Master.symposium (swiss level)

14th, 15th and 16th of november 2011 

QUEER & MOUSTACHE, de-ghettoize gender studies!

 

Appropriation of working practices, methods and techniques, mental tools – all this allows artists to express what burns under their nails. In a context of critiques of mainstream feminism and hegemonic economy, how do we express our search for alternative concepts of life and images of identities? What are the researches in queer and feminist studies today (politics of identities or abolition of identities), and their related links to economy? We will hopefully discuss how all those questions are related to our bodies, and try to check what the distance is between the sex and the head.

The intention is of course to reflect the art-production; for example, are we more at ease with gender talks in theories than in artistic practices? The idea is to invite artists, theorists and other workers (not only in the art context) interested in sharing their tools in search of (social) cultural impulses.

Rather than covering all aspects and historical timelines, the symposium is meant to take the temperature right now, through the contributions of all the participants.The ideas for the general topics come from the need to discuss art-production directly related to gender and feminism. The intention is to provoke a broad range of questioning, a fire-work of positions which will be brought up by the guests, by the students and all the people involved. The symposium is conceived as a three days meeting, in which lectures alternate with ateliers of reflections and screenings.

"From an academic point of view, we have to start delivering the discourse, in the social movement we have to deliver the discourse"

Programme concieved in cooperation with the Masters of Arts HES-SO in Fine Arts (HEAD, Geneva, WORK.MASTER, TRANS, CCC – ECAL, Lausanne , EAE - and ECAV, Sierre, MAPS)

The Q&M_team: Jérémie Baud, Livia Johann, Sébastien Mettraux, Suzanne Perrin, Habiba Saly, Beau Rhee and Marie-Antoinette Chiarenza _WORK.MASTER_artwokers.

Joigned by: Stefan Botez, Yaël Maim, Carine Parola, Geraldine Singy and Federica Martini_MAPS_artworker.

 

DATE/PLACE

Meeting point monday 14th, at: UOG, 3 Places des Grottes - 1201 Genève, Switzerland.


a map will be sent per mail.

 

PROGRAMME OVERVIEW

Monday 14th November 2011 - UOG

 

  • 10:00 am, coffee and fruits ready
  • 11:00 am, official start
    welcoming
    distribution of The Survival Kit
  • 11:30 am
    the Workshop Market
  • 12:30 am
    Lunch-break & formations of groups (inscriptions in workshops)
  • 2:00-3:00 pm
    lecture by Andrea Thal
  • 3:15-4:15 pm
    lecture by Manon Chick
  • 4:30-5:30 pm
    lecture by Daniel Hauser and
    Audience Survey by Olivia Plender
  • 7:00 pm
    Pecha-Kucha-Master, performative presentations (programme will be handed out).



Tuesday 15th November 2011 – (places where your workshop is taking place)

 

  • 10:00 am
    Workshops / seminars, roundtable, etc.
  • 6:00 pm
    Screening, videos and films (programme will be handed out).

 


Wednesday 16th November 2011 – (places where your workshop is taking place)

 

  • 10:00 am
    Workshops / seminars, roundtable, etc.
  • 4:00 pm
    Apero with screening, videos and films (programme will be handed out).

 

