{"id":7586,"date":"2024-03-05T07:28:20","date_gmt":"2024-03-05T07:28:20","guid":{"rendered":"https:\/\/www.artep.ro\/?p=7586"},"modified":"2024-03-05T07:28:52","modified_gmt":"2024-03-05T07:28:52","slug":"w-spotlight-arta-vizuala-la-feminin-in-lumina-reflectoarelor","status":"publish","type":"post","link":"https:\/\/www.artep.ro\/en\/w-spotlight-arta-vizuala-la-feminin-in-lumina-reflectoarelor\/","title":{"rendered":"W SPOTLIGHT \u2013 arta vizual\u0103 la feminin, \u00een lumina reflectoarelor"},"content":{"rendered":"<p class=\"p1\">Matriarhat, patriarhat, feminism, egalitate, extremism, activism, postumanism, neoliberalism \u2013 par doar ni\u0219te concepte enumerate aleatoriu, dar sunt teme presante cu care societatea s-a confruntat \u00een diferitele sale faze de dezvoltare \u0219i care au un element comun: schimbarea. Ast\u0103zi discursul public, discursul media, discursul artistic, discursul politic, discursul educa\u021bional nu exist\u0103 dac\u0103 nu include referiri la ceea ce \u00een mod naiv am putea numi o simpl\u0103 lupt\u0103 de putere. Polarizarea extrem\u0103 este o reac\u021bie la decenii de uniformism, stereotipuri \u0219i t\u0103cere. Oare o mai putem combate? Sau mai bine o accept\u0103m \u0219i, acolo unde putem, construim un discurs integrat, care s\u0103 cuprind\u0103 mai multe<span class=\"Apple-converted-space\">\u00a0 <\/span>seturi de opinii polarizate?<\/p>\n<p class=\"p1\">La Galeria Artep, <b>dedic\u0103m prim\u0103vara anului 2024 exclusiv perspectivei artistice propuse de femei<\/b>, f\u0103r\u0103 a ne limita \u00eens\u0103 la feminism, din nevoia de reda c\u00e2t mai inclusiv temele aprofundate de artistele \u0219i curatoarele lumii \u00een ultimul secol.<\/p>\n<p class=\"p1\">Am invitat \u00een acest sens dou\u0103 curatoare rom\u00e2nce s\u0103 ne propun\u0103 c\u00e2te o perspectiv\u0103 curatorial\u0103 proprie care s\u0103 eviden\u021bieze arta realizat\u0103 de artiste femei. Dialogul dintre cele dou\u0103 curatoare \u0219i temele de cercetare propuse satisfac at\u00e2t nevoia de a aduce \u00een prim-plan arta femeilor prin medii de expresie diferite, dar \u0219i nevoie de a genera un dialog public la nivelul societ\u0103\u021bii, inspirat de o direc\u021bie cultural\u0103 asumat\u0103.<\/p>\n<p class=\"p1\">Prima expozi\u021bie, curatoriat\u0103 de Cristina Moraru, adreseaz\u0103 problematica justi\u021biei ecologice \u0219i a angajamentului activist-agricol \u00een cadrul unei cercet\u0103ri artistice desf\u0103\u0219urate de c\u0103tre artista suedez\u0103 ecofeminist\u0103 \u00c5sa Sonjasdotter. Expozi\u021bia se va constitui ca manifest deschis \u00een sprijinul reactiv\u0103rii metodelor de agricultur\u0103 colaborativ\u0103, incluz\u00e2nd lucrarea <i>The Kale Bed Is so Called Because There Is Always Kale in It<\/i> realizat\u0103 \u00een colaborare cu Merc\u00e8 Torres R\u00e0fols, and Allkorn &amp; Hans Larsson \u0219i va putea fi vizitat\u0103 \u00een perioada <b>2 aprilie \u2013 20 mai 2024<\/b>.