A hybrid one-day conference – Friday 13 September 2024, 10am -7 pm (GMT)
Location: Middlesex University London (The Burroughs, London, NW4 4BT) and Online
Organised by Katy Deepwell, member of AICA UK.
Tickets are free, but must be booked for in person or online participation, via Eventbrite
Keynotes: Jacqueline Millner (Australia); Oksana Briukhovetska (Ukraine); Ghazel (France/Iran).
36 speakers from many countries – artists, critics, curators, art theorists and art historians - are gathering for this hybrid event: Karen Keifer Boyd; Irene Bronner; Sonja van Kerkhoff; Clara Zarza; Helena Reckitt; Anke Kempkes ; Kimberly K Lamm; Amy Tobin; Suzana Milevska; Katy Deepwell; Maria Kheirkhah; Qingyu Shen; Alessia Cargnelli; Laura Leuzzi; Varvara Keidan Shavrova; Ala Younis; Sohaila Baluch; Anne Robinson; Jana Kukaine; paula roush; Barbora Komarová ; Sabine Gebhardt Fink; Virginia Marano; Alexandra Kokoli ; Lisa Moravec; Fran Cottell; Valeria Mari; Barbara Mahlknecht; Pauline Barrie; Maria Photiou; Pedro Merchán Mateos; Karolina Majewska-Güde ; Ellen Suneson; Gabriela Traple Wieczorek ; Wiktoria Szczupacka ; Angela Maderna
What do we mean by re-evaluation?
It could be said all new research contains a “re-evaluation” of past work, but this conference aims to re-evaluate feminist research and enquiry as it has developed over the last 50 years in relation to different local/global dynamics or about certain artists or artworks.
There are many feminism(s), and many generations of feminist scholars, but the definition we intend here is based in politics, not identity. The conference aims to explore different strategies that have been attempted, while offering critique and fresh assessments. We have brought together many different voices and perspectives on feminist politics in relation to contemporary art from many parts of the world and diverse and different perspectives of critics, artists, curators and researchers.
Feminism(s) aim to interrogate existing histories and provide significant corrections to what constitutes “history”. Is re-evaluation of artists only a question of reputation and recognition; collective action or how they reference issues of social justice? How have feminism(s)’ challenges changed museums’ curatorial practices, critical writing and art history? And how has feminism itself been transformed over time? What remains missing from the stories that we tell today about past and present feminist interventions in contemporary art? Are there contradictory effects, locally, transnationally and globally for feminism(s)? Do re-evaluations reinforce or challenge the association of some women artists with exceptionalism, exoticism, marginalised identities, cultural difference or Otherness?