Programs
USC Roski School of Art and Design and the Hammer Museum co-presented artist Mónica Mayer's lecture, Feminist Art: ¿An effective political tool?, in conjunction with Radical Women: Latin American Art, 1960-1985.
Mexican artist Mónica Mayer restages a 1978 performance in which visitors receive notecards printed with questions about women’s bodies and experiences in public spaces. Visitors then hang their written responses on a clothesline, an allusion to everyday female labor.
El tendedero
La artista mexicana Mónica Mayer vuelve a poner en escena una performance de 1978 en la cual los visitantes reciben tarjetas impresas con preguntas sobre el cuerpo y las experiencias de las mujeres en espacios públicos. Los visitantes luego cuelgan sus respuestas escritas de un tendedero, una alusión a la tarea cotidiana de las mujeres.
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Mónica Mayer, El tendedero. Hammer Museum, Los Angeles, September 15–18, 2017Photo: Sarah M. Golonka -
Mónica Mayer, El tendedero. Hammer Museum, Los Angeles, September 15–18, 2017Photo: Sarah M. Golonka -
Mónica Mayer, El tendedero. Hammer Museum, Los Angeles, September 15–18, 2017Photo: Sarah M. Golonka -
Mónica Mayer, El tendedero. Hammer Museum, Los Angeles, September 15–18, 2017Photo: Sarah M. Golonka
In a ritual of celebration for the exhibition Radical Women, visitors are invited to consume cookies in the shape of the word arte, the Portuguese term for "art." Brazilian artist Regina Silveira, who first performed the work in 1976, will be present for this special reenactment.
Cookie mold courtesy of the artist and Galeria Luisa Strina, São Paulo.
Biscoito Arte
En un ritual de celebración de la exposición Radical Women, se invita a los visitantes a comer galletas en la forma de la palabra arte. La artista brasileña Regina Silveira, quien realizó esta performance por primera vez en 1976, estará presente para esta reactivación.
El molde para las galletas fue facilitado por gentileza de la artista y de la Galeria Luisa Strina de São Paulo.
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Regina Silveira, Biscoito Arte. Hammer Museum, Los Angeles, September 15, 2017Photo: Sarah M. Golonka -
Regina Silveira, Biscoito Arte. Hammer Museum, Los Angeles, September 15, 2017Photo: Sarah M. Golonka
Performers interact with massive cloth forms, creating a movement-based dialogue between their bodies, the public, and the museum space. Conceived by Brazilian artist Martha Araújo and first performed in 1985, these works will be re-created during the exhibition opening.
Hábito/Habitante
Los intérpretes interactúan con grandes telas de formas espaciales, creando un diálogo a partir del movimiento, entre sus cuerpos, el público y el espacio del museo. Concebidas por la artista brasileña Martha Araújo y estrenadas en 1985, estas performances se recrearán durante la inauguración de la exposición.
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Martha Araújo, Hábito/Habitante. Hammer Museum, Los Angeles, September 16, 2017Photo: Sarah M. Golonka -
Martha Araújo, Hábito/Habitante. Hammer Museum, Los Angeles, September 16, 2017Photo: Sarah M. Golonka -
Martha Araújo, Hábito/Habitante. Hammer Museum, Los Angeles, September 16, 2017Photo: Sarah M. Golonka -
Martha Araújo, Hábito/Habitante. Hammer Museum, Los Angeles, September 16, 2017Photo: Sarah M. Golonka
In a meditation on togetherness, Chilean artist Cecilia Vicuña invites the public to use wool to wrap themselves as gifts to one another. The artist then weaves everyone into a collective body. The action is followed by an undoing of the weaving and a collective conversation. Conceived in the 1970s, this is the first time the work will be publicly realized.
Doubled
Meditando sobre la unión, la artista chilena Cecilia Vicuña invita al público a tejerse unos a otros convirtiéndose en regalo de los demás al formar un cuerpo colectivo que luego se desteje dando lugar a una conversación comunal. Concebida en los años setenta, esta obra se realizará en público por primera vez.
What does it mean to be a radical woman artist? How did Latin American women artists and Latinas working in the United States between 1960 and 1985 defy dominant patriarchal narratives through new perceptions of the body? What is the relationship between Latina and Latin American art practices and political feminisms? How is the body political?
The political body, a key concept of the exhibition Radical Women: Latin American Art, 1960–1985, is bound by the poetics of subjectivity, shaped by desire, and disobedient and resistant in the face of political turmoil such as oppression, violence, and dictatorship. In this symposium, scholars, artists, and curators from around the world convene to consider ideas of radicality, feminism, and the emancipated body.
Panel I: What Does It Mean to Be a Radical Woman Artist?