<\/p>\n<p class=\"p1\"><b>\u00c5sa Sonjasdotter<\/b> este artist\u0103, cercet\u0103toare, scriitoare \u0219i lucr\u0103toare social\u0103, care locuie\u0219te pe insula Ven, Suedia, \u0219i \u00een ora\u0219ul Berlin, Germania. Opera artistic\u0103 a artistei suedeze este izvor\u00e2t\u0103 din nevoia acesteia de a se angaja \u00een procese material-narative pentru deconstruirea rela\u021biilor violente prin hran\u0103 \u0219i p\u0103m\u00e2nt. Investig\u00e2nd c\u00e2mpurile agricole de monocultur\u0103 din regiunea foarte industrializat\u0103 din Scandinavia de Sud, ea are o experien\u021b\u0103 personal\u0103 direct\u0103 a efectelor produse de rela\u021biile dintre oameni, habitate, ape \u0219i p\u0103m\u00e2nt. De dou\u0103 decenii, Sonjasdotter se implic\u0103 \u00een educarea cuno\u0219tin\u021belor fermierilor \u0219i a rela\u021biei oamenilor cu alimentele. Sonjasdotter este autoarea c\u0103r\u021bii <i>Peace with the Earth. Earth, Tracing Agricultural Memory \u2013 Refigurer Practice, <\/i>publicat\u0103 de Archive Books, Berlin, \u00een 2019. Cartea prezint\u0103 o anchet\u0103 micro-istoric\u0103 asupra practicilor agricole a trei culturi de baz\u0103: cereale, cartofi \u0219i varz\u0103. \u00c5sa<b> <\/b>Sonjasdotter este cercet\u0103tor doctor \u00een practic\u0103 artistic\u0103 la Academia Valand, Universitatea din G\u00f6teborg, Suedia. Din 2015 p\u00e2n\u0103 \u00een 2019, ea a fost membru fondator al Neighbourhood Academy, Berlin. \u00cen 2007, Sonjasdotter a co-fondat Academia de Art\u0103 Contemporan\u0103 din Troms\u00f8, Universitatea Arctic\u0103 din Norvegia, unde a fost lider de program p\u00e2n\u0103 \u00een 2010 \u0219i profesor p\u00e2n\u0103 \u00een 2014. A participat la \u00eenfiin\u021barea asocia\u021biei arti\u0219tilor danezi Young Art Workers \u00een 2002. Sonjasdotter este fondatoarea <i>Women Down the Pub<\/i> (Kvinder p\u00e5 V\u00e6rtshus), o re\u021bea de ac\u021biune feminist\u0103 ini\u021biat\u0103 la Copenhaga, 1996, care a publicat antologia de texte: <i>View, feminist strategies in Danish visual art<\/i> \u00een 2004.<\/p>\n<p class=\"p2\"><b>Cristina MORARU <\/b>este cercet\u0103toare, curatoare \u0219i editoare din Ia\u0219i. Lucreaz\u0103 ca lector universitar la Universitatea Na\u021bional\u0103 de Arte \u201eGeorge Enescu\u201d \u0219i este membru fondator al <i>.<\/i>. Totodat\u0103, este membru al forumului de cercetare<span class=\"s2\"> TPP<\/span><i> <\/i>supported by<i> <\/i>Technische Universit\u00e4t Berlin, Universit\u00e4t Bonn, Leuphana Universit\u00e4t L\u00fcneburg \u0219i Ludwig-Maximilians Universit\u00e4t M\u00fcnchen, membru AICA \u0219i (co)editor al publica\u021biei academice <i>Studies in Visual Arts and Communication<\/i>. A participat \u00een programe de studii interna\u021bionale, workshop-uri \u0219i reziden\u021be de cercetare \u00een cadrul<span class=\"s2\"> NCCR University of Basel, CRC \u201cAffective Societies\u201d Freie Universit\u00e4t Berlin, Aarhus University, University of Vienna, Simon Fraser University (Vancouver), Valand Academy for Art and Design (University of Gothenburg), University of Copenhagen, Lucerne University of Applied Sciences and Arts, Leuphana University L\u00fcneburg, Universit\u00e4t Hamburg, Loughborough University, Birmingham City University, Pedagogical University of Krakow, European University at St Petersburg, Danube University Krems, Ben-Gurion University of the Negev, MTFA Academy Chi\u0219inau, EEPAP Lublin, LCCA Latvia, CCA Prishtina, The Cvito Fiskovic Centre in Split, Institute of Contemporary Art in Zagreb, Fondazione Arthur Cravan in Milan<\/span> \u0219i alte institu\u021bii independente.