ARCHIVE EDITION II
Introduction
As keynote speaker Rosi Braidotti explained in our symposium at De Balie in Amsterdam on 28 October 2007, change implies dis-identification, that is, the loss of cherished habits of thought and representation. It reminded us as curators of this project why we were so attracted to the quote from Emma Goldman that we have taken as the name of our organisation. Perhaps this statement expresses a kind of constructive alienation, or a refusal of the status quo. This utterance, and Goldman’s biography in general, are examples of how dis-identifications from dominant models can be productive and creative events.
And this is precisely what we hope to investigate in our project. Braidotti gives us another example, feminism: "Feminism is based on the radical dis-engagement from the dominant institutions and representations of femininity and masculinity to enter the process of [...] transforming gender. In so doing, feminism combines critique with creation of alternative ways of embodying and experiencing our sexualised selves."
For us, this quote beautifully defines the essence and potential of feminism and might go in someway to explaining why we as curators see it as a rich current intellectual and political terrain from which to explore and tap into artistic practice. The funny thing about feminism though, is that while change is at the core of its endeavour, it is often thought to be old fashioned, stuck, essentialist and an anachronism.
As keynote speaker Rosi Braidotti explained in our symposium at De Balie in Amsterdam on 28 October 2007, change implies dis-identification, that is, the loss of cherished habits of thought and representation. It reminded us as curators of this project why we were so attracted to the quote from Emma Goldman that we have taken as the name of our organisation. Perhaps this statement expresses a kind of constructive alienation, or a refusal of the status quo. This utterance, and Goldman’s biography in general, are examples of how dis-identifications from dominant models can be productive and creative events.
And this is precisely what we hope to investigate in our project. Braidotti gives us another example, feminism: "Feminism is based on the radical dis-engagement from the dominant institutions and representations of femininity and masculinity to enter the process of [...] transforming gender. In so doing, feminism combines critique with creation of alternative ways of embodying and experiencing our sexualised selves."
For us, this quote beautifully defines the essence and potential of feminism and might go in someway to explaining why we as curators see it as a rich current intellectual and political terrain from which to explore and tap into artistic practice. The funny thing about feminism though, is that while change is at the core of its endeavour, it is often thought to be old fashioned, stuck, essentialist and an anachronism.
'RGB Horse', Jon Mikel Euba, 2007 - Edition II, Episode 3
We experienced this paradox in 2006, when we started the second edition of If I Can't Dance... focusing on 'Feminist Legacies and Potentials in Contemporary Art Practice'. Within that realm we initiated a reading group and somewhere in their responses some of the participants said, "I don’t see myself as a feminist, but...". We often heard that while our 'foremothers' necessarily had paved the way, the connotations and associations that the term feminism evoked now came across as dated, and anything but sexy (apparently a strong value).
But as usual, if you look at the statistics, with disconcerting figures when it comes, for instance, to the presence of women in high positions, equal pay, the numbers of women who die in childbirth, rape as a military weapon, etc. You can not help think that such remarks are based on a mixture of vanity and naivety. As feminist theorist Iris van der Tuin in our symposium on november 2006 noted: "(...) There is hardly room for feminism in the present. Either we are post-feminists or we long for a return to second-wave feminism, conceptualizing feminism as marching on the streets."
How can we get out of this impasse? To us, the approach of Bell Hooks (who calls herself a 'black woman intellectual, revolutionary activist') offers a way out. Rather than speaking of the feminist movement, she speaks of feminist movement, reactivating the term in a transitive way – as a verb almost – so that it becomes this notion of constant action and a kind of restless criticality. It is precisely such an ongoing critical attitude that can be recognized in the practice of the artists and other cultural practitioners who are present in the episodes of the 'Feminist Legacies and Potentials in Contemporary Art Practice' saga.
The 1960s and '70s in the 'West', represented a robust moment in which social reform seemed to coincide with radical new ideas about what art was, and more particularly what it could be. The objective of the women’s liberation movement affiliated with the arts was clear: they strove for appreciation and exposure equal to that of their male colleagues. The art situation today shows evidence that this struggle did - partially - bear fruit. The sign of the times indicates though that instead of the iconic, the implicit and the latent are explored as powerful approaches.
This project takes as a result feminism not as its subject but as its focus. We are excited to present to you practices of artists that raise the awareness of both the complexities, and the paradoxes that lie in the heart of the transformative act of feminism.
But as usual, if you look at the statistics, with disconcerting figures when it comes, for instance, to the presence of women in high positions, equal pay, the numbers of women who die in childbirth, rape as a military weapon, etc. You can not help think that such remarks are based on a mixture of vanity and naivety. As feminist theorist Iris van der Tuin in our symposium on november 2006 noted: "(...) There is hardly room for feminism in the present. Either we are post-feminists or we long for a return to second-wave feminism, conceptualizing feminism as marching on the streets."
How can we get out of this impasse? To us, the approach of Bell Hooks (who calls herself a 'black woman intellectual, revolutionary activist') offers a way out. Rather than speaking of the feminist movement, she speaks of feminist movement, reactivating the term in a transitive way – as a verb almost – so that it becomes this notion of constant action and a kind of restless criticality. It is precisely such an ongoing critical attitude that can be recognized in the practice of the artists and other cultural practitioners who are present in the episodes of the 'Feminist Legacies and Potentials in Contemporary Art Practice' saga.
The 1960s and '70s in the 'West', represented a robust moment in which social reform seemed to coincide with radical new ideas about what art was, and more particularly what it could be. The objective of the women’s liberation movement affiliated with the arts was clear: they strove for appreciation and exposure equal to that of their male colleagues. The art situation today shows evidence that this struggle did - partially - bear fruit. The sign of the times indicates though that instead of the iconic, the implicit and the latent are explored as powerful approaches.
This project takes as a result feminism not as its subject but as its focus. We are excited to present to you practices of artists that raise the awareness of both the complexities, and the paradoxes that lie in the heart of the transformative act of feminism.
Artist Projects
(selection)Alexandra Bachzetsis
Jon Mikel Euba
Karl Holmqvist
Itziar Okariz
Jutta Koether
Otolith Group
Maria Pask & Esther de Vlam
Ivana Müller
Falke Pisano
Planningtorock
Stefanie Seibold
Frances Stark
Hito Steyerl
Unni Gjertsen
Heather Allen
Haegue Yang
Katarina Zdjelar
(selection)Alexandra Bachzetsis
Jon Mikel Euba
Karl Holmqvist
Itziar Okariz
Jutta Koether
Otolith Group
Maria Pask & Esther de Vlam
Ivana Müller
Falke Pisano
Planningtorock
Stefanie Seibold
Frances Stark
Hito Steyerl
Unni Gjertsen
Heather Allen
Haegue Yang
Katarina Zdjelar
Partners Edition II
De Balie, De Appel, Festival a/d Werf, CASCO, Stedelijk Museum, and MuHKA.
De Balie, De Appel, Festival a/d Werf, CASCO, Stedelijk Museum, and MuHKA.
Financial support
Edition II was financially supported by: British Council, Amsterdams Fonds voor de Kunst, Stichting Cultuurfonds van de Bank Nederlandse Gemeenten, The Netherlands Foundation for Visual Arts, Design and Architecture, Mondriaan Foundation and Prins Bernhard Cultuurfonds.
Edition II was financially supported by: British Council, Amsterdams Fonds voor de Kunst, Stichting Cultuurfonds van de Bank Nederlandse Gemeenten, The Netherlands Foundation for Visual Arts, Design and Architecture, Mondriaan Foundation and Prins Bernhard Cultuurfonds.
