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After my time denominating, designing and heading this program in 2021 and 2022, Gender and Space is now devised, as planned, as a program with changing Guest-Professors. Please refer to the Website of the Academy of Fine Arts, Vienna for more info.

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Gender and Space 1

An exhibition by the 1st Gender und Space programme 2020/2021 Headed by Professor Stefanie Seibold

The participants of the Gender und Space programme have worked together in a group for two consecutive semesters. This exhibition is the product of a year of intense debate around the multifaceted impact of gender and gender biases in making, discussing, understanding, and the evaluation of artworks in and beyond institutional space, as reflected in individual artistic practices.

Dec. 17th, 2021 - Jan 30th, 2022

Exhibit Studio, Schillerplatz 3, 1010 Wien

Opening Times: Daily except for Mondays, 10–6 pm

Admission Free

Program for Exhibition and more info:

www.akbild.ac.at

The newly established field of Gender und Space investigates notions of space in general from a perspective of gender. As a category, space is understood and treated as an open concept to include exhibition space, social space, virtual space, space as a context or space as a stage, bodies in space, and space as a structure for content, form and objects.

The basis for our critical investigations into the field are intersectional feminist, decolonial and queer critiques of presentation and representation, as well as the deconstruction of social constructs, such as subject and object, which play a central role in the exhibiting and making of art.

Curatorial team: William Metin Martin, Em Schwarzwald, Huda Takriti and Stefanie Seibold. With contributions by Anahita Asadifar, Josphine Baltzersen, Yeongeun Jeun, William Metin Martin, Em Schwarzwald, Stefanie Seibold, Huda Takriti and Kajetan Uranitsch and a text by Karoline Feyertag.

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Gender und Space 1

Eine Ausstellung des ersten Studiengangs Gender und Space des Studienjahrs 2020/2021

Geleitet von Professor*in Stefanie Seibold

Die Ausstellung ist das Ergebnis einer einjährigen, intensiven, über zwei aufeinanderfolgende Semestern verfolgten Auseinandersetzung der Teilnehmer*innen des Studiengangs Gender and Space mit den vielfältigen Effekten von Gender als gesellschaftlicher Struktur-kategorie sowie unbewusster, genderspezifischer Voreingenommenheit beim Machen, Diskutieren, Wahrnehmen, Verstehen und Bewerten von Kunstwerken innerhalb und außerhalb institutioneller Räume. Viele dieser Themen und Diskussionen spiegeln sich in den individuellen künstlerischen Beiträgen der Ausstellung wider.  

Im Studiengang Gender and Space wird Raum grundsätzlich in Bezug auf Gender konzipiert und verhandelt. Die Kategorie Raum ist offen angelegt und kann den Ausstellungsraum, den sozialen Raum, den virtuellen Raum, Raum als Kontext, Körper im Raum oder Raum als Bühne und Struktur für Inhalte und Formen umfassen.

Die Basis der Auseinandersetzung mit Raum im Studiengang bilden intersektionale feministische, dekoloniale und queere Kritik an Präsentation und Repräsentation, sowie die Dekonstruktion gesellschaftlich konstruierter Begriffe wie Subjekt und Objekt, die zentrale Rollen in der kulturellen Bedeutung und Definition von öffentlichem und privatem Raum, Ausstellen und Kunst-Machen einnehmen.

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In late June we visited the show Frauen (Artists) of the Wiener Werkstätten, at the MAK, Vienna. 180 “forgotten” women artists of Wiener Werkstätten “found” in the Wiener Werkstätten-archive of MAK. Amazing, wonderful works on display in the show, must see!

For more infos about the show at MAK Wien, Wed, 05.05.2021–Sun, 03.10.2021 MAK – Museum of Applied Arts

please see:

https://mak.at/womenartistsoftheww

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Opening of Installation Expropriating Appropriators* and launch of S*I*G publication essay #11 of same name by Stefanie Seibold, published by Megan F. Sullivan www.sig-verlag.net

*Title from Craig Owens essay: The Discourse of Others: Feminists and Postmodernism, 1983

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Installation Expropriating Appropriators* by Stefanie Seibold at An den Kohlenrutschen 29, 1020 Wien. On Invitation by Bitter/Weber, Julia Wieger and Christina Linortner. Excursion and discussion with course on March 7th, 2021

