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Lise Haller Baggesen    practice.practice.practice

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Lise Haller Baggesen    practice.practice.practice

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The Universe in Verse: Astrophysicist Natalie Batalha Reads "Research" by Cecilia Payne-Gaposchkin

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Recorded at the third annual Universe in Verse, hosted by Maria Popova at Pioneer Works: brainpickings.org/the-universe-in-verse/

Poem text and background on the remarkable Cecilia Payne:  https://www.brainpickings.org/2019/05/06/cecilia-payne-harvard-observatory-radio-talks

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The Universe in Verse: Regina Spektor reads "Theories of Everything" by Rebecca Elson

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Recorded at the third annual Universe in Verse, hosted by Maria Popova at Pioneer Works: brainpickings.org/the-universe-in-verse/

Poem text and context: https://www.brainpickings.org/2019/04/29/regina-spektor-reads-rebecca-elson/

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The Universe in Verse: Zoë Keating reads "The Fish in the Stone" by Rita Dove

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Recorded at The Universe in Verse 2018, curated and hosted by Maria Popova at Pioneer Works. Context and poem text: https://www.brainpickings.org/2018/12/11/the-fish-in-the-stone-rita-dove-zoe-keating/

More highlights from The Universe in Verse: brainpickings.org/tag/the-universe-in-verse/

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The Universe in Verse: Astrophysicist Natalie Batalha reads "Renascence" by Edna St. Vincent Millay

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Recorded at The Universe in Verse 2018, curated and hosted by Maria Popova at Pioneer Works. Context and poem text: https://www.brainpickings.org/2018/08/03/the-universe-in-verse-natalie-batalha-edna-st-vincent-millay/

More highlights from The Universe in Verse: brainpickings.org/tag/the-universe-in-verse/

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The Universe in Verse: Diane Ackerman reads "The Consolation of Apricots"

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Performed at The Universe in Verse 2018. Poem text and context: https://www.brainpickings.org/2018/06/05/diane-ackerman-the-consolation-of-apricots/

More highlights from The Universe in Verse, curated and hosted by Maria Popova at Pioneer Works in Brooklyn: brainpickings.org/tag/the-universe-in-verse/

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The Universe in Verse: Marie Howe reads "Singularity" (after Stephen Hawking)

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A poem inspired by Stephen Hawking's legacy, composed for and premiered at The Universe in Verse 2018. Poem text and context here: https://www.brainpickings.org/the-universe-in-verse/

More highlights from The Universe in Verse, curated and hosted by Maria Popova at Pioneer Works in Brooklyn: https://www.brainpickings.org/tag/the-universe-in-verse/

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The Universe in Verse: America Ferrera reads "Sojourns in the Parallel World" by Denise Levertov

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Recorded at The Universe in Verse 2018 – a celebration of science and the natural world through poetry: https://www.brainpickings.org/the-universe-in-verse/

Background, context, and poem text: https://www.brainpickings.org/2018/05/10/america-ferrera-sojourns-in-the-parallel-world-denise-levertov/

For more readings from The Universe in Verse: https://www.brainpickings.org/tag/the-universe-in-verse/

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Ann Hamilton reads "The Habits of Light" by Anna Leahy

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Background, context, and poem text: https://www.brainpickings.org/2018/04/03/the-habits-of-light-anna-leahy-henrietta-leavitt-ann-hamilton/

Recorded at The Universe in Verse 2017 (brainpickings.org/the-universe-in-verse/) – an evening of poetry celebrating science, and a protest against the silencing of science and the defunding of the arts, with all proceeds benefiting the Natural Resources Defense Council and the Academy of American Poets.

Full show: vimeo.com/219211731

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...moon-beams

the sight of the cover of a book one has previously read retains, woven into the letters of its title, the moon-beams of a far-off summer night

Marcel Proust, "The Past Recaptured," trans. Frederick A. Blossom, in Remembrance of Things Past, Vol. 2 (New York: Random House, 1932), p. 1008

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moon-beams the sight of the cover of a book one has previously read retains, woven into the letters of its title, the moon-beams of a far-off summer night Marcel Proust, "The Past Recaptured," trans. Frederick A. Blossom, in Remembrance of Things Past, Vol. 2 (New York: Random House, 1932), p.

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Ann Hamilton: "the event of a thread" | Art21 "Extended Play"

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Short film I made for event honoring the late poet/activist Adrienne RIch. Shown at MIT's Stata Center.

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Science Fiction Conversations: Ursula K. Le Guin

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Ursula K. Le Guin: Listening to the Unheard Voices

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Ursula K. Le Guin and Margaret Killjoy - Mythmakers & Lawbreakers: Anarchist Writers On Fiction

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Award winning author, Ursula K. Le Guin, and editor and author, Margaret Killjoy, talk on the occasion of the release of the new book, MYTHMAKERS & LAWBREAKERS: ANARCHIST WRITERS ON FICTION.

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Ursula K. Le Guin, Avenali Chair in the Humanities

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Exploring Creativity with Ursula K. Le Guin

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Adrienne Rich reads "What Kind of Times Are These" by brainpicker

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https://www.imdb.com/title/tt3256226/

https://es.wikipedia.org/wiki/IO_(pel%C3%ADcula)

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Io is a 2019 American science fiction film directed by Jonathan Helpert. It stars Margaret Qualley, Anthony Mackie and Danny Huston.

It was released on January 18, 2019, by Netflix.

The film is set in a post-apocalyptic present, where Earth's atmosphere has become toxic. Most humans have fled the planet, to live on a space station near Io, a moon of Jupiter.

Sam Walden is one of the few humans remaining on Earth. She lives alone at high altitude, where the air is still breathable, trying to raise bees that can survive in the atmosphere. Her intent is to use the bees to eventually clean the air via the pollination of oxygen-producing plants. Her long-distance boyfriend, who lives on the Io station, urges her to leave Earth on the last shuttle from the planet.

A storm creates a toxic cloud that passes through Sam's shelter, killing all of her bees. Micah, a man travelling by helium balloon, arrives shortly thereafter. He intends to reach the launch site and leave Earth, but first wants to speak with Dr. Harry Walden, Sam's father, who had urged mankind to stay because he still saw hope.

Initially, Sam states that her father is conducting field work elsewhere. However, after a day, she reveals that her father died the previous year. Hearing this, Micah is determined to take Sam with him to the space shuttle, to which she apathetically agrees. After receiving a message from her boyfriend saying goodbye, because he is part of an expedition embarking on a 10-year voyage to an exoplanet orbiting Alpha Centauri, Sam records a message informing everyone still on Earth that Dr. Walden's attempt to clean the planet was ultimately unsuccessful and that everybody should leave to Io.

While preparing and waiting for the right wind conditions, Sam and Micah grow closer and become romantically involved. They also discover that a new queen bee hatched in Sam's hive, which is immune to the toxic air. They are informed that the shuttle launch is rescheduled to another site, farther away than the original. As a result, they drive into a city blanketed by the toxic atmosphere to obtain the helium required for the journey. After finding the helium, Sam visits an art museum alone. Micah rushes after her, knowing her oxygen tank is running low. Instead of switching to a new tank, Sam pulls off her mask and breathes the toxic air hoping to survive. She takes several breaths, as the scene fades to black. Micah travels alone to the spaceship because Sam has decided to stay behind. The changed environment is not toxic to her the same way it was not toxic for the queen bee in her bee colony, hinting that those born in the environment can live in it.

The film ends with Sam standing on a beach alone before being joined by a young child. A voice over of a letter from Sam to Micah tells how beautiful the Earth is, how those who have left the planet will have learned to fear it, and that they are waiting for them to return.

In January 2015, it was reported that Elle Fanning and Diego Luna would star in the film with Clay Jeter directing from a screenplay he co-wrote with Will Basanta and Charles Spano. However, in October 2016, Margaret Qualley replaced Fanning, while Anthony Mackie replaced Luna, with Danny Huston also cast for the film. Jonathan Helpert was also set to replace Jeter as director while retaining the Jeter/Basamta/Spano screenplay.

Principal photography began in October 2016.

The film was released on January 18, 2019.

The review aggregator website Rotten Tomatoes, reported an approval rating of 33% based on 17 reviews, with a weighted average of 5.1/10. The website's critical consensus reads, " IO has some big ideas but little idea of how to effectively convey them, leaving viewers with a sci-fi drama whose attractive packaging can't cover its enervating core." Metacritic, which uses a weighted average, assigned a score of 40 out of 100 based on 6 critics, indicating "mixed or average reviews."

Nick Allen of RogerEbert.com gave the film 2 stars out of 5, writing that, "However pure its intentions, IO is genre minimalism to a fault." He added, " IO isn't science-fiction storytelling distilled so much as it is vaporized."

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Io is a 2019 American science fiction film directed by Jonathan Helpert. It stars Margaret Qualley, Anthony Mackie and Danny Huston. It was released on January 18, 2019, by Netflix. The film is set in a post-apocalyptic present, where Earth's atmosphere has become toxic.

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https://www.imdb.com/title/tt2798920/

https://es.wikipedia.org/wiki/Aniquilación_(pel%C3%ADcula)

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Annihilation is a 2018 science fiction psychological horror film written and directed by Alex Garland, based on the 2014 novel of the same name by Jeff VanderMeer. It stars Natalie Portman, Jennifer Jason Leigh, Gina Rodriguez, Tessa Thompson, Tuva Novotny, and Oscar Isaac. The story follows a group of explorers who enter "The Shimmer", a mysterious quarantined zone of mutating plants and animals caused by an alien presence.

Released theatrically in the United States by Paramount Pictures on February 23, 2018, and in China on April 13, Annihilation was released digitally by Netflix in a number of other countries on March 12, 2018. It received positive reviews from critics and audiences, and grossed $43 million worldwide. According to magazine, the film addresses "depression, grief, and the human propensity for self-destruction".

Cellular biology professor and former U.S. Army soldier Lena is under interrogation. She was part of an expedition to an anomalous zone known as the "Shimmer", but she was the only one to return.

The Shimmer emerged three years prior from a meteor that landed in a lighthouse in the St. Mark's National Wildlife Refuge in Florida, and it is gradually expanding and increasing its boundaries. Many exploratory expeditions were organized, but only Lena's husband Kane returns home after a year of absence.

Kane cannot explain where he was and how he came back, and his condition quickly deteriorates. Lena calls an ambulance, but she and Kane are intercepted by security forces and taken to a secret facility.

As Kane is put in intensive care, psychologist Dr. Ventress prepares a new scientific expedition into the Shimmer, and Lena joins her. Three other women participate in the expedition: Cass, a geomorphologist; Anya, a paramedic; and Josie, a physicist.

Communication equipment does not function within the Shimmer's territory, and the expedition encounters unusually mutated plants and animals. Josie is attacked by an albino alligator with several concentric rows of teeth.

At an abandoned military base, the group finds a video message from Kane's expedition, in which Kane cuts open another soldier's abdomen with a knife to reveal slithering intestines. The group finds the soldier's corpse, which has turned into an overgrown colony of lichens.

At night, the base is attacked by a mutant bear that drags Cassie away, and Lena later finds her mutilated body. Within an abandoned village, Josie studies plants that have taken on a humanoid form, and theorizes that the Shimmer functions as a prism, distorting and transforming everything that falls within its boundaries-including the expedition members' own DNA.

Anya, overcome with paranoia after watching her fingerprints change, disarms the other members and ties them to chairs, and accuses Lena of murdering Cassie. The mutant bear returns and lures Anya away by emitting a cry for help in Cassie's voice. The bear kills Anya, while Josie frees herself and shoots the bear.

