Feminist Duration in Art and Curating
Organised by Andrea Phillips and Helena Reckitt
This two-day research symposium considers the resonance of feminist art, thinking and collectivity in contemporary life. Riffing on Amelia Jones' concept of 'queer feminist durationality,' it explores feminist legacies, potentials and pitfalls to examine how tactics and strategies from earlier movements and projects are being re-examined and redeployed today. Concerned with the dangers of romanticising earlier struggles and succumbing to Left melancholy, the symposium looks at how feminisms in art and curating contribute to a constellation of cultural production. Such speculations open up the differences in intention and reception across place, time and context.
In the lead-up to the symposium a reading group has looked at texts by Carla Lonzi, Lea Melandri and Antonella Nappi and the collectives Rivolta Femminiile and the Milan Women’s Bookshop collective, recently translated by Fulvia Carnevale, written during the emergence of the early 1970s Italian women’s movement. Reflections on the contemporary relevance of these ideas and activities will inform the symposium’s discussions.
Speakers and contributors include artists Lisa Busby (Goldsmiths) Kajsa Dahlberg (Berlin and Malmö), Fulvia Carnevale of Claire Fontaine (Paris), Melissa Gordon (Goldsmiths), Shama Khanna, Laura Guy (Goldsmiths), Emily Rosamond (Goldsmiths) and Rehana Zaman (Goldsmiths); curators Nella Aarne (Goldsmiths), Dimitra Gkitsa (Goldsmiths) Helena Reckitt (Goldsmiths), and Louise Shelley (The Showroom, London); art historians Catherine Grant (Goldsmiths) and Amy Tobin (York University); researchers Giulia Damiani (Royal College of Art, London) and Cristina Thorstenberg Ribas (Goldsmiths); and philosopher Nina Power (University of Roehampton).
Fulvia Carnevale of Claire Fontaine, ‘And they ask for her help more than they are ready to help her,’ followed by discussion with Nina Power
Thumbnail Image: Il femminismo a Milano, Lo sguardo degli altri, MeMoMI, edited by Lea Melandri, 2014, Screenshot