SPLINTERED REALITIES: RIXC Art Science Festival 2022

CALL for Conference Proposals is OPEN!

Deadline for submissions – August 15, 2022

APPLY NOW! Please send your submissions (short abstract and bio) via openconf system online: https://renewablefutures2022.rixc.lv/openconf.php 

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SPLINTERED REALITIES

The 5th RENEWABLE FUTURES Conference (Hybrid / Virtual) in the framework of RIXC Art Science Festival 2022

October 6 – 8, 2022

Riga, Latvia / virtually from Liepaja, Karlsruhe, Oslo http://rixc.org

“An ecology of the virtual is .. just as pressing as ecologies of the visible world” – Felix Guattari

RIXC in Riga is preparing the next edition of its annual Art and Science festival, which under the title SPLINTERED REALITIES will take place in Riga and virtually, including the exhibition opening program (August 25, 2022) followed by artist talks, guided tours, workshops and performances (August 25 – October 15, 2022), and the final international conference event (October 6–8,  2022). The SPLINTERED REALITIES Conference of RIXC Festival, is the 5th edition of the Renewable Futures conference series. The Conference will take place from October 6 – 8, 2022, as a hybrid event; rhe on-site part will take place at the RIXC gallery in Riga, hosting keynote speakers, panel curators, co-chairs and moderators, while most of the participants (selected through an open call) will be joining online, including in hybridity format sessions co-hosted by RIXC partners – NAIA in Karlsruhe, MPLab in Liepaja and FeLT in Oslo.

SPLINTERED REALITIES 

Conference October 6 – 8, 2022, Riga (Hybrid and Virtual)

The SPLINTERED REALITIES Conference will be structured into a three-day program, with each “Splinter Session” focusing on a different area or field, identifying the key “splinters” and discussing how to make tentative steps towards reconstituting our realities, everyday lives, and communication with each other, now and into the future. 

We want to meet in Riga and online, to talk, eat, play – and probably also cry – together, and imagine what it would take to build a world in which wars like the current Russian onslaught on Ukraine would become impossible. We choose such a perspective because our realism is neither that of military strategists, nor that of cultural pessimists. Instead, ours is a desperate realism – perhaps in the spirit of Guattari’s ecososphy, Latour’s terrestrial coexistence, or Haraway’s question of how to live on a damaged Earth.. Media ubiquity, pandemic concerns, and social divisions have landed us in a world of splintered realities – to live with? to heal? to learn from nature?

The Conference will also look at creative practices that deal with “splintered realities”, showcasing what art can do and discussing what kind of (extended reality) technologies can help us to become more open (and sensitive) towards each other and our environments. 

We don’t expect to provide answers. Instead, the conference aims to be a forum for revising the “splinters” of our contemporary condition – affected moreover by ongoing military conflict.

[Splinter Session 01: Deep Europe] on Day 1 (6 Oct) “in the rear-view mirror of history” – will focus on the current situation in Europe, with a focus on the Baltics and Central and Eastern Europe, discussing and evaluating the “splinters” from the perspective of the past. Day 1 will feature the “Syndicate Meeting”, and artist presentations hosted by MPLab in Liepaja, which will be European Capital of Culture in 2027.

The “Syndicate” was an extended, informal network of artists and cultural practitioners based in Europe and beyond, that was active in the second half of the 1990s. Besides its online mailing list, the participants organised meetings for amicable encounters and professional exchange. We want to revive this format and again hold a Syndicate Meeting under the label of “Deep Europe”, a notion that does not refer to a particular territory, but to the awareness that identities and histories are always layered and entangled, a messy formation that cannot be ‘cleared up’, but that should rather be cherished and cultivated – in Europe, and elsewhere.

Session 01 curators: Andreas Broeckmann and Rasa Smite.

Topics: Deep Europe, Entangled Histories, Cultivated Futures, New Ecosophies, Extended Realities

[Splinter Session 02: Naturecultures] on Day 2 (7 Oct) “how to live in the damaged world” – will examine eco-feminist perspectives and other new ecosophies, learning from nature and our relations with it, in a search of new cultural theories and art practices that contribute towards goals of socio-ecological justice.

Day 2 will be hosted by the new Karlsruhe based art center – NAIA (Naturally Artificial Intelligence Art association), featuring presentations by Karlsruhe UNESCO Media Art city artists.