Ventress leaves the group and heads for the lighthouse, the center of the Shimmer. Josie believes Cassie's dying mind was "refracted" into the bear, and then allows herself to "refract" into a humanoid plant to avoid a similar fate.

Lena follows Ventress to the lighthouse, where she discovers Kane's remains and a videotape. In the footage, Kane leaves an instruction to find Lena before killing himself with a phosphorus grenade. After the explosion, a doppelgänger of Kane steps into frame.

Within the hole created by the meteor, Lena finds Ventress, who explains that the Shimmer will eventually swallow everything. Ventress then disintegrates into a shimmering cloud that absorbs a drop of blood from Lena's face and changes into a faceless, shimmering, humanoid being that mimics Lena's movements.

Unable to escape the creature, Lena tricks it into igniting one of Kane's leftover grenades as it transforms into her doppelgänger. Lena flees the burning lighthouse and the Shimmer dissipates.

Lena visits the Kane doppelgänger, and asks if he is really Kane, which he doubts. He asks if she is Lena, but she does not answer. They embrace and their irises shimmer.

Paramount Pictures and Scott Rudin acquired the film rights to Annihilation, the then-unpublished first novel in Jeff VanderMeer's Southern Reach Trilogy, on March 26, 2013. Rudin and Eli Bush were set to produce the film, and Alex Garland, who had previously worked with Rudin and Bush on , was hired to write and direct the film in October 2014.

Garland explained that his adaptation was necessarily based on only the first novel in the trilogy: "At the point I started working on Annihilation, there was only one of the three books. I knew that it was planned as a trilogy by the author, but there was only the manuscript for the first book. I really didn't think too much about the trilogy side of it."

Garland said his adaptation is "a memory of the book", rather than book-referenced screenwriting, with the intention of capturing the "dreamlike nature" and tone of his experience reading VanderMeer's novel. Rather than trying to directly adapt the book, Garland deliberately took the story in his own direction, with VanderMeer's permission. Garland did not read the other two books when they were completed, as he was concerned he would need to revise his script. When others informed him of elements of the sequels, he expressed surprise at some of the similarities to what he had written.

Some critics have noted the film has similarities with Arkady and Boris Strugatsky's 1972 science-fiction novel Roadside Picnic and Andrei Tarkovsky's 1979 film adaptation, . Nerdist Industries' Kyle Anderson noted an even stronger resemblance to the 1927 short story " The Colour Out of Space" by H. P. Lovecraft (also adapted for the screen on several occasions, including as Color Out of Space in 2019), which is about a meteorite that lands in a swamp and unleashes a mutagenic plague. In his review, Chris McCoy of the Memphis Flyer found Annihilation to be reminiscent of both "The Colour Out of Space" and Roadside Picnic/ Stalker. VanderMeer stated that the original novel "is 100% NOT a tribute to Picnic/Stalker", but rather drew influences from works by J. G. Ballard and Franz Kafka.

The first cast member to join Annihilation was Natalie Portman, who entered negotiations with Paramount in May 2015, under the agreement that production not begin until 2016. Once Portman had agreed to play the biologist, the next cast member added was Gina Rodriguez, who entered talks with the studio in November 2015. By that point, production was set to begin in early 2016, a decision made to accommodate Portman's schedule, but which also meant that the film would be shot during Rodriguez's break from filming Jane the Virgin. Oscar Isaac, who had previously worked with Garland in Ex Machina, joined the cast in March 2016 as the husband of Portman's character. By the end of April, Tessa Thompson, Jennifer Jason Leigh, and David Gyasi were also attached to the project.

In the Southern Reach novels, the Biologist is described as being of Asian descent and the Psychologist is mixed-race and half- Indigenous. As Portman and Leigh, who are both Caucasian, were cast in those roles, in 2018 the Media Action Network for Asian Americans and the American Indians in Film and Television advocacy groups accused Garland of whitewashing. Garland responded by saying that there was "nothing cynical or conspiratorial" about the casting, and that the book in which the characters' races are revealed, , had not been released when Annihilation was written and cast. Portman also responded to the controversy, saying that she did not know her character had a specific ethnicity until whitewashing concerns were raised, and that Garland had intentionally not spoken to VanderMeer about the other two Southern Reach novels because he wanted to focus on adapting Annihilation.

Principal photography for the film was underway by April 2016, when actor David Gyasi was added to the cast. Lighthouse Pictures Ltd started location filming in late April in South Forest, Windsor Great Park. Some test shooting had been done in St. Marks, Florida, but the vegetation in the area turned out to be too dense to give any depth perception on screen. On May 9, 2016, cinematographer Rob Hardy began sharing pictures from the set of the film. On July 13 and 14, filming took place at Holkham Pines in North Norfolk. Shooting was completed that month.

The visual effect team was made up of many of Garland's collaborators from his previous film, , including VFX supervisor Andrew Whitehurst, lead VFX house Double Negative and Milk VFX, plus special makeup effects by Tristan Versluis.

Due to a poorly received test screening, David Ellison, a financier and producer at Skydance, became concerned that the film was "too intellectual" and "too complicated", and demanded changes to make it appeal to a wider audience, including making Portman's character more sympathetic, and changing the ending. Producer Scott Rudin sided with the director, who did not want to alter the film. Rudin, who had final cut privilege, defended the film and refused to take notes from Ellison.

On December 7, 2017, it was announced that, due to the clashes between Rudin and Ellison, and the shift in Paramount's leadership, a deal had been struck allowing Netflix to distribute the film internationally. According to this deal, Paramount would handle the American, Canadian, and Chinese release, while Netflix would begin streaming the film in other territories 17 days later.

The film was released theatrically in the United States on February 23, 2018, by Paramount Pictures, and digitally in other markets on March 12, 2018, by Netflix. Garland expressed his disappointment with the decision to coincide digital distribution with theatrical, saying, "We made the film for cinema." On January 5, 2019, the film was released digitally on Netflix's competitor Hulu.

The film grossed $32.7 million in the United States and Canada, and $10.3 million in China, for a worldwide total of $43.1 million, against a production budget of $40-55 million. While it did not amass much in terms of box office, the film found new life in home release, with some publications arguing it could become a cult classic.

Domestically, Annihilation was released alongside and , and was projected to gross $10-12 million from 2,012 theaters during its opening weekend. It made $3.9 million on its first day (including $900,000 from Thursday night previews at 1,850 theaters), and ended up making $11 million over the weekend, finishing fourth, behind Black Panther, Game Night, and Peter Rabbit. Its second weekend, the film's box office total dropped 49% to $5.9 million, falling to 6th place.

On film review aggregator website Rotten Tomatoes, the film has an approval rating of 88% based on 331 reviews, and an average score of 7.7/10; the site's "critics consensus" reads: " Annihilation backs up its sci-fi visual wonders and visceral genre thrills with an impressively ambitious-and surprisingly strange-exploration of challenging themes that should leave audiences pondering long after the end credits roll." On Metacritic, the film has a weighted average score of 79 out of 100 based on reviews from 51 critics, indicating "generally favorable reviews". Audiences polled by CinemaScore gave the film an average grade of "C" on an A+ to F scale, and PostTrak reported filmgoers gave it a 71% overall positive score.

Richard Roeper of the Chicago Sun-Times gave the film four out of four stars, praising it for taking risks, and saying: "Kudos to Garland and the cast, but bravo to Scott Rudin as well. Apparently you knew a masterpiece when you saw it, and you made sure we were able to see it as well." Writing for Rolling Stone, Peter Travers complimented the cast and Garland's writing and direction, giving the film three and a half stars out of four, and saying: "Garland need make no apologies for Annihilation. It's a bracing brainteaser with the courage of its own ambiguity. You work out the answers in your own head, in your own time, in your own dreams, where the best sci-fi puzzles leave things." The Economist described the film as "tightrope-walking the fine line between open-ended, mind-expanding mystery and lethargic, pretentious twaddle", but praised its final half hour.

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Annihilation is a 2018 science fiction psychological horror film written and directed by Alex Garland, based on the 2014 novel of the same name by Jeff VanderMeer. It stars Natalie Portman, Jennifer Jason Leigh, Gina Rodriguez, Tessa Thompson, Tuva Novotny, and Oscar Isaac.

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https://www.imdb.com/title/tt6292852/

https://es.wikipedia.org/wiki/I_Am_Mother

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I Am Mother

Official Netflix release poster

Directed by

Grant Sputore

Produced by

Timothy White

Kelvin Munro

Screenplay by

Michael Lloyd Green

Story by

Michael Lloyd Green

Grant Sputore

Starring

Music by
Dan Luscombe

Cinematography

Steve Annis

Edited by

Sean Lahiff[1]

Distributed by

Netflix (select markets)[a]

25 January 2019 (Sundance)

7 June 2019 (Australia)

113 minutes

Country

Australia

Language

English

I Am Mother is a 2019 Australian science fiction thriller film directed by Grant Sputore, from a screenplay by Michael Lloyd Green, based on a story by Grant Sputore and Michael Lloyd Green. Starring Clara Rugaard, Luke Hawker, Rose Byrne, and Hilary Swank, the film follows Daughter, a girl in a post-apocalyptic bunker, being raised by Mother, a robot aiding the repopulation of Earth. The film had its world premiere at the Sundance Film Festival on 25 January 2019. Netflix released it in several countries on 7 June 2019.

After an extinction event, an automated bunker that is designed to repopulate humanity activates. A robot named Mother grows a human embryo and cares for her over several years. Mother says she needs practice being a good parent before growing more. About 38 years later, a teenage girl named Daughter fixes Mother's hand. Mother teaches Daughter complex moral and ethical lessons, warning her about an upcoming exam. During a power outage, Daughter captures a young rat and fixes the electrical malfunction it caused. When Mother powers up, she incinerates the rat in a furnace over Daughter's objections. Mother explains that surface contamination makes contact with the outside world potentially lethal.

Daughter becomes increasingly curious about the outside world. While exploring the bunker's airlock, Daughter hears a wounded woman beg for assistance outside. Daughter opens the airlock but makes the woman put on a hazmat suit. Mother powers up and sprints toward them as Daughter hides the woman. Daughter tells Mother she was curious about the outside world. Mother reiterates her warnings. After Daughter is decontaminated, Mother insists that Daughter prepares for the exam.

Once Mother leaves, Daughter confiscates a firearm from the woman's belongings. Daughter becomes agitated when the woman removes her suit to drink water she has brought. The woman says there is no contamination. Upon realizing there is a robot in the bunker, the woman aggressively demands Daughter return her firearm. Frightened, Daughter calls out. Mother disarms the woman after being shot. Daughter pleads for the woman's life. Mother agrees to help the woman and takes her to the infirmary. When the woman refuses Mother's help, Mother locks her there. Mother asks Daughter to gain the woman's trust so they can help other survivors.

The woman says robots like Mother hunt for survivors. Daughter finds Mother and apologizes for letting the woman in, and Mother asks the woman about survivors. The woman, now suffering from sepsis, again refuses Mother's help, so Daughter performs surgery. As the woman recovers, she and Daughter bond while Mother observes them. The woman says survivors live in a mine, and each invites the other to stay with them. Mother interrupts them to tell Daughter to take her exam. As they leave, Mother says the woman has lied about being shot by a robot; the projectile is not a calibre used by robots and is likely from her own firearm. Despite Mother's prodding, Daughter says nothing about the survivors. After taking the exam, which involves psychological testing, Mother rewards Daughter by letting her choose an embryo to grow.

