Filtering by: Women’s Art
BETSY DAMON. PASSAGES: RITES AND RITUALS
Feb
29
to May 2

BETSY DAMON. PASSAGES: RITES AND RITUALS

  • Eckert Gallery at Millersville University (map)
  • Google Calendar ICS

BETSY DAMON
PASSAGES: RITES AND RITUALS

curated by Monika Fabijanska

February 29 – May 2, 2024
Opening Reception - Thursday, February 29, 5–7 PM
Betsy Damon in conversation with Dr. Christine Filippone, 4–5 PM

Eckert Art Gallery at Millersville University
Winter Visual & Performing Arts Center
60 West Cottage Avenue
Millersville, PA 17551

Gallery hours: Tue – Sat, 12–5 PM; Thu, 12–8 PM
Closed during holidays and academic breaks

More about the exhibition

Image: Betsy Damon, 7,000 Year Old Woman, performance on Prince Street, New York, May 21, 1977. Black and white photograph, 20 x 16 in., edition of 7 + 2 AP ©Betsy Damon 1977/2021. Courtesy of the artist and Monika Fabijanska Contemporary Art Projects

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WOMEN AT WAR
Feb
29
to Apr 27

WOMEN AT WAR

  • School of Art Gallery, University of Manitoba (map)
  • Google Calendar ICS

WOMEN AT WAR

Yevgenia Belorusets, Oksana Chepelyk, Olia Fedorova, Alena Grom, Zhanna Kadyrova, Alevtina Kakhidze, Dana Kavelina, Lesia Khomenko, Vlada Ralko, Anna Scherbyna, Kateryna Yermolaeva, and Alla Horska (1929-1970)

curated by Monika Fabijanska

February 29 - April 27, 2024
Mon-Wed, Fri 9–5 PM, Thu 9–7:30 PM
Closed all statutory holidays

Curator’s Lecture - Thursday, February 29, 12 PM CST
Opening Reception - Thursday, February 29, 5-8 PM CST
Curator’s Tour - Friday, March 1, 12 PM CST
Talk by artist Lesia Khomenko - tbd
Online conversation with Olia Fedorova & Alevtina Kakhidze - Wed., March 20, 12 PM CST

School of Art Gallery, University of Manitoba
255 ARTlab
180 Dafoe Road
Winnipeg, MB R3T 2N2
Canada

More about the exhibition

Image: Yevgenia Belorusets, Victories of the Defeated, 2014-2017, photographs and text ©Yevgenia Belorusets. Courtesy of the artist

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Online conversation: Olia Fedorova & Alevtina Kakhidze
Apr
11
12:00 PM12:00

Online conversation: Olia Fedorova & Alevtina Kakhidze

Monika Fabijanska, Olia Fedorova, and Alevtina Kakhidze in Conversation

Wednesday, March 20, 2024, 12 PM CST, Live-streamed

accompanying the exhibition

WOMEN AT WAR

Yevgenia Belorusets, Oksana Chepelyk, Olia Fedorova, Alena Grom, Zhanna Kadyrova, Alevtina Kakhidze, Dana Kavelina, Lesia Khomenko, Vlada Ralko, Anna Scherbyna, Kateryna Yermolaeva, and Alla Horska (1929-1970)

February 29 - April 27, 2024

School of Art Gallery, University of Manitoba
255 ARTlab
180 Dafoe Road
Winnipeg, MB R3T 2N2
Canada

More about the exhibition

Image: Olia Fedorova (L), Alevtina Kakhidze (R)

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WOMEN AT WAR - Curator's Lecture
Feb
29
12:00 PM12:00

WOMEN AT WAR - Curator's Lecture

  • School of Art Gallery, University of Manitoba (map)
  • Google Calendar ICS

WOMEN AT WAR: Art in Ukraine and the question of feminist historioghraphy
Lecture by curator Monika Fabijanska

Thursday, February 29, 12 PM CST, 364 ARTlab

accompanying the exhibition

WOMEN AT WAR

Yevgenia Belorusets, Oksana Chepelyk, Olia Fedorova, Alena Grom, Zhanna Kadyrova, Alevtina Kakhidze, Dana Kavelina, Lesia Khomenko, Vlada Ralko, Anna Scherbyna, Kateryna Yermolaeva, and Alla Horska (1929-1970)

February 29 - April 27, 2024

School of Art Gallery, University of Manitoba
180 Dafoe Road
Winnipeg, MB R3T 2N2
Canada

More about the exhibition

Image: Vlada Ralko, Lviv Diary No.020, 2022, ink and watercolor on paper, 11.5 x 8.5 in ©Vlada Ralko. Courtesy of Voloshyn Gallery and Fridman Gallery

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WOMEN AT WAR
Jul
13
to Oct 28

WOMEN AT WAR

  • Florida State University Museum of Fine Arts (map)
  • Google Calendar ICS

WOMEN AT WAR

Yevgenia Belorusets, Oksana Chepelyk, Olia Fedorova, Alena Grom,
Zhanna Kadyrova, Alevtina Kakhidze, Dana Kavelina, Lesia Khomenko,
Vlada Ralko, Anna Scherbyna, Kateryna Yermolaeva,
and Alla Horska (1929-1970)

curated by Monika Fabijanska

July 13 - October 28, 2023

Florida State University Museum of Fine Arts, Tallahassee, FL

Thursday, September 28, 6 PM - Curator’s Lecture
Friday, September 29, 10 AM - Curator’s Tour
Thursday, October 12, 6 PM - Conversation with artist Lesia Khomenko

More about the exhibition

Image: Alla Horska (1929-1970), Sketch for the mosaic panel “Blooming Ukraine” for the former deli “Kyiv” in Mariupol, 1967, paper, gouache, pencil, 24 x 58.5 in. Courtesy of the Estate of Alla Horska

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Feminist Legacy Planning Workshop with Monika Fabijanska & Betsy Damon
Jul
11
6:00 PM18:00

Feminist Legacy Planning Workshop with Monika Fabijanska & Betsy Damon

Feminist Legacy Planning Workshop with Monika Fabijanska & Betsy Damon

Tuesday, July 11, 6-8 PM

Pen and Brush
29 East 22nd Street, New York, NY 10010
(212) 475-3669 info@penandbrush.org

RSVP

The workshop accompanies The Feminist Institute’s Memory Lab and Exhibition who’s afraid of feminist archives? curated by Monika Fabijanska, in collaboration with Helena Shaskevich, at Pen and Brush, June 15 - July 15.

More about the exhibition

More about The Feminist Institute’s Memory Lab

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Conversation with artists Zhanna Kadyrova and Alevtina Kakhidze
Aug
10
1:00 PM13:00

Conversation with artists Zhanna Kadyrova and Alevtina Kakhidze

Conversation with artists
Zhanna Kadyrova and Alevtina Kakhidze
moderated by curator Monika Fabijanska
accompanying the exhibition

WOMEN AT WAR

at Fridman Gallery
169 Bowery, New York City

Wednesday, August 10, 1 PM WATCH HERE

Zhanna Kadyrova (b. 1981 in Brovary, Kyiv oblast) works in sculpture, installation, and public art, and is a member of R.E.P. collective. Her practice focuses on the context, site and space, and often references Soviet building materials, aesthetics, and symbols that shaped Ukrainian public space. She graduated from the Taras Shevchenko State Art School. She received PinchukArtCentre Main Prize, 2013, and Special Prize, 2011, as well as the Kazimir Malevich Artist Award, the Sergey Kuryokhin Contemporary Art Award for Public Art, and the Grand Prix of the Kyiv Sculpture Project (all 2012). Kadyrova's works were featured in the 58th Venice Biennale International Art Exhibition curated by Ralph Rugoff, 2019, and twice in the Ukrainian Pavilion at the Venice Biennale, in 2015 and 2013. Her works were shown at the M17 Contemporary Art Centre, Kyiv, 2021; the Shanghai International Sculpture Project JISP, 2020; Kunsthalle Mulhouse, France, 2020; the Ludwig Museum, Budapest, 2018; Centre Pompidou, Paris, 2016; Palais de Tokyo, Paris, 2013; Bureau for Cultural Translations, Leipzig, 2016 (solo); the Kunstraum Innsbruck, Austria, 2015 (solo); Museum of Modern Art, Warsaw, 2013; the National Art Museum of Ukraine, 2010, Zacheta National Art Gallery, Warsaw, 2008; De Appel, Amsterdam, 2008; and several times at the PinchukArtCentre in Kyiv, where her first major retrospective will be held in 2023. She lived and worked in Kyiv - since March 2022, she has been displaced to rural Western Ukraine.