<\/p>\n<p class=\"p2\">Proiectul continu\u0103 \u00een <b>iunie-iulie 2024 cu o expozi\u021bie curatoriat\u0103 de cercet\u0103toarea Larisa Oancea<\/b>, ce exploreaz\u0103 tematici legate de feminism, performativitate \u0219i identitate politic\u0103 a corpului prin intermediul c\u0103r\u021bilor de artist. \u00cen paralel, va avea loc o <b>dezbatere dedicat\u0103 curatoarelor \u0219i artistelor din Europa<\/b> \u00een jurul temei centrale a programului Women Spotlight: arta la feminin.<\/p>\n<p class=\"p1\"><b>Larisa OANCEA<\/b> este istoric de art\u0103 \u0219i cercet\u0103tor independent. Din 2016 locuie\u0219te la Vene\u021bia, unde colaboreaz\u0103 cu numeroase institu\u021bii de cultur\u0103. Este doctor \u00een istoria \u0219i teoria artei (Universitatea Na\u021bional\u0103 de Arte din Bucure\u0219ti) cu o tez\u0103 despre influen\u021bele artei renascentiste asupra cinematografiei europene, de la Serghei Eisenstein la Peter Greenaway \u0219i Lech Majewski. Format\u0103 at\u00e2t ca istoric de art\u0103, c\u00e2t \u0219i ca antropolog, Larisa s-a dedicat constant cercet\u0103rii dialogului dintre pictur\u0103 \u0219i film, precum \u0219i rela\u021biei dintre cinematografie \u0219i antropologie. Este autoarea c\u0103r\u021bii \u201eNancy Spanier. The Arc of a Dancing Life\u201d \u2013 o monografie despre coreografa \u0219i artista performativ\u0103 Nancy Spanier, publicat\u0103 de Performance Inventions \u00een decembrie 2021. \u00cen ultimii ani a lucrat ca: cercet\u0103tor la Siam\u2019s Guy Books, Yogurt Magazine \u0219i Performance Inventions; asistent muzeal la Fondazione Prada, Triennale di Milano, Biennale di Venezia, Fondazione Pino Pascali; curator a numeroase expozi\u021bii \u0219i sesiuni tematice de film. \u00cen prezent colaboreaz\u0103 cu Pavilionul Elve\u021biei la Bienala de la Vene\u021bia, iar din 2021 este cercet\u0103toare \u0219i curatoare \u00een cadrul colec\u021biei private de c\u0103r\u021bi de artist Tiane Doan na Champassak.<\/p>\n<p class=\"p2\">Asocia\u021bia Galeria Artep a fost \u00eenfiin\u021bat\u0103 \u00een decembrie 2019, din dorin\u021ba de \u00eembog\u0103\u021bire a demersurilor educative corelate artei contemporane \u00een peisajul cultural ie\u0219ean. Colaborarea cu<span class=\"Apple-converted-space\">\u00a0 <\/span>Galeria Artep a \u00eensemnat derularea a numeroase expozi\u021bii cu arti\u0219ti rom\u00e2ni \u0219i interna\u021bionali, curatoriate de: Alexandra Manole (Felix Aftene, \u201eMemoria Spa\u021biului\u201d, 2018, \u0218tefan C\u00e2l\u021bia, \u201eFragilitate\u201d, 2019, Virgil Scripcariu, \u201e\u00cent\u00e2lnire\u201d, 2019, Nicu Ilfoveanu, \u201ePanorama\u201d, 2021), Cristiana Ursache (Miruna Radovici, \u201eCross the Lake in a Silver Plate\u201d, 2022, \u201e\u0218tefan C\u00e2l\u021bia. Pe Olt\u201d, 2022, \u0218ona, Sorin Ilfoveanu, \u201eLEVANT\u201d, 