Session 02 curators and co-chairs: Anett Holzheid, Eva-Maria Lopez, Daria Mille / NAIA Topics: NatureCultures, Eco-feminism, More-than-Human, Socio-Ecological Justice, Naturally/Artificial IntIntelligences… 

[Splinter Session 03: Living Technologies] on Day 3 (8 Oct) ”in intersections between human beings, living environments and machines” – will focus on how life and the sense of aliveness are experienced and expressed today, in the face of environmental degradation, global pandemics, the war in Ukraine – splinters that raise the fear of domination, and that evoke a sense of the uncanny. Might they also point to a world of possibilities of becoming, creation of new forms and behaviors? Can we co-create more balanced forms of existence?

Day 3 will be hosted by the FeLT project team from Oslo, Norway, who are also co-founders of the Renewable Futures conference series. It will also feature the Green Revisited Book presentation by editors Kristin Bergaust, Jens Hauser and Rasa Smite.

Session 03 curators: Kristin Bergaust, Jens Hauser and FeLT (Oslo) project team. Topics: Techno-Ecological Sensoriums, AI and Biological Systems, Technologies of Sensible, Terrestrial Co-existence, Beyond Green…

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APPLY NOW!  

CALL for Conference Proposals is OPEN!

Deadline for submissions – August 15, 2022

If you are interested in an on-site or virtual participation and contribution, please, submit your proposals (a short abstract and bio) for the RIXC Festival / Renewable Futures conference via the openconf system: 

https://renewablefutures2022.rixc.lv/openconf.php

related to the following topics:

01-1 Deep Europe, Entangled Histories and Cultivated Futures, 01-2 New Ecosophies and Extended Realities

02-1 NatureCultures, Eco-feminism and Socio-Ecological Justice, 02-2 More-than-Human and Naturally/Artificial IntIntelligences 03-1 Techno-Ecological Sensoriums, AI and Biological Systems, 

03-2 Technologies of Care, Terrestrial Co-existence, and Beyond Green

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Registration Fees / Tickets

Early Bird fee: 18 EUR Full fee: 36 EUR Students: 50% reduction.

Conference Registration and Early Bird tickets will be available from July 15, 2022 via eventbrite system.

On-site Exhibitions in kim? and RIXC gallery has a free entrance. 

Guided Tours for school groups can be booked for no charge via e-mail rixc@rixc.org

Producers and Contact:

The Festival is Produced by The RIXC Centre for New Media Culture. 

Festival curators: Rasa Smite (rasa@rixc.org) and Raitis Smits (raitis@rixc.org)

Festival producer: Agnese Baranova (agnese@rixc.org)

PR and information coordinator: Liva Silina (rixc@rixc.org)

Contact e-mail: rixc@rixc.org  

Phones: +371 29635167 (Agnese Baranova), +371 26546776 (Rasa Smite)

Address: RIXC the Centre for New Media Culture, Lencu iela 2, Riga, LV-1010, Latvia

Partners:

The SPLINTERED REALITIES Festival and Conference partners are: NAIA/Karlsruhe, MPLab/Liepaja, FeLT/Oslo.

Support:

The festival is supported by The State Culture Capital Foundation of Latvia,  Riga City Council, the Ministry of Culture of the Republic of Latvia, Goethe Institute, and others.

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http://rixc.org

Queer Ecologies, Art and Science: Panel talk by Mary Maggic and Marietta Radomska

During the past several months I have given a number of talks in many diverse places and on different occasions. I haven’t been very good at documenting them, though.

Yet, this week I’ve had a great pleasure to take part in an event organised by The Archive of Pink Noises/Arkivet för Rosa Brus: a panel talk/conversation between artist Mary Maggic and myself, focused on the topic of Queer Ecologies, Art and Science.

The panel talk was livestreamed on Facebook on 8th December at 19h00-21h00 CET. In case you missed it, you can still watch the recording HERE.

And here comes the description of the event published by Rosa Brus:

As part of a series of panel talks, the queer sound archive The Archive of Pink Noises has invited scholar Marietta Radomska and artist Mary Maggic to discuss the emerging scholarly and artistic field of “queer ecologies” based in their own scientific and artistic practices.How can we imagine and critically understand the relations between life/death, living/non-living, human/non-human in a world of evironmental toxicities and hormone biopolitics from different queer ecological and/or ecophilosophical perspectives? What role can art play as a political tool in this endeavour? Conversely, what role can science and critical theory play in one’s art practices? What arenas of public discourse are the most important and urgent ones in which to intervene politically? And what methods and methodologies can one develop in one’s own science and art practices?The duration of the talk is approximately 60 minutes, with time for questions after the main talk.

