feminism

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  Gloria E. Anzaldúa __
  Arts of the Working Class _
  Black Quantum Futurism _
  Rosi Braidotti _
  Judith Butler _
  Octavia E. Butler _ 
  Claire Fontaine _
  Constant _
  Drug-ca _
  Silvia Federici __
  Shulamith Firestone _
  Ursula Franklin _
  Melissa Gordon _
  Donna Haraway _
  Heresies Collective _
  bell hooks __
  Kitchen Table: Women of Color Press _
  Laboria Cuboniks _
  Teresa de Lauretis _
  Ursula K. Le Guin _
  Libreria delle Donne di Milano _
  Lucy R. Lippard _
  Carla Lonzi _
  Audre Lorde _
  María Lugones _
  Cherríe Moraga _
  Alex Martinis Roe _
  Lea Melandri _
  Trinh T. Minh-ha _
  Linda Nochlin _
  Old Boys Network _
  Oyèrónkẹ́ Oyěwùmí _ 
  Sadie Plant _ 
  Griselda Pollock _
  Ràdio Web MACBA _
  Legacy Russell _
  Secondary Archive _
  Delphine Seyrig _
  Femke Snelting _
  Cornelia Sollfrank _
  Gayatri Spivak _
  Sayak Valencia _
  Françoise Vergès _
  Cecilia Vicuña _
  Marina Vishmidt _
  VNS Matrix _
  Monique Wittig __
  Giovanna Zapperi _


  • Gloria E. Anzaldúa, Borderlands / La Frontera: The New Mestiza (San Francisco: Aunt Lute Books, 1987). A semi-autobiographical work that examines the Chicano and Latino experience through the lens of issues such as gender, identity, race, and colonialism. Editions, translations.

  • Arts of the Working Class 🗐 (Berlin, since 2018). "Arts of the Working Class is an artistic street newspaper that is published five times a year with a print run of 50-70,000 copies. The team of 6+ finances the production of the newspaper, which is then distributed free of charge to street vendors and generates €2.50 per issue, of which they keep 100%. Around 400 regular and many irregular vendors sell the newspaper. AWC currently receives no government support, instead donations, cooperations and advertising sales finance the newspaper’s program."

"Kindred tells the story of Dana, a young black woman who is suddenly and inexplicably transported from her home in 1970s California to the pre–Civil War South. As she time-travels between worlds, one in which she is a free woman and one where she is part of her own complicated familial history on a southern plantation, she becomes frighteningly entangled in the lives of Rufus, a conflicted white slaveholder and one of Dana’s own ancestors, and the many people who are enslaved by him."
  • Octavia E. Butler, Kindred 🌐 (Garden City, NY: Doubleday, 1979). Interview 🗐 (LitHub).

"Beginning with a look at the radical and grassroots history of the first wave (with its foundation in the abolition movement of the time), Firestone documents its major victory, the expansion of the franchise in 1920, and the fifty years of ridicule that followed. She goes on to deftly synthesize the work of Freud, Marx, de Beauvoir, and Engels to create a cogent argument for feminist revolution. Ultimately she presents feminism as the key radical ideology, the missing link between Marx and Freud, uniting their visions of the political and the personal" (Verso).

  • Persona 🗐, edited by Melissa Gordon and Marina Vishmidt (Berlin: Archive Books, 2013). "PERSONA is the second magazine in a series in response to a series of meetings of female artists entitled “A conversation to know if there is a conversation to be had” held in New York, Amsterdam, Berlin and London in 2010 and 2011. The first journal LABOUR 🗐, addressed the question of women’s work, and used the lens of the feminist critique of unpaid labour to look at the contemporary condition of the artist. PERSONA as a jumping off point looks at the condition of self-presentation for the contemporary artist, but in an expansive manner encompasses discussions on embarrassment, refusal, interiority and identification" [1]. From I to We 🗐 (conversation). Events: London, Artists Space. Website 🌐. A living archive 🌐.