descriptions / LECTURES

RUMINATING ON “CHEWING THE SCENERY"
by Andrea Thal

The term “Chewing the Scenery“ describes a way of acting by which an actor is excessively overacting. In doing so she he destabilizes the fine dividing line between proper and not-proper, between virtuosity and embarrassing ineptitude and lets the dominant narrative of a set play ­­­- its timing and contents - fade into the background.Touching on some of the art works and texts produced for “Chewing the Scenery“ this lecture focuses on the potentially political practice of „chewing“. Since it posits different times and states as both concurrent and interconnected, “chewing” is about repetition and insistence, about the constant contrary motion that arises from a non-linear concept of temporality and hence a critique of linear narratives of normative straight progress. In the face of racisms, sexism and capitalism the practice of “chewing“ is also about re-digesting things that have not yet been swallowed, things that are hard to digest.Furthermore this lecture chews on questions related to the context of “Chewing the Scenery“, like the question of national representation or the potentially troubling shift from working in a self-organized project space to the mainstream Venice Biennale and asks which forms of collaboration or working practices allow for more dynamic movement within such fixed structures.Since 2006, ANDREA THAL has been running Les Complices*, a self-organized independent space for artists productions, exhibitions, discussions, workshops and other cultural activities located in Zurich. With Les Complices* she has developed a program that is rooted in an understanding of culture which critically discusses and intervenes in social and political topics such as capitalism, European migration policies, cultural policies and heteronormativity and aims to question fixed positions and roles by allowing for more varied and fluent processes.This year, Andrea Thal curated “Chewing the Scenery“, an ongoing project for the Swiss off-site pavilion at the Venice Biennale. Set in and around the Teatro Fondamenta Nuove in Venice, “Chewing the Scenery“ was comprised of a film installation, an installative dramatization, a publication in three parts and a series of live events like concerts, lectures, performances and screening.

www.lescomplices.ch

www.chewingthescenery.net



WOMEN'S RIGHTS ARE HUMAN RIGHTS
by Manon Schick

On different violations of the rights of women, gender-specific violations (e.g. war rape, female genital mutilation, domestic violence, etc.) and on the responsibility of states to take measures to protect women (the convention on the elimination of discrimination against women). Situation in Switzerland (domestic violence, trade of women, wage inequality, challenge to the right to choose voluntary interruption of pregnancy, etc.). Reflections on protection measures existing in Switzerland (recognition of rape in the couple, formation of the professionals on domestic violence and on trafficking in women) and their limitations, and risks of returns back in issues of equality, especially during economic crises.Manon schickgeneral director, Swiss Section of International Amnesty since 2011. Member and activist of Amnesty since many years, she works for the Swiss Section for seven years, as spokeswoman and directs the work with mass medias as well as lobbying.



HOW TO CONTRACT & AUDIENCE SURVEY
by Daniel Hauser and Olivia Plender

see description workshops with the titel HOW TO CONTRACT

 

descriptions/WORKSHOPS/SEMINARS/ROUNDTABLES

HOW TO CONTRACT
by Daniel Hauser, Olivia Plender, artistes and the visit of Mascha Madörin, economist. - UOG

Track One:
After the military coup of General Pinochet in 1973, the Chicago Boys Sect abused Chile as their test-lab for the economic shock strategy recommended by the economist Milton Friedman. Chile became the neoliberal role model for the the US and for Great Britain after 1979. A bottom-up redistribution of the common wealth in favour of the few was implemented in several European countries over these last years. Right now the shock strategy is hitting again.

Track Two:
Since the late 1990s 'creative industry' became the code word of any global city that sees itself as an important player within the fields of culture, knowledge, lifestyle and tourism. This new Bohèmian spirit as a sexy marketing strategy is designed to blend out the growing precariousness of flextime workers and employees, the biopolitical repression of migrants and the maintainance of the domestic place for the unpaid women. For most of the artists this means: they have to become more efficient quasi bureaucrats so as to have the illusion of being valuable partners within the informal economy of the art world.

How to contract? - Content description of the seminar

Part 1: Concerning the rights of artists to maintain control over their work, the economic position of artists and the question of the representation of women and black artists, The Art Workers Coalition in 1969 in New York formulated a list of "13 Demands". In 1971 the exhibition organizer and art dealer Seth Siegelaub, with the help of the lawyer Bob Projansky, initiated "The Artist's Reserved Rights Transfer and Sale Agreement". According to Siegelaub, the agreement was intended to "remedy some generally acknowledged inequities in the art world". 