MARY MAGGIC
Mary Maggic (b. Los Angeles, ’91) is a non-binary artist working at the intersection of cultural discourse, body and gender politics and ecological alienations. Using biohacking and public amateurism as a critical practice of care, Maggic investigates the micro-performativity of hormones and works collaboratively to demystify their molecular colonization.
https://maggic.ooo

MARIETTA RADOMSKA
Marietta Radomska, PhD, Assistant Professor in Environmental Humanities, Linköping University (Unit Gender Studies), Sweden; director of The Eco- and Bioart Lab; co-director of The Posthumanities Hub; and co-founder of Queer Death Studies Network. She works at the intersection of posthumanities, philosophy, queer death studies, and visual culture. www.mariettaradomska.com

THE ARCHIVE OF PINK NOISES
Arkivet för Rosa Brus (The Archive of Pink Noises) is a queer sound archive that aims to collect, archive and publish queer culture production in sonic form and we view (queer) sound as a bearer of history. We do this in collaboration with other archives, artists, activists and scholars. By collecting, archiving, reading and arranging public events in the shape of festivals, workshops and site-specific sound pieces around Sweden, we explore together with all the participants what pink noise and a queer sound archive can be. The work of AfRB is made in collaboration with the cultural association Tupilak (www.tupilak.org) and with grants from Kulturbryggan (Konstnärsnämnden/The Swedish Arts Grants Committee).
For more information or for submitting material to the archive please visit us at www.rosabrus.nu

‘END OF THE SEA? ART AND SCIENCE FOR MULTISPECIES FUTURES’ WORKSHOP, 13th December 2021.

Join us on 13th December for another exciting event I have a pleasure to co-curate together with my colleague, Prof. Cecilia Åsberg!

The Posthumanities Hub

It is our great pleasure to announce our upcoming event, hosted by The Eco- and Bioart Lab and The Posthumanities Hub, and generously supported by The Seed Box and Åke Wiberg Foundation:

End of the Sea? Art and Science for Multispecies Futures Workshop takes place on 13th December 2021 at 13:15 – 16:30 – on Zoom!

For registration details – see below.

As the planet’s largest ecosystem, oceans and seas stabilise climate, produce oxygen, store CO2and host unfathomable multitudes of creatures at a deep-time scale. In recent decades, scientific assessments have indicated that marine environments are seriously degraded to the detriment of most near-future human and nonhuman communities.This matters to us, too.Climate change, environmental destruction and diminishing biological diversity form the key pillars of the present more-than-human crisis of planetary proportions.This calls for our attention and for responses from the more-than-human humanities.

Still, a lot remains unknown at the levels…

View original post 394 more words

Environmental Racism is Garbage. Virtual Research-Creation and Art Symposium. NOW AVAILABLE ONLINE

Photo by David Kilabuk (source: https://environmentalracismisgarbage.art/)

On 27th-29th May 2021 Environmental Racism is Garbage: Virtual Research-Creation & Art Symposium took place online.

This wonderful and important event was supported by a Seed Box grant from Mistra-Formas Environmental Humanities Collaboratory, the Social Science and Humanities Research Council of Canada, Waste Flow (www.wasteflow.ca) and Queen’s University.

Here comes the (shortened) description from the symposium’s website:

The aim of this interactive virtual research-creation and art symposium is to bear modest witness to waste as a symptom of environmental racism. […] Environmental Racism is Garbage seeks knowledge production and acts of resistance at the intersection of art, politics, and the relationship between racialized injustice and ecological crisis. We’ve invited contributions and collaborations from visual and performance-based artists, curators, theorists and activists, to create submissions that engage with the interconnections between environmental health, socio-economic conditions, racialized discrimination, social justice – with transdisciplinary work driven by creative inquiry and lived experience forefronted.

I had a pleasure and honour to speak in the panel focused on Ecological Grief which took place on 26th May. In case you missed it, feel free to check out the recording of the panel (along with many other fascinating talks and panels) available until May 2022 on the symposium’s YouTube channel and website.

‘Arts of Non/Living Matters’ seminar & the launch of The Eco- and Bioart Lab – on 17th June!

Join us for this event!