| kadyrova.com | instagram.com/jannkad

Alevtina Kakhidze (b. 1973 in Zhdanivka, Donetsk oblast) is an artist, performer, curator, and gardener who focuses on drawing, and social and ecofeminist practice. Since 2018, she has served as the United Nations (UNDP) Tolerance Envoy in Ukraine. Kakhidze graduated from the National Academy of Fine Arts in Kyiv, 2004, and Jan van Eyck Academie in Maastricht, 2006, and was awarded the Kazimir Malevich Artist Award in 2008. She presented her performances and lectures at the UNWomen Conference, 2020; PinchukArtCentre, Kyiv, 2019; Whitechapel Gallery, London, 2016; Manifesta 10, 2014; The State Hermitage Museum, St. Petersburg, 2015; 7th Berlin Biennale: KW Institute for Contemporary Art, 2012; and The New Theatre in the New Great World, Warsaw, 2010. Her solo exhibitions include rum24, Aarhus, Denmark, 2020; Bozar, Brussels, 2017; PinchukArtCentre, Kyiv, 2014; FUTURA Centre for Contemporary Art, Prague, 2013; and Iaspis, Stockholm, 2009. Her works were featured in group shows at the M17 Contemporary Art Center, Kyiv, 2021; Elisabeth Jones Art Center, Portland, OR, 2021; Ludwig Museum, Budapest, 2018; M HKA, Museum of Contemporary Art Antwerp, 2018; Wurttembergischer Kunstverein, Stuttgart, 2017; Kunsthall Trondheim, Norway, 2016; National Museum of Modern Art, Kyiv, 2014; CCA Zamek Ujazdowski, Warsaw, 2013; Moroccan Pavilion project at the 54th Venice Biennial, 2012; MOCAK, Krakow; Galeria Arsenał, Białystok, Poland; and Mystetskyi Arsenal, Kyiv, all 2011. Since 2009, Kakhidze has lived and worked in Muzychi village near Kyiv.

| www.alevtinakakhidze.com | instagram.com/truealevtina

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Conversation with artists Lesia Khomenko and Anna Scherbyna
Jul
27
1:00 PM13:00

Conversation with artists Lesia Khomenko and Anna Scherbyna

Conversation with artists
Lesia Khomenko and Anna Scherbyna
and special guest Ksenia Nouril (The Print Center, Philadelphia)
moderated by curator Monika Fabijanska
accompanying the exhibition

WOMEN AT WAR

at Fridman Gallery
169 Bowery, New York City

Wednesday, July 27, 1 PM WATCH HERE
Lesia Khomenko (b. 1980 in Kyiv) is a multidisciplinary artist who reconsiders the role of painting – she deconstructs narrative images and transforms paintings into objects, installations, performances, or videos. Her interest lies in revealing tools of visual manipulation in the context of history-making and myth-making. She graduated from the National Academy of Fine Art and Architecture in Kyiv, 2004. A member of R.E.P. group since 2004, she is also a co-founder of curatorial union HUDRADA, a self-educational community based on interdisciplinary cooperation, 2008. Khomenko is an initiator and program director of the “Contemporary Art” course at the Kyiv Academy of Media Arts. Her works were shown in many exhibitions, including at the Lviv Municipal Art Center, 2021 (solo); PinchukArtCentre, Kyiv, 2018 (solo); MNAC, Bucharest, 2016; The Museum of Contemporary Art Kiasma, Helsinki, 2015; CCA Zamek Ujazdowski, Warsaw, 2014; The Future Generation Art Prize@Venice2013; Kyiv Biennial 2012 (main project); National Art Museum of Ukraine, 2012; Mystetskyi Arsenal, Kyiv, 2011 (solo); Kalmar Konstmuseum, Sweden, 2011; White Box, New York, 2010; MUMOK, Vienna, 2009; Zacheta National Gallery of Art, Warsaw, 2008; De Appel, Amsterdam, 2008; Ukrainian pavilion at Venice Biennale, 2007 (a collaboration with Mark Titchner); and Kunsthalle Vienna, 2006. She was a finalist of the Pinchuk Art Prize in 2009, 2011, and 2013, and a 2016 finalist of the Kazimir Malevich Award, Kyiv. She lives and works in Kyiv - since March 2022, she has temporarily been in the West.

| lesiakhomenko.com | instagram.com/lesia_khomenko

Anna Scherbyna (b. 1988 in Zaporizhzhia) is artist, curator, and illustrator. Her artistic practice examines the critical potential of mediums such as installation and video, drawing and painting, exploring the visual traditions of Ukraine’s painting school, political aspects of a landscape, historical memory, and gender performativity. She graduated from the National Academy of Visual Art and Architecture (2015) and Contemporary Art Course (2015). She participated in numerous exhibitions and projects, including The Portal, VBKÖ, Vienna, 2021; Armed and Dangerous, 2019; A Space of One’s Own, Pinchuk Art Centre, Kyiv, 2017; Edenia, the city if the future, Kharkiv, 2017; Socialist Realism. Seeming to Be Another, Kyiv, 2017; TEXTUS. Embroidery, textile, feminism, Kyiv, 2017; In a shelter, Paris, 2015.

Scherbyna’s curatorial practice is driven by the feminist approach to building artistic communities and collaborations. As a member of curatorial groups, she organized a reading club for artists and theoreticians Chytanka (2020), international feminist exhibition The Cave of the Golden Rose, Kyiv, 2019, and Sabber, Deer and Spining Wheel in Stanica Luhanska, 2018. She was a co-founder of the Concrete Dates Collective (2015–17), and a member of the art-group “Iod” (2013–15). Since 2009, she has lived and worked in Kyiv; and since March 2022 in Germany.

| scherbynaanna.com | instagram.com/annascherbynaaaa

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Conversation with artists  Dana Kavelina and Olia Fedorova
Jul
13
1:00 PM13:00

Conversation with artists Dana Kavelina and Olia Fedorova

Conversation with artists
Dana Kavelina and Olia Fedorova
moderated by curator Monika Fabijanska
accompanying the exhibition

WOMEN AT WAR

at Fridman Gallery
169 Bowery, New York City

Wednesday, July 13, 1 PM WATCH HERE

Olia Fedorova (b. 1994 in Kharkiv) is a conceptual artist who works with performance, photography, video, and text. She graduated from the Kharkiv State Academy of Design and Fine Arts in 2016. She was the winner of the Nathan Altman Contemporary Visual Art Contest, Vinnytsia, 2017; a finalist of Ukrainian Biennale of Young Art, Kharkiv, 2019; and MUHi (Young Ukrainian Artists), Kyiv, 2017. Solo exhibitions include: Municipal gallery, Kharkiv, 2021, 2017; Contemporary Art Center Tea Factory, Odessa, 2017; and several galleries in Kharkiv, Kyiv, and Dnipro. Group exhibitions include Eye/View II organized by Videocity, Electronic Billboard at the Congress Center Basel, 2022; Association for Contemporary Art, Graz, 2020; Brüdershaft project, supported by the German Embassy in Ukraine (Kyiv, Kharkiv, Dnipro), 2020; International Winter Land Art Festival Mythogenesis (Nemyriv, Ukraine, 2017-2020; and Museum of Ideas, Lviv, 2017. Fedorova participated in many artist residency programs, including in Mariupol, Ukraine; in the UK, Austria, Germany, and Poland; as well as online during the covid-19 pandemic, including Co-iki Arts Living Space (Tokyo), and American Art Incubator residency (Isolation Fund, Kyiv/Zero1, San-Francisco). Fedorova lives and works in Kharkiv – since May 2022, she has been a refugee in Graz, Austria.

| oliafedorova.com | instagram.com/olia_off

Dana Kavelina (b. 1995 in Melitopol) works primarily with animation and video, but also installation, painting and graphics. She graduated from the Department of Graphics at the National Technical University of Ukraine. Her works often address military violence and war, seen from gender perspective—especially with regard to the position of a victim as a political subject—as well as the distance between historical and individual trauma, and memory and misrepresentation. Her works were exhibited at the Museum Folkwang Essen, 2022; MAXXI – Museo nazionale delle arti del XXI secolo, Rome, 2022; Zionskirche, Berlin, 2022; Kristianstad Kunsthalle, Sweden, 2021; Kmytiv Museum of Soviet Art, Ukraine, 2019; and Closer, Kyiv, 2019. Kavelina’s films were screened at the Castello di Rivoli Museo d’Arte Contemporanea, Rivoli-Turin, 2022; HKW, Berlin, 2022; ICA LA, Los Angeles, CA, 2022; The Museum of Modern Art, New York, NY, 2022; and e-flux, New York, NY, 2021. Her animated film Mark Tulip, who spoke with flowers received the Special Jury Mention at the 2019 Odessa International Film Festival, and the Grand Prix of the 2018 KROK animation festival, Kyiv. Kavelina was based in Kyiv and Lviv, Ukraine; since March 2022, she has been a refugee in Germany.

| instagram.com/frau.hiroshima

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A Conversation with Bang Geul Han
May
13
1:30 PM13:30

A Conversation with Bang Geul Han

CLOSING CONVERSATION: "IF YOU GRIND THE THRESHOLD OF THREE OTHER HOUSES"
Friday, May 13, 2022 | 1:30 - 2:30 PM

Join us via Zoom for a special conversation between artist Bang Geul Han and curator Monika Fabijanska next Friday, May 13 at 1:30 pm as part of a closing event for Han’s solo exhibition “If You Grind the Threshold of Three Other Houses.”