Part 2: Artistic issues and critical theories have for some time focused on the political vs. politics/policy, on the refusal of labels that give the politics an identity, on the labor of multitudes, on the political economy of social creativity, all with the purpose of formulating, among other things, a new ethics for the common. A growing amount of artists and artist coalitions have developed a critical artistic practise, by using activist or participatory tactics, by making art political and by formulating their own discourses. A wide range of manifestos, agreements and contracts, proposed by artists and theoricians, can be considered as being part of such practises.The seminar starts with a introductory lecture by Daniel Hauser under the same title. The lecture will be followed by Audience Survey, a performative intervention by Olivia Plender.On days two and three, the students will work in teams. They will work together on some issues proposed in the handout "How to contract?" by Daniel Hauser and in "Reading the contract", a handout prepared by Olivia Plender. One initial point is to elaborate all sorts of contracts and agreements which might be of interest. Another starting point is to ask if "we even need contracts? Is there a way in which artists could use this informality and legal ambiguity for their own benefit?" and to work on ideas for social constellations representing different modes of engagements.

The seminar will be held in English and French.Bring your own material which contributes to the proposed issues in the context mentioned above.

"How to contract?" is originally based on a lecture series entitled "Réservoirs", a guest_*talks series at F+F School of Art and Media Design Zürich, 2010/11. 

HOW TO CONTRACT / ...

Daniel Hauser
Member of the artist group RELAX (chiarenza & hauser & co), based in Zurich; head of art studies at F+F School of Art and Media Design Zürich (www.ffzh.ch). With RELAX he has participated to shows and projects including Dislocacion, Kunstmuseum Bern (2011) and Museo de Solidaridad, Santiago de Chile (2010); What is wealth?, Cornerhouse Manchester (2010); Money for nothing, Passengers Festival Warsaw (2009); Warsaw under construction, Museum of Modern Art Warsaw (2009); Shifting Identities, Kunsthaus Zürich (2008); GO MIO, Museum Folkwang Essen (2008); Work to do!, Shedhalle Zürich (2007); Ortstermine, City of Munich (2006); The receipts, Centre Pasquart Bienne (2005); Inlay, UN Head Quarters New York (2004); The bourgeois show, Dunkers Culture Center, Helsingborg (2003); Parking Avenir, Künstlerhaus Bethanien Berlin (2003).

www.relax-studios.ch

Olivia Plender
Artist, based in Berlin. She has exhibited internationally in exhibitions including the British Art Show 7, In the Days of the Comet, Hayward Gallery, London, 2011; Taipei Biennial 2010, Taiwan; British Art Show 2010; Bucharest Biennial 2010, Romania; Aadieu, Adieu Apa (Goodbye Goodbye Father), Gasworks Gallery, London (2009); Altermodern: Tate Triennial 2009, Tate Britain, London.Her work comprises video installations, performances, text, as well as drawings and printed matter. She is best known for a project entitled The Masterpiece (2002 onwards), an epic hand-drawn comic book about the life of a fictional artist in 1960s London.

http://en.wikipedia.org/wiki/Olivia_Plender

Mascha Madörin
Economist (lic. rer. pol.), works on feminist economic theory in the area of Care economy and financial sector, as a consultant on gender-related budget analysis, as an analyst and lobbyist of NGOs on human rights policy towards the financial sector and on relations between the Swiss banks for the Third World.She has worked at the University Eduardo Mondlane (Mozambique), has taught at various universities in Switzerland and Austria to feminist economics, courses are to international economic developments, livelihood security and new social issues, including the colleges of Social Working in Basel and Zurich.

 

TRANS-IT
Langue du workshop: français.

