Le Commons Service Group -collectif curatorial- devient un relais, depuis les champs de l'Art et de la Culture, de certaines questions d'ordre social, économique et politique, que pose la mondialisation. Il interroge les accords promus par l'OMC (www.ecoledumagasin.com/csg). C'est son mandat et son origine. Plus loin, notre groupe reconnaît l'apport des féministes vers une émancipation de la recherche en art et en politique. Nous avons souhaité pour cette Journée internationale des femmes produire, à notre échelle, un espace ressource. Cet espace ressource compile et organise des liens vers des sites qui sont à la fois des espaces de réflexion et d'analyse, et des espaces pour la communication et l'action. D'une part, nous présentons ici des sites qui réfléchissent les incidences de la mondialisation sur la vie des femmes -comme des hommes. D'autre part, nous présentons des actions et travaux d'artistes et théoriciens qui traversent, d'une façon ou d'une autre, ces questions. The Commons Service Group has compiled a brief resource of links on the occasion of International Women’s Day, March 8, 2005. The links below are related to feminist art practice, most known to me from my research in Canada. It is intended as a small offering, by no means representative of the breadth of feminist art practices active today. Numerous other feminist web resources will lead you to hundreds of practices, projects, organizations, resources... What I mean by feminist art practice is an analysis of, and intervention into, representations of gender, race, sexuality, class, and so on as they operate within systems of power. I am interested in third-wave feminism, which following women of colour, queer, and Third-World theorists, builds upon second-wave critiques of power structures by critiquing essentialist organizing around “sameness,” at the expense of differences. Third-wave feminism emphasizes that multiple, shifting axes of power situate individuals such that those privileged by social location may participate in another’s oppression. Attention to contradiction and difference defines third-wave “acceptance of complexities, ambiguities, and multiple locations, [highlighting] the dangers of reduction into dichotomous thinking” (Natasha Pinterics, “Riding the Feminist Waves: In With the Third?” Canadian Women’s Studies 20/21 (4/1): 15—21). http://www.yorku.ca/cwscf/ Third-wave feminism’s self-reflexive critique and attention to difference make it akin to Ella Shohat’s vision of multicultural feminism. In her introduction to Talking Visions: Multicultural Feminism in a Transnational Age, Shohat links the terms “feminism” and “multiculturalism” together, “not as distinct realms of politics imposed on each another but as coming into political existence in and through relation to each other” (Shohat 1998, 2). Shohat suggests that a multicultural feminism can avoid “the hierarchy of class, racial, national, sexual, and gender-based struggles,” and instead highlight the intersectionality of “these axes of stratification” (1). Her concept is akin to that expressed by many third-wave feminists: refusing “a unified feminist subject or single ideological position” and recognizing “the range of culturally distinct gendered and sexualized subjects” and “the contradictions within this range, always in hopes of forging alternative epistemological and imaginative alliances” (1). The Commons Service Group recognizes the key role that feminist representational practices have in processes of decolonisation, and in transforming the politics of globalization. Julia has compiled a resource of links on women and globalization. |
A small selection of feminist art organizations and projects: http://www.mawa.ca/
http://www.lacentrale.org Fondée en 1973, La Centrale Galerie Powerhouse (Montréal) est un des plus anciens centres d’artistes du Québec et un des seuls voué exclusivement à la diffusion de l’art actuel des femmes au Canada. Un des buts de la Centrale est de soutenir l’intervention et la création de discours multiples sur la pratique artistique, le féminisme et l’interdisciplinarité. http://www.studioxx.org Studio XX est un centre d’artistes féministes engagé dans l’exploration, la création et la critique en art technologique. Fondé à Montréal en 1996, il vise à mettre en avant la multiplicité des territoires, voix et actions créatives des femmes dans le cyberespace. Explorer, démystifier, donner accès, outiller, questionner, créer, telles sont les visées du Studio XX. Un de ses mandats est de favoriser la création et la diffusion d’œuvres d’arts technologiques, numériques et audionumériques créées par les femmes. Il vise aussi à initier de plus en plus de gens — artistes et non artistes — au monde numérique en offrant des ateliers d’initiation aux nouvelles technologies, en particulier avec des outils libres, ou Open Source. Le Studio XX permet ainsi aux femmes non seulement d'utiliser les nouvelles technologies mais plus encore de façonner et de contaminer — à leur manière — le cyberespace. http://msvuart.ca http://www.msvu.ca/atlantis http://web.ukonline.co.uk/members/n.paradoxa/ http://www.journals.uchicago.edu/Signs/home.html
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A short selection of artists whose practices are concerned with “provo[king] recognition of the historical, cultural, social, and political situation of those marked ‘woman’” (Rebecca Schneider, The Explicit Body in Performance 1997, 10). Rebecca Belmore will represent Canada in the Venice Biennale this year. Belmore’s multi-disciplinary practice includes performances, installations, and objects and has looked consistently to her community and the Anishnabe worldview as guides in her negotiation of the complex, hybrid, and trans-cultural positions she and most Native people occupy. Lori Blondeau is a Cree/Saulteaux/Metis performance artist based in Saskatoon, Canada. Blondeau’s humourous cabaret-style performances as CosmoSquaw, Betty Daybird, the Lonely Surfer Squaw, and Belle Sauvage interrogate stereotypes of Native women, particularly the Indian Princess and Squaw, and explore the influences of these images in popular culture, media, and art history on Aboriginal self-identity, self-image, and self definition. Winnipeg-based Shawna Dempsey and Lorri Millan have been collaborating since 1989. Their feminist performance-based practice employs humour, costume, sharp wit, and a touch of the absurd, to bring visibility to lesbianism and its politics. The Quebec-based performance collective Les Fermières Obsédées (Annie Baillargeon, Mélissa Charest, Eugénie Cliche and Catherine Plaisance) mix Québecois women’s traditional practices with a messy parody of femininity as masquerade. Louise Liliefeldt Rita McKeough is an installation artist, musician, and former disc jockey who has created audio installations and sculptural performances since the 1970s. She is a veteran of early experimental sound work, collaborative punk operas and multimedia installations. A retrospective of her influential feminist work was exhibited at the Glenbow Museum in Calgary in 1993. McKeough has investigated architecture in projects such as The Feminist Reconstruction of Space and recently co-led the Banff Informal Architecture residency. |
http://multitudes.samizdat.net/ feminisme+mondialisation http://1libertaire.free.fr/JulesFalquet01.html http://www.peuplesmonde.com/article.php3?id_article=74 http://infokiosques.net/imprimersans2?id_article=98 http://www.peuplesmonde.com/article.php3?id_article=74 http://www.wluml.org/french/about.shtml http://www.niputesnisoumises.com/html/index.php?page=propositions http://www.marchemondiale.org/fr/charte3.html http://www.solidarites.ch/solinf/111/04.html http://www.penelopes.org/ http://www.famafrique.org/site/pagegarde.html http://www.ac-rennes.fr/pedagogie/hist_geo/ResInternet/CR/CR03/blois4.rtf http://www.er.uqam.ca/nobel/ieim/recherche-ceim.php3?recherche=femme&id_rubrique=2 http://www.unites.uqam.ca/gric/pdf/brossard.pdf Un projet curatorial … dans le champ culturel ""actualité"" : en Espagne et a Arteleku : Seminario Mutaciones del feminismo: genealogias y practicas artisticas consultez à volonté… |