Moderator: Cecilia Fajardo-Hill
Panelists: Graciela Carnevale, Karen Lamassonne, Adriano Pedrosa, Patssi Valdez
The period of 1960–1985 was a time of great experimentation all over the world, and a period in which many of the languages of contemporary art, such as conceptual art, video art, and performance, were shaped. In particular, Latina and Latin American women artists in Radical Women defied canonical ideas of art and normative definitions of the body, specifically of the female body. They reinscribed ideas of femininity, sexuality, gender, the political, the social, and the conceptual. This session proposes to explore and discuss the multiple meanings and definitions of radicality as found in the works in Radical Women. How can we describe the singular contributions by the Latina and Latin American women artists to contemporary art of this period? What defines their unique radicality?
Panel II: New Topics, New Bodies: The/An Iconographic Turn
Moderator: Andrea Giunta
Panelists: Claudia Calirman, Miguel A. López, María Evelia Marmolejo, Sylvia Salazar Simpson
Between the 1960s and 1980s, different creative processes contributed to diverse understandings of the body. Several generations of Latina and Latin American artists elaborated a new perception of the body: one approached from dissident subjectivities with respect to the systems of power that order and normalize sexualities. Their representations questioned the patriarchal and normative canon of "correct" bodies and questioned the social classification of bodies as feminine and masculine. Their productions introduced many new topics and approaches that gave rise to a radical iconographical turn, the largest that has taken place in the 20th century. They contributed thus to a new understanding of the body—indeed new bodies that questioned regulations and correctness—in which we are still immersed. The purpose of this session is to analyze the artistic, academic, and curatorial agendas and languages through which this new body emerged.
Panel III: Feminist Exchanges
Moderator: Connie Butler
Panelists: Julia Bryan-Wilson, Isabel Castro, Karen Cordero Reiman, Mónica Mayer
Is there a history of feminist art in Latin America? In Latin America, feminism was seen by the left as a bourgeois ideology associated with imperialism. In the United States, Chicanas and Latinas were often excluded from mainstream feminism. Feminist or not, the artists in Radical Women explored female subjectivity and subverted patriarchal ideology and culturally and biologically determined roles of women in society. As Mónica Mayer writes in the Radical Women catalogue, it is necessary to ask: "What is feminist art and how and by whom has it been produced?" and "What social factors enabled artists in the mid-twentieth century … to approach or reject feminist art in each region of Latin America?" What are the points of exchange and dissidence between Latin American, Latina, and international artistic and political feminisms?
El cuerpo político en el arte latino y latinoamericano
El cuerpo político es un concepto clave de la exhibición Mujeres radicales: arte latinoamericano, 1960-1985, que está constituido por la poesía de la subjetividad, es moldeado por el deseo, es desobediente y resiste ante la crisis política como la opresión, la violencia, y la dictadura. En este simposio, académicos, artistas y curadoras de diferentes lugares del mundo se reúnen para considerar ideas sobre radicalidad, feminismo y el cuerpo emancipado.
Panel I: ¿Qué significa ser una mujer artista radical?
Moderadora: Cecilia Fajardo-Hill
Panelistas: Graciela Carnevale, Karen Lamassonne, Adriano Pedrosa, Patssi Valdez
El periodo de 1960-1985 fue una época de gran experimentación en todo el mundo, y un período en que se crearon muchos de los lenguajes del arte contemporáneo tales como el arte conceptual, el videoarte, y el performance. En particular, las mujeres artistas latinas y latinoamericanas en Radical Women desafiaron ideas canónicas respecto a las definiciones artísticas y normativas del cuerpo, específicamente del cuerpo femenino. Ellas reinscribieron ideas sobre la feminidad, la sexualidad, el género, lo político, lo social, y lo conceptual. Esta sesión se propone explorar y examinar los múltiples significados y definiciones de la radicalidad en relación a obras que se encuentran en Radical Women. ¿Cómo podemos describir las contribuciones singulares de mujeres artistas latinas y latinoamericanas al arte contemporáneo de este período? ¿Qué define su radicalidad única?
Panelistas: Claudia Calirman, Miguel A. López, María Evelia Marmolejo, Sylvia Salazar Simpson
Entre las décadas de 1960 y 1980, hubo diferentes procesos creativos que contribuyeron a diversos entendimientos del cuerpo. Varias generaciones de artistas latinas y latinoamericanas elaboraron una nueva percepción del cuerpo, que fue abordada desde subjetividades disidentes con respecto a los sistemas de poder que ordenan y normalizan las sexualidades. Sus representaciones cuestionaron el canon patriarcal y normativo de los cuerpos "correctos" y cuestionaron la clasificación social de los cuerpos tanto masculinos como femeninos. Sus producciones introdujeron muchos temas y acercamientos nuevos que dieron lugar a un giro iconográfico radical, el más grande que ha sucedido en el siglo XX. Ellas contribuyeron, por ende, a un nuevo entendimiento del cuerpo –en efecto, se trataba de nuevos cuerpos que cuestionaban las regulaciones y la rectitud– en las cuales seguimos inmersas. El propósito de esta sesión es analizar las agendas y lenguajes artísticos, académicos y curatoriales mediante los cuales surgió este nuevo cuerpo.