La question du genre qui est actuellement l'objet de polémiques politiques est étudiée depuis déjà quelques années au sein des universités et instances de recherches académiques. Ces questions, qui finalement nous concernent tous et toutes ne doivent pas rester aux mains de quelques spécialistes, il est important qu'elles trouvent dans le quotidien comme dans le geste artistique une place accrue. S'agissant des questions de genre, des tentatives de décloisonnement, de déplacement et de "Transit" s'opèrent aussi bien implicitement qu'explicitement dans le travail de certains artistes que dans l'élaboration et la diffusion publique organisées par certaines plateformes culturelles (édition, festival, atelier, exposition, association…).

Partant de ce constat et souhaitant développer cette problématique, les orientations WORK.MASTER et TRANS du master en arts visuels de la HEAD - Genève proposent un workshop de 2 jours permettant de réfléchir aux questions de genre et aux manières d'aborder la diffusion ou médiation de ces questions à travers des formes artistiques et des positionnements d'auteur.

  • mardi 15 novembre – BH Salle R7

Journée de rencontre et de travail avec l'artiste Sabina Baumann.

 

Corps, Ésprit, Paysage: Un corps qui n’en est pas un. Dessin de nu queer-féministe avec Sabina Baumann et Stefan Pente.
Comment une artiste aborde la question du genre, de l'identité du corps, sexuée ou non dans notre société par le dessin avec sa série portrait/paysage/corps, ou par le film avec "Work on it" réalisé avec Karin Michalski en 2008

www.sabinabaumann.ch

www.workingonit.de

  • mercredi 16 novembre – BH Salle R7

 

- matin, table ronde Trans - médiation:
Comment travailler les questions de genre en tant qu'auteur et créer des objets de médiations - artistiques ou non artistiques - sur la question?

avec Carine Parola, étudiante à l'orientation Master TRANS, et son film Le retour au pays
avec Lalla Kowska, auteur et ancienne journalisteavec Sandra Mansi, responsable du groupe trans de 360°
avec Antoine Bal, auteur du travail de recherche : "Reconstituer son «histoire». Une approche anthropologique des parcours de vie des personnes «intersexuées»

- après-midi, table ronde Trans - édition:
‪Présentation et débat à propos de l'édition de genre, activiste, politique, plurielle, gratuite et d'auteur ‬qui bouscule les consensus pour mieux échanger sur les questions de genre et d'identité du corps

avec Nathalie Brochard, rédactrice en chef du magazine l'Emilie http://www.lemilie.org/
avec Nathalie Imhof, membre de l'équipe de George, pôle de direction artistique, et conceptrice de l'exposition "Elles dépassent les bornes".‪ http://georgemag.ch/‬
avec Pierre Lepori, comité de rédaction d'Heterographe www.heterographe.com




RECONSIDERING “SPECTATORSHIP IS SUCH A DRAG”
by Simone Schardt - BH Salle 11B

"How do I look – to you, to myself, how do I appear, how am I seen? What are the ways in which I'm seen or can be seen, the conditions of my visibility? […] how do I look at you, at her, at the film, at myself? How do I see, what are the modes, constraints and possibilities of my seeing, the terms of vision for me? […] how do I look on, as the film unrolls from reel to reel in the projector, as the images appear and the story unfolds on the screen, as the fantasy scenario unveils and the soundtrack plays in my head?" Excerpt from Teresa de Lauretis: "Film and the Visible", in: Bad Object-Choices (ed.): How Do I Look?, Seattle: Bay Press 1991, p. 223

“Spectatorship is such a drag” was the title of a workshop held in preparation for this year’s WORK.MASTER Symposium. In discussing both sides, producers and audience, often being addressed and addressing simultaneously, we will reconsider notions of spectatorship within the visual field while working on questions like: How we are addressed by particular image productions? How are we addressed as subjects? How our subjectivities as producers and spectators are constituted within institutional frameworks? What might critical spectatorship be?  – The topic of our 2 day workshop is to question positions of viewing and speaking alongside the re-reading of found materials, images, films, and texts and will traverse gender studies, feminist film theory, psychoanalysis, and post_colonial studies.