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"[Music's] order simulates the social order, and its dissonances express marginalities." -Jacques Attali, Noise: A Political Economy of Music "While the development of Queer-positive imagery and graphics exploded with AIDS activism in the 1980's, sonically we have little more than, 'Hey-hey, ho-ho, Homophobia's got to go!'" -Dont Rhine, Ultra-red It has been suggested by myself and others that certain subgenres of what has come to be known as Contemporary Ambient music propose a complication of cultural processes by subverting the spectacle of melody and questioning the social functions of active and passive listening techniques. Similarly, while the genre remains dominated by male producers and cannot claim to transcend the conventional heterosexism and gender biases of the electronic music industry, it incorporates discourses which involve the active disclosure, inversion and convolution of sonic and experiential relationships. The result is a vehicle of layered contents and contradictions that extend to the very manner in which it allows for the generation of multiple political discourses while most forums for reception are despairingly a-political and Humanist in tone (an often frustrating passive-aggressive circumstance). To exemplify this concept of contingency upon the contradictory, the sounds developed for Couture Cosmetique emphasize residual noises produced by some of today's more popular digital synthesis techniques - including granular synthesis, pitch/time convolution and heterodyn filter analysis - bringing into focus those sounds which currently exist in a repressed state at the periphery of popular contemporary music production. In this manner, the limitations of such audio technologies are used to intimate new functionalities which remain excluded or omitted from popular development - a metaphor which may be applied to the construction and utilization of post-Industrial technologies in general. [....] I have found that this methodological framework for constructing audio has many similarities with non-essentialist factions of transgenderism [from gender confusion to Drag Kings and Queens] which also seek to complicate social processes. Transgenderism does this by actively questioning constructions of gender and sexuality, while its exploitation of essentialist constructs of femininity and masculinity reference social contextuality. It is this referentiality which I feel makes non-essentialist transgenderism a more viable platform for gender analysis than methodologies which propose a transcendental breach from those cultural influences they critique. However, as with a-politicism within the Contemporary Ambient genre, transgenderism's ability to develop such analyses is largely overwritten by larger factions and popular discourses which embrace essentialist concepts of sexual and gender identities. (released July 1, 1997) Originally released under license from Comatonse Recordings in 1997 as a CD (US: Caipirinha Productions, 1997) CAI-2002-2; and (Japan: Daisyworld Records, 1997) SYDW-0005D. Contracts have since expired and all rights reverted. Recorded at Meow, New York. Produced, mixed and arranged by T. Thaemlitz (BMI). Design by Terre. all rights reserved Footnote1 …Keep in mind that this text was the liner notes to a commercially distributed album in a genre typically represented by cheap 3D computer graphics, holograms and P. L. U. R. (Peace, Love, Unity, Respect) spiritual jargon. So, on the one hand, the heavy-handed pseudo-academic flavor of this text was a reaction against the shallowness of the commercial audio marketplace. On the other hand, this injection of thematic content into a commercial CD was also a rejection of the notion that academia was the sole site of production for critical minded or “culturally important” computer music.…

https://comatonse.bandcamp.com/album/couture-cosmetique-transgendered-electroacoustique-sympotomatic-of-the-need-for-a-cultural-makeover-or-whats-behind-all-that-foundation

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Terre Thaemlitz guest-lecture on ambiance, gender and space.

Guest lecture by Terre Thaemlitz organized by the Gender & Space Studio/ IBK/Prof.in Stefanie Seibold/ in the context of Ringvorlesung IBK Summer Semester 2021.

In this lecture artist Terre Thaemlitz revisits his influential early writings and sound productions. Her critical analyses of the conditions of 1990s ambient music scene corresponds to our investigations into the interdependencies of Gender u/and Space.

Taking place at the Academy of Fine Arts Vienna on 29th of april at 2 pm CET on our invitation.

Please first read Terres 2020 text PLEASE DON'T UPLOAD (which is not about the usual copyright claims).