Panel III: Intercambios Feministas
Moderadora: Connie Butler
Panelistas: Julia Bryan-Wilson, Isabel Castro, Karen Cordero Reiman, Mónica Mayer
¿Existe acaso una historia del arte feminista en América Latina? En América Latina, el feminismo era visto por la izquierda como una ideología burguesa asociada con el imperialismo. En los Estados Unidos, las chicanas y las latinas eran a menudo excluidas del feminismo dominante. Feministas o no, las artistas en Radical Women exploraron la subjetividad femenina y socavaron la ideología patriarcal, así como los roles cultural y biológicamente determinados de las mujeres en la sociedad. Como escribe Mónica Meyer para el catálogo de Radical Women, es necesario preguntarse '¿Qué es el arte feminista y cómo y por quién ha sido producido?' y '¿Qué factores sociales permitieron a las y los artistas del siglo XX acercarse o rechazar el arte feminista en cada región de América Latina?' ¿Cuáles son los puntos de intercambio y disidencia entre los feminismos artísticos y políticos latinoamericanos, latinos e internacionales?
¡Pa'rriba! (Get Up!) is a night of futurism, resistance, and alternative music. Latinx art pop pioneer Lido Pimienta mixes beat-driven synth-pop with bold brass, strings, and analog drums, all influenced by her Afro-Colombian roots and her time living in London and Toronto. Special guest Francisca Valenzuela joins Lido on stage. L.A.-based Sister Mantos brings a psychedelic blend of Latin beats, funky rhythms, spacey synths, and queer brown attitude. Chulita Vinyl Club, a DJ collective for womxn of color, spin from their rare vinyl collections throughout.
Latinas en voz alta: ¡Pa’rriba!
¡Pa'rriba! será una noche de futurismo, resistencia y música underground. La pionera del pop Latinx Lido Pimienta mezcla compases de pop sintético con metales audaces, cuerdas y tambores analógicos, todo ello influenciado por sus raíces afrocolombianas y sus vivencias en Londres y Toronto. Sister Mantos, basada en Los Ángeles, incorpora una mezcla psicodélica de compases y ritmos latinos, funk y sintéticos espaciales con una actitud queer brown. Chulita Vinyl Club, un colectivo de mujeres DJ latinas, aporta toda la noche las contribuciones de sus inusuales colecciones de discos de vinilo.
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Sister Mantos perform at ¡Pa’rriba!. Hammer Museum, Los Angeles, September 22, 2017Photo: Justin Sullivan -
Members of Chulita Vinyl Club at ¡Pa’rriba!. Hammer Museum, Los Angeles, September 22, 2017Photo: Justin Sullivan -
Lido Pimienta performs at ¡Pa’rriba!. Hammer Museum, Los Angeles, September 22, 2017Photo: Justin Sullivan -
Lido Pimienta (left) performs with Francisca Valenzuela (right) at ¡Pa’rriba!. Hammer Museum, Los Angeles, September 22, 2017Photo: Justin Sullivan
Lourdes Portillo and Susana Muñoz's Oscar-nominated Las Madres documents the courage of a group of Argentine women who gathered weekly in Buenos Aires to remember those who "disappeared" between 1976 and 1983, during the Dirty War. Preceded by Portillo and Nina Serrano's 1979 short film Después de Terremoto (After the Earthquake), about a young Nicaraguan immigrant facing the challenges of life in the United States. (Las Madres, 1985, dir. Lourdes Portillo and Susana Muñoz, 64 min.; Después del Terremoto, 1979, dir. Lourdes Portillo and Nina Serrano, Spanish with English subtitles, 27 min.)
Las Madres: Las Madres de Plaza de Mayo y Después del terremoto: Dos películas de Lourdes Portillo
Las Madres, de Lourdes Portillo y Susana Muñoz, nominada para el Oscar, documenta la valentía de un grupo de mujeres argentinas que se reunían semanalmente en Buenos Aires para recordar a los «desaparecidos» entre 1976 y 1983, durante la Guerra sucia. La película será precedida por el corto Después del Terremoto, de Portillo y Nina Serrano, realizado en 1979, acerca de un joven inmigrante nicaragüense y los desafíos que debe enfrentar durante su vida en los Estados Unidos. A continuación se presentará una sesión de preguntas y respuestas con Portillo. (Las Madres, 1985, dir. Lourdes Portillo y Susana Muñoz, 64 min.; Después del Terremoto, 1979, dir. Lourdes Portillo y Nina Serrano, en español con subtítulos en inglés, 27 min.)
A genre-bending lineup of Los Angeles Latinx vocalists and musicians reimagine the songs of legendary Peruvian singer and longtime L.A. resident Yma Sumac, whose vocal range was said to be well over five octaves. Inspired by the Hammer exhibition Radical Women, the evening features a band led by Alberto López of Jungle Fire backing performances by:
Empress Of
Nite Jewel
Maria Elena Altany
Ceci Bastida
Dorian Wood
Carmina Escobar
Francisca Valenzuela
Featuring emcee Carolina Miranda and DJ Francesca Harding. Organized by Josh Kun, music critic, MacArthur fellow, American Book Award winner, and USC professor, and presented as part of Pacific Standard Time: LA/LA.