Simone Schardt
Artist and author based in Zurich and Berlin, works on modes of de-subjectivation in relation to orders of knowledge. Her work not only refers to the formations of subjectivity but also aims to disfigure and traverse them. Rather than conveying meaning, the interpretive order obtained from this procedure identifies a leap between the signs in the production of connections between the linguistic and the visual. In her collaborative practices with Wolf Schmelter she analysizes genealogies of institutional critique and site specificity with the concept of exhibition as artistic medium.Since 2003 Simone Schardt & Wolf Schmelter initiate Kinoapparatom, an instant cinema on the move to present artists' films at specific sites. In 2007 they developed Surprise*Surprise in cooperation with Les Complices*, Zurich, a series of interventions, a multilayered comment on exhibition practices.

Selected exhibitions/projects:
 Formate und Formatierungen oder: The Problem of Naming (Journal d’Echo, Edition Fink and Les Complices*, Zurich, 2011), Les regards obliques (2011), Viewing Positions/Speaking Positions (Chambres d’Echo, Les Complices*, Zurich, 2010), The Intern (2009/2010), Ein idiosynkratisches Verhältnis zu Conceptual Art, dem Unbewussten strukturiert als Sprache und Selbst (2008/2009), L’Archéologie imaginaire (Les Complices*, Zurich, 2009), Angstraum (Künstlerhäuser Worpswede, 2008), Cinéma Sublime (Liste 06, in cooperation with Kaskadenkondensator Basel, 2006).

www.simoneschardt.net

www.kinoapparatom.net



PARTICIPATIVE ART PRACTICE AS PERFORMATIVE CRITICISM
by Pia Lanzinger UOG

In my artworks I am concerned with social phenomena and their effects on people. For this reason I often base my site-specific projects on research and collaboration with people from the location. An important aspect is the dialogue with persons who aren't usually counted as being interesting or representative. I engage myself with their role in society, with their construction of identity, with their problems and interests.Besides, I ask repeatedly for the adequate way to incorporate these "partners" and their statements in my works, which get another meaning in the art context than possibly in a report or a sociological investigation. On the one hand I claim to practise political criticism, on the other hand, I refuse to confirm the trend towards the deputy's culture and towards symbolic charity events, which finally leads in disappointment and passiveness on the part of the "governed" and only in particular cases support people who are degraded.In this stress field to position oneself as an artist, necessarily going into a precarious situation, one depends on the support of people or institutions whose intentions mostly don’t coincide with one’s goals. It is about a tightrope walk which allows on the one hand new forms of the representation of social relations and avoids, on the other hand, a bare spectacle without further consequences as well as the self restriction on a subculture of Bohemians which remain isolated.In one of my recent projects in Mexico-City "Tres piezas para barrenderos" I succeeded in producing a (self) representation of a group of Barrenderos (street sweepers) in several performances in the public space and thereby not only working together with the street sweepers, but also with the city administration, musicians and actors. However, politically I soon bumped on limits, because from the curators the participation of the street sweepers was welcome though, however, not as a productive debate for the purposes of a conflict, but as a submissive behavioural exercise and an education to discipline.Based on "Three Pieces for Street Sweepers" and the experience I could gain thereby, during the workshop I would like to introduce projects with different forms of participative acts which understand participative work as a performative criticism. In doing so, texts of theoreticians should support us, texts reflecting upon sense and nonsense of participation in the art. When is participation a way to promote the social mediation function of art, and when it concerns bare amusement, pastoral care for a predefined otherness or the pure exploitation of the participants?