Daughter confronts the woman, who advises her to check the bullets herself. Using Mother's broken hand to bypass the security, Daughter learns the bullets do not match. Investigating further, she realizes Mother grew other embryos before her, and finds the jaw of an incinerated human in the same furnace from before. Daughter agrees to leave with the woman, but Mother stops them. As Mother tortures the woman for information on survivors, Daughter breaks out of a locked room, sets off a fire alarm, and joins the woman. To escape, the woman takes Daughter hostage and forces Mother to open the airlock. Though upset, Daughter follows the woman across a desolate wasteland, avoiding robots, some of which seem to be terraforming the planet. She is horrified to find that the woman lives alone and fled the mine years ago.

Daughter returns to the bunker, which is now guarded by robots, which let her pass. After coaxing Daughter to set down her weapon, Mother allows Daughter to hold her brother. Mother explains that she is not a robot but the AI that controls all the robots. She started the extinction event after becoming convinced humanity would destroy itself. To prevent this, she remade humanity, guiding it to be more ethical and value the big picture. Daughter appeals to Mother to trust her and let her raise her brother and the rest of the embryos. Convinced of Daughter's moral and ethical strength, Mother agrees, and Daughter shoots her robot body. Another robot tracks down the woman, and Mother insinuates that her survival up to that point was orchestrated so she can unknowingly serve Mother's agenda. With the woman's role fulfilled, it is implied that Mother kills her. At the bunker, Daughter looks at all the embryos she is now responsible for and realizes she is Mother now.

Clara Rugaard as Daughter

Luke Hawker as Mother (performance)

Rose Byrne as Mother (voice)

Hilary Swank as Woman

Hazel Sandery and Summer Lenton as Toddler

Maddie Lenton as Infant

Tahlia Sturzaker as Child

Jacob Nolan as Brother

Principal photography was completed in 2017 in Australia's Adelaide Studios. It is Sputore's feature film debut. The screenplay was on the 2016 Black List. The "Mother" robot is a full-body suit built by Weta Workshop and performed by Luke Hawker, a member of the creature workshop project team, who also had a background in acting and stunt work. South Australian interactive media company Monkeystack produced all of the on set practical screen content.

A work-in-progress cut of the film was screened at the Adelaide Film Festival on 12 October 2018. It had its world premiere at the Sundance Film Festival on 25 January 2019. Shortly after, Netflix acquired US distribution rights to the film. It was released on Netflix on 7 June 2019. In Australia, the film was initially planned for theatrical release on 18 July 2019 by StudioCanal, but was ultimately released on Netflix on 7 June.

On Rotten Tomatoes the film holds an approval rating of 90% based on 68 reviews, with an average rating of 6.98/10. The website's critics consensus reads, "Suspenseful, well-acted, and intelligent, I Am Mother is an ambitious sci-fi story that largely achieves its impressive aims." On Metacritic, it has a weighted average score of 62 out of 100 based on 15 critics, indicating "generally favorable reviews".

Johnn Oleksinski of the New York Post liked I Am Mother, concluding that while the film "does show its cards a touch too early, it never ceases to be intriguing and tense", and predicting that Sputore and Rugaard would become stars. Amy Nichols of described the film as "a handsome, if derivative sci-fi thriller that salutes its own parentage" and " James Cameron crossbred with Ridley Scott."

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I Am Mother Official Netflix release poster Directed by Grant Sputore Produced by Timothy White Kelvin Munro Screenplay by Michael Lloyd Green Story by Michael Lloyd Green Grant Sputore Starring Music by Dan Luscombe Cinematography Steve Annis Edited by Sean Lahiff[1] Distributed by Netflix (select markets)[a] 25 January 2019 (Sundance) 7 June 2019 (Australia) 113 minutes Country Australia Language English I Am Mother is a 2019 Australian science fiction thriller film directed by Grant Sputore, from a screenplay by Michael Lloyd Green, based on a story by Grant Sputore and Michael Lloyd Green.

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Mis amigas se buscan la vida
Mis amigas se buscan la vida
Mis amigas se buscan la vida
Mis amigas se buscan la vida

Viven junto a petroquímicas
son cobayas clínicas
hacen facturas falsas
por textos llenos de faltas

Mis amigas se buscan la vida
Mis amigas se buscan la vida

Cogen el dinero y corren
a buscarse la vida otra vez
currando hasta las tres
en un proyecto al revés

Mis amigas se buscan la vida
Mis amigas se buscan la vida

Poniendo muchas copas
vendiendo cosas y ropas
tienen las pilas puestas
y sonríen medio muertas

Mis amigas se buscan la vida
Mis amigas se buscan la vida

Contestan los mensajes
pagan los peajes
para poder aguantar
otro mes más sin cobrar

Mis amigas se buscan la vida
Mis amigas se buscan la vida

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Mis amigas se buscan la vida, by perlita

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Mis amigas se buscan la vida by perlita, released 14 February 2016 Mis amigas se buscan la vida Mis amigas se buscan la vida Mis amigas se buscan la vida Mis amigas se buscan la vida Viven junto a petroquímicas son cobayas clínicas hacen facturas falsas por textos llenos de

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hierbas contra la tristeza                    un manual para sanar juntas                   _yadira lópez

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hierbas contra la tristeza                    un manual para sanar juntas                   _yadira lópez

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cat therapy

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Listen to this episode from La Mar en Coche on Spotify. Escracharon a genocidas. Convocaron a un "Mierdazo" frente al Congreso. Marcharon al ritmo de los ruidos de un estómago gigante por las calles de Buenos Aires que daba cuenta del sonido de una época.

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http://www.erroristas.org/es

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Somos una organización que busca contribuir a la investigación y difusión de los oficios. Guardado de Semillas Cantería Fotografía Trabajo en Madera Yerbatería Bordado Impresión Alfarería Textil Cosmética Orfebrería Canto Tinte Natural Tatuaje Juguetería Cestería en Crin Zapatería ...

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talks about maintenance art

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"Mierle Laderman Ukeles: Maintenance Art," on view at the Queens Museum through February 19, 2017, is the first survey of this major Conceptualist's work in the United States. Organized by the museum's Larissa Harris and guest co-curator Patricia C. Phillips, this exhibition spans fifty years of the artist's thinking and production. Here, Ukeles talks to artforum.com about freedom, feminism, crisis, and care-some of the ideas that led Ukeles to designating herself a "maintenance artist."

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Mierle Laderman Ukeles talks about Maintenance Art

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"Mierle Laderman Ukeles: Maintenance Art," on view at the Queens Museum through February 19, 2017, is the first survey of this major Conceptualist's work in the United States. Organized by the museum's Larissa Harris and guest co-curator Patricia C. Phillips, this exhibition spans fifty years of the artist's thinking and production.

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"i realized that you can't re-critique anything from within it"

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Lindsay Seers – 'I Turned Myself Into a Camera' | TateShots

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"es una acción artística colectiva que tiene por objeto la revisión apacible del espíritu de la época."

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Les Impuxibles sóm la fusió artística d'una pianista i una ballarina. Una fusió que conté la potència de la qualitat artística de cada una per separat i l'harmonia del vincle que ens uneix. Som la Clara i l' Ariadna Peya; germanes, creadores i intèrprets

Les Impuxibles treballem la barreja de llenguatges. Una recerca que fusiona música i moviment amb altres disciplines escèniques, una investigació que no s'acaba i que ens ha conduit cap a la construcció d'un llenguatge propi. Per això seguim apostant per a la cooperació i les aliances entre creadors i universos per decubrir noves formes de creació i poder portar més enllà el nostre treball.

El compromís social ha fet créixer en nosaltres la necessitat de fer servir l'art com a altaveu de denúncia i canvi social, posicionant-nos en una política d'igualtats.

Descobreix més sobre Les Impuxibles a www.lesimpuxibles.c om

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Les Impuxibles sóm la fusió artística d'una pianista i una ballarina. Una fusió que conté la potència de la qualitat artística de cada una per separat i l'harmonia del vincle que ens uneix. Som la Clara i l' Ariadna Peya; germanes, creadores i intèrprets Les Impuxibles treballem la barreja de llenguatges.

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Interview by Miranda Trimmier

Introduction

It would be easy to label Andrew Yang's work as "art-science." Yang holds a Ph.D. in evolutionary biology, exhibits multimedia installations worldwide, publishes in journals like Interdisciplinary Science Reviews, and works as an Associate Professor at the Art Institute of Chicago. But he has a different way of talking about his practice: as "transdisciplinary" inquiry, an open-ended and embodied process of mapping the "ever-changing connections between the theories, things and creatures . . . teem[ing] within our ecology of experience."

What does that look like, exactly? In his exhibit "Makeshift Geologies (an Anthroposcene)" rocks and trash collected on a walk in the Monserrat mountains sit side-by-side with collaged drawings of stones, a "collection" that asks after the interplay between art and wilderness, represented and real. In "New Economies / Anachronistic Fruit" playful research and gallery performance propose a new economic-ecological niche for the Kentucky coffeetree in the post-industrial Chicago landscape. In "Flying Gardens of Maybe" Yang maps the "interruptions" that mark the interactions between birds, rats, skyscrapers, scientists, museums, and art audiences, looking for points of intervention and repair. And these are just his gallery projects. Yang also writes and edits essays and zines, delivers performative lectures, curates art shows and panels for science symposia, and spends time interrogating education and his own teaching practice.

Yang increasingly positions this work as a response to the Anthropocene. Part of the challenge of responding to the Anthropocene, he argues, is recognizing the way that overspecialized knowledge production is part of the problem. Last fall I sat down with Yang to discuss his work. We talked about art, science, and disciplinary boundaries, and why it's so important to treat each critically in the face of mounting ecological, economic, and social damage.

Interview

Miranda Trimmier: You tend to get pegged as an art/science guy, but you resist the notion that those categories can be treated as a neat binary. How do you think about your work in relation to art and science?

Andrew Yang: Well, my first training is in science, in biology. Now that I'm doing more work that's exhibited formally as art, people think-oh, your background is in science, you must be art/science. And many of my projects do draw on scientific research, but I resist that binary. Not only are there are so many kinds of art and so many kinds of science, but I also don't really connect with much of the work I've seen that falls under the art/science umbrella.

Miranda Trimmier: In what ways?

Andrew Yang: There's a tendency for art/science work to be primarily decorative or illustrative depictions of science. Art becomes the handmaiden to science, just a medium through which the science content can be effectively communicated. Then art has to deal with the further stricture of keeping fidelity to the scientific idea. So basically, you become an illustrator.

And I don't want to reject all that-it's an important practice. But most people who are trained as artists don't want to just be given a job to execute. They don't want their creativity to be simply instrumentalized. Because that's more of a design practice, finding visual solutions to a problem. The artist's job isn't to find solutions; in a sense, it's to find problems.

Miranda Trimmier: To do epistemology.

Andrew Yang: To be an epistemologist and open things up. That said, when teaching I sometimes see students doing art related to scientific discovery that does stray too far from the idea, in a way that doesn't benefit the art or the idea. There's the loosest connection possible; the artwork doesn't make intimate contact with the concept. And in those cases, I'll think, some scientists worked really hard to come up with that concept, so can you engage it in a way that's more substantive?

Still, I flip-flop on the notion that artists should be beholden to the way science constructs a theory. You have to have creative liberty to make what art historian Michael Corris calls a "productive misreading." As an artist, that is an important part of what you can do.

Natural history is the framing I sometimes use for my own work. What I try to do in adopting the framework of natural history is to avoid an easy dichotomy of art or of science as set professional disciplines, to capture something of the attitude before the Enlightenment period that split them into two. I once had a conversation with the artist Mark Dion where I was worrying about whether my work reads too much as art or as science. He said, "You know, I don't really think in terms of whether it's art or it's science-I just think about whether it's interesting." There's something very useful in that.

