Feminism

   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 __
   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 _
   Old Boys Network _
   Alex Martinis Roe _
   Lea Melandri _
   Trinh T. Minh-ha _
   Linda Nochlin _
   Griselda Pollock _
   Ràdio Web MACBA _
   Legacy Russell _
   Secondary Archive _
   Delphine Seyrig _
   Femke Snelting _
   Cornelia Sollfrank _
   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.

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• 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."

• Black Quantum Futurism, The Future(s) Are Black Quantum Womanist 🌐 (Stuttgart: Akademie Schloss Solitude, 2018). Web project. About.

• Rosi Braidotti, Posthuman Feminism 🌐 (Cambridge: Polity Press, 2021). Editions, translations.

• Judith Butler, Gender Trouble: Feminism and the Subversion of Identity 🗐 (New York: Routledge, 1990). Editions.

"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).

• Claire Fontaine, "Human Strike Has Already Begun" 🗐, 2009.

• Are You Being Served? (Notebooks) 🗐, edited by Anne Laforet, Marloes de Valk, Madeleine Aktypi, An Mertens, Femke Snelting, Michaela Lakova and Reni Hofmüller (Brussels: Constant, 2014). "A Feminist Server Manifesto 0.01" 🗐. Femke Snelting 🗐 (2015). Editions, translations.

• Drug-ca. Žensko pitanje, novi pristup? - Comrade Woman: The Female Question – A New Approach?, conference, Student Cultural Centre, Belgrade, 27-29 October 1978.

• Silvia Federici, Wages Against Housework 🗐 (New York: Power of Women Collective, and Bristol: Falling Wall Press, 1975). Marina Vishmidt 🗐 (interview, Mute, 2013). Translations.

• Silvia Federici, Caliban and the Witch: Women, the Body and Primitive Accumulation 🗐 (Brooklyn, NY: Autonomedia, 2004). Examines the historical subjugation of women during the rise of capitalism, linking the witch hunts of early modern Europe to the broader exploitation of women’s unpaid labor. Editions, translations.

"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).

• Shulamith Firestone, The Dialectic of Sex: The Case for Feminist Revolution 🗐 (New York: William Morrow and Company, 1970).

• 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 🌐.

• Donna Haraway, "A Manifesto for Cyborgs: Science, Technology, and Socialist Feminism in the 1980s" 🗐, Socialist Review 15 (2), 1985. Reprints, translations.

• Heresies: A Feminist Publication on Art and Politics 🗐 (New York: Heresies Collective, 1977-1993). The Heretics 🖵 (film by Joan Braderman, 2009).

• bell hooks, Ain't I a Woman? Black Women and Feminism (Boston: South End Press, 1981). Reprinted 🗐 (London: Pluto Press, 1982). Editions, translations.

• bell hooks, Feminist Theory: From Margin to Center 🗐 (Boston: South End Press, 1984). Editions, translations.

• This Bridge Called My Back: Writings by Radical Women of Color, edited by Cherríe Moraga and Gloria Anzaldúa (Watertown, MA: Persephone Press, 1981). Second edition 🗐, foreword by Toni Cade Bambara (Latham, NY: Kitchen Table: Women of Color Press, 1983). Barbara Smith, "A Press of our Own: Kitchen Table: Women of Color Press" 🗐 (1989). Editions, translations.

• Laboria Cuboniks, "Xenofeminism: A Politics for Alienation" 🗐 (2015). "Drawing on queer and transfeminist theory, as well as philosophical rationalism, against nature and biological essentialism, the feminist collective invests in alienation and the anti-natural, in seizing technology and in embracing the desire for an alien future." Editions, translations.

• Teresa de Lauretis, Alice Doesn't: Feminism, Semiotics, Cinema 🗐 (London: Macmillan, 1984). Editions, translations.

