Practicing Feminism Workshops: Practising Theory

November 21st

We would like to invite you to the first in a series of workshops and lectures, which will consider questions of feminist art practice; what the role of feminism is in contemporary art practice, how we relate to feminist genealogies, critiques, methods and theory as practising artists, writers and critics, how might we resituate knowledge as feminist, and how feminist practices and methodologies have and continue to influence contemporary art practices.

The workshop structure is intended to test a historical model in an academic context now, which has influenced much contemporary practice (to include alleged socially engaged and relational practices). We imagine challenges and critiques of the workshop as feminist pedagogical structure to form a part of the series.

Our first day’s session considers the particular relationships between reading. writing and artmaking within the framework of feminist practices.

It is essential that you book a space for the workshops. To do so please contact Linda Stupart or Karen Henderson:
linda.stupart@gmail.com or klhende@hotmail.com


NOVEMBER 21st PRACTISING THEORY

Both workshops will take place in The Women’s Art Library (MAKE) which is located in the Special Collections Suite on the ground floor of the Library.

11:00 – 13:00 Workshop with Melissa Gordon
14:00 – 16:00 Workshop with Sharon Kivland

17:00 Public Lecture by Sharon Kivland NAB LG02
19:00 followed by Goldsmiths Launch of PERSONA with Marina Vishmidt and Melissa Gordon presenting
Studio B Room 005

Future Events

2 more day long workshop events are planned for the Spring term, dates TBC.

The next will look at the institution of feminism in relation to art institutions, and the historicization of feminism. Specific questions to be addressed are who decides what is and what is not a feminist practice? How do these practices operate within institutions, and what can they achieve politically?

The final event will look at feminist practices in relation to activism. We will consider how feminist strategies of protest are being deployed in contemporary political events and consider various forms of embodied and other protest practices.
Supported by Art Research Programmes, Department of Art, Goldsmiths

Sharon Kivland is an artist and writer working in London and France. Reader in Fine Art at Sheffield Hallam University, she is also a Research Associate of the Centre for Freudian Analysis and Research, London, and editor of the journal Transmission Annual. She is a keen reader, considering what is put at stake at the intersection of art, psychoanalysis, and politics. She has described her practice is one of stupid refinement, trapped in archives, libraries, the arcades, and the intersection of public political action andprivate subjectivity. For some years she has been following Sigmund Freud on holiday, rewriting Zola’s novel Nana, and assembling a number of (shall we say) private collections. Her work is represented by DOMOBAAL, London, Galerie Bugdahn und Kaimer, Düsseldorf, Galerie des petits carreaux, Paris, and Johan Deumens Gallery, Amsterdam.

Melissa Gordon is an American artist based in London. She studied at De Ateliers in Amsterdam and currently is a Lecturer in Fine Art on the BA at Goldsmiths. She has recently exhibited at Spike Island, Bristol, Martin Gropius Bau, Berlin, and S1 Artspace in Sheffield. She co-edits LABOUR and PERSONA, independent publications on art and work with a feminist perspective with Marina Vishmidt.

PERSONA is an artist-led magazine co-edited by Melissa Gordon and Marina Vishmidt. It is the second in a series of magazines that grew out of the need to respond to a series of questions that arose during four 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 2010-11. 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 as precarious worker. PERSONA as a jumping off point looks at the condition of self-presentation for the contemporary artist, and in an expansive manner encompasses discussions on refusal, interiority, friendship, candor, and embarrassment.