2022\/2023, Claudiu Ciobanu \u201eMemento Vivere\u201d, 2023, Viena, Andrei Gavrili\u021ba, \u201eRISIPIT\u201d, 2023\/2024), Matei C\u00e2l\u021bia (Ghenadie Popescu \u0219i Mark Verlan, \u201eAproape totul sau mai nimic\u201d, 2020, \u201e\u0218tefan C\u00e2l\u021bia. Gl\u0103j\u0103rie. Apropierea de un me\u0219te\u0219ug\u201d, 2021, \u201e\u0218tefan C\u00e2l\u021bia. Obiectele restaur\u0103rii\u201d, 2022, Palatul Culturii), Cristian Nae (Matei Bejenaru, \u201ePRINT\u201d, 2021, Claudiu Ciobanu, \u201eSOLARIS\u201d, 2022).<\/p>\n<p class=\"p2\">Organised by: Galeria Artep Association<\/p>\n<p class=\"p2\">Cultural project co-financed by: National Cultural Fund Administration (AFCN)<\/p>\n<p class=\"p2\">Parteneri: Universitatea de Arte \u201eGeorge Enescu\u201d, Institutul de Cercetare Multidisciplinara \u00een Art\u0103,<span class=\"Apple-converted-space\">\u00a0 <\/span>Destination Ias\u0326I<\/p>\n<p class=\"p2\">Parteneri media: Revista Propagarta, ASOCIA\u021aIA EMPOWER ART &amp; ARTISTS, Asocia\u021bia PIN pentru Promovarea Tehnologiei \u0219i lndustriilor Creative, Revista Modernism<\/p>\n<p class=\"p2\"><i>The project does not necessarily represent the position of the National Cultural Fund Administration. AFCN is not responsible for the content of the project or how the works may be used. These are entirely the responsibility of the beneficiary of the funding.<\/i><\/p>","protected":false},"excerpt":{"rendered":"<p>Matriarhat, patriarhat, feminism, egalitate, extremism, activism, postumanism, neoliberalism \u2013 par doar ni\u0219te concepte enumerate aleatoriu, dar sunt teme presante cu care societatea s-a confruntat \u00een diferitele sale faze de dezvoltare \u0219i care au un element comun: schimbarea. Ast\u0103zi discursul public, discursul media, discursul artistic, discursul politic, discursul educa\u021bional nu exist\u0103 dac\u0103 nu include referiri la [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":7587,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[25],"tags":[],"class_list":["post-7586","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-proiecte"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.artep.ro\/en\/wp-json\/wp\/v2\/posts\/7586","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artep.ro\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artep.ro\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artep.ro\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artep.ro\/en\/wp-json\/wp\/v2\/comments?post=7586"}],"version-history":[{"count":2,"href":"https:\/\/www.artep.ro\/en\/wp-json\/wp\/v2\/posts\/7586\/revisions"}],"predecessor-version":[{"id":7592,"href":"https:\/\/www.artep.ro\/en\/wp-json\/wp\/v2\/posts\/7586\/revisions\/7592"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.artep.ro\/en\/wp-json\/wp\/v2\/media\/7587"}],"wp:attachment":[{"href":"https:\/\/www.artep.ro\/en\/wp-json\/wp\/v2\/media?parent=7586"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artep.ro\/en\/wp-json\/wp\/v2\/categories?post=7586"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artep.ro\/en\/wp-json\/wp\/v2\/tags?post=7586"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}