Welcome to the Posthumanities Hub Seminar on ‘Arts of Non/Living Matters’ with Margherita Pevere and Dr Marietta Radomska!

The seminar is combined with the launch of the new research group and platform: The Eco- and Bioart Lab (EBL).

EBL, founded and head by Dr Marietta Radomska, connects artists, artistic researchers and other practitioners, as well as doctoral students whose practice and research focus on art and the environment in their broadest understanding.

When: 17th June 2021, 13:15 – 15:00 CEST

Where: On Zoom (more info below)

REGISTRATION: In order to take part in the seminar, please register by sending an email to the.posthumanities.hub@gmail.com by 16th June 2021 at noon (CEST) the latest.

The Zoom link will be sent to you on 16th June in the evening.

Speakers:

Leaking. Mattering.

By Margherita Pevere

Abstract

Drawing from her transdisciplinary practice, Margherita Pevere will recount how the non/living is an ongoing, uncontainable encounter made of leaks and unlearning.

She will do so by sharing the research behind her recent and previous artworks. She will talk about what it means to interrogate slugs and hormonal contraception as she did for the series ‘Wombs’. She will share very real and potential leaks encountered during the realisation of ‘Semina Aeternitatis’. She will delve into the body entanglements in ‘Eingeweide’, made in collaboration with artist Marco Donnarumma. She will recount how she worked with animal remains in ‘Lymph’.

While celebrating art, Margherita’s talk will weave a dialogue across non/living encounters with ecosystems as a fundamental epistemic mode. In fact, her artworks would exist without learning why the lagoon water gets transparent, observing algal blooms in urban waterways, or engaging with hybrid kinships of different kinds. Art and ecological observation are, in her practice, conjoined strategies of knowing differently. 

Bio

A truly transdisciplinary practitioner, Margherita Pevere works across bioart and performance with a visceral signature. Her arresting creations hunt today’s surging ecological complexity and the ways embodiment and environment are always entangled. To do so, her research hybridises biolab practice, ecology, queer and death studies with a hacking attitude. She has exhibited her work internationally and is now completing a PhD in artistic research at Aalto University on bioart and queer theory.
https://margheritapevere.com
https://frontevacuo.com

Contact: margherita.pevere[at]aalto.fi

Ecologies of the Non/Living: A Queerfeminist Biophilosophical Perspective

By Marietta Radomska

Abstract

The concept of ‘the non/living’ (Radomska 2016) stems from a transdisciplinary theoretical and practical engagement with bioart, bioscience, and philosophical approaches to life. The non/living reframes what is conventionally referred to as ‘life’ in order to problematise the materiality, processuality and ambiguity of the relationship between the living and non-living, growth and decay, and ultimately, life and death. This ambivalent entwinement comes to the fore even more so when considered against the backdrop of the planetary environmental disruption and other intersecting more-than-human crises of our times.

Drawing on process, queer and feminist philosophical perspectives as well as several select examples of contemporary bio-, eco- and media artworks, I will offer a queerfeminist biophilosophy as an approach that may allow us to better comprehend the complexity, vibrancy and materiality of the non/living. The latter, always-already understood as ‘ecologies of non/living matters’, calls for not only an ontological reflection, but also for an ethical one.

Bio

Marietta Radomska, PhD, is an Assistant Professor in Environmental Humanities at Linköping University (Unit Gender Studies); director of The Eco- and Bioart Lab; co-director of The Posthumanities Hub; and co-founder of Queer Death Studies Network. She works at the intersection of the posthumanities, environmental humanities, continental philosophy, feminist theory, queer death studies, visual culture and contemporary art; and has published in Australian Feminist StudiesSomatechnicsWomen, Gender & Research and Artnodes, among others. Web: www.mariettaradomska.com

Image used on the poster:
Margherita Pevere, Wombs | Study. pencil on colour print 27×18 cm, 2018.

The Eco- and Bioart Lab

Seminar on Queer Death Aesthetics, 27th May on Zoom

I am curating The Posthumanities Hub Seminar on Queer Death Aesthetics, which takes place on 27th May at 13:15 – 15:00 CEST and is organised in collaboration with my research group The Eco- and Bioart Lab.

The speakers are: Karolina Żyniewicz (University of Warsaw, PL) and Jacob B. Riis (Aarhus University, DK).

For more details, also on how to REGISTER for the event, see below.

