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Seminar: The Feminist Historiography

Date: Monday June 13
Time: 2 - 6 pm
Place: Konstnärsnämnden, The Project Room
Address: Maria skolgata 83, Stockholm, Sweden
Language: English
NB: Limited seats. Fully booked!
 


“What doesn't exist is an image of the diverse forms of personal womanhood that were caught up by the movement and supported it, an image not of the programs, organizations, work, and achievements, but rather of the characteristic vital impulse from which everything emerged…”
Ute Gerhard

The Feminist Historiography program is based on an ongoing research project by Azadeh Fatehrad at the Royal College of Art in London. In her project, Fatehrad brings together a number of different methods, including analysing archival still and moving images, conducting field-work, and running public programmes of screenings, seminars and workshops, to explore her research further. The Feminist Historiography program reflects on three elements, such as the feminist movement in everyday life, the importance of community practice in this context and also the use of archival photographs in articulating the feminist history. The program is comprised of a seminar, performance and screening session.
More particularly, The Feminist Historiography program focuses on a new stage in Fatehrad’s research by looking at different understandings of the political as well as the personal; women’s personal relations with others, the way they see themselves, their social and intellectual network, and the culture surrounding the feminist movement.

The seminar elaborates on the above context by looking at Sisters of Jam project Kate Millett’s Farm reflecting on community practice, Athena Farrokhzad’s poem on politics of the domestic, and Petra Bauer’s project investigating the politics of representation through archival photographs. The seminar will finish with a performance piece by Azadeh Fatehrad.

The Feminist Historiography program aims to bring together these different perspectives to create a kind of mind map to act as a platform from which further discussion can take place. The seminar and performance is organised by the Iaspis Programme and the screening session by Index: The Swedish Contemporary Art Foundation. Please find the details here:
• The Feminist Historiography Seminar and performance
Monday 13th of June, 2016, 14:00–18:00
Address: Konstnärsnämnden, Maria skolgata 83, Stockholm

• The Feminist Historiography Screening
Wednesday 15th of June, 2016, 19:00
Address: Index: The Swedish Contemporary Art Foundation, Kungsbro Strand 19, Stockholm

More info: http://indexfoundation.se/talks-and-events/index-19-the-feminist-historiography

PROGRAMME MONDAY 13 JUNE 2016
2:00 Introduction by Johan Pousette, Director Iaspis
2:15 Azadeh Fatehrad, “International Women’s Day: on the surface of an image”
2:35 Petra Bauer, “Socialist Women and Images in Movement(s) – a history about politics of representation”
3:15 Break
3:25 Athena Farrokhzad
4:00 Sisters of Jam by Mikaela Krestesen, “Kate Millett Farm: An interdisciplinary art project about the communal life at Millett Farm”
4:35 Panel Discussion
5:10 Break
5:25 Performance “The Dining Table”, in collaboration with Åsa Cederqvist, Emelie Johansson, Joanna Lombard and Sheena Malone
6:00 End
International Women’s Day: on the surface of an image
Azadeh Fatehrad

The date for International Women’s Day in Iran has changed twice over the years, in 1936 and again in 1979, on both occasions following significant socio-political change in the country. This paper explores the activities of the feminist communities, which emerged and developed following these changes, such as safeguarding women’s rights and achievements. In particular, it focuses on the National Unity of Women, which fought particularly hard to ‘rescue’ women and their status in Iranian society. By referencing the periodical magazine Zanan Dar Mobareze (Women in Struggle), this paper reflects on the remaining traces/evidence of this community and their collective concerns.
Azadeh Fatehrad was born in 1981 in Tehran. She is an artist and researcher currently based at the Photography Programme of the Royal College of Art, London. Her research engages with the feminist history of Iran from 1909 to the present. Her projects explore still and moving image archives, investigating the ways in which the feminist movement has been expanded among urban middle class women in her native Iran. As part of her research, Fatehrad has curated a series of public programmes, symposiums and exhibitions, including the recent exhibition, Hengameh Golestan: Witness 1979, The SHOWROOM London, as well as Iran’s Women’s Movement, Framer Framed, Amsterdam. She has presented academic papers at a variety of conferences and symposiums, such as “The Feminist Movement in Twentieth-Century Iran,” International Institute of Social History, Amsterdam; “Poetic and Politic: Re-Reading of Iranian History after 1979 Revolution,” Delfina Foundation, London; “Moving Pictures and Photoplays:
New Perspectives in Silent Cinema,” University of York; “Challenging Gender, Embracing Intersectionality,” Kingston University, London. Fatehrad has exhibited her work internationally in London, Vancouver, New York and Tehran.