Pia Lanzinger Lives and works in Berlin.
In my artistic work I turn to current political as well as cultural phenomena. What especially interests me is the reciprocation between global structures and local ones. So I study spatial concepts and the structures in public space as well as private living arrangements or city and residential architecture. That carries on the strategies of Conceptual Art and other 20th century aesthetic concepts. Performative and discursive structures I understand to be the central starting point for an intended aesthetic refraction.Short selection of exhibitions: Purloined Standards, Space of Art, Seoul/South Korea, 2011; EXIT Teufelsmoor, project room Barkenhoff, Worpswede/Germany 2009; Verhängnisvolle Rahmen (Fatal Frames), Kunstverein Langenhagen, Germany 2009.Publications: EXIT Teufelsmoor, argobooks, in the series Art and Theory of the Künstlerhäuser Worpswede 2009; Software der Erinnerung, Kulturinstitut Braunschweig, appelhans Verlag, Braunschweig 2009; Gefährliche Kreuzungen. Die Grammatik der Toleranz, Verlag Silke Schreiber, Munich 2006; Ein Blick in die Zukunft – zurück zur Erde. Fantastische Erzählungen aus Gröpelingen, Lichthaus Plus Neue Kunst 10, Bremen 2004; WorldWideWob. The Game about the Future of a City, Board Game; Revolver Verlag, 2004; Schönes Wohnen in der Messestadt Riem, kunstprojekte_riem / Verlag Silke Schreiber, Munich 2001. www.pialanzinger.de

Texts to check for the workshop (Stella Rollig und Christian Kravagna): http://eipcp.net/transversal/0601/rollig/en http://eipcp.net/transversal/1204/kravagna/en



NATIONAL IDENTITY / IDENTITY
by Maris Grosbahs - JF Salle R 10

*In this workshop thru discussions, exemplary art works (hopefully also students projects) we will seek answers to several questions, for instance: What is national identity? Is it given by mother and father, landscape surrounding us, or by water from the pipes? Is national identity based on aconstructed memory and constructed nostalgia? How much of history ? cultural heritage has become our identity? How selective has history been with what was chosen as our identity? Is art production essential to constructing and maintaining national identity. *

*When talking about visual arts it is hard not to talk about authenticity. The term ?authentic? stems from Greek [authentikos], means ?principal, genuine?. It carries a connotation of authoritative certification that an object is what it is claimed to be. In cultural heritage it is most often related to the ?original? state of a work. Does national identity carries also value of authenticity?*

*The concept of a national or regional identity is often vague and, sometimes, divisive. Identities are also social constructions which are liable to shift and change over time. The key to survival and evenprosperity in uncertain times is the ability to make changes. Sometimes though, changing your profession, hometown or even your mind may not be enough ? a new identity may be required. In many countries it is not only possible, but also lawful to change your name. Little known though, is that it is also lawful to create yourself a totally new identity, completely separate from anything you may have had before, on condition that it is not used for illegal purposes. Therefore the question is; are there really need for new identities and who might need it? And who gets to define and fix these notions of identity?*

*What kind of images are significant in these constructions of national identity? What is the relation between the interpretation of these images as a form of national capital and the process of globalization, both of which have been increasingly criticized in the past two decades? And do national identities still matter?*

Maris GrosbahsArtist, researcher, curator from Latvia Pro Helvetia Artist in Residence at ECAV in Sierre. M. Grosbahs holds BA from Art Academy of Latvia and an MFA in Spatial arts from the California State University. Hi has worked multi-disciplinary, using installation, sculpture, photography and sound e.c.t.. He also has worked as stage designer, as lecturer, producer of various contemporary art events andsymposiums. Now he is a curator of Art Laboratory AIZ at SERDE artist residency center, Aizpute, Latvia and one of the presidents of Culture festival ROJAL. Grosbahs has been granted with several stipends, awards and has been a Visiting Artist at numerous Universities and Colleges.

http://www.saatchionline.com/marisgrosbahs www.facebook.com/smgSERDE www.serde.lv



THINKING GENDER IN ART OR ART IN GENDER?
FROM AN EPISTEMOLOGICAL POSITION TO AN ETHIC OF DESIRE

by Géraldine Gourbe – La Prairie Salle R 108

Through her work in both art and activism, Linda Nochlin foresaw two fundamental concepts for the creation of gender criticism: Louis Althusser’s concept of punitive interpellation, essential to Judith Butler, and Jean-François Lyotard’s concept of narrative, developed by Griselda Pollock and others. Nochlin thereby facilitated the advent of a significant epistemological movement comprising Sandra Harding’s standpoint theory and Donna Haraway’s situated knowledges.

