontation with shifting political and economic realities.

2) Real Time (2003)
_images, words and political praxis from the bodies of precariousness

Video-interview with Maria Ruido
From the 1970s onwards, inhabitants of “total work”, against traditional union movements, call for a withdrawal from production as a fundamental position of resistance. Video essay, Real Time, is located within this process of redefinition, stemming from the artist’s own experience as a cultural worker. The project reactivates some previously examined questions, and tries to think about the possibility/opportunity of constructing for the new working class its own visibility and a narrativity.

María Ruido (Orense, 1967)
María Ruido has been developing interdisciplinary projects since 1996, about the social elaboration of the body and its location in the imaginaries of labour, as well as about the mechanisms for the construction of memory and its relation to the narrative forms of history. She presently lives in Barcelona, where she is lecturer at the Department of Media at Universidad de Barcelona. She is part of various study groups researching representation and its contextual relations.

3) Virgin Machine (1988)

_’Don’t say “I’m an S/M lesbian”, when you could be saying, “I fantasize eating out my manicurist on the bathroom floor with her mouth gagged by a rubber ball.” Or, “I pinch my nipples when I masturbate until they’re hard as points”. And, “Fist me until the sweat drips off my lip. Isn’t that much more enlightening?” (Susie Bright, Virgin Machine)

Film by Monika Treut
Dorothee, a would-be writer and journalist, who leaves Germany for the Oz of San Francisco, searching for her long-lost mother and a cure for the malady of love. Installed in the Tenderloin, she peeps in on neighbours’ bizarre sex rituals as well as does sightseeing of the more traditional kind. But encounters with male impersonator Ramona, charming Hungarian bohemian Dominique, and Susie Sexpert, barker for an all-girl strip show, lead to exploratory adventures of self-discovery and fun. When Dorothy surfaces like a dazzled tourist on the wilder shores of the city’s lesbian community, she has discovered her true sexuality. . . . and left some illusions behind.

Monika Treut (1954, Mönchengladbach)
For nearly two decades, German filmmaker Monika Treut’s films have depicted worlds that the mainstream media tends to treat as “deviant.” Her work consistently explores challenging and controversial issues surrounding minority sexual and gender identities. Born in Moenchengladbach, Germany, Treut studied literature and political science in Marburg/Lahn and wrote her doctoral dissertation on the Marquis de Sade and Leopold von Sacher-Masoch. It has been published as The Cruel Woman: Female Images in de Sade and von Sacher-Masoch.

4) My Sexuality is an Artistic Creation (2011)
_ postporn; counter-practices and subversion

Documentary by Lucia Egaña Rojas
Postporn emerges in the 90’s with Annie Sprinkle as a response to conventional pornography and its incomplete and utilitarian representation of women sexuality.

My sexuality is an artistic creation documents the postporn scene taking important place in Barcelona within the last decade. Through the archive material, DIY postporn videos, performances documentation and public space interventions, and seven interviews with artists and groups such as Diana pornoterrorista, María Llopis, Post-Op, Go Fist Foundation o La Quimera Rosa, Lucia traces the origins of this movement, their personal motivations and referents (Annie Sprinkle, The Volcano LaGrace, Cindy Sherman, Marina Abramovic, Beatriz Preciado, Judith Butler, Michel Foucault or Dona Haraway), to address the key issues on which postporn rotates. It is about the uncovering its causes, motivations and peculiarities, with the quest to build other forms of representation of sexuality where art and political activism are impossible to separate.

Lucía Egaña Rojas (1979, Münster/Chile)
Lucía Egaña Rojas has worked as an independent artist and freelance activist. Most of her work is based on collaborative productions that question the construction of social imaginary in popular culture. Since 2004 she is funding member of desBASURAment, an ongoing group project that work in diverse locations with waste, and since 2009,, a video streaming collective based in Barcelona.