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Arte posthumanista, feminismos y trabajo global

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Curaduría Feminista Materialista

MAI: FEMINISM & VISUAL CULTURE - PEER REVIEWED JOURNAL. Publicación - Estética fósil. Imaginarios de la energía y crisis ecosocial. Mujer y Publicidad: más allá de una imagen. Trabajadoras de la cigarrera El Buen Tono: Industria, publicidad y representaciones de la mujer en México, 1880-1920. Obreras Insumisas, contra la injusticia en las maquilas – Luchadoras. Obreras Insumisas, contra la injusticia en las maquilas – Luchadoras. (28) (PDF) Derrida Jacques - El animal que luego estoy Si(Gui)endo. Lo abierto El hombre y el animal. Versión en PDF.pdf PDFA. INICIO > MUJERES CREANDO. ACCIONES/PROYECTOS. Bienvenides-Welcome. Bienvenides-Welcome. RepHipUNR. El lugar del arte en las acciones políticas feministas. Fem. De fábrica textil a espacio feminista: trabajadoras salvadoreñas se defienden ante los despidos por la pandemia.

Proletarización entre padres e hijos. Reconfiguración en las prácticas y las experiencias de trabajo en la región de Tehuacán, Puebla, México. MAQUILAPOLIS. For information on our Community Outreach Campaign: SEE THE FILM To make a donation to the Community Outreach Campaign: DONATE OUTREACH PARTNERS BASED IN MEXICO:Women’s Rights Advocates / Promotoras por los Derechos de las MujeresTijuana, BCpromodemu@hotmail.comThe promotoras are the group of community activists/educators in Tijuana, Mexico who collaborated with the production team to create the film.

MAQUILAPOLIS

These women met in training workshops at Casa de la Mujer/Grupo Factor X, a Tijuana women’s organization. El Colectivo Chilpancingo Pro Justicia Ambiental. The border between the U.S. and Mexico is an important area for a variety of reasons—contention over immigration and illegal crossings, narcotics smuggling, and the subject of our analysis here: the somewhat recent phenomenon of maquiladoras.

El Colectivo Chilpancingo Pro Justicia Ambiental

In 1965, Mexico’s central government began to institute incentive programs for international corporations to build and center their early phase manufacturing plants in Tijuana, nearly adjacent to the U.S. –Mexico border. These plants have become known as maquiladoras (“assembly plant”), a unique version of the typical maquila (“factory”) that almost exclusively refers to the border’s import-export facilities. [1] Hilary Abell calls the general regions that house import-export plants “export processing zones” or EPZs.

Vista de Narrativas estéticas como política de resistencia desde la experiencia femenina hondureña. TDS map49 federici web 0. Web.a.ebscohost. Bioscénica – cuerpo digital y transdisciplina. (37) (PDF) "Co-creaciones híbridas: Horizontalidad y relaciones entre la naturaleza y el hombre, desde el arte, las nuevas tecnologías y el desarrollo sustentable". Charlibrissey. Spivak, ¿Puede hablar el subalterno? Booklet FCE 17 january, Amsterdam (6 1 20) Call for presentations: Workshop ‘Feminist Canine Ethnography’ - LOVA. Feminist Canine Ethnography Unraveling human-dog relationships from a gender perspective 17 January 2020, CEDLA (Roetersstraat 33, Amsterdam).

Call for presentations: Workshop ‘Feminist Canine Ethnography’ - LOVA

All-day workshop. Deadline for abstract submissions (250 words): 15 November 2019. El arte es una palabra de cuatro patas: simbología y resemantización del perro, animal protagonista en la obra de Wolf Vostell. Documento completo.pdf PDFA. Are You Working Too Much? Post-Fordism, Precarity, and the Labor of Art - Books. E-flux’s new book, Are You Working Too Much?

Are You Working Too Much? Post-Fordism, Precarity, and the Labor of Art - Books

Post-Fordism, Precarity, and the Labor of Art, is a collection of texts from their online and print journal that have, over the past year, dealt with the subject of art as work and art-related workers in the post-Fordist economy. Post-Fordism is a term that refers to the conditions of contemporary work as... Read more. E-flux’s new book, Are You Working Too Much? CASA GIAP – San Cristóbal de las Casas, Chiapas, México. Marcela Armas. VV. AA. Tsunami 2. Feminismo Decolonial – Google Drive. New Homepage. Dear reader, let’s get into something personal right off the hop.