Welcome to the Posthumanities Hub Seminar on Queer Death Aesthetics with speakers: Karolina Żyniewicz (University of Warsaw) and Jacob B. Riis (Aarhus University)!

Queer Death Studies (QDS) is an emerging transdisciplinary field that critically investigates and challenges conventional normativities, assumptions and expectations surrounding the issues of death, dying and mourning in the contemporary world. In particular, QDS pays attention to the ways planetary-scale necropolitics render some lives and deaths more recognised, understood or grievable than others.  If ‘queering’ in QDS is understood in a broad, open-ended sense as strange-making, defamiliarising, where the critical defamiliarisation implied may lead to an opening of other, more affirmative horizons, what would then ‘queer death aesthetics’ mean? During the seminar we will try to tackle this question in depth…

The event is curated by Dr Marietta Radomska and is organised in collaboration with The Eco- and Bioart Lab.

When: 27th May 2021, 13:15 – 15:00 CEST

Where: On Zoom

REGISTRATION: In order to take part in the seminar, please register by sending an email to the.posthumanities.hub@gmail.com by 25th May 2021 at noon (CEST) the latest.

The Zoom link will be sent to you on 26th May.

Speakers:

Safe suicide – becoming immortal and dying anyway.

By Karolina Żyniewicz

How to experience immortal life and death at the same time? How to do it safely, without a risk? Are cells isolated from my body still part of me? These were the main questions which I asked to myself and to my scientific collaborators in the beginning of working on safe suicide project. The project was transmattering on many different levels, a transformation of the body and its notion, understanding of life and death coalition, cognitive production, artistic expression. In the frame of the project I immortalised my cells, B lymphocytes just in order to decide about their death. Technically speaking, it was giving to them/myself immortality to take it back in many different experiments. It was being a donor, an observer, a caretaker and a killer at the same time. The project does not give precise answers for the posted questions but it allows to envision what means being liminal, being many and being constantly reconfigured.

Bio

Karolina Żyniewicz is an artist (2009 graduated from the Academy of Fine Arts in Łódź, Department of Visual Arts) and researcher, PhD student (Nature-Culture Transdisciplinary PhD Program at Artes Liberales Faculty, University of Warsaw). Working in a laboratory (mostly at the Institute of Genetics and Biotechnology, Faculty of Biology, University of Warsaw) locates her works in the field of bio art, although she tries to avoid using this term.

Are we dead yet?

By Jacob B. Riis

One of the defining characteristics in human behavioural modernity is burial of the dead in conjunction with ritual and art – art’s primordial love affair is with putrefying corpses. This project outlines a genre that utilises material corpses to produce contemporary art pieces. I currently conceptualise this art form as Necro Art, which serves to connect it to Mbembian inspired Necro Aesthetics and simultaneously establish it as its own field or genre within Art History. While perhaps being a version of Body Art originating in Viennese Actionism, Necro Art simultaneously aligns along different trajectories. It samples and shuffles in early human ritual, folkloric, pagan and rural art forms usually not present in realms of High/Academic Art, and brings the overlooked, the spectral, the magical, and the illiterate too Art History. Through focus on materiality, agency and constellations of subjectivities, each artwork conjures ghosts, reveals life where there is none, and allows its experiencer to connect with the dead, forcing us to reconsider the boundaries of life.

Bio

Jacob B. Riis, Art historian (graduated from Copenhagen University in 2014), 2009-2014 Curator Assistant at The Danish Museum of National History, Hillerød, 2014-2018 Head of Teaching and Curator at Ordrupgaard in Copenhagen, currently PhD student at Art History, Aarhus University.

Photos included in the poster:

(1) Portrait of Karolina Żyniewicz by Pawel Jozwiak (CSW Laznia, Gdansk; LEFT) and 

(2) Untitled (Portrait of Ross in L.A.), 1991, by Felix Gonzalez-Torres (RIGHT).

Symposium ‘det gode liv/The Sweetness of Living’ at Barents Spektakel Festival, 20th Feb 2021!

Check out the exciting online event: det gode liv/The Sweetness of Living forming part of the Barents Spektakel festival, taking place on 17-21 February in Kirkenes, Norway. The symposium itself is scheduled on 20th February (Saturday) from 10:00 to 14:00 CET. It takes place both on location and online. In order to register, fill out the form here.

Here’s a short description of the event, taken from the organisers’ website:

det gode liv // The Sweetness of Living is a networking, knowledge exchange, and experience-sharing artistic research and contemporary art project that begins in February 2021 and extends into the long-term future. 