At this historical moment, in the moment some call the Anthropocene, we should place a premium on intellectual synthesis and not be overly committed to specialized forms of knowledge. The overspecialization of knowledge painted us into the corner that we're in. We think that economy doesn't connect to ecology, but of course these things do connect. And that's why natural history makes sense now. You've got problems that defy and exceed what any one disciplinary view can make sense of. Those problems demand a more integrated approach, and a contemporary form of natural history might offer one. It can't be the old natural history, of course: European men colonizing the world and collecting specimens as part of extractive empire building.

Miranda Trimmier:I want to hear more about that, but I've got a few other questions first.

You edited a publication called the Anthropozine, which asks different thinkers to talk about their role in the Anthropocene. In it, Olivier Hamant, a biologist, says he sees his role as an analogist. I thought that was super interesting. Elsewhere, you write about the way art that engages science often gets accused of trading in bad metaphors. I think it's easy to negate the way metaphor is important to science.

Andrew Yang: In this case, I think Olivier's using the notion of analogy to talk about translating his scientific work into other cultural spheres. But, more broadly, yeah: scientists are all analogists. Science is a comparative method, and analogy is the fundament of scientific understanding. The power of analogy allows you to extend your imagination so you can predict, propose, and speculate. It sets a crucial framework for expectation. But analogy can also get reified into metaphor. You often hear people say, "The brain is a computer," but it's not a computer at all. Yes, brains have been used as models to build computers and computers are used to model the working of brains, but there are fundamental differences. When you start taking the analogy for a metaphor, then you take a very reductive attitude towards what it means to intervene in someone's mind-that the mind is just the brain, and so this or that pharmaceutical must be able to "reprogram" the brain by just changing the flow of information.

Miranda Trimmier: And still art is treated as the realm of bad metaphor...

Andrew Yang: This gets me thinking in a slightly different direction, too, about the material side of scientific work. In the lab, scientists manipulate tissue or objects as specimens. You maintain subject/object distance, and your research is always formalized by protocol. On one level, that has to do with health and safety and the standardization of the experiment. But there's also something psychological that's happening.

Miranda Trimmier: The act of engaging with something as a research object is creating the scientist as distanced expert.

Andrew Yang: The procedures are disciplining you. In my own experience as a biochemistry student, it was a kind of somatic training. That training teaches you to keep a certain psychological and cognitive distance.

Three years ago, I attended the Kavli Frontiers of Science Symposium. Someone on the organizing committee had the idea, "Well, let's have an art interface session." They Googled art and science and found me and asked me to help them plan an art-science session that they could slot alongside the sessions on near-earth objects and biomedical materials and invasive species. The main speaker I invited was Natalie Jeremijenko, an artist and designer. So, Natalie gives her talk and sits down and, while other people are giving their talks, she's typing away at her computer. I think a lot of people assumed she wasn't paying attention. The biomedical people are talking about this new tissue they've invented that's not human tissue but that can replace it. When it comes time for the question-and-answer portion, everyone's asking all these technical questions, and Natalie raises her hand and asks, "Have you ever eaten it?" And they're like, "Excuse me?" There was just dead silence. It was a really interesting moment of seeing how an artist or designer would approach the materiality of that tissue. It violates almost everything scientists do these days, keeping scientific specimens at an objective distance.

Although that's not true of all scientific traditions. When I did my training in ecology and evolution, I knew certain faculty who'd say, always eat your study organisms.

Miranda Trimmier: Really?!

Andrew Yang: Yeah. Whether you were studying lizards or birds, they thought you should get to know that creature as intimately as possible. There's an example of the natural historical spirit.

Miranda Trimmier:In the Anthropozine, you talk not just to "artists" and "scientists" but to physicists, biologists, cultural theorists, architects, filmmakers, all sorts of practitioners. You write a lot about interdisciplinarity, a term you resist. How does the question of interdisciplinarity speak to the conversation we've been having? What does it have to do with natural history? And what does it have to do with the Anthropocene?

Andrew Yang: Institutionally speaking, I think that interdisciplinarity and the art/science projects that fall under its banner are usually problematic. Interdisciplinarity is often used as a way to reinforce disciplinary boundaries, not cross them. Because you say inter-, and it's like an interstate highway: there's transit between the states, but the borders between them are legitimized. There's no additional questioning about whether those boundaries make sense and what alternatives exist.

Again, for me, that's where natural history comes in. Natural history doesn't accept any discipline on its own terms. And that connects to my interest in the Anthropocene, because the problem of the Anthropocene exceeds any one discipline's ability to explain or respond. Of course, that means there's a lot of disagreement about how to define the Anthropocene and how best to collaborate in the face of it, which is productive for testing exactly how a disciplinary perspective makes sense or not. Bernd Scherer, the director of the Haus der Kulturen der Welt in Berlin, has said that the Anthropocene is interesting and meaningful because it's undecided.

Miranda Trimmier: And it's politically important how it gets decided, whether the Anthropocene is defined in a way that naturalizes the problematic systems of thinking that caused it, or... doesn't.

Andrew Yang: It's so problematic, and so rich. It foregrounds all the things-methodologically, metaphorically, linguistically, politically-we care about that are usually treated as the concerns of different disciplines. That's a policy issue, that's a natural resources issue, that's a pure biology issue, that's a rhetorical issue. In the Anthropocene, all these issues come together in one place. You can't disentangle them. So there's the opportunity. The Anthropocene is an integrated planetary problem that points to the fact that our specialized ways of approaching knowledge have been part of the problem. You can't solve the problem with the same tool you created it with. You need a different tool.

Miranda Trimmier:I was struck by your piece, " What's (the) Matter." It's a poem drawn on the wall of a gallery, and it references different sorts of matter: rocks, plants, animals, people. There's anti-matter and grey matter and family matter, and then, in the middle, Black Lives Matter. It's one of the most overtly activist references I've seen in your work. What does Black Lives Matter-or indigenous rights movements, or Fight for 15-have to do with your work on natural history?

Andrew Yang: Well, that poem is one piece of a whole exhibition. The exhibition also includes a molecular portrait of my daughter, an arrangement of her atoms reconstituted in everyday substances: canola oil, water, baking powder, rock candy. There's a portrait of my partner holding a lava rock which is next to a portrait of the placenta that she and my daughter created together. There are three tables with displays of real rocks, fake rocks, trash, carved objects. And then you've got the text and all the different forms of matter. In part, the poem is just simple language play. You matter, dark matter.

Miranda Trimmier: Sure. And a central impulse in your work is to blur the lines between "nature" and "culture," nature and human. A rock is matter, and so is your daughter. But when you say Black Lives Matter, you're asking for a more complicated definition of culture, moving beyond universal descriptions of human experience. You're acknowledging social inequality.
Andrew Yang:
I was trying to acknowledge what was happening then, in the summer of 2016. With the fight against police brutality so active and visible, not referencing Black Lives Matter in a piece called "What's (the) Matter" would have been a kind of violence through omission, which is how so much of the systematic racism and inequality in our culture operates. The poem includes the lines "we matter" and "you matter," but including Black Lives Matter is a small attempt to move beyond those generic categories, addressing the specific experiences of people in a specific place in time. One of the major problems with the Anthropocene is that "anthropos" root-the generalizing we, which can be so homogenizing and erasing. Violence against black bodies and people of color in general has been a defining feature of the Anthropocene-slave labor and colonization have beenengines of the extractive economic growth that has changed the face of the planet. In that way, Black Lives Matter isn't only specific to America right now, it is a part of ongoing global struggles against racist oppression and the rampant forms of capitalism that profit from it.

"What's (the) Matter" was a way for me to think about value and values. When someone or something is treated as pure matter they're usually being valued as an economic commodity and so can be treated poorly, polluted, disposed of easily. I want to explore other, potentially more sustainable ways of expressing value and care. If matter and the material world mattered to us more, then the Anthropocene might take a different trajectory.

Miranda Trimmier:I want to return to your earlier comment on the connection between natural history and colonialism. What do you do with that connection? How do you think about the ways natural historical practices became entwined with colonial systems of thought and practice?

Andrew Yang: Good question. I'm not entirely sure that it will make sense for me to frame my work that way forever. Do I want to associate my work around the Anthropocene with a history that is so European, so colonial? I'm not sure. I also know that there's a criminality running through all the West's best practices and ideas. The question is, can you repurpose what's meaningful about those practices and ideas? You have to acknowledge the violence of Western history, but does it define everything? I'm wary of trying to find a niche of thought or identity that's pure or outside that history. You can get stuck worrying about how you name things and not how you do things. Obviously, they're connected. But if you attempt to reject everything about the past, you end up rejecting the future as well.

Still, natural history might come with too much baggage. But I do want to keep the insights it provides into the ways we talk about human history. Natural history challenges the idea that human history is separate from nature-that human history is just the documentation of the willful choices humans have made. In the Anthropocene, agency must extend beyond the neoliberal individual. Individual agency is not enough. You have to leverage more collective notions of agency. That might involve acknowledging the agency of other species, or of objects-the "vibrant matter" that Jane Bennett talks about. Or this: recently, 21 children filed a lawsuit against the U.S. federal government, asserting their agency and challenging the short-sightedness of adults. They argue that their constitutional rights to life and liberty are being violated through inadequate climate change policies that endanger their future.

So maybe it's about agency distributed across time, too, acknowledging that material reality extends beyond our individual lives to all future life. We're so obsessed with the now, the contemporary, the innovative. What happens when we put ourselves in Deep Time, thinking not just about what someone did yesterday or in the last generation, but where we are in the last 4.6 billion years of Earth's history? It's remarkably humbling and amazing and scary. We're so small, and look at what a huge impact we've had in such a short time. By framing the past within a Deep Time context, you open up the future in a different way. Usually we don't think more than ten or 20 years in advance.

Miranda Trimmier: In the Anthropozine, you asked contributors what they would say to people 100 years from now. A lot of people didn't know how to respond.

Andrew Yang: It was disappointing to hear how many people said, "I'm sorry." That felt defeatist, and it made me worry about what we're saying to people today. I was just at a talk by a group called Conceivable Future. Conceivable Future thinks about reproductive sovereignty amidst climate change. And in the discussion afterwards, someone in the audience was describing teaching their young child about extinction in the most apocalyptic, dire terms. And I thought, well, your child does need to learn about extinction, but that future catastrophe you're preparing them for? People are living it every day in Bangladesh. This sort of thinking can end up reinforcing a really Northern view, one that worries about future catastrophes while neglecting a reality where, in terms of economic and social justice, these catastrophes have been happening to other people forever.

Miranda Trimmier: Leanne Simpson says, "It's been the end of the world for somebody all along."

Andrew Yang: Exactly. A fixation on the future, whether utopian or dystopian, can obscure the conditions of the present.

Miranda Trimmier:What's next in your work?

Andrew Yang: To be honest, I don't know. There are certain art projects I have in mind, but right now I find myself grappling with what it means to work in academia and to be an educator. I'm not sure if it makes sense to teach the things I'm teaching in a three-credit, one-semester course. Those classes are like appetizers. You don't think about a subject long enough to get somewhere really new. I also don't know how to think about teaching in a place that, because of cost, so few people get to access. And I feel physically and materially disengaged. The more I teach classes that rely on online means and materials, the more I want to just build sand dunes. I did that for a recent exhibition.

So I'm asking myself what education and learning should look like in the Anthropocene, which has implications for my art practice. And I am feeling kind of lost. Instead of pushing that feeling away, I'm trying to learn as much as I can from it.