Socialist Women and Images in Movement(s) – a history about politics of representation
Petra Bauer

How can you navigate in society when you are not acknowledged as a political subject?
How can photography be used in order to make politics?
At the end of the 19th century the Swedish Socialist Women’s Movement emerged and started to address political issues concerning, for example, legal rights, childcare, sexuality, universal suffrage, ownership and women’s representation in society. Since women in Sweden were not acknowledged as legal political subjects until 1921, this was a time when all political activities in which women were involved could be seen as potentially subversive. In the presentation, Petra Bauer will focus on the socialist magazine Morgonbris (Morning Breeze), which in 1905 started to publish group photographs of and by socialist women’s clubs across the country, with an aim to fight for and negotiate women’s political positions.
Petra Bauer is an artist and filmmaker based in Stockholm, Sweden, who is interested in the role of moving images in the construction, presentation and representation of histories. Her work demonstrates how moving images can be seen as a space where social and political negotiations can take place.
Recent exhibitions include the 56th Venice Biennale (2015); A Voice of One’s Own: On Women’s Fight for Suffrage and Human Recognition, Malmö Konstmuseum (2014); Sisters! and other films, Point Centre for Contemporary Art, Nicosia (2014); It’s Enough, PORTIZMIR3, International Triennial of Contemporary Art, Izmir (2014); Tensta museum, Tensta konsthall, Stockholm (2014).

Athena Farrokhzad was born in 1983 and lives in Stockholm. She is a poet, literary critic, translator, playwriter and teacher of creative writing. After several years of collaborative poetry projects and international projects she published her first volume of poetry in 2013, Vitsvit (White Blight), at Albert Bonniers Förlag. The book circles around the topic of revolution, war, migration and racism, and how these experiences condition the lives of different members of a family. Vitsvit has been translated to several languages and adapted into a play. The same year Farrokhzad’s first play, Päron (Pear), premiered at ung scen/öst. She teaches creative writing at the Biskops-Arnö Creative Writing School, and has translated writers such as Marguerite Duras, Adrienne Rich, Monique Wittig and Nicole Brossard into Swedish. In 2016, her second volume of poetry, Trado, written together with the Romanian poet Svetlana Cârstean, was published.

Kate Millett Farm: An interdisciplinary art project about the communal life at Millett Farm
Sisters of Jam by Mikaela Krestesen
In 1978 feminist author Kate Millett founded an art colony for women in Poughkeepsie, USA, which remained in operation until the beginning of the new millennium. The colony was founded out of a belief that a gender-specific community would provide an environment where women artists could work unencumbered by social stigma.

Millett is best known for Sexual Politics (1970) and her groundbreaking work for women’s liberation. She was a member of both the feminist and gay liberation movements that inspired feminist and lesbian separatist cultural and communal experiments in the 1970s. Millett Farm evolved from incorporating elements of the radical feminist – gay liberation – and avant-garde movements.

In 2010 Kate Millett invited S.O.J. to stay with her at The Farm, which became the starting point for our cultural portrait of this unique community. A close friend of Millett told us that The Farm was a workshop of Kate’s mind. Many past residents from The Farm talk about Millett’s strong vision for the colony, creating an experimental community devoted to both the production and the discussion of art made by women.

We are intrigued by The Farm both as an artist colony and a feminist community, and as a social experiment. But most of all, because of its act of opposition.
Sisters of Jam started in 2008 by Mikaela Krestesen and Moa Krestesen, and have since been working in interdisciplinary art projects using multiple media – photography, video, drawing, installation and text – in an ongoing investigation of community, solitude, historiography and continuity. “Sisterhood as an artistic strategy,” is both something we stand by, and use and explore within our art projects.

Their work seeks to address a feminist dialogue over generations and geographies. A dialogue that is both virtual and allegorical; that reaches backwards and forwards and at the same time tells us something new. Sisters of Jam use collaborative work methods to overcome boundaries of genres and become wider, greater and stronger. Sisters of Jam have presented their work in solo and group exhibitions, and as public art. In 2014 they published the book A PIECE OF LAND – voices, photographs, bits, pieces from Kate Millett Farm.

www.sistersofjam.com

For further information, please contact Iaspis project coordinator, Visual art: Lena Malm at lm@iaspis.se
 

Updated: 2016-07-07 Tell a friend

Image: Weltkulturen Laboratory, Frankfurt am Main, 2013. © Weltkulturen Museum

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