In light of the recent Supreme Court leak overturning Roe v. Wade, the conversation will focus on Han’s recent works exploring the intersections of reproductive rights, abortion law, and questions of race and class, in relation to wider questions of relationships between text, desire, power, and representation.

To register for this online conversation, click the link HERE.

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Conversation with Cecilia Vicuña as part of Flaherty Seminar Program 3
Dec
5
7:30 PM19:30

Conversation with Cecilia Vicuña as part of Flaherty Seminar Program 3

OF CREATION /
OF POTENTIAL
Flaherty Seminar Program 3
Moderated by Monika Fabijanska
In conversation with artist Cecilia Vicuña

Sunday, December 5, 2021 7:30pm

UnionDocs
322 Union Ave
Brooklyn, NY 11211
ticket info coming soon!

PROGRAM 3

350 MYA (2016) by Terra Long, 5’, 16mm
Becoming Extinct (Wild Grass) (2017) by Elke Marhöfer, 23’, 16mm to digital
Kon Kon (2010) by Cecilia Vicuña, 54’, Digital

TRT: 82 mins

When the land is exhausted and the sea is poisoned and species are dying off, how can the earth communicate its needs and pass on its knowledge of growth and survival for the future? The filmmakers in this program look towards the earth with sensualist and materialist eyes, seeking to discover ancient ways of communing with the natural elements and creating new ways of being and perceiving through film. As Cecilia Vicuña writes, “To recover memory is to recover unity: / To be one with the sky and the sea / To feel the Earth as your own skin / is the only way to pleasure Her.” Immersed in this pleasure, the earth communes with the human, and through our participation, transforms us.

2021 Flaherty NYC Programmers: Kelsey White and L u m i a

More information

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Betsy Damon's performance Listen, Respect, Revere (1986)
Oct
27
7:00 PM19:00

Betsy Damon's performance Listen, Respect, Revere (1986)

Betsy Damon
Performance Listen, Respect, Revere (1986)
Wednesday, October 27, 7 PM 
(door opens at 6) RSVP

The gallery will open at 6 PM to allow guests to view the show before the event. Masks and the proof of vaccination with ID (for those over the age of 12) are required to enter the gallery. 

La MaMa Galleria
47 Great Jones Street
New York, NY 10003
tel. 212.505.2476

Listen, Respect, Revere
, which articulated a perspective about humans in an oppressive society, was performed only once – at New York’s Brecht Forum in 1986. In this narrative piece, with text written by Betsy Damon and choreography for two costumed dancers, all performed to a drumbeat, the artist questions traditional gender roles, while offering a semantic analysis of some basic elements and concepts of her performance practice: stones, as well as listening, reverence, and respect. It will be re-performed by Betsy Damon herself and a group of artists, in a version enhanced by the artist for the present, on October 27, 7 PM at the La MaMa Galleria. RSVP is essential.

Readers: Betsy Damon, Maya Ciarrocchi
Dancers: Antoine Stanley, Christina Sun
Drummer: Nicole Peyrafitte

This performance accompanies the exhibition Betsy Damon. Passages: Rites and Rituals at the La MaMa Galleria through November 21, 2021 (Thu-Sun, 1-7 PM).

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Betsy Damon in conversation with Monika Fabijanska
Oct
20
7:00 PM19:00

Betsy Damon in conversation with Monika Fabijanska

Betsy Damon in conversation with Monika Fabijanska
Wednesday, October 20, 7 PM 
(door opens at 6)
The gallery will be open from 6 PM to allow guests to view the show before the event.

Masks and the proof of vaccination with ID (for those over the age of 12) are required to enter the gallery.

The conversation will also be streamed on Instagram Live @lamamagalleria

La MaMa Galleria
47 Great Jones Street
New York, NY 10003
tel. 212.505.2476

A rare opportunity to hear Betsy Damon discuss her early performance practice, this conversation accompanies the exhibition Betsy Damon. Passages: Rites and Rituals at the La MaMa Galleria through November 21, 2021 (Thu-Sun, 1-7 PM).

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Betsy Damon. Passages: Rites and Rituals
Oct
14
to Nov 21

Betsy Damon. Passages: Rites and Rituals

Betsy Damon. Passages: Rites and Rituals
curated by Monika Fabijanska

opening: October 14, 2021, 6-8 PM
La MaMa La Galleria
47 Great Jones Street
New York, NY 10003

The documentation of Betsy Damon’s performance practice from 1976-1986
will be shown for the first time since the 1980s.

Image: Betsy Damon, 7,000 Year Old Woman, performance at Cayman Gallery, New York, March 21, 1977. Archival print ©Betsy Damon 1977/2021. Courtesy of the artist

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Sexual Violence and Visual Culture roundtable @ NWSA Conference
Sep
17
11:00 AM11:00

Sexual Violence and Visual Culture roundtable @ NWSA Conference

Sexual Violence and Visual Culture
An Online Roundtable

National Women’s Studies Association Annual Conference
Fri, Sep 17, 11:00 am – 12:15pm EDT

This roundtable brings together participants whose work has engaged with the subject off sexual violence. The aim is to provide varied perspectives on what it means to write about, create, exhibit, or look at images off rape from a transnational intersectional feminist perspective. Some off the central questions driving the discussion include: What would a feminist image off rape look like? What are some off the ethical considerations involved in making or viewing art about rape? Within distinct socio--cultural contexts, how are particular subjects made legible, or not, ass victims or perpetrators off rape? How can art disrupt these narratives?

Presenters

Joanna Gardner-Huggett, DePaul University
Angelique Szymanek, Hobart & William Smith College
Karen Cordero Reiman, Universidad Iberoamericana (retired)
Aaron C. Thomas, Florida State University
Monika Fabijanska, Art Historian and Independent Curator

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Artists at Work: Nora Joung with Monika Fabijanska on Instagram Live
Aug
31
4:00 PM16:00

Artists at Work: Nora Joung with Monika Fabijanska on Instagram Live

  • Location: ISCP's Instagram account here (iscp_nyc) (map)
  • Google Calendar ICS

Artists at Work: Nora Joung
with Monika Fabijanska
on Instagram Live

ISCP Talk
Location: ISCP's Instagram account here (iscp_nyc)
August 31, 2021, 4-5 PM

For this Artists at Work, current resident Nora Joung and independent curator Monika Fabijanska will discuss language as a technology and strategy within visual art. A Q&A with the audience will follow.

Nora Joung works with moving images, installation, performance and text. Her current film project focuses on European scholars travelling to the Americas. Joung co-runs the artist-run platform Destiny’s in Oslo, Norway, together with Melanie Kitti, Emilie de Rohan Birkeland, and Ray Hegelbach. She is a member of the artist’s group Rose Hammer, and the editorial board of the small press H//O//F.

More information

Image: Nora Joung, Always serious, never solemn, 2019, performance at Bergen Kunsthall, Norway. Photo by Thor Brødreskift

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Twisted: Lynn Hershman Leeson - The Brooklyn Rail conversation
Aug
30
1:00 PM13:00

Twisted: Lynn Hershman Leeson - The Brooklyn Rail conversation

Twisted: Lynn Hershman Leeson

Featuring Lynn Hershman Leeson,
Monika Fabijanska, and Amelia Jones
With a poetry reading by Bernardo Wade

The Brooklyn Rail
The New Social Environment
live conversation series, #374

Monday, August 30, 2021
1 PM EST/10 AM PST

REGISTER HERE

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Theorizing Rape and Aesthetics in 2021
Apr
10
9:30 AM09:30

Theorizing Rape and Aesthetics in 2021

  • ACLA (The American Comparative Literature Association) 2021 Conference - online (map)
  • Google Calendar ICS

Seminar Theorizing Rape and Aesthetics in 2021
ACLA (The American Comparative Literature Association) 2021 Conference
April 9, 10, and 11, 2021 at 9:30 AM EST
registration with the conference required

My presentation, “Strategies of Depicting and Narrating Rape by American Womenx Visual Artists,” will examine how the artists’ intention – healing, evoking empathy, shocking the audience, effecting change – informs the remarkably varied visual languages that womenx employ to address rape – from realism to abstraction, from performative re-enactment to healing rituals, from subversion of classical iconography to avoiding depicting the female body and using text instead and complicating the relation between reality and fiction in para-documentary treatment.