Voces de Xtabay: Un tributo a Yma Sumac
Una serie de fusión de géneros de vocalistas y músicos Latinx de Los Ángeles reimaginan las canciones de la legendaria cantante peruanoestadounidense Yma Sumac, de quien se decía que tenía un registro de más de cinco octavas. Inspirada por la exposición Radical Women del Hammer, la noche incluirá una banda liderada por Alberto López de Jungle Fire acompañando las interpretaciones de:
Empress Of
Nite Jewel
Maria Elena Altany
Ceci Bastida
Dorian Wood
Carmina Escobar
Francisca Valenzuela
El evento es organizado por Josh Kun, crítico musical, becario MacArthur, ganador de un American Book Award, profesor de USC, y presentado dentro del marco de Pacific Standard Time: LA/LA.
Sarah Minter, a pioneer of Mexican experimental film, used a feminist lens and her avant-garde theater experience to challenge film form and narrative. The underground classic Nadie es Inocente captures a marginalized community of young punks in a poor section of Mexico City. San Frenesí, made in collaboration with Gregorio Rocha, focuses on Mina, a young woman from Mexico City who embarks on a liberating road trip to explore her desires. (Nadie es Inocente, 1986, dir. Sarah Minter, 57 min.; San Frenesí, 1983, dir. Sarah Minter, 34 min.)
Nadie es inocente y San Frenesí: Dos películas de Sarah Minter
Sarah Minter, una pionera del cine experimental mexicano, aplica una lente feminista y su experiencia de teatro de vanguardia para desafiar la forma y la narrativa cinematográficas. El clásico underground Nadie es inocente capta una comunidad marginal de jóvenes punk en una zona pobre de la ciudad de México. San Frenesí, realizada en colaboración con Gregorio Rocha, se concentra en Mina, una joven de la ciudad de México que emprende un viaje liberador por carretera para explorar sus deseos. (Nadie es Inocente, 1986, dir. Sarah Minter, 57 min.; San Frenesí, 1983, dir. Sarah Minter, 34 min.)
This documentary tells the story of Mexican immigrant mothers who were forcibly or unknowingly sterilized while giving birth at the Los Angeles County–USC Medical Center during the 1960s and 1970s. Represented by a young Chicana lawyer, the mothers stood up to injustice by suing the county, state, and US government. (2015, dir. Renee Tajima-Peña, 79 min.)
A Q&A with director Renee Tajima-Peña follows.
No Más Bebés
Este documental cuenta la historia de madres inmigrantes mexicanas quienes fueron esterilizadas de manera forzada o sin que lo supieran al dar a luz en el Los Angeles County-USC Medical Center durante las décadas de sesenta y setenta. Representadas por una joven abogada chicana, las madres reclamaron justicia y demandaron al condado, al estado y al gobierno de Estados Unidos. (2016, dir. Renee Tajima-Peña, 79 min.)
A continuación se presentará una sesión de preguntas y respuestas con la directora Renee Tajima-Peña.
Forced sterilization of women who are poor, have mental health problems, or are incarcerated was commonplace in California—and nationwide—only 50 years ago. While today legally banned, forced sterilization and other means of controlling the reproductive rights of women continue to insinuate themselves into public policy and lawmaking. Filmmaker and historian Virginia Espino, California Latinas for Reproductive Justice executive director Laura Jimenez, and professor of gender and women's studies and Latin American and Latino studies Elena Rebeca Gutiérrez discuss the historical and contemporary consequences of this problematic practice. Moderated by UC Santa Barbara professor Miroslava Chavez-Garcia.
Esterilización forzada: Entonces y ahora
La esterilización forzada de mujeres pobres, con problemas de salud mental o presas era común en California, y en todo el país, hace apenas 50 años. Si bien hoy en día está legalmente prohibida, la esterilización forzada y otros medios para el control de los derechos reproductivos continúan insinuándose en las políticas públicas y los procesos legislativos. La realizadora cinematográfica e historiadora Virginia Espino, la directora ejecutiva de California Latinas for Reproductive Justice (latinas de California por la justicia reproductiva), Laura Jiménez, y la profesora Elena Rebeca Gutiérrez analizarán las consecuencias históricas y contemporáneas de esta práctica problemática. Moderado por la profesora de UC Santa Barbara Miroslava Chávez-García.
Ayer Es Hoy (Yesterday Is Today) celebrates the richness of Latin American sounds of the past and present. Sotomayor, the electronic music project of a Mexico City–based sibling duo, blends Andean rhythms, Afro beat, and cumbia with avant-garde beats. South Los Angeles band Sin Color blends indie pop with bossa nova, cumbia, and disco. Chulita Vinyl Club returns to spin throughout the night.
Latinas en voz alta: Ayer Es Hoy
Ayer Es Hoy celebra la riqueza de los sonidos latinoamericanos pasados y presentes. Sotomayor, el proyecto de música electrónica de un dúo de hermanos de la ciudad de México, mezcla ritmos andinos con compases africanos y cumbia con ritmos de vanguardia. La banda Sin Color, del sur de Los Ángeles, combina indie pop con bossa nova, cumbia y música disco. Chulita Vinyl Club volverá con sus propuestas a lo largo de la noche.