New Homepage

I want to talk to you about resistance. Resistance is what people feel when they just can’t face what needs to be done. Something important is right in front of them, but it’s so hairy, so scary in its implications on their life, their cozy way of keeping on keeping on, that they can’t deal with it. Microbiopolitics in art: Joyful acts of insurrection. Affective Iconoclasm: Codes of Labour as a Human Characteristic. Your purchase has been completed.

Affective Iconoclasm: Codes of Labour as a Human Characteristic

Your documents are now available to view. Changing the currency will empty your shopping cart. Melissa Gronlund Affective Iconoclasm: Codes of Labour as a Human Characteristic. Ecofeminismo: Teoría, Crítica y Perspectivas. Hard at Play: Zaniness and Labour in Contemporary Art. A HAUNTING FROM THE FUTURE NINA HOECHTL, INVASORIX & SECRETARIAT OF GHOSTS, ARCHIVAL POLITICS, AND GAPS (SKGAL) Exhibition period: Feb 19th - Apr 10th, 2021Curated by Ivana Marjanović Nina Hoechtl invites us to look “back to the present” through the lenses of speculative future and storytelling based on archival research and historical events in Mexico and Austria.

A HAUNTING FROM THE FUTURE NINA HOECHTL, INVASORIX & SECRETARIAT OF GHOSTS, ARCHIVAL POLITICS, AND GAPS (SKGAL)

As a member of the queer/cuir feminist collective INVASORIX in Mexico City and a co-initiator of the Secretariat of Ghosts, Archival Politics, and Gaps (SKGAL) in Vienna, her work is deeply grounded in transnational collective feminist and decolonizing practices. As we are the past’s future, we are also the future’s past. In complex layers of the present, what was and what will be fuse, sometimes with joy, sometimes with violence. A feminist genealogy of posthuman aesthetics in the visual arts.

Focusing now on the artists, it is worth explaining why I will not be able to offer each of them the space they deserve.

A feminist genealogy of posthuman aesthetics in the visual arts

More than glorifying the individual genius, my point is to emphasize the great variety of women who have visualized the posthuman shift through their art works, generating original perspectives on areas of representation commonly associated with white male imagination (women’s skills were traditionally confined to fields that, for being women’s activities, were not considered “art” but “craft”, such as textiles and pottery).Footnote 5 As Leonard (2003: 19) has pointed out: “science and technology are themselves generally viewed as masculine pursuits”.

But science and technology are first imagined, before they are performed. Anthropocene Feminism (21st Century Studies) Audiovisual Posthumanism. (eBook, 2017) Art and Politics in the Posthuman Paradigm. Author(s): Raluca Ileana OanceaSubject(s): Politics / Political Sciences, Philosophy, Fine Arts / Performing ArtsPublished by: Editura Universităţii din BucureştiKeywords: aesthetics;posthumanism;animal;agent;art;anthropocentrism;vitalism;new materialism;agency; Summary/Abstract: In the age of the Anthropocene we have to face problems such as the precarious quality of life or the impact of pollution and global warming on Earth’s climate and all life forms, asking ourselves how artistic practice or Social & Human Sciences are able to deal with them.

Art and Politics in the Posthuman Paradigm

Is art still capable to produce alternate visions of the future in the face of the disruption of globalization? Can theory face the age of advanced capitalism? Invasorix — Invasorix somos / About. Pipilotti Rist video artist. Arte Útil / Asociación. The idea of art that is useful or that is effective, is not new; before the autonomous orientations of Modern Art resonated through the 19th and 20th centuries, art predominately operated as a religious, ritual, practical or educational tool as part of daily life.

Arte Útil / Asociación

The Asociación de Arte Útil was initiated by the artist Tania Bruguera and, in line with the Criteria of Arte Útil , it is now being evolved by a growing user group into an international body to promote ways for art to work effectively in ordinary life and to initiate and support new initiatives that fulfill the Criteria of Arte Útil. The Asociación provides: A growing social, political and active network of members A communication forum for the Asociación’s activity at www.arte-util.org.