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© Ruthie Singer-Decapite

CV

Terre Thaemlitz (1968) is an award winning multi-media producer, writer, public speaker, educator, audio remixer, DJ and owner of the Comatonse Recordings record label. Her work combines a critical look at identity politics - including gender, sexuality, class, linguistics, ethnicity and race - with an ongoing analysis of the socio-economics of commercial media production. He has released over 15 solo albums, as well as numerous 12-inch singles and video works. Her writings on music and culture have been published internationally in a number of books, academic journals and magazines. As a speaker and educator on issues of non-essentialist Transgenderism and Queerness, Thaemlitz has lectured and participated in panel discussions throughout Europe and Japan. As of January, 2001, he resides in Japan.

Terre was part in the last edition of Documenta in Athens and Kassel in 2017. For al full list of Terre Thaemlitz exhibitions and releases here

"Deproduction" AV world premiere at documenta 14 exhibition curated by  Pierre Bal-Blanc and in coproduction with the Akademie der Künste der Welt, Athens Conservatoire, Athens Greece (July 9 2017); Tofufabrik, Kassel Germany (July 11 2017); Christuskirche, Köln Germany (July 13 2017).

"Lovebomb/愛の爆弾" video installation at documenta 14 exhibition curated by Pierre Bal-Blanc, Museum für Sepulkralkultur, Kassel Germany (June 10 through September 17 2017).

"Interstices" video installation at documenta 14 exhibition curated by Pierre Bal-Blanc, EMST― National Museum of Contemporary Art, Athens Greece (April 8 through July 16 2017).

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Welcome to the blog of Gender u/and Space at the Academy of Fine Arts, Vienna. (drawing by Josephine Baltzersen, 2020)

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forever wrong

Wie ein Krieger zur Kriegerin wurde

https://science.orf.at/v2/stories/2986031/

„Wer sich eine Welt, in der Frauen den Männern gleichgestellt sind, nicht vorstellen kann, kann sie auch in den archäologischen Funden nicht  erkennen.“

‘Every movement I’ve been in has been infected by patriarchy’

https://www.theguardian.com/world/2020/oct/17/every-movement-been-in-infected-by-patriarchy-extract-from-alicia-garza-book

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image: Stefanie Seibold, Joy in Repetition II (pink and yellow version), 2019,  two steel objects, studio view, photo: Pascal Petignat

Welcome to the blog of the new Fachgebiet Gender u/and Space at the Academy of Fine Arts, Vienna.

WHAT IS THIS?

The newly established field of Gender and Space investigates the idea of Space generally with a special focus on Gender. The category Space is understood and treated as an open concept that can mean things like the exhibition space, social space, virtual space, space as context, bodies in space or space as a stage and structure for content, forms and objects etc. The basis for our critical investigation into the field are feminist, decolonial and queer critiques of presentation and representation, as well as a deconstruction of social constructs like subject and object, which play a central role in the definition of public vs. private space, exhibiting and making art.

The new field was denominated by Stefanie Seibold and founded in march 2020, students from all institutes at the academy can take part, there is however a selection process involved to participate.

This Blog represents first ideas and materials for Gender and Space and will grow over time with more statements, projects and research items.

The PROPOSALS should or can be used as a non-linear overview of possible topics and directions to investigate.

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Im Fachgebiet Gender und Space wird Raum grundsätzlich in Bezug auf Gender konzipiert und verhandelt. Die Kategorie Raum ist offen angelegt und kann den Ausstellungsraum, den sozialen Raum, den virtuelle Raum, Raum als Kontext, Körper im Raum oder Raum als Bühne und Struktur für Inhalte und Formen umfassen. Die Basis der Auseinandersetzung mit Raum im Fachgebiet bilden feministische, dekoloniale und queere Kritik an Präsentation und Repräsentation, sowie die Dekonstruktion gesellschaftlich konstruierter Begriffe wie Subjekt und Objekt, die zentrale Rollen in der kulturellen Bedeutung und Definition von öffentlichem und privatem Raum, Ausstellen und Kunst-Machen einnehmen.

Das von Stefanie Seibold denominierte und konzipierte, 2020 neu begründete Fachgebiet Gender und Space initiiert themenspezifische Projekte und/oder LVS für Gruppen von Studierenden, die Teilnehmer*innen aus allen Instituten an der Akademie grundsätzlich offenstehen, allerdings einen Auswahlprozess involvieren.

Erste weiterführende Materialien und Themen des neuen Fachgebiets sind auf diesem Blog einsehbar.