I will broaden the perspective of my 2018 exhibition “The Un-Heroic Act,” adding the analysis of works by such artists as Betsy Damon, Rowan Renee, and Aviva Rahmani.

The seminar is organized by Michael Dango and Erin Spampinato. Other presenters are: Artist Aliza Shvarts, Angelique Szymanek, Hobart & William Smith Colleges, Katherine Stone, University of Warwick, Molly Keran, University of Michigan, Robin Field, King's College, Zoë Brigley Thompson, The Ohio State University, Carine Mardorossian, University at Buffalo, SUNY, and Joseph Fischel, Yale University

Image: Betsy Damon

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ENVIRONMENTAL ACTIVISM - TFAP ECOFEMINISMS, PART 1
Feb
12
5:00 PM17:00

ENVIRONMENTAL ACTIVISM - TFAP ECOFEMINISMS, PART 1

  • 2021 CAA Annual Conference - online (map)
  • Google Calendar ICS

ENVIRONMENTAL ACTIVISM - TFAP ECOFEMINISMS, PART 1
The Feminist Art Project Day of Panel(s) @CAA
Live Session and Q&A: Fri. February 12, 5-6:30 PM EST Free, TFAP registration required

109th CAA Annual Conference (complete program)
February 10–13, 2021

Presenters:
Alicia Grullón
, artist, CUNY and School of Visual Arts
Notes from an Artist: From Climate Change to Pandemic in the Bronx
Monika Fabijanska, independent art historian and curator
The Evolution of ecofeminim(s)
Diane Burko, artist
My 50 Year Journey from Feminist Activist to Environmental Activist: From Observer to Investigator to Communicator

Taking my exhibition ecofeminism(s) (Thomas Erben Gallery, 2020) as a starting point, my presentation The evolution of ecofeminism(s) will discuss how the legacy of the pioneers of ecofeminist art has been continued, developed or opposed. Ecofeminist art of the 1970s was largely defined by spiritual feminism, leading by the mid-1980s to activist positions which resulted in their inventing some of most radical art forms. The historical perspective acquired over the last fifty years reveals how revolutionary the work of pioneer feminist artists was, and how relevant it remains in the era of #MeToo Movement, climate change, and the decolonialization activisms in the U.S. 

This session aligns with both the Committee on Women in the Arts 50/50 Initiative and the CAA's 2021 theme of climate crisis.

Image: Kai Lumumba Barrow and Gallery of the Streets, ECOHYBRIDITY: Love Song for NOLA. a visual [black] opera in 5 movements, 2015 ©Kai Lumumba Barrow. Courtesy of the artist.

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SPIRITUAL ECOFEMINISM AND PATRIARCHAL GODS: THE ART OF BILGE FRIEDLAENDER, HELÈNE AYLON AND JOAN JONAS
Feb
10
4:00 PM16:00

SPIRITUAL ECOFEMINISM AND PATRIARCHAL GODS: THE ART OF BILGE FRIEDLAENDER, HELÈNE AYLON AND JOAN JONAS

  • 2021 CAA Annual Conference - online (map)
  • Google Calendar ICS

SPIRITUAL ECOFEMINISM AND PATRIARCHAL GODS:
THE ART OF BILGE FRIEDLAENDER, HELÈNE AYLON AND JOAN JONAS

Conference registration required

109th CAA Annual Conference (complete program)
February 10–13, 2021; recorded sessions available through March 15

Chair: Monika Fabijanska
Presenters:
Mira Friedlaender
, Director, Bilge Friedlaender’s Estate
Bilge Friedlaender’s Cedar Forest
Rachel Federman, Ph.D., Associate Curator, The Morgan Library & Museum
On the Path: Helène Aylon’s Earth Ambulance (1982) and two sacs en route (1985)
Jovana Stokic, Ph.D., School of Visual Arts
Emergent Ecologies in the Works of Joan Jonas

The recognition by pioneer ecofeminist artists that Western patriarchal philosophy and religions have served to subordinate and exploit both women and nature is particularly resonant in the era of #MeToo Movement and climate change. This session will discuss three alternative approaches to ecofeminist critique of patriarchal religious or mythological systems.

In her 1980s works about Gilgamesh, Bilge Friedlaender (1934-2000) exposed the motif of the Sumerian king cutting the sacred cedar forest in quest for fame. Her questioning of the myth of the male hero corresponds to Helène Aylon’s (1931-2020) ecofeminist activist projects, rooted in the critique of the Torah as a patriarchal system of belief, and of gender roles in Judaism.  Joan Jonas (b.1936), working from myths, has creatively transformed roles assigned to women in society since the 1970s, predating the theory of gender performativity. In Moving Off the Land II (2019), she transformed the role of a Witch into its enlightened version of a Guide/Teacher that women can play in postmodernity—when both gender roles and speciesism have been questioned. 

This session aligns with both the Committee on Women in the Arts 50/50 Initiative and the CAA's 2021 theme of climate crisis.

Image: Joan Jonas, Moving Off the Land II, 2019, video still, courtesy of the artist

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AVIVA RAHMANI: FROM ECOFEMINISM TO CLIMATE JUSTICE
Feb
10
2:00 PM14:00

AVIVA RAHMANI: FROM ECOFEMINISM TO CLIMATE JUSTICE

  • 2021 CAA Annual Conference - online (map)
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AVIVA RAHMANI: FROM ECOFEMINISM TO CLIMATE JUSTICE

109th CAA Annual Conference (complete program)
February 10–13, 2021; recorded sessions available through March 15

Prerecorded session available Feb. 9 - Mar. 15; live Q&A: Wed. February 10, 2-2:30 PM EST
Conference registration required

Chair: Robert R. Shane, Ph.D., College of Saint Rose in Albany, NY
Presenters:
Rebecca Lowery
, MOCA, Los Angeles
Tender Investigations: The Early Work of Aviva Rahmani
Monika Fabijanska, independent art historian and curator, New York
Models of Healing after Rape and Ecocide: The Art of Aviva Rahmani
Chave Maeve Krivchenia, School of the Art Institute of Chicago
Rock Formations: Aviva Rahmani's “Blue Rocks” (2002)
Gale Elston, Law Offices of Gale P. Elston, PC, New York
Aviva Rahmani’s use of the Visual Artists’ Rights Act and Eminent Domain Law as a Medium in Her Artwork “Blued Trees Symphony”
Aviva Rahmani, discussant

Ecoartist, feminist, and composer Aviva Rahmani has been engaged with transdisciplinary art practices and social/ecojustice for over 50 years. Leading her performance group American Ritual Theater (1968-1971), Rahmani was one of the first artists to treat the topic of rape and went on to play a formative role in Ablutions (1972) with Suzanne Lacy, Sandra Orgel, and Judy Chicago. Since 1989 she has pioneered ecoart projects, such as Ghost Nets (1989-2000) and her continentally-scaled Blued Trees Symphony and Opera (2015-present), which not only address climate change, but make major changes to ecosystems through small-scale but strategic interventions she calls “trigger points”—the focus of her interdisciplinary PhD research. This conference session is similarly an intervention that seeks to make a major change by introducing Rahmani’s body of work to art historians, evaluate her legacy thus far, and engage with her current projects that address the most pressing issues of our time.

This session aligns with both the Committee on Women in the Arts 50/50 Initiative and the CAA's 2021 theme of climate crisis.

Image: Aviva Rahmani, Bed of Nets, 1992. Courtesy of the artist

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Zoom conversation on ecofeminism IV: Raquel Cecilia Mendieta, niece and goddaughter of Ana Mendieta, and Mira Friedlaender, daughter of Bilge Friedlaender
Sep
16
6:30 PM18:30

Zoom conversation on ecofeminism IV: Raquel Cecilia Mendieta, niece and goddaughter of Ana Mendieta, and Mira Friedlaender, daughter of Bilge Friedlaender

ecofeminism(s) 

PUBLIC PROGRAM ONLINE: ZOOM CONVERSATIONS WITH THE ARTISTS
moderated by ecofeminism(s) curator, Monika Fabijanska

September 16, 6:30 PM EST
Raquel Cecilia Mendieta, niece and goddaughter of Ana Mendieta
Mira Friedlaender, daughter of Bilge Friedlaender

Raquel Cecilia Mendieta is a filmmaker, writer, and video artist most known for her recent films on her aunt, artist Ana Mendieta. Her films have screened at film festivals and art museums world-wide. She is the Associate Administrator for the Estate of Ana Mendieta Collection and was responsible for overseeing the digital restoration of the artist’s works on film and video. She is currently working on a feature length documentary about the life and art of Ana Mendieta.