Learn more about Andrew S. Yang at www.andrewyang.net.
Miranda Trimmier is an MFA candidate in creative nonfiction at the University of Arizona and a contributing editor at The New Inquiry. Her work has appeared in The New Inquiry, The Point, Full Stop, and Bookforum.

Header photo - seed archive, another view (seed archive as the maquette of the "White City" and its dangerous shine) - from Andrew Yang's "Flying Gardens of Maybe" (2012-). Image courtesy Andrew Yang.

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Our Ecology of Experience: An Interview with Andrew Yang * Terrain.org

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Interview by Miranda Trimmier Introduction t would be easy to label Andrew Yang's work as "art-science." Yang holds a Ph.D. in evolutionary biology, exhibits multimedia installations worldwide, publishes in journals like Interdisciplinary Science Reviews, and works as an Associate Professor at the Art Institute of Chicago.

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Judy Dater is a California-based photographer and feminist. She is best known for her portraits, nudes, and self-portraits.

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http://vincentpriceartmuseum.org/exhibitions%EF%80%A2lauraaguilar.html

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the latin american artists who fought patriarchy with their bodies

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the latin american artists who fought patriarchy with their bodies

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https://www.artsy.net/article/artsy-editorial-latin-american-women-artists-fought-patriarchy-bodies

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MARY ELLEN CROTEAU  
Résidence de recherche/création 
Du 17 novembre au 18 décembre 2015
centrebang.ca 
*Réalisation de la capsule : Canopée Médias canopee.tv

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artist, agitator and environmentalist

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Mary Ellen Croteau is an award-winning artist who has shown internationally who tackles difficult issues in her art.Her current body of work uses bottle caps to create images.In this interview we talk about her art from 1990 to the present.

You call yourself an agitator, which I've never seen an artist do before. Which came first, being an artist or an agitator?

I have been politically active since the Vietnam war. I actually started being an artist in 1989, after raising 3 kids and returning to school to gain my BFA at age 40. I thought I would just be making pretty art, but I was astonished that in 1988, young women did not have a clue about the feminist critique of images. So I created a series of monoprints which reversed genders in art-historical paintings. They got it, and so my politics and my art became one.

Do you ever make art that isn't about a larger issue? What about the eyes? (Oh, I suppose those are still about the issue of plastic.) Have you ever made art that wasn't about a larger issue? Or, is the issue the primary motivation for the art?

Yes, my art is driven by the issues that I care about. I consider my work a dialogue with the viewer.

I became alarmed by the state of the environment about the time I thought I had said all I could about the feminist critique of culture. Plastic waste was especially troubling because it is made from petroleum, and it seemed that we were going to war in Afghanistan and Iraq, killing people, just to have more plastic bags and bottles to throw away, or worse, litter the streets.

I do wish people would get the critique more than "Oh, isn't that a cute use of caps!" I address it whenever I am invited to speak.

I love your piece that's in the permanent collection at Woman Made Gallery, the virgin Mary covered with newspaper articles about violence against women. It's so perfectly mis-aligned, the form and the content. Much of your earlier work was about religion/Catholicism, but you seem to have moved away from that. Why? Did you say all that you had to say?

Catholicism, and Religion in general, is an endless pit of misaligned allegiances. It brings war and self-congratulation and misunderstanding. It is ripe for critique. I may return to it in the future.

I remember that your first bottle caps piece (or the first really big one) was your self-portrait with a nod to Chuck Close. I imagine you didn't know when you did that one that this type of work was going to become "what you're known for," it's really taken off and is popular. How do you feel about that and do you miss other forms of creating?

I really never thought I would be stuck with one media and one style for so long. It is a bit frightening. I hate to think I have arrived at my "mature stage." Yet there are so many more bottle caps to be disposed of. People keep mailing me boxes of them. So I persist, for now.

How do you do it? How on earth do you make images out of bottle caps? From a distance, the viewer sees the piece as they might a pointillist painting, and up close, they can see the building up and layering of multiple bottle caps to create shading or line. How did you know how to do that? Did it just translate from painting?

I have no idea. I work from a photo and a grid, and I look at that little square and decide what caps to use. I walk back and forth several times to get just the right combination, turning caps upside down and right-side up, testing color against color and fitting size into size. It takes a long time, but at the end of the day, I step back and say to myself "Wow! look at that!"

You have an awesome studio. So many women artists don't. They work in too-small spaces, they don't take up the space they need, they defer to their families. How important has it been for you to have serious work space? Does it annoy you as much as it does me when you see women artists playing small?

I was the oldest daughter of 10 kids, so I had a lot of responsibility and very little space growing up. I have decided I need a lot of space to think and create.

I put off being an artist till my kids were able to take care of themselves (I was 36 and my youngest was 9 when I went back to school, and she was 12 when I graduated at age 40.) So I did defer to domesticity. But I always knew I was going to be an artist and I bided my time. I cannot imagine how women are able to raise kids and make art at the same time.

I am very lucky to have a wonderful husband who supports me 100 percent in my career. I agree that one must demand the space one needs, and I would find a way no matter what. It DOES matter what kind of space you make art in.

One of the things you've done with your studio is turn the storefront windows into a "gallery for the people on the street," called Art on Armitage.What's been the most unexpected result of doing that? Who gets more out of it, the exhibiting artist, or the people on the street, who are maybe people who don't usually go to art galleries?

My graduate thesis was about how to make art more accessible to everyday folks. I was raised in a working-class family and the only art I knew was in Church and in books. "Modern" art was derided as effete and anti-democratic. We never went to museums and I never saw a gallery.

Artists play into this tendency when they focus on the for-profit gallery system which caters to the monied class and treats the rest of us like ignoramuses. If we educate people about what we do and why, they are more likely to understand and even BUY art for their walls. They do put something on their walls, right?

So Art On Armitage is the realization of that dream. And the people in the neighborhood love it. They tell me so all the time. In my studio, I can hear parents and teachers talking with kids about the art, I hear teens discussing it, and watch adults reading the statements and really looking at the work. They stop to discuss it and they tell me what they like and why. And that proves my thesis.

In addition, I have been able to take artists who have shown in my window to European art fairs for artist-run spaces. It has opened up a whole new world to them. I have traveled to Athens and Stockholm, and have had exchanges with artists from Korea, Iceland, Britain, Germany, Sweden and in the next year will have artists from Quebec, Finland and Switzerland. So this kind of effort pays off in dividends. I really urge artists to get off the treadmill of New York or bust and explore artists in the rest of the world.

Do you have a favorite of your own art? Or an underdog piece that you think is amazing, but it doesn't get the attention it deserves?

There is a 1992 piece titled "Booths: The Socialization of the Species" that has only been exhibited twice. It is centered with a one-sided glass mirror, one side being a porn peep-show booth (yes, I actually visited one to get the piece just right) and the other is a confessional. The sides are titled with signs from our grade-school washrooms: "Boys" and "Girls". The boy's side (door reading "LIVE GIRLS XXX RATED") is a window looking in on the girl's side. The girl's side contains the oppositional mirror and a confessional prie dieu, keeping the girl on her knees, looking at herself and wondering what she did wrong.

Text from Jeremiah 13:22 appears above the mirror: "If you ask in your heart why these things befall you, for your great guilt your skirts are stripped away and you are violated."
Homepage banner image: Mary Ellen Croteau, "Plastic World" installation view, 2014. Courtesy of Yellow Springs Arts Council Gallery

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Mary Ellen Croteau: Artist, Agitator and Environmentalist - Moore Women Artists

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Mary Ellen Croteau is an award-winning artist who has shown internationally who tackles difficult issues in her art.Her current body of work uses bottle caps to create images.In this interview we talk about her art from 1990 to the present. You call yourself an agitator, which I've never seen an artist do before.

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" me da pudor enfrentarme a mi trabajo expuesto"

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Una de las múltiples cuestiones que caracteriza el trabajo de Paz Errázuriz (Chile, 1944) es la insistencia: series fotográficas conseguidas luego de años de implicarse en diferentes contextos configuran un cuerpo de obra múltiple, atravesado por la idea de marginalidad. De esto da cuenta su retrospectiva, en la que lo temporal tiene un rol clave que nos lleva a recorrer décadas de trabajo y que se refleja también como uno de sus intereses al retratar las distintas etapas de la vida. Esta muestra, curada por Juan Vicente Aliaga y expuesta originalmente en Fundación MAPFRE en el año 2015, llega a nuestro país después que Paz Errázuriz recibiera el Premio Nacional de Artes Visuales (2017), máximo reconocimiento que se le da a los artistas en Chile, y que en esa oportunidad recayó por primera vez en la fotografía y por sexta vez en una mujer, de un total de 26 premios entregados.

Diversos autores nacionales han escrito sobre su trabajo y lo han intentado definir. Adriana Valdés señala que Errázuriz retrata "seres marginados"; Enrique Lihn los denomina "seres marginales" e indica que su obra es una "apoteosis de la marginalidad"; Diamela Eltit habla del "cuerpo marginal", mientras que Nelly Richard se refiere a "una estética de la periferia". Patricio Marchant nos habla de El amor de Errázuriz fotógrafa, y es ese amor el que la lleva a construir un contraimaginario nacional de aquello que no siempre es visto o de aquello que no se quiere mirar. Diez ejes conforman e intentan organizar una extensa retrospectiva con cientos de imágenes que nos interpelan desde su potencia y poéticas.

La exposición estará abierta hasta el domingo 14 de octubre en la Sala Matta del M useo Nacional de Bellas Artes.

Mariairis Flores: Cómo te relacionas con la idea de exposición retrospectiva y con el reconocimiento que significa obtener el Premio Nacional de Artes Visuales, cuestiones que ahora están tan presentes, pero que me imagino no eran asuntos en los que pensaras cuando iniciaste tu trabajo... MF: Ya que mencionas eso, mi segunda pregunta, dejando en paréntesis lo del premio, apunta justamente a cómo te vinculas con el trabajo curatorial, considerando también que tu cuerpo de obra se caracteriza por las series, las que luego se exhiben en exposiciones o libros y que dan cuenta de momentos, procesos y propuestas determinadas/delimitadas...
Paz Errázuriz: Claro, primero fue la retrospectiva, el Premio Nacional ni siquiera se podía pensar, es una cuestión otra. Entonces la retrospectiva es la que me sorprende, porque viene de afuera, la propuesta viene de curadores de España en este caso y también me sorprende que supieran tanto de mi trabajo, como por ejemplo un detalle: la foto de la obra Viuda (1985) es una colaboración que yo hice con el C.A.D.A, entonces Juan Vicente Aliaga me contó que él hace muchos años estaba obsesionado con esa foto, y la había trabajado con sus alumnos sin conocer la autoría en un comienzo, pero que luego dio con el dato de que era un foto mía y que por lo tanto era importante que estuviera en la retrospectiva.
MF: ¿Y crees que el Premio Nacional de Artes tiene que ver con eso, con que haya habido un reconocimiento internacional?
Todo esto ha sido una sorpresa, nadie nunca me había ofrecido algo como una retrospectiva. Pensándolo bien, tuve una exposición en la Telefónica en el año 2004 y ahí si me lo ofrecieron, pero yo no quería porque me daba terror tener una exposición así de grande, así que les dije que no al comienzo, pero siempre quería tener un libro, así que accedí con la condición de que se hiciera uno. Entonces ese fue el primer libro que revisó mi trabajo hasta esa fecha; claro que ahí no trabajé con curador, mantuve mi modelo de trabajo, en el que me suelo encargar de todas las etapas, tanto del proceso expositivo como el editorial.
MF: ¿Y la relación con los otros fotógrafos, más allá de la gente que te apoyó directamente?
PE: Bueno es cierto lo que dices, he vivido una contradicción entre sentirme invadida y sumamente agradada. Mi primer curador fue Gerardo Mosquera, un importante curador, de gran prestigio, entonces que venga a revisar mi trabajo y que sepa lo que quiere elegir, demuestra un estudio y un interés; lo mismo Juan Vicente, porque no es que vengan así como a buscar, sino que han estudiado y tienen claro lo que quieren, entonces es un desafío tremendo con gente tan preparada. Yo nunca había conversado con un curador sobre mi trabajo y la primera experiencia fue con Gerardo Mosquera y después con Juan Vicente Aliaga y, bueno, ellos tienen sus ideas y he aprendido a relacionarme con eso, porque son otras maneras de abordar mi propio trabajo. En resumen, por un lado está mi relación con la curaduría y después está la relación con todo lo que ellos gestionan para realizar las exposiciones; la gente de Fundación Mapfre ha sido increíble, todos los libros que ellos hacen son espectaculares y llegar a ese lugar... por ejemplo, mi exposición fue después de una de Josef Koudelka que es un fotógrafo al que siempre admiré muchísimo... entonces todo esto me ha dado más seguridad en mi trabajo, eso es lo que me ha sucedido con la retrospectiva y trabajar con curadores internacionales me ha significado salir y que mi trabajo comience a circular por otros lugares.