The presence of Latinas on American television has increased in recent years, with new shows creating dynamic and innovative roles for Latina actresses. Writers Vivien Mejia (Ugly Betty, East Los High), Carolina Rivera (Jane the Virgin, Devious Maids), and showrunner Gloria Calderon Kellett (One Day at a Time) discuss the importance of bringing new narratives about women of color to the screen. Moderated by UC Irvine film and media studies professor Bambi Haggins.
Escenas latinas: Cambiar la narrativa
La presencia latina en la televisión estadounidense ha aumentado en años recientes, con nuevos programas que crean papeles dinámicos e innovadores para las actrices latinas. Las escritoras Vivien Mejía (Ugly Betty, East Los High) y Carolina Rivera (Jane the Virgin, Devious Maids), y la encargada del programa Gloria Calderón Kellett (One Day at a Time) analizan la importancia de llevar a la pantalla nuevas narrativas sobre las mujeres de color. Moderado por la profesora de estudios cinematográficos y mediáticos de UC Irvine Bambi Haggins.
"Donald Trump's worst nightmare—a Mexican lesbian diva who can wring your very soul" (The Guardian). The Costa Rica–born Mexican singer Chavela Vargas was a pioneer in music and life. Constructed around exclusive interviews and performance footage shot 20 years before her death, this biographical film explores the tequila-drinking, cigar-smoking singer's journey from a 14-year-old runaway to world-renowned Grammy winner. (2017, dir. Catherine Gund and Daresha Kyi, 90 min.)
A Q&A with director Catherine Gund follows.
Chavela
«La peor pesadilla de Donald Trump: una diva lesbiana mexicana que puede retorcer el alma» (The Guardian). La cantante mexicana nacida en Costa Rica, Chavela Vargas, fue una pionera en la música y en la vida. Armada en torno a entrevistas e interpretaciones exclusivas filmadas 20 años antes de su muerte, esta película biográfica explora la trayectoria de esta cantante bebedora de tequila y fumadora de puros desde que se escapó de su hogar a los 14 años hasta que se convirtió en una ganadora del Grammy famosa en todo el mundo. (2017, dir. Catherine Gund y Daresha Kyi, 90 min.)
A continuación se presentará una sesión de preguntas y respuestas con la directora Catherine Gund.
In this provocative performance-lecture, beloved Mexican artist Astrid Hadad explores the relationship between her work and Mexican culture and politics. Known for over-the-top costumes and fusing Mexican and Latin music into a genre she calls "Heavy Nopal," Hadad skewers Mexican hypocrisy, machismo, and corruption from a cheeky feminist perspective. For this program, Hadad recontextualizes popular Mexican symbols such as the virgin, the flag, the cactus, the heart, the mother, and the border.
Astrid Hadad: (De)construir la mexicanidad
En este provocativo espectáculo mezcla de conferencia e interpretación, la querida artista mexicana Astrid Hadad explora la relación entre su trabajo y la cultura y la política mexicanas. Conocida por sus atuendos desbordantes y la fusión de música mexicana y latina en un género que ella denomina «Heavy Nopal», Hadad descuartiza la hipocresía, el machismo y la corrupción mexicanos desde una perspectiva feminista impertinente. Para este programa, Hadad recontextualiza símbolos populares mexicanos tales como la virgen, la bandera, el cactus, el corazón, la madre y la frontera.
Copresented with Los Angeles Filmforum
Showcasing rare works by female filmmakers who carved out a place within the male-dominated world of Latin American independent film, this program includes Uruguayan filmmaker Lydia García Millán's Color (1955), one of the first abstract experimental films from Latin America; Narcisa Hirsch's Workshop (1975); the politically charged Super 8 experiments by Puerto Rican underground artist Poli Marichal; and recent video essays by Mexican artist Ximena Cuevas. Curated by Ángela López Ruiz.
Talleres: Realizadoras cinematográficas experimentales de Latinoamérica
Presentado conjuntamente con Los Angeles Filmforum
Este programa, que resalta trabajos excepcionales de realizadoras cinematográficas que lograron insertarse en la esfera del cine latinoamericano independiente dominada por hombres, incluye Color (1955), de la realizadora uruguaya Lydia García Millán, una de las primeras películas experimentales abstractas de Latinoamérica; Workshop (1975), de Narcisa Hirsch; experimentos políticamente cargados en Súper 8 de la artista portorriqueña underground Poli Marichal; y ensayos recientes en video de la artista mexicana Ximena Cuevas. Curado por Ángela López Ruiz.
Films/películas:
Umbrales. Marie Louise Alemann, Argentina, 1980, 19 min., color, Super 8, transferred to digital.
Color. Lydia Garcia, Uruguay, 1955, 3 min., color, 16mm.
Tango: El Narrador. Luz Zorraquín, Argentina, 1991, 7 min., video.