Mira Friedlaender is an artist living in New York City, and has exhibited  locally and internationally. Her work has been featured in the New York Times and Bomb, she is a recent fellow in the Art & Law Program and has held public facing residencies at the American Center in Bangladesh and Recess in New York City. She is the Director of the Bilge Friedlaender Estate and co-curated Bilge Friedlaender: Words, Numbers, Lines at Arter in Istanbul (2016). 

MORE ABOUT THE EXHIBITION

Image: Ana Mendieta (Cuban American, 1948-1985), Bacayu (Esculturas Rupestres) [Light of Day (Rupestrian Sculptures)], 1981/2019. Black and white photograph, 40 x 55 in © The Estate of Ana Mendieta Collection, LLC. Courtesy Galerie Lelong & Co.

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Christie's webinar: Spotlight on Ecofeminism(s)
Sep
10
6:30 PM18:30

Christie's webinar: Spotlight on Ecofeminism(s)

Spotlight on Ecofeminism(s)

September 10, 6:30 PM EST
Exhibition curator Monika Fabijanska
Gallerist Thomas Erben
Christie’s Education’s Julie Reiss

After registering, you will receive a confirmation email containing information about joining the webinar.

This complimentary webinar explores the critically acclaimed group exhibition ecofeminism(s) at the Thomas Erben Gallery this Summer/Fall 2020 in New York. Praised for its relevance and curatorial vision by The New York Times and Art in America, the survey ranges from art by early eco-feminists such as Agnes Denes and Ana Mendieta to present-day artists Mary Mattingly and Hanae Utamura. Ecofeminist art emerged in the 1970s and 80s, and continues to be embraced both as a historical and a contemporary phenomenon. Exhibition curator Monika Fabijanska and gallerist Thomas Erben will join Christie’s Education’s Julie Reiss for a discussion about the show’s timeliness and the increasing centrality in the art world of art grounded in ecological and other human rights concerns. The discussion will be followed by a Q & A session.

MORE ABOUT THE EXHIBITION

Image: Installation view of ecofeminism(s) curated by Monika Fabijanska, left to right: Andrea Bowers, Helène Aylon, Eliza Evans, Sonya Kelliher-Combs, Hanae Utamura, Betsy Damon, Aviva Rahmani. Courtesy of Thomas Erben Gallery, New York, June/July 2020 (photo: Andreas Vesterlund).

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ecofeminism(s)
Sep
8
to Sep 26

ecofeminism(s)

curated by Monika Fabijanska

June 18 - July 24, reopens September 8-26, 2020
press day - June 18, 2020, 12-6 PM
opening reception - no public gatherings is planned
artists talks - Wednesdays, July 8, 15, 22, Sept. 10, 16, 6:30 PM EST
gallery hours: Tue-Sat, 11-6 (June); Mon-Fri, 11-6 (July), Tue-Sat, 11-6 (Sept.)

Thomas Erben Gallery
526 West 26th Street, 4th Floor
New York, NY 10001
tel. 212-645-8701

ecofeminism(s) explores the legacy of some of the pioneers of ecofeminist art: Helène Aylon, Betsy Damon, Agnes Denes, Bilge Friedlaender, Ana Mendieta, Aviva Rahmani, and Cecilia Vicuña, and how their ideas and strategies are continued, developed or opposed by younger generations – Andrea Bowers, Eliza Evans, Sonya Kelliher-Combs, Carla Maldonado, Mary Mattingly, Jessica Segall, and Hanae Utamura. It also features the ecofeminist works of Lynn Hershman Leeson and Barbara Kruger, who escape these categories.

The historical perspective gained over the last fifty years reveals how revolutionary the work of pioneer feminist artists was, and how relevant it remains, whether for women’s rights or the development of social practice. The most remarkable, however, is their voice regarding humanity's relationship to nature. The foundation of ecofeminism is spiritual feminism, which insists that everything is connected – that nature does not discriminate between soul and matter. Their recognition that Western patriarchal philosophy and religions have served to exploit both women and nature is particularly resonant in the era of the #MeToo Movement and Climate Change. But if the ecofeminist art of the 1970s and 1980s was largely defined by Goddess art, ritual performance, anti-nuclear work, and ecological land art – the curator poses the question – what makes female environmental artists working today ecofeminists?

Since the 1970s, ecofeminism evolved from gender essentialism to understanding gender as a social construct to gender performativity. But today’s feminists still address the degradation of the environment by creating diverse responses to patriarchal power structure, capitalism, and the notion of progress. They invoke indigenous traditions in maintaining connection to nature and intensify the critique of colonialist politics of overextraction, water privatization, and the destruction of native peoples. They continue to employ social practice and activism, but focus on denouncing global corporate strategies and designing futuristic proposals for life on earth.

MORE

Image: Jessica Segall, A Thirsty Person, Having Found a Spring, Stops to Drink, Does Not contemplate Its Beauty, 2011, performance/video still, archival print. © 2011 Jessica Segall. Courtesy of the artist

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Zoom conversation on ecofeminism III: Betsy Damon, Eliza Evans, Carla Maldonado, and art critic Eleanor Heartney
Jul
22
6:30 PM18:30

Zoom conversation on ecofeminism III: Betsy Damon, Eliza Evans, Carla Maldonado, and art critic Eleanor Heartney

ecofeminism(s) 

PUBLIC PROGRAM ONLINE: ZOOM CONVERSATIONS WITH THE ARTISTS
moderated by ecofeminism(s) curator, Monika Fabijanska

July 22, 6:30 PM EST
Betsy Damon
Eliza Evans 
Carla Maldonado
Eleanor Heartney, art writer, contributing editor, Art in America

Betsy Damon (American, b. 1940) is water artist whose public work and living systems have received widespread acclaim. She created important feminist ritual performances in public space in New York: 7,000 Year Old Woman (1976-79), Blind Beggar Woman (1979-81), A Rape Memory (1981-83), The Shrine for Everywoman (1985-1990), and A Mediation With Stones for the Survival of the Planet (1983-89), and exhibited at P.S.1 in the 1980s. The installation The Memory of Clean Water shown at the Everhart Museum, traveled to many museums, 1986-91. At the age of 50, Damon changed the focus of her art to center on water, its conservation and protection, and its impact on the society. Among her large scale projects mobilizing art, science and communities around local water problems, are those on the Cheyenne River, ND (2019), in Larimer, PA (2012-2016), Olympic Forest Park, Beijing, China (2002-06), for the Beijing Bureau of Hydraulic Research & Engineering, China (2001-2003), and Living Water Garden, Chengdu, China (1996).

Eliza Evans experiments with sculpture, print, video, and textiles to identify disconnections and absurdities in social, economic, and ecological systems. The initial parameters of each work are carefully researched and then evolve as a result of interaction with people, time, and weather. Evans was born in a rustbelt steel town and raised in rural Appalachia. She currently splits her time between New York City and the Hudson Valley. Her work was exhibited at the Chautauqua Institution, Chautauqua, NY (2019), Edward Hopper House Museum, Nyack, NY (2019), Chashama Sculpture Field, Pine Plains, NY (2018), BRIC, Brooklyn (2017), and Purchase College, Purchase, NY (2017). Residencies include the National Center for Ecological Analysis and Synthesis, UC Santa Barbara (2020), Bronx Museum AIM, and Franconia Sculpture Park, Shafer, MN (both 2019). Evans holds an MFA from SUNY Purchase College in visual art and a Ph.D. in economic sociology from the University of Texas at Austin.

Carla Maldonado (Brasilian, b. 1986) is a multimedia artist, working in photography, film and installation. Her work responds to socio-political issues; patriarchy and the environmental crisis, and explores the struggle of progressive movements in Bolsonaro’s Brazil, and her immigrant experience in Trump’s era U.S. Maldonado's intuitively observational process is based on photographic and video documentation of environments she navigates and people she encounters – focusing on rebels, misfits and revolutionaries. She showed at the Satellite Art Show in Miami and Brooklyn; Film Fest at the Farm, Rhinebeck, NY; School of Visual Arts, NYC, SoMad Studio, NYC (all 2019); Barcelona Planet Film Festival, Spain (2018); and The Knockdown Center, Brooklyn (2017). She has BFA in Fashion Design from Senai Cetiqt, Rio de Janeiro, 2007; and MFA in Photography, Video & Related Media, SVA in New York, 2019. Maldonado lives and works in New York City and is currently AIM Fellow at The Bronx Museum.