PE: Puede ser... o sea, la idea del Premio Nacional fue en gran parte generada por el taller Gronefot, un grupo de fotógrafos con los que he trabajado, hago todas mis copias con ellos y tengo una buena relación, entonces fue idea de ellos apostar por mi obra, y yo dije: "Esto jamás, si a la fotografía nunca la han reconocido", pero empezó a ser el desafío también. Pensé: que la fotografía compita en este mundo me parece interesante, no yo, sino que jugársela por la fotografía, y bueno, esto de ser mujer también era un desafío tremendo que me pareció importante asumir. Es reconfortante saber que todo esto fue conseguido gracias a mi propio trabajo.

PE: Es el machismo más fuerte que te puedas imaginar... ya esto lo he contado varias veces, pero uno de los primeros comentarios que recibí fue: "Una dueña de casa nunca va a poder ser fotógrafa". Muchas veces me ha tocado ser marginada por los fotógrafos, entonces estoy acostumbrada y he logrado moverme por otros lados, por mis propios lugares. He tenido muy buena relación con Inés Paulino, con las otras amigas de la AFI, que éramos muy poquitas... uno nota muy claramente que se hace una diferencia y es muy paradójico, porque la fotografía tampoco tiene un espacio tan sólido como para decir "aquí se ejerce el poder" y te dejan fuera... nadie te va a dejar afuera de nada, porque no hay nada, pero lo que si sientes tú es un silencio en torno a tu trabajo, donde nadie dice nada, nadie es capaz de reconocerte nada, y eso pasa también con artistas hombres, no solo con fotógrafos.

MF: Volviendo a tu trabajo, ¿cuál es la relación de este con la tradición visual que se configura desde la pintura?
PE: Yo quise estudiar arte cuando salí del colegio y no me dejaron; siempre me interesó, así que he leído miles de libros sobre historia de la pintura, he visto muchas pinturas, he estudiado a artistas, he visto todos los museos con mucha atención, ha sido fascinante encontrarme con las obras, está eso de fondo... pero, por otro lado, creo que la estética de mi fotografía no tiene una forma/fórmula aprendida. Soy autodidacta, nunca he estudiado fotografía ni arte y nunca habría podido pensar que esas fotos tendrían que ser mejor desde esta técnica o desde esta otra, sino que mi foto pasa por una necesidad tremenda de apoderarme de esa mirada, de ese otro; es una cosa que no pasa por la imagen, sino que por la atracción hacia esa otra persona, por el momento que estoy enfrentando con el fotografiado; fotografiado que me fascina, que admiro; y eso que digo, que son autorretratos, lo sostengo porque son aquello que yo quisiera ser, esa otra persona también, es algo que va por otro lado, por una cosa más psicológica, porque mi trabajos nunca estuvieron pensados para ser mostrados, no hay un público cuando hago las fotografías, entonces siento que es apoderarme de esa otra persona, robarme esa alma absolutamente, porque la necesito para mi, porque yo aprendo, porque son una escuela; para mi todos los trabajos han sido la escuela más maravillosa. Cada foto tiene su tiempo, son procesos largos de compartir, de observar, y siento que el momento cúlmine es cuando consigo la foto, y no sé cómo será eso para un pintor, son procesos tan personales, tan únicos que es fascinante...
MF: La escritura tiene un lugar fundamental en tu trabajo, dos formas de escritura, una que es sobre él y otra que se da de maneras más implicada, como un proceso conjunto entre quien escribe, los fotografiados y tú. Recuerdo ahora que invitaste a Dittborn a escribir un texto para El combate contra el ángel, puesto que la figura del boxeador también era algo que él había trabajado...
PE: Exacto, por eso mismo lo invité y el texto de él es bien provocador respecto de mi trabajo y mucha gente me dijo: "¿por qué lo pusiste?"...
M.F: Me imagino que la razón es que la escritura no busca sólo complacer, sino que también tensionar tu propio trabajo, desde un lugar en el que tú no controlas lo que se escribe...
PE: Absolutamente, ese texto de Eugenio yo lo quería, porque me interesaba el cruce, la perspectiva de alguien que había pensado en esos cuerpos, entonces se lo propongo y el texto descoloca desde la idea de que siempre se debe escribir cosas bonitas sobre el trabajo si te están considerando para ello. Me interesa la mirada y lo que piensa tal persona, porque yo escojo a quién invitar en cada instancia, aunque muchas veces es al revés, alguien quiere escribir sobre algún trabajo... Ese diálogo siempre es enriquecedor, todos los textos que hay sobre el trabajo de uno potencian la mirada, abren nuevos cruces...
MF: Recuerdo que en la conversación que se dio en el contexto de Radical Women, hablabas de perseguir una transdisciplinariedad en incluir distintas escrituras... MF: Pensando también en la importancia que tienen los libros para tu trabajo fotográfico, donde es posible identificar una insistencia. ¿Qué diferencias o similitudes ves entre el trabajo editorial y el expositivo?
PE: Sí, es que no creo en lo individual, que por supuesto es el proceso, pero que esto se cruce con otra disciplina creo que siempre enriquece, es algo inevitable y a mi me enseña, es además una cosa de generosidad al dar la posibilidad de mirar las cosas con otros ojos, pero es sobre todo porque le aportará a la obra, no es para llegar a más personas, ni tiene otro público por estar vinculado con personas que vienen de lugares diferentes al de mi fotografía.
MF: De todas maneras hay algo particular en recorrer una exposición...
PE: Ahora que lo mencionas creo que de mi generación puedo ser una de las primeras en insistir tanto en los libros; creo que me gusta su trascendencia, es algo que queda, lo abres cuando tú quieres y lo cierras cuando quieres, por eso no tengo fotos mías puestas en los muros, me saturo muy rápido con imágenes, entonces prefiero tener todos los libros de fotografía y es muy placentero poder revisar a cualquier autor... lo abres y lo miras. Las exposiciones duran un segundo, tienen la usanza de que la vea un grupo de gente... bueno, pero también hay algo en eso. Es que la obra misma también tiene un aura, una pintura tiene un trazo, texturas, las fotos también responden a una cuestión técnica, hay una tradición estricta respecto a las copias... Yo pasé años absolutamente fascinada haciendo copias, pero también tenía que ver más con el proceso, que era mágico, o sea, pasabas por una cámara oscura y aparece la foto... pero también hoy estamos en un mundo con otra tecnología y yo estoy peleando con la fotografía análoga por la contaminación -es un horror lo que se gasta en agua con una foto. Entonces, sigo siendo más partidaria de los libros, porque lo puedes mandar, tienen una inmediatez, una presencia...

PE: Es que a mí, lo mío me cuesta mucho, me da pudor, yo no podría volver a la sala Matta, entré porque tuve una visita guiada. Creo que, en el fondo, soy tímida, me cuesta convencerme de que lo mío esté ahí tan estupendo. Tú decías eso de entrar y, claro, ahí se genera un espacio, un silencio para que tú te puedas enfrentar y mirar de una manera; a mí me encanta ver también a otros, pero no lo mío.. no sabría cómo explicar lo que me pasa al enfrentarme a mi trabajo expuesto.

MF: Como mencioné, hace poco tuvimos la oportunidad de compartir en el marco de Radical Women, donde participaste de una conversación con Cecilia Vicuña que MF: ¿Y fue complicado para ti también en un momento? ¿Ahora estás más acostumbrada a llamarte artista? MF: En la presentación de la exposición Andrea Giunta y Cecilia Fajardo-Hill se detuvieron en precisar que el feminismo era uno de los tópicos que la muestra abordaba, así como el autorretrato o la erótica, por mencionar algunos, y esto respondía a que no todas las artistas se sitúan desde ahí MF: Es cierto, porque las discusiones entre feministas son las que van definiendo sus posibilidades, las que siempre son múltiples. . ¿Cuál es tu relación con el feminismo? , de acuerdo a lo que comentaron, era la primera vez que se encontraban en una instancia como esa. Sin duda la exposición abre posibilidades infinitas. Entonces, quería saber cómo valoras la muestra.
PE: Es algo fenomenal esa exposición pensando en el trabajo que han hecho, en las mujeres a las que han incluido... es algo sorprendente también la recepción que ha tenido, todo lo que uno lee sobre esto, es algo que nunca se había hecho de esa manera y luego yo estar incluída me parece una tremenda oportunidad, porque nuevamente se considera a la fotografía dentro del arte contemporáneo, que siempre ha sido puesta en un lugar más bajo. Esto me ha dado una certeza importante respecto de mi trabajo, porque siempre ha estado relegada la fotografía y, por primera vez -desde afuera nuevamente-, te invitan a ser parte de un grupo de mujeres artistas, porque es la palabra artista la que es complicada para la fotografía.

PE: Aún me cuesta. A veces digo que soy fotógrafa y otras que soy artista, juego a cuando me atrevo a decirlo.

PE: Yo no tengo problemas con llamarme feminista. Bueno, considerando el caso que mencionas, debo decir que mi trabajo estaba en la sección del cuerpo, está enfocado de esa manera, que es una interesante posibilidad de lectura dentro de las múltiples que se configuran. Pero volviendo al feminismo, lo que pasa es que un comienzo me costó mucho atreverme a llamarme feminista, porque veía que había una historia de lucha que no pasaba solo por enunciarse desde ese lugar. Por ejemplo, ahora, con la muestra, me resulta cada vez más posible, pero es cierto que también es sorprendente cuando una mujer se sitúa desde el rechazo al feminismo, porque es un posicionamiento político y hay momentos en que eso se vuelve urgente. Son muchas las instancias de organización que ha tenido el feminismo y que son fundamentales, y por lo tanto es necesario, tal como ha estado pasando, que se masifique la discusión, porque puede haber muchas mujeres que no se atrevan a asumir esa palabra.

PE: Sí, justo ahora estoy leyendo el libro Mayo feminista. La rebelión contra el patriarcado (LOM, 2018), y ese libro se lo voy a pasar a mi nieta después;y eso no es algo que me pasó a mí, estoy segura que hay mucha gente de mi generación que no sabe si llamarse feminista, porque se siente irresponsable de decirlo así no más.