Desnudo con alcatraces. Silvia Gruner, Mexico, 1986, 1:50 min., B&W, Super 8, transferred to digital.
Taller. Narcisa Hirsch, Argentina, 1976/1977, 10 min., color, Super 8, transferred to digital.
Devil in the Flesh/Diablo en la piel. Ximena Cuevas, Mexico, 1998, 5 min., color, video.
Popsicles. Gloria Camiruaga, US/Chile, 1982–84, 4:42 min., color, video.
Blues Tropical & Paisaje. Poli Marichal, Puerto Rico, 1982–85, 6:49 min., color, Super 8, transferred to digital.
Paracas. Cecilia Vicuña, US/Chile, 1983, 18:31 min., color, 16mm, transferred to digital.
Copacabana Beach. Vivian Ostrovsky, US/Brazil, 1983, 10:08 min., color, Super 8, transferred to digital.
Produced by SCI-Arc. Cecilia Fajardo-Hill (Guest Curator – Radical Women: Latin American Art, 1960-1985) and Theresa Sotto (Assistant Director Academic Programs - Hammer Museum) discuss the exhibition Radical Women: Latin American Art, 1960-1985.
In collaboration with local performers, Palacios Whitman creates striking visual poetry with sculptural props that evoke dreamlike images of mummies, a large elephant trunk, giant hands, and a “human paper coil.” The program includes actions first carried out in the 1970s — exemplifying Sylvia Palacios Whitman’s unique performance style, in which surreal stage props and wearable art create a visual form of theater that combines a rich Latin American pictorial sensibility with the minimalism of New York’s dance scene of the 1970s. Known to performance art enthusiasts on the East Coast, this will be the first time one of Whitman’s performances will be staged on the West Coast.
Con la colaboración de artistas locales, Palacios Whitman crea una llamativa poesía visual con pilares escultóricos que evocan imágenes de ensueño de momias, un gran tronco de elefante, manos gigantes, y una "bobina de papel humana." El programa incluye acciones llevadas a cabo en la década de 1970, que ejemplifican el estilo único de Sylvia Palacios Whitman, en el que escenarios surrealistas y vestimentas artísticas crean un teatro visual que combina una rica sensibilidad pictórica propia de Latinoamérica con el minimalismo de la escena de danza de Nueva York en los 70s. Reconocida por entusiastas de las artes vivas en la costa este, esta será la primera vez que Whitman se presente en la costa oeste.
Celebrate the opening of Radical Women: Latin American Art, 1960–1985 with a curator tour, conversation, and performance. This daylong program honors the pioneering Latin American and Latina artists in the exhibition and their canon-expanding contributions to contemporary art during a period of extraordinary conceptual and aesthetic experimentation.
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Performance of Passing Through. Brooklyn Museum, April 14, 2018 -
Performance of Passing Through. Brooklyn Museum, April 14, 2018 -
Performance of Passing Through. Brooklyn Museum, April 14, 2018 -
Performance of Passing Through. Brooklyn Museum, April 14, 2018 -
Performance of Passing Through. Brooklyn Museum, April 14, 2018 -
Performance of Passing Through. Brooklyn Museum, April 14, 2018
In honor of Chavela Vargas’s birthday, Brooklyn Museum presents a screening of the award-winning documentary Chavela (2017, dir. Catherine Gund and Daresha Kyi, 93 min.), honoring the life of the trailblazing queer icon and legendary Mexican singer. Followed by a talkback with director Catherine Gund.
Our film series in conjunction with Radical Women: Latin American Art, 1960–1985 continues with a double feature exploring Latina women’s ongoing struggle for reproductive justice in Puerto Rico and the mainland United States. The documentary La Operación (The Operation) (1982, dir. Ana María García, 40 min.) sheds light on the history and practice of female sterilization in Puerto Rico. Then, No Más Bebés (No More Babies) (2016, dir. Renee Tajima-Peña, 55 min.) tells the story of immigrant mothers in the United States who sued doctors and the government after being forced into sterilization in the 1960s and 1970s.
This double feature is introduced by Eugenia Acuña, reproductive rights advocate; co-founder of Taller Salud, a Puerto Rico–based feminist community health organization; and founding member of the New Haven chapter of the Committee to End Sterilization Abuse (CESA).
In conjunction with Radical Women: Latin American Art, 1960‒1985, explore forms of intergenerational Latinx activism with former Young Lords Party member and filmmaker Iris Morales, educator and activist Rosa Clemente, and environmental activist Victoria Barrett. The three discuss strategies for community organizing in both the United States and Latin America, moderated by Adjoa Jones de Almeida, director of education, Brooklyn Museum.
This series of intimate, in-gallery talks by contemporary artists illuminates Brooklyn Museum's special exhibitions with fresh and alternative perspectives. Esperanza Mayobre, a Brooklyn-based artist whose work explores fictive spaces and ideas of heroes, infinity, and global economies, responds to works in the special exhibition Radical Women: Latin American Art, 1960–1985.