Eleanor Heartney is an art critic and author and has written extensively on contemporary art issues for many publications, including Art in AmericaArtpress, Artnews, Art and Auction, The New Art Examiner, the Washington Post and the New York Times. Her books include Critical Condition: American Culture at the Crossroads, Postmodernism, Defending Complexity: Art Politics and the New World OrderPostmodern Heretics: The Catholic Imagination in Contemporary ArtArt and Today and Doomsday Dreams: the Apocalyptic Imagination in Contemporary Art. She is a co-author of After the Revolution: Women who Transformed Contemporary Art, and The Reckoning: Women Artists of the New Millennium. She is past President of AICA USA, the American section of the International Art Critics Association. Her awards include the College Art Association’s Frank Jewett Mather Award and the French government’s Chevalier dans l’Ordre des Arts et des Lettres.

MORE ABOUT THE EXHIBITION

Image: Betsy Damon (American, b. 1940), The Memory of Clean Water, 1985, mixed media: paper pulp, grass, minerals ©Betsy Damon. Courtesy of the artist

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Zoom conversation on ecofeminism II: Aviva Rahmani, Sonya Kelliher-Combs, Jessica Segall, and curator and writer Candice Hopkins
Jul
15
6:30 PM18:30

Zoom conversation on ecofeminism II: Aviva Rahmani, Sonya Kelliher-Combs, Jessica Segall, and curator and writer Candice Hopkins

ecofeminism(s) 

PUBLIC PROGRAM ONLINE: ZOOM CONVERSATIONS WITH THE ARTISTS

moderated by ecofeminism(s) curator, Monika Fabijanska

July 15, 6:30 PM EST

Aviva Rahmani
Sonya Kelliher-Combs 
Jessica Segall
Candice Hopkins, curator, writer, and a citizen of Carcross/Tagish First Nation

Pioneering ecological artist Aviva Rahmani (American, b. 1945) exhibits, publishes and presents internationally. Her project, The Blued Trees Symphony (2015-present), legally challenges expanding fossil fuel infrastructures with copyrighted and sonified installations across miles of North America. Her work has been included in exhibitions at the Independent Museum of Contemporary Art, Cyprus; the Boulder Museum of Contemporary Art, Colorado; the Hudson River Museum, NY; the Cincinnati Center for Contemporary Art, Ohio; and the Joseph Beuys 100 days of Conference Pavilion, for the Venice Biennale, Italy. Her work has won numerous grants, fellowships and been written about internationally. She is an Affiliate with the Institute for Arctic and Alpine Research at the University of Colorado at Boulder; gained her PhD from the University of Plymouth, UK and received her BFA and MFA at the California Institute of the Arts. She is currently completing a residency with the Lower Manhattan Cultural Council on Governors Island.

Sonya Kelliher-Combs (Native American, b. 1969) is an artist of mixed decent: Iñupiaq from the North Slope of Alaska, Athabascan from the Interior, German and Irish. She uses imagery and symbols that speak about culture and the life of her ancestors, and marginalization and the struggles of Indigenous peoples. She participated in numerous group exhibitions, including at Renwick Gallery, Smithsonian American Art Museum, Washington, D.C., 2020; Minneapolis Institute of Art, 2019; Korundi Museum, Rovaniemi, Finland, 2018-19; John Jay College, NYC, 2018; Northern Norway Art Museum, Tromsø, 2016; Nordamerika Native Museum, Zurich, 2015; National Gallery of Canada, Ottawa, 2013; National Museum of the American Indian, NYC, 2010; Museum of Art & Design, NYC, 2005; Cheongju International Craft Biennial, South Korea, 2005. Solo exhibitions include Minus Space, Brooklyn, NY 2019; the Northern Norway Art Museum, Svalbard, Norway, 2018; Institute of American Indian Art, Santa Fe, 2006; Anchorage Museum of History and Art, Anchorage, 2005; and Alaska State Museum, Juneau, 2001.

Jessica Segall is a multidisciplinary artist based in Brooklyn, NY. Her work has been screened and exhibited internationally including The Fries Museum, the Havana Bienal, The National Gallery of Indonesia, The Queens Museum of Art, The Aldrich Contemporary Art Museum, The Inside Out Museum, The Museum of Contemporary Art, Vojvodina, The Mongolian National Modern Art Gallery, The National Museum of Jewish American History and The National Symposium for Electronic Art. Segall received grants from The Pollock Krasner Foundation, The Rema Hort Mann Foundation, New York Foundation for the Arts, New York State Council on the Arts, The Harpo Foundation and Art Matters and attended residencies at Princeton University, The Van Eyck Academie, The MacDowell Colony and Skowhegan. Her work has been featured in Cabinet Magazine, The New York Times, Sculpture Magazine, Mousse Magazine and Art in America. She received her BA from Bard College and MFA from Columbia University.

Candice Hopkins is a curator and writer and a citizen of Carcross/Tagish First Nation. She lives between Albuquerque, New Mexico and Toronto, Canada. She is Senior Curator of the 2019 and 2021 editions of the Toronto Biennial of Art. Hopkins was co-curator of major exhibitions including the Canadian Pavilion for the 58th Venice Biennial featuring the media art collective Isuma; the 2018 SITE Santa Fe biennial, Casa Tomada; documenta 14 in Athens, Greece and Kassel, Germany; Sakahàn: International Indigenous Art; and Close Encounters: The Next 500 Year. Her writing is published widely and her recent essays and presentations include "The Appropriation Debates (or The Gallows of History)" for MIT Press; “Outlawed Social Life," for South as a State of Mind; and "The Gilded Gaze: Wealth and Economies on the Colonial Frontier," for the documenta 14 Reader. 

MORE ABOUT THE EXHIBITION

Image: Aviva Rahmani (American, b. 1945), Physical Education, 1973, performance documentation: slide projection ©Aviva Rahmani. Courtesy of the artis

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Zoom conversation on ecofeminism I: Lynn Hershman Leeson, Mary Mattingly, Hanae Utamura, and Julie Reiss, Ph.D.
Jul
8
6:30 PM18:30

Zoom conversation on ecofeminism I: Lynn Hershman Leeson, Mary Mattingly, Hanae Utamura, and Julie Reiss, Ph.D.

ecofeminism(s) 

PUBLIC PROGRAM ONLINE: ZOOM CONVERSATIONS WITH THE ARTISTS
moderated by ecofeminism(s) curator, Monika Fabijanska

July 8, 6:30 PM EST
Lynn Hershman Leeson
Mary Mattingly 
Hanae Utamura
Julie Reiss, Ph.D., Christie’s Education

Lynn Hershman Leeson (American, b. 1941) is artist and filmmaker acclaimed for the pioneering use of new technologies through which she addresses issues such as trauma, identity loss, and the relationship between the real and the virtual. Her work in media-based technology pioneered digital art forms. She also made some of the earliest works that used artificial intelligence, biological computing, and DNA manipulation. As a film director she wrote, directed and produced Strange Culture, Conceiving Ada, and Teknolust, all starring Tilda Swinton, which screened at the Sundance, Toronto and Berlin festivals; and a 2011 groundbreaking documentary !Women Art Revolution. Leeson’s 2014 retrospective organized at the ZKM Karlsruhe traveled to Yerba Buena Center, 2017. Her works are in the collections of MoMA, Whitney Museum, ZKM, LACMA, SFMoMA, Walker Art Center, Berkeley Museum of Art, and National Gallery of Art of Canada. She received Siggraph Lifetime Achievement Award, Prix Ars Electronica Golden Nica, Guggenheim Fellowship, USA Artist Fellowship, NEA, and College Art Association’s Lifetime Achievement Award.

Mary Mattingly (American, b. 1978) is a photographer and sculptor. She founded Swale, an edible landscape on a barge in New York City to circumvent public land laws. Currently, Mattingly is artist in residence at the Brooklyn Public Library and preparing to launch "Public Water" – a public sculpture about NYC's drinking watershed with More Art. In 2018 she worked with BRIC Arts to build "What Happens After" which involved dismantling a military vehicle and deconstructing its mineral supply chain. Her work has been exhibited in museums such as the Museo Nacional de Bellas Artes de la Habana, the Bronx Museum of the Arts, the Brooklyn Museum, Storm King, the International Center of Photography, the Brooklyn Museum, and the Palais de Tokyo. Her work has been featured in Aperture, Art in America, Artforum, Sculpture Magazine, The New York Times, Le Monde Magazine, New Yorker, and on BBC News, NPR, on Art21.

Hanae Utamura (Japanese, b. 1980) is multimedia artist, working in video, performance, installation, and sculpture. She received her MA from Chelsea College of Art and Design, and her BA from Goldsmiths, University of London and exhibits extensively in Asia, Europe and the U.S. Numerous international residencies and fellowships include Akademie Schloss Solitude (Stuttgart), Künstlerhaus Bethanien (Berlin), PACT Zollverein (Essen), Art Omi (Hudson, NY), Santa Fe Art Institute Residency, Aomori Contemporary Art Center (Aomori), National Museum of Contemporary Art, Changdong Art Studio (Seoul), Seoul Art Space_GEUMCHEON (Seoul), Florence Trust (London). She has been awarded NYFA Immigrant Artist Mentoring Program, Shiseido Art Egg Award, Japanese Ministry of Culture Grant, Pola Art Foundation, UNESCO-Aschberg Bursary Award, and Axis/Florence Trust Award. In 2019 she was a visiting scholar at New York University as a part of Japan – U.S. Exchange Friendship Program in the Art. Utamura is based in New York and Buffalo, NY.