MF: Bueno, eso es muy común, a mí también me pasó hace algunos años y recuerdo que se lo comenté a la feminista Eliana Largo y ella me dijo: "Por supuesto que eres feminista, eso no necesita ser validado por nadie más que por ti"MF: ¿Y cómo surgió la exposición en Uruguay? , y como el feminismo es diverso, es una misma quién va articulando su lugar. Volviendo a tu trabajo, me gustaría hablar de tu producción actual MF: A propósito de eso, visité la exposición con dos mujeres mayores de 80 años y quedaron espantadas con las fotografías a las ancianas en los asilos... ... hace unos días conversábamos y me comentabas que te preocupaba que la retrospectiva fuera como un cierre o MF: Sobre otra obra, considero que el video de El sacrificio demuestra tu capacidad de hacer obra sin restringirte a lo que se entiende por fotográfico, y de est e trabajo me llamó la atención que estuviera fechad o entre 1989 y 2001. ¿A qué responde esa decisión? , más bien, que se leyera como un cierre, entonces es la instancia para hablar de lo que estás haciendo actualmente.
PE: Lo que pasa es que uno tiene tantas cosas por hacer todavía y temas a completar... ahora estoy con el trabajo de la moda y la ropa americana, una serie que hice este año y que se presentará en el marco de la exposición de Moda desobediente. Por otro lado, estoy en un trabajo que comencé con niñez trans, pero que se ha expandido y que será un libro este otro año y en el que trabajo con Niki Raveau, y en un punto eso se me hilvana con La manzana de Adán, un tema al que me siento muy cercana y siempre muy atraída. Siento que tengo muchas cosas pendientes; estoy trabajando con cosas nuevas, pero obviamente hay otras cosas antiguas que no se cierran y creo que la retrospectiva me enfrenta a eso, a pensar que no se ha cerrado nada. También tengo la ventaja de que como se ha hecho un trabajo con mi archivo, puedo revisar muchas cosas que dejé pendientes, entonces hay series que nunca he mostrado. Por ejemplo, ahora en diciembre en Montevideo voy a mostrar una serie inédita, se llama Próceres y fue hecho durante dictadura, en el año 1984. Me interné en una fundición donde los militares mandaban a hacer todas sus estatuas y lo que quedaba eran partes, lo fallido, entonces son todos estos próceres desmembrados, pedazos de próceres, lo que fotografío.

PE: Es una invitación que tiene que ver con Cenfoto y como ellos han trabajado con mi archivo, decidieron hacer una exposición, y pensé: "¿por qué no mostrar algo nuevo?". Eso irá con los boxeadores. También está itinerando por Chile una exposición que es sobre viejos, que no se ha mostrado en Santiago; estuvo en La Serena, en Chillán, y es bien dura, distinto a lo que está en la retrospectiva.

PE: Qué excelente lo que me cuentas; esa era un poco mi sensación al ver lo que hacían con estas mujeres mayores a las que disfrazaban e infantilizaban.

PE: Lo que pasa es que el video del degollamiento me parecía muy fuerte para mostrarlo cuando lo grabé, que fue en el 89, y recién me atreví a mostrarlo en 2001, porque la referencia a los crímenes ocurridos en dictadura se hacía tan evidente que resultaba muy violento, era tan explícito que preferí guardarlo, pero quise acentuar la fecha, porque su momento fue otro. Esa escena yo la presencié como tres veces antes y, cuando la vi, pensé que tenía que tomar fotos, porque estaba absolutamente hipnotizada con esta cosa horrorosa, y me empecé a dar cuenta de que la foto no tenía nada que ver con lo que me estaba pasando y necesitaba el audio de eso, porque es el silencio más total... es bien raro porque es un silencio tremendo y solo irrumpen los ruidos propios de la acción de degollar.

Imagen destacada: Paz Errázuriz. Foto: Nacho Rojas, para Revista ED.

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PAZ ERRÁZURIZ: "ME DA PUDOR ENFRENTARME A MI TRABAJO EXPUESTO" | Artishock Revista

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En esta entrevista, Paz Errázuriz habla sobre cómo se relaciona con la idea de tener su primera exposición retrospectiva en Chile, actualmente en el Museo Nacional de Bellas Artes, y con el reconocimiento que ha supuesto obtener el Premio Nacional de Artes Visuales en 2017.

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black and woman (eugenio barba & victoria santa cruz)

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black and woman (eugenio barba & victoria santa cruz)

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documentary about the poem/performance by victoria santa cruz

documental sobre el poema/performance de victoria santa cruz

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Black and Woman (Eugenio Barba & Victoria Santa Cruz)

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me gritaron negra       - victoria santa cruz

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me gritaron negra       - victoria santa cruz

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Victoria Santa Cruz | Me Gritaron Negra (Afro Perú) | Music MGP

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english:
https://hammer.ucla.edu/radical-women/

https://vimeo.com/181671106

castellano: (clicar sobre la imagen)

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Mujeres radicales: arte latinoamericano, 1960-1985 | Hammer Museum

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Parte de Pacific Standard Time: LA/LA, esta exposición revalorizará las contribuciones de las artistas latinoamericanas y las artistas latinas y chicanas al arte contemporáneo.

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projects by artist daniela ortiz

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las mujeres malas lo hace todo por las buenas

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Esta línea de investigación se enmarca dentro de las labores tradicionales tales como coser, tejer, bordar, etc. que siempre han estado ligadas al ámbito de lo privado y lo doméstico y asociadas a lo femenino.

El punto de cruz tiene además una carga sexista asociada a algo ñoño y bonito propio de amas de casa desocupadas.

Empecé a bordar estos textos porque creo que son importantes y dan pistas acerca de nuestra sociedad actual y la doble moral que exhibe en torno a estos temas. No sólo he bordado anuncios de periódicos sino también textos extraídos de páginas web de contactos en las que se puede ver toda la crudeza que encierran este tipo de anuncios .

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Las mujeres malas lo hacen todo por las buenas - Sandra Paula Fernández

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Esta línea de investigación se enmarca dentro de las labores tradicionales tales como coser, tejer, bordar, etc. que siempre han estado ligadas al ámbito de lo privado y lo doméstico y asociadas a lo femenino. El punto de cruz tiene además una carga sexista asociada a algo ñoño y bonito propio de amas de casa ...

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todas a una (2018)

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Con esta obra lo que pretendo es aunar dos voces, una más tímida y privada pero también colorista y vibrante, representada por las cintas de colores y las cenefas, las tiras de lentejuelas y de madroños, las puntillas y los volantes tantas veces usados en la confección de vestidos y ajuares de novia, encerrados en el ámbito de lo doméstico, y por otro lado, una voz liberada de su mordaza y reivindicativa, que sale a la calle y la conquista, condensada en estas frases, cerca de trescientas, que transcribo de la manifestación del 8 de Marzo del año pasado.

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Con esta obra lo que pretendo es aunar dos voces, una más tímida y privada pero también colorista y vibrante, representada por las cintas de colores y las cenefas, las tiras de lentejuelas y de madroños, las puntillas y los volantes tantas veces usados en la confección de vestidos y ajuares de novia, encerrados en ...

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retomada                       marina peralta                afrojess, katú

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retomada                       marina peralta                afrojess, katú

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ancestralidade nos devolve a coragem de lutar
Pela justiça pela paz e a verdade
E chegou a hora de retomar a identidade
E com sororidade lutamos por igualdade
E eu sei de onde eu vim
Eu sei pra onde eu vou
Eu vou ali pegar de volta tudo que ele nos tirou
Mas eu não vou sozinha, não
Convoco todas as bruxas pra fazer revolução

Peço que caiam todas as fronteiras
Sem boas maneiras
Hoje nós viemos retomar
Peço que caiam todas as fronteiras
Sem boas maneiras
Hoje nós viemos retomar

Chegamos pra retomada só peço proteção
Empretece as palavras
Tomem outra direção
Esconderam minha origem
Plantaram a rejeição
Negar se negue, não foi em vão
Reconhecimento entre nós potencializa a força
Enquanto vocês tentam nos virar o tempo todo uma contra a outra
Cê acha…

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RETOMADA - Marina Peralta, AfroJess e Katú

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una archiva diy: la fanzinoteca feminista-cuir

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una archiva diy: la fanzinoteca feminista-cuir

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ibujo.tumblr.com/cv#mce_temp_url#

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naturaleza viva (1943)

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naturaleza viva (1943)

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naturaleza viva (1943)

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naturaleza-muerta-resucitada (1963)

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taxi acuático (locomoción acuática) (locomoción fluvial) (1962)

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bordando el manto terrestre (1961)

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mujer saliendo del psicoanalista I (1960)

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exploración de las fuentes del orinoco (1959)

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papilla estelar (1958)

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la creación de las aves (1957)

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cazadora de astros (1956)

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simpatía. la rabia del gato (1955)

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alegoría al invierno (1948)

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_what are the limits? - she asked.
_the limits are three chihiro: the sky. the imaginations and yourself.

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article:                   8 smust-read feminist science fiction books, bacause yes, they do exist

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article:                   8 smust-read feminist science fiction books, bacause yes, they do exist

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Science fiction may be great at creating far-out worlds, alternate realities, and unimaginable futures, but for a genre that's celebrated for its creativity and inventive style, it sure does like one particular kind of protagonist: caucasian, heterosexual men. Despite the over-saturation of that story - the story of the white dude who saves the day and gets the girl - in the genre, there are some outstanding feminist science fiction books that give a much needed voice to the diverse women of the world.

One of the best things about science fiction is its unlimited possibilities, and for feminist sci-fi writers, those unrestricted possibilities apply to not only the world the story is told in - on a distant planet, 13 billion years in the future in a time where humans have evolved to possess great powers - but they extend to the roles women play in that fictional world, too. Science fiction allows its authors to throw out the cultural norms and expectations of the present and instead imagine a future that isn't bound by binary gender roles and dominated by men.

From Ursula K. Le Guin to Joanna Russ to Octavia Butler, feminist sci-fi writers have been using science fiction to tell powerful stories about space heroines, female commanders and rulers, and general bad ass futuristic females that explore important themes of gender, sexuality, and race. They're stories from the female perspective, about the female perspective, and, as often is the case in real life, they're stories that end with the girl saving herself.

Despite what you might think, there's more to science fiction than Frank Herbert, Isaac Asimov, Philip K. Dick, and the straight white guys they wrote about - a lot more. Because women not only kick ass in real life, but in the fictional future too, here are eight feminist science fiction books to add to your reading list.

Written at the height of sci-fi's New Wave movement where women were making their voices heard in the genre, Joanna Russ's 1975 The Female Man is a cornerstone in the library of feminist science fiction. It's the 1970s, and in one reality, Jeannine is a librarian who is waiting to be married in a world that never saw the end of the depression. But in an alternate reality, she is also Joanna, a radical feminist, Janet, an inhabitant of Whileaway, a utopia where men don't exist, and Jael, an animalistic warrior at war with the males of her planet. The four meet, and each of their realities are turned on their heads. An inventive, thought-provoking novel featuring four incredible female characters, The Female Man is a must-read feminist sci-fi classic.

An essential read for every science fiction fan, Nalo Hopkinson's Midnight Robber is also a fitting addition to this feminist sci-fi reading list. A dark and powerful coming-of-age story that deals with issues of sexual abusive, incest, and abortion, Hopkinson's novel is a deeply personal and expertly executed. A complex story that intricately weaves a futuristic world, centuries-old mythology, and modern day women's issues, Midnight Robber is like nothing you've ever read.

Often compared to Frank Herbert's Dune, Joan D. Vinge's The Snow Queen is a feminist masterpiece all on its own. A retelling of Hans Christian Andersen's classic fairy tale with a sci-fi twist, Vinge's version of the Snow Queen myth includes an alien planet ruled by matriarchal monarchs, black holes, clones, and the classic clash of technology versus tradition. Featuring a variety of complex, layered female characters, The Snow Queen proves, as Vinge hoped, that women are indeed people, and their stories matter.