In honor of Mother’s Day, Brooklyn Museum presents a double feature starting with Diálogo con mi Abuela (Conversation with My Grandmother)(2015, dir. Gloria Rolando, 40 min.), a familial portrait centering on the contributions of Afro-Cuban women. Then, the Academy Award–nominated documentary Las Madres de la Plaza de Mayo (The Mothers of the Plaza de Mayo)(1986, dir. Susana Blaustein Muñoz and Lourdes Portillo, 64 min.) tells the story of the activist mothers who challenged the repressive regime in Argentina during the 1970s and 1980s.
The film series presented in conjunction with the exhibition Radical Women: Latin American Art, 1960–1985 continues with Carmita (2013, dir. Israel Cárdenas and Laura Amelia Guzmán, 80 min.), which tells the story of Cuban actress Carmen Ignarra, who is exiled in Mexico. The documentary is paired with De Cierta Manera (One Way or Another) (1977, dir. Sara Gómez, 78 min.), which captures life in Havana after the Cuban Revolution through a blend of storytelling and historical footage.
This series of intimate, in-gallery talks by contemporary artists illuminates Brooklyn Museum's special exhibitions with fresh and alternative perspectives. Paul Ramírez Jonas, whose participatory sculptures investigate viewer participation and collective histories, responds to the special exhibition Radical Women: Latin American Art, 1960–1985.
A conversation with pioneering artist, educator, and organizer Judith F. Baca, whose work is featured in Radical Women: Latin American Art, 1960–1985. She is joined by Anna Indych-López, associate professor of art history, City College of New York and The Graduate Center, CUNY, and author of the recent monograph Judith F. Baca, to discuss how ideas of collaboration and authorship, as well as intersections of race, class, and gender, have informed her practice.
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Judith Baca (left) and Anna Indych-López (right). Brooklyn Museum, June 16, 2018Photo: Kolin Mendez Photography -
Judith Baca. Brooklyn Museum, June 16, 2018Photo: Kolin Mendez Photography
This documentary (2016, dir. Joanna Sokolowski and Kate Trumbull-LaValle, 72 min.) captures the everyday lives of the Ovarian Psycos Cycle Brigade, a bicycle crew of women of color in East Los Angeles. Through their art and activism, they continue a collective feminist legacy of creating community and confronting violence. Presented in partnership with Women Make Movies.
The three-day series Cuerpxs Radicales (taking place July 5, 12, and 19) showcases female-identified and gender-nonconforming Latinx artists in the greater NYC area who are exploding rigid notions of femininity. Featuring performance, visual art, literature, music, and everything in between, it centers on a younger generation engaging with our current political and cultural landscape. Presented in partnership with NYU’s Hemispheric Institute of Performance and Politics.
July 5
7–8 pm Ela and Alina Troyano
8–8:30 pm Awilda Rodríguez Lora
8:30–9 pm Sonia Guiñansaca
9–9:30 pm STEFA*July 12
6–9:30 pm Arantxa Araujo
6:30–8:30 pm Francheska Alcántara
7–7:30 pm ray ferreira
8:30–9:10 pm Jennif(f)er TamayoJuly 19
7–8 pm Marsha Parilla
7:30–9:30 pm Alicia Grullón
8–8:30 pm Joiri Minaya
8:30–9:30 pm Linda LaBeija
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Ela and Alina Troyano perform at Cuerpxs Radicales: Radical Bodies in Performance. Brooklyn MuseumPhoto: Kolin Mendez Photography -
Awilda Rodríguez Lora performs at Cuerpxs Radicales: Radical Bodies in Performance. Brooklyn MuseumPhoto: Kolin Mendez Photography -
Sonia Guiñansaca performs at Cuerpxs Radicales: Radical Bodies in Performance. Brooklyn MuseumPhoto: Kolin Mendez Photography -
STEFA* performs at Cuerpxs Radicales: Radical Bodies in Performance. Brooklyn MuseumPhoto: Kolin Mendez Photography -
Arantxa Araujo performs at Cuerpxs Radicales: Radical Bodies in Performance. Brooklyn MuseumPhoto: Kolin Mendez Photography -
Francheska Alcántara performs at Cuerpxs Radicales: Radical Bodies in Performance. Brooklyn MuseumPhoto: Kolin Mendez Photography -
ray ferreira performs at Cuerpxs Radicales: Radical Bodies in Performance. Brooklyn MuseumPhoto: Kolin Mendez Photography -
Jennif(f)er Tamayo performs at Cuerpxs Radicales: Radical Bodies in Performance. Brooklyn MuseumPhoto: Kolin Mendez Photography
Celebrate the last weekend of Radical Women: Latin American Art, 1960–1985 in Brooklyn. We honor these groundbreaking artists with tours of the exhibition led by María Evelia Marmolejo and Sandra Llano-Mejía, who also discuss their work on view and unique approaches to performance.