Two projects were inspired by this interstitial (between art and gender) methodology and by feminist epistemology. The first, Off the Record, involved transposing a common practice in the art world, interviews with artists, to the core of gender thinking—which until recently had shown little interest in the subject—and observing the effects of one on the other. In Kathy Acker, the Office, two women (a curator and a philosopher) worked from a shared virtual office, based on writings by Kathy Acker, and endeavored to organize a group exhibition while maintaining their stated position, “Who is talking, and from where?”

By shifting certain new technologies towards a gender-based application, IpadFéministe expands the two previous projects and takes up a new critical issue: Do the different forms of care of the self (M. Foucault), justified by feminist epistemology, include the possibilities of an ethic of desire (G. Deleuze, F. Guattari, and L. Irigaray, as interpreted by R. Braïdotti)?

On the basis of archives and writings that underlie these three projects, we will discuss the practical and theoretical challenges of positioning gender ethics in art.



Géraldine Gourbe
Ph.D. in aesthetics from the University of Nanterre in 2008. Her dissertation, based on research on American West Coast performance development in the context of freedom movements (Marxist, feminist, postcolonial) up to the 1990s, analyzes the possible porosity between aesthetics and ethics. She is associate professor and researcher at the University of Nanterre’s FAAM (Anglo-American Women Writers) research center, which promotes research and translation of Anglo-American authors in literature, philosophy, and film theory. Several of her essays have been published in Multitudes and by PUR, Presses du réel, Harmattan, etc.
Teaches aesthetics and art theory from the perspectives of cultural, gender, and postcolonial studies at the École Supérieure d’Art de l’Agglomération d’Annecy.



CORRECTIONS
by Eric Maeder – La Prairie Salle R 108

The body, the money and moral (...and art)" This workshop aims to question our ethical concepts between body and money: is the body merchandisable? What is the difference between selling manpower and selling his sperm? her ova? her/his nudity? is liberalism pushing us even more toward an instrumentalisation of our body? or does it remain indifferent to this? can everybody choose for herself and himself what she/he can do with her/his body? (his genital?) and can she/he turn it into cash? Are there limits by "treating" the body for the sake of art? What is human dignity and who defines its content? Must the state, the religious authorities or the collective morality limit the activities regarding the human bodies, while the protagonists are of legal age and giving their consent?

Eric Maeder
Ethicist, consultant in business ethics and durable strategies, and part-time lecturer at the Haute école de gestion de Genève and Fribourg. After a master in Humanities at the University of Geneva (with a diploma in environmental ethics), he pursued research on environmental risks and ethical options at l’Institut romand d’éthique et l’Observatoire de la Finance, where he participated in developing financial strategies in the field of responsible investment.




GENRES (SEXE, CLASSE, ORIGINE)
ÉCRITURE DE L'HISTOIRE DE L'ART

Langue du workshop: français. – JF Salle R 36

Un séminaire organisé par Sebastien Mettraux (artiste et étudiant au WORKMASTER) et Federica Martini (historienne d'art, MAPS) en discussion avec Omar Ba, artiste.Tables-rondes, discussions (et éventuellement visite d'un musée) sur les questions de l'outil puissant de hiérarchisation, de sélection et de valorisation que représente - l'histoire de l'art.