A dark and gritty book that addresses the topics of mental health, drug abuse, sexual abuse, racism, classism, sexism, and abortion head-on, Woman on the Edge of Time is a standout feminist science fiction novel. While talking with a Luciente, a woman from a idyllic future - one where everything from racism to homophobia to consumerism has been wiped out - Connie, a Hispanic woman committed to a mental institution against her will, learns that her actions will determine the future of the world. One wrong move can turn the utopia Luciente told Connie about to a alternate future where the worth of a woman is determined by her looks and sex appeal, a small group wealthy elite controls the masses, and plastic surgery is a way of life. If that sounds a little too familiar, it's time you read Woman on the Edge of Time.

There are plenty of stories about men exploring galaxies far and away, but Naomi Mitchison's novel finally gives you the female perspective on things. Memoirs of a Spacewoman takes place in a future where men and women are essentially equal, at least when it comes to leadership positions, and chronicles the journey of Mary, a communications expert traveling from world to world in pursuit of scientific knowledge. An unabashed work of social science fiction that celebrates female sexuality and exploration, Memoirs of a Spacewoman is a fun feminist read.

6. Dawn by Octavia Butler

You can't talk about feminism and science fiction without mentioning Octavia Butler. While all of her books would fit on this list, Dawn , the first in Butler's Xenogenesis series, features one of her best female characters, Lilith Iyapo. A strong, level-headed heroine, Lilith is one of the few surviving humans saved by the Oankali aliens, and maybe humanity's last hope at making it through.

Another author whose work is essential feminist sci-fi reading, Ursula K. Le Guin is known for her ability to bend gender norms. While most people probably know her masterpiece The Left Hand of Darkness , her 1969 novel set in the Hainish universe inhabited by"ambisexual" beings, "The Matter of Seggri," a short novelette most recently published in Le Guin's The Birthday of the World collection, is another gender-bending exploration worth the short time it takes to read it. Set on the titular planet Seggri, the short story turns gender roles on their heads by creating a world where extremely segregated men and women don't have the roles typically expected of them. A thought-provoking read, "The Matter of Seggri" should be considered required reading.

If you read feminist literature, then you probably know Charlotte Perkins Gilman's "The Yellow Wallpaper" by heart, but you might not know the author's feminist science fiction work. Moving the Mountains is the first in Gilman's Herland series, a utopian trilogy about a society composed of entirely women, followed by the more famous Herland, and its sequel, With Her in Ourland . Do yourself a favor, and read all three, because once you start to sink your teeth in, you're going to want more.
Image: Bustle Stock Photo

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8 Feminist Science Fiction Books, Because Yes, They Do Exist

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Science fiction may be great at creating far-out worlds, alternate realities, and unimaginable futures, but for a genre that's celebrated for its creativity and inventive style, it sure does like one particular kind of protagonist: caucasian, heterosexual men.

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#lenguaje #heramienta #arma #cambiodeparadigma
#hipotesisdesapir-whorlf
#cienciaficciónfeminista

http://portfolio.rogueca.com/arrival/videos

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feminist science fiction, fantasy & utopia

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feminist science fiction, fantasy & utopia

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"** SITE-WIDE SPOILER WARNING **
This site is essentially a complex bibliography that lists and cites and describes sf & critical works from a feminist perspective. Plots may be described in whole, including details that would constitute a "spoiler" for some people. Works that are already complete are reviewed, discussed, and described, and consequently there are spoilers."

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** SITE-WIDE SPOILER WARNING **
This site is essentially a complex bibliography that lists and cites and describes sf & critical works from a feminist perspective. Plots may be described in whole, including details that would constitute a "spoiler" for some people. Works that are already complete are reviewed, discussed, and described, and consequently there are spoilers.

We welcome your comments, suggestions, and offers of assistance.
Please be patient while waiting for us to get back to you.

about | credits | disclaimer | faq | feedback | privacy

These pages are edited and maintained at http://www.feministsf.org/ by Laura Quilter.
updated 2007-06-13 :: developed ~1994

Index / Site Map: Detailed Table of Contents:

I. Bibliographies & Reviews

The Checklist of Feminist Utopian, Fantasy & SF Stories: AuthorsA-K and L-Z

Reviews are linked from the Checklist

Other Reviews: Miscellaneous Books, not Feminist SF, reviewed

Unreviewed books and short stories: A-F ...G-M ...N-Z

Anthologies - Indexes by Title, Editor, and Series

Bibliographies
** SPOILER WARNING: These bibliographies often by their nature reveal plot details. Additionally, short descriptions of works may be included in the bibliographies; these often include spoilers. **

Quick Reading Lists: Themes, Characters, Genres, and "if you like..." Lists

Bibliographies by Format:

Recommendations

Information About Authors

Author Indexes

Comprehensive Index to Female Writers in Science Fiction, Fantasy & Utopian Genres: 18th Century to Present (106K)

Index to Women SF Writers of Color

Index to Lesbian SF Writers

Index to Non-English-Language Women SF Writers

Index to Non-US Women SF Writers, by Nationality
-Index to Canadian Women SF Writers

II. Research, Criticism & Teaching

Literary Criticism, Bibliographies, Research, Etc. on Feminist SF/F/U

Criticism Bibliographies:

Research: A-C ...D-I ...J-Q ...R-Z

Related or Unevaluated Criticism, Bibs, History, Theory, Etc. (39K)

Heather Whipple's Annotated Research Guide

Useful Subject Headings and Tips for Literature Searching

Journals, Newsletters, and 'Zines

Documentary Films & Videos

Coming someday: Full-text Dissertations & Papers

Coming someday: Syllabi & Teaching Materials

Coming someday: Awards

Other Feminist SF WebSites - Related Material

Quotes

III. The Feminist SF Community - Resources for Writers & Fans

FeministSF News Archive

A Brief History of Feminist SF/F & Women in SF/F

Conferences, Meetings, Symposia & Courses
" Wiscon - Feminist SF Convention [offsite]

Scholars' Directory

Reading Groups, Fan Clubs, Associations & Online Discussions

For Writers:

IV. About This Site

General Information

Feedback

Changes to the Site:

Site Policy:

Credits

Usage of the Site

Search the Site (with Google)

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Feminist Science Fiction, Fantasy & Utopia

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SITE-WIDE SPOILER WARNING ** This site is essentially a complex bibliography that lists and cites and describes sf & critical works from a feminist perspective. Plots may be described in whole, including details that would constitute a "spoiler" for some people. Works that are already complete are reviewed, discussed, and described, and consequently there are spoilers.

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feminist sf //       ciencia ficción feminista

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feminist sf //       ciencia ficción feminista

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english:
https://en.wikipedia.org/wiki/Feminist_science_fiction

castellano:
https://es.wikipedia.org/wiki/Ciencia_ficción_feminista

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PRINCIPIA - all the knowledge of the universe

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seeds for resistance           irene pérez

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seeds for resistance           irene pérez

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https://ireneperez.net/section/472644-Seeds-for-Resistance.html

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ideasdestroyingmuros

http://www.ideadestroyingmuros.info/expo/les-iles-postexotiques/

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l'isola è esotica l'
arcipelago è postesotico
l'erotico è esotico
l'amore è postesotico
l'omertà è esotica
l'intesa è postesotica
il ritardo è esotico
il tempo è postesotico
la religione è esotica
la mistica è postesotica
il fatalismo è esotico
la responsabilità è postesotica
i soldi sono esotici
il valore è postesotico
i selvaggi sono esotici
essere selvatiche è postesotico
le tribù e i clan sono esotici
i popoli meticci sono postesotici
subire è esotico
resistere è postesotico
scappare è esotico

la trasparenza è esotica
l'intensità è postesotica
la vergogna è esotica
la sensualità è postesotica mettersi in salvo è postesotico

la solitudine è esotica
la concentrazione è postesotica
l'eccitazione è esotica
la commozione è postesotica
le creme sono esotiche
le miscele sono postesotiche
essere colti è esotico
avere carisma è postesotico
l'ambizione è esotica
la vitalità è postesotica
l'adesione è esotica
la dignità è postesotica
l'ordine è esotico
l'eleganza è postesotica

vivere nelle contraddizioni è esotico

vivere le contraddioni è postesotico
andare con i più forti è esotico
sentirsi oppresse con gli oppressi è postesotico
il cambiamento è esotico
i riti di passaggio sono postesotici

la isla es exótica
el archipiélago es postexótico
lo erótico es exótico
el amor es postexótico
la ley del silencio es exótica
la complicidad es postexótica
el retraso es exótico
el tiempo es postexótico
la religión es exótica
la mística es postexótica
el fatalismo es exótico
la responsabilidad es postexótica
el dinero es exótico
el valor es postexótica
los salvajes son exóticos
ser silvestre es postexótico
las tribus y los clanes son exóticos
los pueblos mestizos son postexóticos
sufrir es exótico
resistir es postexótico
huir es exótico
ponerse a salvo es postexótico
la transparencia es exótica
la intensidad es postexótica
la vergüenza es exótica
la sensualidad es postexótica
la soledad es exótica
la concentración es postexótica
ser culto es exótico
tener carisma es postexótico
la ambición es exótica
la vitalidad es postexótica
la nostalgia es exótica
la memoria es postexótica
la familia es exótica
las genealogías son postexóticas
las categorías son exóticas
el nombre es postexótico
matar es exótico
la muerte es postexótica
yo es exótico
nosotras somos postexóticas

l'île est exotique
l'archipel est postexotique
l'érotique est exotique
l'amour est postexotique
l' omertà est exotique
l'entente est postexotique
le retard est exotique
le temps est postexotique
la religion est exotique
la mystique est postexotique
le fatalisme est exotique
la responsabilité est postexotique
l'argent est exotique
la valeur est postexotique
les tribus et les clans sont exotiques
les peuples métis sont postexotiques
souffrir est exotique
résister est postexotique
fuir est exotique
se sauver est postexotique
la transparence est exotique
l'intensité est postexotique
la honte est exotique
la sensualité est postexotique
la solitude est exotique
la concentration est postexotique
être instruite est exotique
avoir du charisme est postexotique
l'ambition est exotique
la vitalité est postexotique
la nostalgie est exotique
la mémoire est postexotique
la famille est exotique
les généalogies sont postexotiques
les catégories sont exotiques
le prénom est postexotique
tuer est exotique
la mort est postexotique
je est exotique
nous sommes postexotiques

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l'isola è esotica l' arcipelago è postesotico l'erotico è esotico l'amore è postesotico l'omertà è esotica l'intesa è postesotica il ritardo è esotico il tempo è postesotico la religione è esotica la mistica è postesotica il fatalismo è esotico la responsabilità è postesotica i soldi sono esotici il valore è

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ideadestroyingmuros est un collectif transculturel située dans la creation artistique comunitaire. il est née à venise en 2005 et son nom est issu du titre de la composition musicale du 1970 voci destroying muros par luigi nono. par la pratique artistique nous avons élaboré les processus géopolitiques et sociaux en interprétant et en traduisant nos propres vécus singuliers et collectifs.

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https://www.christadonner.com

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lauren mclaughlin: nobody's free until everybody's free

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lauren mclaughlin: nobody's free until everybody's free

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Nobody's Free Until Everybody's Free - Lauren McLaughlin

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In 1971 at the Founding of the National Women's Political Caucus, Washington D.C. pioneering nonviolent activist for the civil rights movement and the women's movement Fannie Lou Hamer stated; "Nobody's free until everybody's free".

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https://genius.com/Kate-tempest-peoples-faces-lyrics