"Vai Pure records a four-day conversation between Lonzi and her long-term lover, prominent avant-garde sculptor Pietro Consagra, exploring how love, creativity, work and career play out in their relationship. While Consagra depends on Lonzi’s affective labour and consoling company, she complains that he prioritises the time that he spends working in the studio and promoting his career, putting “art,” networking, and productivity above “life.” Lonzi concludes that she must choose love for her autonomy over that offered within romantic partnership, terminating their relationship and ending the book with words that give the book its title: “vai pure” [now you can go].
This withdrawal from heterosexual union is one of several renunciations carried out by Lonzi. In 1970 she resigned her position from what had come to consider the “inauthentic profession” of art criticism. In 1975, having spent the previous five years engaged deeply with the Rome collective Rivolta Femminile [Female Revolt] — itself a form of separatist withdrawal — Lonzi renounced feminist leadership. Even while active in Rivolta Femminile, Lonzi distanced herself from artists in the group, resisting the assumption that she would promote their careers. Instead of fighting for greater recognition for women artists, Lonzi renounced the art world system and its means of attributing value altogether." [2]

  • Audre Lorde, Sister Outsider: Essays and Speeches (Trumansburg, NY: Crossing Press, 1984). Reprinted 🗐, foreword by Cheryl Clarke (Berkeley, CA: Crossing Press, 2007). Translations.

In this text, "I proposed to read the relation between the colonizer and the colonized in terms of gender, race , and sexuality . By this I did not mean to add a gendered reading and a racial reading to the already understood colonial relations. Rather I proposed a rereading of modern capitalist colonial modernity itself. This is because the colonial imposition of gender cuts across questions of ecology, economics, government, relations with the spirit world, and knowledge, as well as across everyday practices that either habituate us to take care of the world or to destroy it. I propose this framework not as an abstraction from lived experience, but as a lens that enables us to see what is hidden from our understandings of both race and gender and the relation of each to normative heterosexuality" (Lugones 2010).

"To Become Two (2014-2017) is a theory-practice history project, tracing a particular genealogy of political practice among a number of different feminist communities. To Become Two (a project in process) is a series of six film installations, which can be shown individually or as a seven-channel film installation, including some sculptural, interior architectural and archival elements, as well as performances and workshops, and a book. For each of these six film installations, I have attempted to look simultaneously at collective and personal histories in order to explore what has been, and what could be, transferred into feminist collective practices now and in the future."
  • Alex Martinis Roe, To Become Two: Propositions for Feminist Collective Practice (Berlin: Archive Books, with Bolzano: ar/ge kunst, Utrecht: Casco – Office for Art, Design and Theory, Amsterdam: If I Can't Dance, I Don’t Want To Be Part Of Your Revolution, and London: The Showroom, 2018). Website 🌐.

"Arguing that the computer is rewriting the old conceptions of man and his world, the book suggests that the telecoms revolution is also a sexual revolution which undermines the fundamental assumptions crucial to patriarchal culture. Historical, contemporary and future developments in telecommunications and in IT are interwoven with the past, present and future of feminism, women and sexual difference, and a wealth of connections, parallels and affinities between machines and women are uncovered as a result. Challenging the belief that man was ever in control of either his own agency, the planet, or his machines, this book argues it is seriously undermined by the new scientific paradigms emergent from theories of chaos, complexity and connectionism, all of which suggest that the old distinctions between man, woman, nature and technology need to be radically reassessed" (1997).

  • Ràdio Web MACBA, Son(i)a 🌐, podcast (Barcelona: MACBA, since 2006). "Son[i]a presents in-depth interviews with artists, curators, critics, activists, and thinkers, on a range of topics ranging from art to philosophy, by way of politics, activism, artistic research, music, and film, and everything in between."

  • Legacy Russell, Glitch Feminism 🌐 (London: Verso, 2020). "Argues that we need to embrace the glitch in order to break down the binaries and limitations that define gender, race, sexuality. Reveals the many ways that the glitch performs and transforms: how it refuses, throws shade, ghosts, encrypt, mobilises and survives." Editions, translations.

  • Secondary Archive 🌐, platform for women artists from Central and Eastern Europe (Warsaw: Katarzyna Kozyra Foundation, since 2021).

  • Gayatri Spivak, "Can the Subaltern Speak?", in Marxism and the Interpretation of Culture, edited by Cary Nelson and Lawrence Grossberg (Urbana, IL: University of Illinois Press, 1988).

  • Cecilia Vicuña, Saborami 🗐 (Devon: Beau Geste Press, 1973). "Cecilia Vicuña created Saborami in the aftermath of the September 1973 military coup in Chile. Combining poetry, journal entries, documentation of artworks including assemblages and paintings, the book was published in Devon, England in an edition of 250 hand-made copies by the artist-led Beau Geste Press. It was one of the first artistic responses to the violence of the fascist junta." Editions.

Continues in Feminist art and Cyberfeminism.