Julie Reiss is a pioneering scholar in the field of Installation art. She is the author of From Margin to Center: The Spaces of Installation Art (MIT Press, 1999), in addition to numerous articles and reviews. Julie has spoken on panels related to art and the climate crisis including “Shifting Domains: Artists Respond to the Threatened Ecological Commons (Marfa Ballroom Dialogues, 2013), and “Landscape and Anthropocene” (College Art Association, 2016). She chaired a panel on art in the Anthropocene at the 2017 Conference for the Council for European Studies. She is the editor of Art, Theory and Practice in the Anthropocene (Vernon Press, 2018). In 2019 she organized the symposium “The Role of Art in the Environmental Crisis” at Christie’s Education, and was the guest critic on the same theme at The Brooklyn Rail. She directs Modern and Contemporary Art and the Market, an accredited MA program at Christie’s Education. 

MORE ABOUT THE EXHIBITION

Image: Mary Mattingly (American, b. 1978), Life of Objects, 2013, Archival Pigment Print, 30 x 30 in. Edition 5/5 ©Mary Mattingly. Courtesy of Robert Mann Gallery

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EXHIBITION: ADA TRILLO. LA CARAVANA
Mar
26
to Mar 31

EXHIBITION: ADA TRILLO. LA CARAVANA

  • The New School, Skybridge Art Space, Eugene Lang College, 4th Floor (map)
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curated by Monika Fabijanska
presented by the Zolberg Institute on Migration and Mobility, The New School
 
EXHIBITION: March 26-31, 2020
The New School

Skybridge Art Space
Eugene Lang College, 4th Floor
entrance from 65 W. 11th Street & 66 W. 12th Street, New York, NY 10011

PANEL DISCUSSION WITH ADA TRILLO & OPENING RECEPTION:
Thursday, March 26, 2020, 6:30 PM

The New School University Center, Lecture Hall UL104
63 Fifth Avenue, New York, NY 10003

Register In October 2018, Ada Trillo flew to Ciudad Hidalgo on the border of Guatemala, where the Caravan of Migrants was entering Mexico. Over the course of the following weeks, she traveled 2,600 miles to the U.S. border in Tijuana with 7,000 refugees, including 2,700 children, fleeing poverty and gang violence in Honduras, Guatemala, El Salvador and Nicaragua. Through photography, video and interviews, she presents La Caravana not just as a political issue but primarily a humanitarian crisis. Trillo positions her images as a mirror to fake words, making visible the narratives that are missing from public consciousness. Many in her photographs are young women disguising themselves as men to avoid rape, many are persons with disabilities, many – LGBT people. This is her first solo exhibition in New York.

“The people that I have met are not the criminals depicted by Donald Trump. I intend to tell their stories of bravery, strength and perseverance, that defy generalizations that intend to divide. I show what hope, and the loss of it, looks like for the asylum-seekers of our era.”

Born in El Paso and brought up in Ciudad Juarez – at one time called the most violent city in the world – Ada Trillo explores in her work human rights crisis at the U.S.-Mexican border. Over the period of four years, Trillo traveled to Juarez to interview and photograph women in local brothels. Her series How Did I Get Here? (2017) exposes the nexus between rape and prostitution, women trafficking, and feminicidios—violent deaths of hundreds of women in Juarez. In La Bestia (2017), she documented perils faced by Central American migrants travelling across Mexico on cargo trains. If Walls Could Speak (2019) presents the challenges facing asylum seekers under the new "Remain in Mexico" policy. Involved directly in the work with affected communities, and donating the proceeds from her work to organizations that help them, Trillo is an artist whose documentary work verges on social practice.

ADA TRILLO's work is in the collection of the Philadelphia Museum of Art. It was presented at the international festival of photography Cortona on the Move, Italy; University of The Arts and Saint Joseph's University – both in Philadelphia (2019); the exhibition The Un-Heroic Act: Representations of Rape in Contemporary Women's Art in the U.S., Shiva Gallery, John Jay College CUNY, New York; Passion for Freedom art festival, London; and Photo Meetings, Luxembourg (2018). Her work was featured in The Guardian, British Journal of Photography (UK), Hyperallergic, Smithsonian Magazine, HUFFPOST, CBS Philly, The Philadelphia Inquirer, Philadelphia Weekly, Philadelphia Magazine, Philadelphia Gay News, F-Stop Photography Magazine, The Candid Frame (U.S.); Al Dia News, Telemundo 51 (Mexico); Fotomagazin, Photonews (Germany); Le Quotidien, and Wort Luxembourg (Luxembourg).

Ada Trillo is based in Philadelphia, PA, and Juarez, Mexico. She is 2019 fellow at the Center for Emerging Visual Artists, Philadelphia, and the Leeway’s 2019-2020 Visual Artist-in-Residence at Fleisher Art Memorial. In 2018 she received Leeway Foundation's Art and Change Grant.

Image: Ada Trillo, Seeking Asylum, 2018, archival pigment print, 26 3/4 x 40 in. ©2020 Ada Trillo. Courtesy of the artist

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PANEL: ADA TRILLO. LA CARAVANA
Mar
26
6:30 PM18:30

PANEL: ADA TRILLO. LA CARAVANA

  • The New School University Center, Lecture Hall UL104 (map)
  • Google Calendar ICS

Thursday, March 26, 2020, 6:30 PM
PANEL DISCUSSION opening the exhibition ADA TRILLO. LA CARAVANA
The New School University Center, Lecture Hall UL104
63 Fifth Avenue, New York, NY 10003
Register

The panel on the occasion of the opening of Ada Trillo first solo exhibition in New York City, La Caravana, featuring the artist; Professor Alex Aleinikoff, Director of the Zolberg Institute on Migration and Mobility; and Alexandra Delano, Associate Professor of Global Studies, The New School; will be moderated by the exhibition curator, Monika Fabijanska.

Followed by the opening reception.

Presented by the Zolberg Institute on Migration and Mobility, The New School
 
EXHIBITION: March 26-31, 2020
The New School

Skybridge Art Space
Eugene Lang College, 4th Floor
entrance from 65 W. 11th Street & 66 W. 12th Street, New York, NY 10011

In October 2018, Ada Trillo flew to Ciudad Hidalgo on the border of Guatemala, where the Caravan of Migrants was entering Mexico. Over the course of the following weeks, she traveled 2,600 miles to the U.S. border in Tijuana with 7,000 refugees, including 2,700 children, fleeing poverty and gang violence in Honduras, Guatemala, El Salvador and Nicaragua. Through photography, video and interviews, she presents La Caravana not just as a political issue but primarily a humanitarian crisis. Trillo positions her images as a mirror to fake words, making visible the narratives that are missing from public consciousness. Many in her photographs are young women disguising themselves as men to avoid rape, many are persons with disabilities, many – LGBT people. This is her first solo exhibition in New York.

“The people that I have met are not the criminals depicted by Donald Trump. I intend to tell their stories of bravery, strength and perseverance, that defy generalizations that intend to divide. I show what hope, and the loss of it, looks like for the asylum-seekers of our era.”

Born in El Paso and brought up in Ciudad Juarez – at one time called the most violent city in the world – Ada Trillo explores in her work human rights crisis at the U.S.-Mexican border. Over the period of four years, Trillo traveled to Juarez to interview and photograph women in local brothels. Her series How Did I Get Here? (2017) exposes the nexus between rape and prostitution, women trafficking, and feminicidios—violent deaths of hundreds of women in Juarez. In La Bestia (2017), she documented perils faced by Central American migrants travelling across Mexico on cargo trains. If Walls Could Speak (2019) presents the challenges facing asylum seekers under the new "Remain in Mexico" policy. Involved directly in the work with affected communities, and donating the proceeds from her work to organizations that help them, Trillo is an artist whose documentary work verges on social practice.

ADA TRILLO's work is in the collection of the Philadelphia Museum of Art. It was presented at the international festival of photography Cortona on the Move, Italy; University of The Arts and Saint Joseph's University – both in Philadelphia (2019); the exhibition The Un-Heroic Act: Representations of Rape in Contemporary Women's Art in the U.S., Shiva Gallery, John Jay College CUNY, New York; Passion for Freedom art festival, London; and Photo Meetings, Luxembourg (2018). Her work was featured in The Guardian, British Journal of Photography (UK), Hyperallergic, Smithsonian Magazine, HUFFPOST, CBS Philly, The Philadelphia Inquirer, Philadelphia Weekly, Philadelphia Magazine, Philadelphia Gay News, F-Stop Photography Magazine, The Candid Frame (U.S.); Al Dia News, Telemundo 51 (Mexico); Fotomagazin, Photonews (Germany); Le Quotidien, and Wort Luxembourg (Luxembourg).