Em ocasião da nova exposição "Mulheres radicais: arte latino-americana, 1960-1985", a Pinacoteca de São Paulo realiza no próximo sábado, a partir das 15h, uma conversa especial com as artistas Maria Eugenia Chellet, Maria Evelia Marmolejo. Paz Errazuriz, Cecilia Vicuña, Lole de Freitas, Vera Chaves Barcellos e as curadoras da mostra Cecília Fajardo-Hill e Andrea Giunta.
A história da arte brasileira consagra um lugar especial às modernistas Anita Malfatti e Tarsila do Amaral. Todavia, muito pouco se sabe sobre mulheres artistas que atuaram antes delas: o estudo das principais exposições realizadas no Rio de Janeiro entre 1844 e 1922 traz a cifra de mais de duas centenas de nomes femininos dentre os expositores. A aula pretende discutir as razões para o desconhecimento sobre tais produtoras, bem como lançar luzes sobre algumas trajetórias e obras exemplares dessas primeiras gerações de mulheres artistas. Denominadas como "pioneiras," muitas delas desafiaram preconceitos de época e lograram fazer da arte uma profissão.
Esta aula apresentará um panorama da trajetória de mulheres artistas atuantes no Brasil entre 1917, data da exposição de Anita Malfatti considerada o marco zero do Modernismo, até 1950, ano em que Maria Martins retorna definitivamente ao país. Além das duas artistas, serão enfocados trabalhos de Tarsila do Amaral, Regina Gomide Graz, Lucy City Ferreira e Noêmia Mourão.
No início dos anos 1960, três mulheres desafiaram o formato do quadro de parede e da representação figurativa, protagonizando o salto da arte brasileira rumo à participação e à síntese entre racionalidade e corpo. As obras e escritos de Pape, Clark e Schendel conduzirão a discussão desta palestra.
No encontro, pretende-se discutir o fluxo de artistas brasileiras para Nova Iorque nas décadas de 1960 e 1970. Foi nesse momento que elas se viram envolvidas em novos debates estéticos e políticos, o que acabou provocando mudanças em suas trajetórias artísticas.
A artista Carmela Gross (1946) fala sobre sua trajetória iniciada nos anos 1960 sob influência da pop art. Nas décadas seguintes, seu trabalho passa a incorporar questões relativas à arquitetura e à paisagem, bem como preocupações sociais e políticas.
A artista Lenora de Barros (1953) fala sobre sua trajetória. Influenciada, de início, pela obra de seu pai Geraldo de Barros (1923-1998) e dos artistas concretos, a artista passa na década de 1970 a investigar as interseções entre poesia e artes visuais, interesse que se desdobra nas décadas seguintes em instalações, vídeos e performances.
Histórias feministas, Mulheres radicais, seminário organizado em parceria com a Pinacoteca de São Paulo, dá continuidade a um primeiro realizado no MASP, em fevereiro de 2018, que contou com apresentações de artistas, pesquisadoras, ativistas e curadoras.
Este segundo seminário será um fórum para que artistas, curadoras e teóricas abordem os principais tópicos em relação ao feminismo e à arte, gerando novas reflexões sobre a mostra Mulheres radicais: arte latino-americana, 1960-1985 que acontece paralelamente na Pinacoteca de São Paulo, e cujo assunto vai ao encontro do projeto curatorial do MASP para 2019.
O seminário ainda faz parte da pesquisa para a exposição Histórias das mulheres, histórias feministas, prevista para acontecer entre agosto e novembro de 2019 no MASP. A exposição se divide em duas partes: Histórias das mulheres, que incluirá obras de diversos territórios, estilos e gêneros pictóricos, do século 16 ao final do século 19, e Histórias feministas, que reunirá artistas de diferentes nacionalidades que trabalham no século 21 em torno de ideias feministas ou em resposta a elas.
A Pinacoteca de São Paulo promove no dia 18 de novembro de 2018, o Arte e Poesia: Gritaram-me negra, ação educativa e cultural organizada pelo Núcleo de Ação Educativa (NAE) em comemoração ao Dia da Consciência Negra.
A ação consiste numa visita à obra Me gritaran negra, da artista afro-peruana Victoria Eugenia Santa Cruz Gamarra, que integra a mostra Mulheres radicais: arte latino-americana 1960-1985, em cartaz na Pinacoteca até 19 de novembro; seguida de uma escuta ativa da poesia A menina que nasceu sem cor da poeta paulistana Midria da Silva Pereira. Ao final, os visitantes serão convidados para uma roda de conversa sobre questões acerca da posição da mulher negra na sociedade atual.
Esta programação faz parte da Campanha #SonharoMundo, organizada pelo Sistema Estadual de Museu da Secretaria da Cultura do Estado, que mobiliza os museus paulistas a se unirem pelos Direitos Humanos.
A partir das obras de Rivane Neuenschwander, Rosana Paulino, Cinthia Marcelle e Barbara Wagner, o encontro percorre as últimas três décadas para discutir a atuação de artistas brasileiras à luz de questões como memória, corpo e linguagem. O panorama crítico e institucional que acompanha as trajetórias artísticas dessas artistas é colocado em perspectiva, diante de debates de gênero.