Omar BaArtiste. Multiculturel, puisant son inspiration tant dans l’imagerie et la mythologie africaines que dans les symboles européens. Formation aux Beaux-Arts en Suisse, l’artiste élabore ses œuvres qui se présentent comme des interrogations sur la société actuelle et se propose de lancer le défit d’analyser les stéréotypes issus des relations séculaires, bien que compliquées, entre le monde occidental et le continent africain. Rejetant l’abstraction qu’il avait apprise en Afrique et qui, selon lui, touche moins et parle peu au spectateur, Omar Ba a choisi de suivre la tradition figurative européenne, tout en approfondissant une imagerie personnelle. Prix Swiss Awards 2011.



QUEER ATTITUDE: HOW TO ASSERT ALTERNATIVE LIFESTYLES THROUGH YOUR OWN EXISTENCE

Three heavy years of the financial crisis have generated widespread social discontent that is springing up in new, unexpected forms. These forms are the first indications, the first tremors, of the next wave of activism. Reading, research, participatory observation, debate, and interventionism.by the master CCC with Hannah Entwisle, Sophie Pagliai, Catherine Quéloz, and Laura von Niederhäusern.



WORKSHOP
by Julia Scher, description coming soon.- .BH Salle 11



MACHINE TO CHANGE: PRAXIS & ACTION
by Beau Rhee,artiste and student at the WORK.MASTER.

A new wave of activism is taking a hold of our generation. Multifarious and multipresent, it is aided by social media, and what a very real and very visual movement it is !A two part sessions, on OWS (occupy wall street) and on the Barnard Centre for Research on Women, and other stories. This movement reflects the change in our thoughts towards control structures in society. How does this also change our own creative lives as cultural actors and producers (plasticiens)? How is the change related to our own survival - artistic, intellectual, material. What can our creations do, how can they act within society? What is the role of art in praxis, art in action? We will take a look at these questions, and what they mean for us as artists and practitioners. Some voices: Judith Butler, Cornel West, Hannah Höch, Slavoj Zizek , Elsa von Freytag-Loringhoven, Angela Davis, Aung San Suu Ki, Naomi Klein, Charlie Chaplin, Michael Moore and Hannah Höch. Shepard Fairey (OBEY): http://obeygiant.com/support-the-occupy-movement-free-downloads

 

description / PECHA-KUCHA

Monday 14th november 2011, end of the day - UOG

PECHA-Q&M
by Vana Kostayola

Performative presentations, visuals, some ‘gossip’ after, a glass of wine, ‘bodies that matter’ and art in a bar-like-style atmosphere, attempts to add a different dimension to the academic discourse of the symposium. This event is aiming to deal with the same issues of the symposium, as ‘exploration in practice’.Vividness and anticipation is created for both the presenters and the audience as the format stay the same for each presentation and a projector runs the visuals on its own. 20 seconds/20 pictures gives less than 7 minutes to each presentation and time runs! This Pecha Kucha event, in contrast to the similar pecha-kucha events that happen around the world, is focused on the politics of gender. The heritage of performance art and queer theory applied today creates questions that might not have a straight answer. How we should act and react on these issues now…remains to be seen.

Vana Kostayolais a new media artist and curator. She graduated from the Athens School of Fine Arts and holds an MA in Fine Arts, an MA Fine Art (Central Saint Martins, London), an MA Intearctive Media (Culture Studies, Goldsmiths, London) and an MA in Critical Curatorial Cybermedia (HEAD, Geneva). She has worked in various projects in art and education and realised the production of the “Intercultural Education” documentary. She collaborates with theatrical and dance groups, organized performance art interventions in public space in Athens and London, and participated in group and solo shows, amongst them: Athens Biennale; Moscow Biennale; XII Biennale in Naples; Outlet Project Space run by XYZ; Antonopoulou Art Gallery, Athens; Goethe-Institute, Thessalonici; Salon Contemporary, London; Usine Kugler, Geneva; Boots Contemporary Art Space, St Louis; the Attitude video festival, Fyrom;  ‘Performing Rights Conference’ Queen Mary University, London; Daughter, Mother, Woman in the 21st Century, New Lacanian School of Psychoanalysis’ conference, Geneva.