Ada Trillo is based in Philadelphia, PA, and Juarez, Mexico. She is 2019 fellow at the Center for Emerging Visual Artists, Philadelphia, and the Leeway’s 2019-2020 Visual Artist-in-Residence at Fleisher Art Memorial. In 2018 she received Leeway Foundation's Art and Change Grant.

Image: Ada Trillo, Seeking Asylum, 2018, archival pigment print, 26 3/4 x 40 in. ©2020 Ada Trillo. Courtesy of the artist

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Panel: Arts on Sexual Violence
Mar
19
8:00 PM20:00

Panel: Arts on Sexual Violence

SPOILED
by The Hess Collective
Written & Directed by Elizabeth Hess
March 19-29, 2020, Thu-Sat 8PM; Sunday 5PM

Thursday, March 19, 2020, 8 PM
Post-show talk back: ARTS ON SEXUAL VIOLENCE
moderated by Monika Fabijanska
with Elizabeth Hess and 
Rowan Renee
Opening Night Reception To Follow
 
La MaMa E.T.C., The Downstairs
66 E 4th Street, Basement Level, NYC
Tickets: $25; Student/Senior $20
 
SPOILED rips open secrets of gender based violence from the male point of view, revealed by an ensemble of women. The performers weave together a tapestry of stories from around the globe in an attempt to understand what drives such destructive behavior. In taking back the narrative, the ensemble breaks through taboos that silence women's’ voices.

Tickets and more information 

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LECTURE The Un-Heroic Act: Representations of Rape in Women's Contemporary Art in the U.S.
Jul
31
12:00 PM12:00

LECTURE The Un-Heroic Act: Representations of Rape in Women's Contemporary Art in the U.S.

Free and open to the public

Monika Fabijanska will speak about her critically acclaimed exhibition, The Un-Heroic Act: Representations of Rape in Contemporary Women's Art in the U.S., presented at the John Jay College of Criminal Justice in New York last fall; accompanied by a catalogue and a symposium. Hyperallergic named The Un-Heroic Act the fifth of twenty best art exhibitions in New York in 2018, and it was reviewed by The New York Times, The New Yorker, Artforum, Art in America, The Brooklyn Rail and Art Papers, among others.

This concentrated survey of works by a diverse roster of artists representing three generations, and including Jenny Holzer, Suzanne Lacy, Ana Mendieta, Yoko Ono, and Kara Walker, aimed to demonstrate that rape constitutes one of central themes in women’s art and analyzes its rich iconography. The exhibition explored ways of depicting and narrating the subject in all visual art forms: drawing, painting, sculpture and installation, photography, video, film, new media, performance, and social practice.  

More on the exhibition

More about the speaker

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RAPE, REPRESENTATION, AND RADICALITY / The Feminist Art Project Day of Panels at the Annual College Art Association Conference 2019
Feb
16
8:30 AM08:30

RAPE, REPRESENTATION, AND RADICALITY / The Feminist Art Project Day of Panels at the Annual College Art Association Conference 2019

  • New York Hilton Midtown, Trianon Ballroom (map)
  • Google Calendar ICS

Free and open to the public
Contact: tfap@cwah.rutgers.edu

RAPE, REPRESENTATION, AND RADICALITY
TFAP@CAA: The Feminist Art Project Day of Panels at the Annual College Art Association Conference 2019

Intersectional feminist art has long dealt with the oppressions and violations stemming from colonialism, slavery, and couverture. Rape, Representation, and Radicality is a full-day symposium that will explore sex, power, and justice through intersectional art and activism, academics, and healing. The forum brings academic study, intellectual discourse, and visceral candor together to create a shared space and to demand bodily autonomy.

Rape, Representation, and Radicality will address how sexual assault has affected feminist art practices, and who has power and why. What institutional changes are needed to work towards sexual justice, and how do race and gender impact the experiences and responses within the context of contemporary feminist discourse? The hidden legacy of Women of Color, within the conversation about sexual violence, sexual empowerment, artistic praxis, and art history, must be re-contextualized and revised to be included accurately. The current cultural narrative around sexual violence necessitates re-orientation to include those who are left out of the conversation. This forum will present strategies to understand, rectify, reclaim and move forward towards healing.

Symposium Chairs: Christen Clifford (Artist; The New School) and Jasmine Wahi (School of Visual Arts; Project for Empty Space)

SCHEDULE:

8:30am - 10am
Welcome and Introductory remarks:
Connie Tell, The Feminist Art Project, Center for Women in the Arts and Humanities, Rutgers University
Christen Clifford, Independent Artist, and The New School; and Jasmine Wahi, School of Visual Arts, and Project for Empty Space

The Un-Heroic Act: Representations of Rape in Contemporary Women's Art in the U.S.
Presenter: Monika Fabijanska, (Independent Curator)


Sexing the Canvas: The Rape of the Black Female Body in Art
Presenter: Indira Bailey (Penn State School of Visual Arts)

10:30am - 12:00pm: Gender, Sexuality, and Power: Social Activist Art Practices
Panelists: Suzanne Lacy (University of Southern California Roski School of Art and Design), Emma Sulkowicz (Independent Artist; Resident Artist, Museum of Arts and Design), María Magdalena Campos-Pons (Vanderbilt University), Moderator: Vivien G. Fryd (Vanderbilt University)

12pm - 12:30pm LUNCH BREAK

12:30pm - 2:00pm: Taking Back the Narrative
Conversation between Jaishri Abichandani (Independent Artist) and Christen Clifford, (Independent Artist; The New School)

Performances
Bad Woman Katya Grokhovsky
Operation Catsuit Ayana Evans
Action IV Castellanos

2pm - 3:30pm: Rewriting Narratives in the #MeToo Moment
Panelists: Natalie Frank (Independent Artist), Carmen Hermo (Elizabeth A. Sackler Center for Feminist Art), Naima Ramos-Chapman (Random Acts of Flyness!)

4pm - 5:30pm: Looking for Sexual Justice - Representing Sexual Violence Across Film and Video Art
Presenters: Kalliopi Minioudaki (Independent Scholar) What Rape Has to Do with Nanas? Niki de Saint Phalle's "Daddy.", and Talia Lugacy (The New School) Silence in Descent

Visible Invisibility: WoC in the Context of the #MeToo Movement
Presenters: Maria Hupfield (Independent Artist), Viva Ruiz (Independent Artist), Scheherazade Tillet (A Long Walk Home), Jasmine Wahi (School of Visual Arts; Project for Empty Space)

Healing Exercise and Finale: Christen Clifford and Jasmine Wahi

Image: The exhibition catalog, The Un-Heroic Act: Representations of Rape in Contemporary Women’s Art in the U.S.

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THE UN-HEROIC ACT: REPRESENTATIONS OF RAPE IN CONTEMPORARY WOMEN'S ART IN THE U.S.
Sep
4
to Nov 3

THE UN-HEROIC ACT: REPRESENTATIONS OF RAPE IN CONTEMPORARY WOMEN'S ART IN THE U.S.

  • Anya and Andrew Shiva Gallery, John Jay College of Criminal Justice CUNY (map)
  • Google Calendar ICS

curated by Monika Fabijanska

September 4 -November 2, 2018
gallery hours: Monday-Friday 10-6, Saturday 12-6

opening reception: September 12, 2018, 5:30-8:30 PM
artists talk & gallery tour: September 26, 2018, 6-8 PM
symposium & gallery tour: October 3, 2018, 5-9 PM
artists talk & gallery tour: October 24, 2018, 6-8 PM
SCROLL DOWN FOR PUBLIC PROGRAMMING DETAILS

This concentrated survey of works devoted to rape, by a diverse roster of women artists representing three generations, including Jenny Holzer, Suzanne Lacy, Ana Mendieta, Yoko Ono, and Kara Walker, aims to demonstrate that rape constitutes one of central themes in women’s art and will analyze its rich iconography in all mediums.

The exhibition aims to fill a gap in the history of art, where the subject of rape – as seen from women’s perspective – is a blank spot. What makes women's works radically different from those by men is the focus not on the action or drama, but on the lasting psychological devastation of the victim: her suffering, silence, shame, and loneliness. Often strikingly beautiful, they are rarely shown or their true meaning is obscured.

Image: Suzanne Lacy, Three Weeks in May, 1977, paper, ink ©1977. Suzanne Lacy. Courtesy of the artist.

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