• Ursula K. Le Guin, "The Carrier Bag Theory of Fiction" 🗐 [1986], in Women of Vision: Essays by Women Writing Science Fiction, edited by Denise Du Pont (New York: St Martin's Press, 1988). Reprints, translations.

• Libreria delle Donne di Milano, Non credere di avere dei diritti: la generazione della libertà femminile nell'idea e nelle vicende di un gruppo di donne 🗐 [Sexual Difference: A Theory of Social-Symbolic Practice] (Turin: Rosenberg & Sellier, 1987). Recapitulates the decades on either side of the opening of the Libreria delle Donne, written as a collective history, an analysis and a weaving together of individual voices and tales. Editions, translations.

• Lucy R. Lippard, From the Center: Feminist Essays on Women's Art 🗐 (New York: E.P. Dutton, 1976).

"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]

• Carla Lonzi, Vai pure: Dialogo con Pietro Consagra [Now You Can Go] (Milan: Scritti di Rivolta Femminile, 1980). New edition 🗐 (Milan: et al., 2011). Lea Melandri 🗐 (MAY, 2000/2010). Claire Fontaine 🗐 (e-flux, 2013). Editions, translations.

• 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).

• María Lugones, "Heterosexualism and the Colonial/Modern Gender System" 🗐 (Hypatia, 2007). "Colonialidad y género" 🗐 (Tabula Rasa, Bogotá, 2008). "Toward a Decolonial Feminism" 🗐 (Hypatia, 2010).

• Griselda Pollock, Rozsika Parker, Old Mistresses: Women, Art and Ideology 🗐 (London: Routledge, 1981). Editions, translations.

"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 🌐.

• Lea Melandri, L'infamia originaria: facciamola finita col cuore e la politica 🗐 [Original Infamy] (Milan: L'erba voglio, 1977). Collection of writings originally published in the newspapers L'Erba Voglio, Rosso and Sottosopra. Editions, translations.

• Trinh T. Minh-ha, Woman, Native, Other: Writing Postcoloniality and Feminism 🗐 (Bloomington: Indiana University Press, 1989). Pratibha Parma 🗐 (conversation, Feminist Review, 1990). Editions, translations.

• Linda Nochlin, "Why Have There Been No Great Women Artists?" 🗐 (ARTnews, 1971). Editions, translations.

• First Cyberfeminist International: Old Boys Network Reader 🗐, eds. Cornelia Sollfrank and Old Boys Network (obn, 1998).

• 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.

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

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• Defiant Muses: Delphine Seyrig and the Feminist Video Collectives in France (1970s-1980s) 🗐, edited by Giovanna Zapperi, Nataša Petrešin-Bachelez and Mercedes Pineda (Madrid: Museo Reina Sofía, 2019). "This publication explores the intersection between the histories of cinema, video and feminism in France. Focusing on the emergence of video collectives in the 1970s, the exhibition proposes to reconsider the history of the feminist movement in France through a set of media practices and looks at a network of creative alliances that emerged in a time of political turmoil." Exhibition 🌐. Podcast. Video interviews 🖵. Translations.

• Sayak Valencia, Capitalismo gore 🗐 (Barcelona: Melusina, 2010). (Spanish). Translations.

• Françoise Vergès, Un féminisme décolonial 🌐 (Paris: La Fabrique éditions, 2019). (French)

• 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.

• VNS Matrix, A Cyberfeminist Manifesto for the 21st Century 🌐 (Adelaide and Sydney, 1991). Melinda Rackham 🗐 (2018). Editions, translations.

• Monique Wittig, Les Guérillères 🌐 (Paris: Minuit, 1969). Novel. Sally Beauman 🗐 (NY Times). Editions, translations.

• Monique Wittig, The Straight Mind and Other Essays 🌐, foreword by Louise Turcotte (Boston: Beacon Press, 1992). Collection of essays first published in Feminist Issues and elsewhere. Namascar Shaktini 🗐 (Hypatia). Rosemary Hennessy 🗐 (Signs). Editions, translations.