Die Proposals dienen zu einer Orientierung über Inhalte und Fragestellungen des neuen Fachgebiets, und kommunizieren einzelne Themen und Themencluster innerhalb der Akademie sowie einer breiteren Öffentlichkeit.

PROPOSALS

Proposal # 1

Exhibitions owe their cultural viability to the fact that they reproduce fundmental, socially-produced categories such as subject and object and, in doing so, also reproduce a mechanism of power which always operates via the production and regulation of such categories. And in this sense body and space can be understood as places where meaning is produced, and consequently as politically determined territories occupied according to specific, identifiable strategies.

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Ausstellungen beziehen ihre kulturelle Lebenstüchtigkeit durch die Tatsache, daß sie grundlegende gesellschaftlich produzierte Kategorien, wie die des Subjekts oder des Objekts reproduzieren und damit auch die Funktionsweise von Macht, die stets über die Produktion und Regulierung dieser Kategorien verläuft. Und in diesem Sinne sind Körper und Raum als Orte der Sinnproduktion und als ein politisches Territorium zu verstehen, dessen Besetzungsstrategien aufgezeigt werden können.

Dorothea von Hantelmann, in: I promise, its political, 2006

Proposal # 2

“I want to rethink how whiteness functions in the art world.” Claudia Rankine

Claudia Rankine is a professor of poetry at Yale University, in both the English and African American Studies departments. Her work includes the best-selling collection Citizen: An American Lyric, published in 2014 by Graywolf Press of Minneapolis, which describes the everyday acts of racism experienced by Rankine and other people of color.

The Racial Imaginary Institute https://theracialimaginary.org/about/

Proposal # 2

Life in this society being, at best, an utter bore and no aspect of society being at all relevant to women, there remains to civic-minded, responsible, thrill-seeking females only to overthrow the government, eliminate the money system, institute complete automation and destroy the male sex.

Valerie Solanas, Scum Manifesto, 1968

Proposal # 3

Tract for Valerie Solanas Matmos, Track aus dem Album: The Rose Has Teeth In The Mouth Of A Beast, 2006 https://www.youtube.com/watch?v=2_GRp24V_bQ

Proposal # 4

Expropriating the appropriators

Still, the affinities between poststructuralist theories and postmodern practice can blind a critic to the fact that, when women are concerned, similar techniques can have very different  meanings. ….Or is her refusal of authorship not in fact a refusal of the role of creator as „father“ of his work, of the paternal rights assigned to the author by law….[Sherry] Levine´s disrespect for paternal authority suggests that her activity is less one of appropriation–a lying hold and grasping–and more one of expropriation: she expropriates the appropriators.

Craig Owens, The discourse of others, 1983

  Proposal #5

Tod der Autorin/ Death Of The Author*

It's quite, at the same time funny and paradoxical, because at the same time that women were reclaiming the gender, the flesh, the body behind the "author" and reclaiming there were female painters, there were female film makers, there were female writers - in '68 and '69 were the big and mythical texts by Barthes, "Death of the Author," and Foucault, "What is an Author." And both were claiming the death of the author for the good of the birth of the reader. So on the one hand it goes with what feminists were expecting, meaning to kill the author and to get rid of this patriarchal figure of the genius, the male author.

But at the same time, it was destroying the location feminists would need to occupy and act as if "author" was their location. So it was this kind of twist in the times. I think it's kind of funny that when we claim to be an author - finally - well, he died.

Laurence Rassel in Conversation with Terre Thaemlitz, 2005-2007, From: The Laurence Rassel Show, listen to and read at: https://www.comatonse.com/writings/2007_laurencerasselshow.html

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             ................COLLECTED VARIED MATERIALS.......

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Wie ein Krieger zur Kriegerin wurde

https://science.orf.at/v2/stories/2986031/

„Wer sich eine Welt, in der Frauen den Männern gleichgestellt sind, nicht vorstellen kann, kann sie auch in den archäologischen Funden nicht erkennen.“

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Großwildjagd war auch Frauensache

https://science.orf.at/stories/3202743/

Myth of gender dichotomies for hunter and collector/Jäger und Sammler debunked.

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‘Every movement I’ve been in has been infected by patriarchy’

https://www.theguardian.com/world/2020/oct/17/every-movement-been-in-infected-by-patriarchy-extract-from-alicia-garza-book