The research takes its inspiration from the publication Global Warming and the Sweetness of Life: A Tar Sands Tale (2018) by Matt Hern and Am Johal, where the authors investigate philosopher Giorgio Agamben’s invocation of Alexandre Kojeve’s phrase ‘la dolce vita’.

These ideas describe a common attitude in Spain, Italy, and southern Europe that is claimed to be qualitatively different from the Protestant work ethic of northern European countries. Agamben’s claim is that this attitude describes a wholly different relationship to the future, a recovery of time, a resistance to capitalism, and the preservation of a significant way of living: in short, the capacity to define life as something outside of work.

det gode liv // The Sweetness of Living builds on these gestures, investigating and challenging what ‘the sweetness of life’ represents specifically in the Barents region / the nordic countries and north-west Russia / Sápmi. The project  is grounded in the belief that the topic has become an urgent cultural question following the events of 2020, when the present societal changes taking place during the Covid-19 pandemic have urged a radical re-configuration of the priorities of life and living.

The project begins by opening up the topic through three artworks and through several discursive, performative, and processual responses under The Sweetness of Living Symposium.

Among the speakers you can also find myself and Cecilia Åsberg with our talk on “More than survival: weaving vulnerabilities, questioning certainties, mobilising resilience. On low-trophic theories-practices for a more-than-human world”, starting at 12:00 sharp! Hope to see you there!

New Publication: “Non/Living Queerings, Undoing Certainties, Braiding Vulnerabilities: A Collective Reflection”

The latest issue of Artnodes: E-journal for Art, Science and Technology, focused on ‘Art in the Time of Pandemic’ and edited by Laura Benitez and Erich Berger is finally out and available in OPEN ACCESS. Inside you may also find a contribution by myself, Mayra Citllali Rojo Gómez, Margherita Pevere and Terike Haapoja, entitled: ‘Non/Living Queerings, Undoing Certainties, Braiding Vulnerabilities: A Collective Reflection’. You can read our article here.

Abstract:

The ongoing global pandemic of Covid-19 has exposed SARS-CoV-2 as a potent non-human actant that resists the joint scientific, public health and socio-political efforts to contain and understand both the virus and the illness. Yet, such a narrative appears to conceal more than it reveals. The seeming agentiality of the novel coronavirus is itself but one manifestation of the continuous destruction of biodiversity, climate change, socio-economic inequalities, neocolonialism, overconsumption and the anthropogenic degradation of nature. Furthermore, focusing on the virus – an entity that holds an ambiguous status between the ‘living’ and ‘non-living’ – brings into question the issue of the agentiality of non/living matter. While the story of viral potency seems to get centre stage, overshadowing the complex and perverse entanglement of processes and phenomena which  activated these potentials in the first place, the Covid-19 pandemic also becomes a prism that sheds light on the issues of environmental violence; social and environmental injustices; more-than-human agentiality; and ethico-political responses that the present situation may mobilise.

This article serves as a written record of joint conversations between artists and researchers in the working group ‘Non/Living Queerings’ that formed part of the online series of events ‘Braiding Friction’ organised by the research project Biofriction. The article strives to capture the collective effort of braiding and weaving a variety of situated perspectives, theoretical toolboxes, knowledges and experiences against the background of the ongoing Covid-19 pandemic. In particular, the text focuses on the issues of crisis, ‘amplification effect’, viral agency and the changing notions of humanity.

Keywords

the non/living, queering, Covid-19 pandemic, art, vulnerability, amplification

Reference:

Radomska, Marietta, Rojo Gómez, Mayra Citlalli, Pevere, Margherita, Haapoja, Terike. “Non/Living Queerings, Undoing Certainties, and Braiding Vulnerabilities: A Collective Reflection”. Artnodes, [online], 2021, No. 27, doi:10.7238/a.v0i27.374989 .

This autumn the Swedish Arts Grants Committee’s international programme for Visual and Applied Artists Iaspis Open Studios transforms into an online platform and seven-day programme with live-streamed happenings, art, talks and scheduled conversations. One of the elements of the rich programme is a conversation between brilliant Swedish artist Josefin Tingvall and myself. For more, see IASPIS Open Studios website.

EDIT: If you missed our conversation on 17th September, you can still check it out here: https://openstudiosautumn2020.iaspis.se/programme/#tingvallconversation

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