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Recherche an der Schnittstelle unterschiedlicher künstlerischer, gesellschaftlicher oder wissenschaftlicher Bereiche. Der Beitrag bietet die Möglichkeit für neue Formen der Zusammenarbeit, um sich vertieft künstlerischen Recherchen zu widmen.

Zwei oder mehrere Personen (Kunstschaffende:r und Expert:in(en) aus gesellschaftlichen oder wissenschaftlichen Bereichen)

Auswahlkriterien

Berücksichtigt werden alle Schritte einer Recherche, die im Rahmen eines neuen künstlerischen Projektes auftauchen können (Entwicklung von Ideen, Testen experimenteller und multimedialer Herangehensweisen, Erproben verschiedener künstlerischer Zugänge u.a.)

Potential der Zusammenarbeit und Angemessenheit der Methoden

Inhaltliche Relevanz und Realisierbarkeit

Fachliche und künstlerische Qualität und Professionalität der Recherche

Finanzieller Beitrag

Beitrag von maximal CHF 10'000

Die Höhe des Beitrags von Pro Helvetia darf nicht über 50% des Gesamtbudgets liegen

Inhalt des Gesuchs

Beschreibung der geplanten Recherche in konzeptioneller Hinsicht

Realisierungsplan

Budget und Finanzierungsplan (inkl. Auskünfte über sämtliche bei Dritten angefragte Finanzierungshilfen)

Angaben zu den beteiligten Personen (CV, Portfolios, etc.) und Beschrieb von Aufgabe und Funktion im Projekt. Sämtliche Projektbeteiligte müssen bei der Eingabe bekannt sein.

Formatspezifische Ausschlusskriterien

Beiträge an Infrastruktur-, Ausrüstungs- und Betriebskosten sowie an Wartungskosten von digitalen Formaten

Beiträge an Recherchen, an denen sich Personen beteiligen, die noch in Ausbildung sind

Mehrfacheingaben: Pro Person und Projekt darf nur ein Gesuch eingereicht werden

Aus einem Recherchebeitrag lässt sich keinen Anspruch auf einen späteren Produktionsbeitrag ableiten

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Recherche an der Schnittstelle unterschiedlicher künstlerischer, gesellschaftlicher oder wissenschaftlicher Bereiche. Der Beitrag bietet die Möglichkeit für neue Formen der Zusammenarbeit, um sich vertieft künstlerischen Recherchen zu widmen. Zwei oder mehrere Personen (Kunstschaffende:r und Expert:in(en) aus gesellschaftlichen oder wissenschaftlichen Bereichen) Auswahlkriterien Berücksichtigt werden alle Schritte einer Recherche, die im Rahmen eines neuen künstlerischen Projektes auftauchen können (Entwicklung von Ideen, Testen experimenteller und multimedialer Herangehensweisen, Erproben verschiedener künstlerischer Zugänge u.a.)

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Art Residencies for Artist-Parents | ArtConnect Magazine

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For artists who are also parents, finding opportunities that meet both their creative and childcare needs can often be a challenge.

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EXPO25_Bodies of Ambivalence — 146 Contemporary

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Gives a radical, transhistorical and intersectional view on (m)otherhood in/and the arts, through concepts such as 'kinship', 'revolutionary parenting' and 'womb consciousness'

Through the form of an abecedarium, a versatile and accesible read, accomodating the scattered attention span of the mother

This book will have the form of an abecedarium. In its form and through its collaborators it is a sequel to On the Necessity of Gardening, which was also edited by Laurie Cluitmans, designed by Bart de Baets, and published by Valiz.

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Gives a radical, transhistorical and intersectional view on (m)otherhood in/and the arts, through concepts such as 'kinship', 'revolutionary parenting' and 'womb consciousness'

Through the form of an abecedarium, a versatile and accesible read, accomodating the scattered attention span of the mother

This book will have the form of an abecedarium. In its form and through its collaborators it is a sequel to On the Necessity of Gardening, which was also edited by Laurie Cluitmans, designed by Bart de Baets, and published by Valiz.

Editors/authors: Laurie Cluitmans & Heske ten Cate

Contributors: Rosemarie Buikema, Laurie Cluitmans & Heske ten Cate, Trudy Dehue, Babs Gons, Alexis Pauline Gumbs, Camille Henrot, bell hooks, Bart Rutten, Lisa Smit, Lily van der Stokker, Taka Taka, and many others

Design: Bart de Baets, www.bartdebaets.nl

Partners: Centraal Museum Utrecht (Exhibition: ' Good Mom/Bad Mom: Unraveling the Mother Myth', 29 March-14 Sept. 2025) Nest, The Hague (Exhibition: 'Thanks, But No Thanks', Spring 2026)

Support: Mondriaan Fund, Cultuurfonds, HORIZON EU/RE-WIRING, MOED

March 2025, Valiz | pb | 312 pp. | 32 x 24 cm (h x w) | English | ISBN 978-94-93246-42-3 | €32,50

Motherhood is a theme that stands at the core of life, but has nevertheless been kept in the private sphere for a long time, haunted by clichés, stigmas and myths. Motherhood has always been seen as trivial, not as a subject for real art. At the same time, artists with a womb have faced the cliché that they had to decide between making art or having a child, as both would take up all the mother's time and energy.

Mothering Myths unravels these clichés, stigmas and myths, through the lens of art, and a transhistorical and intersectional perspective, while being very playful and open to many interpretations. It breaks through the perspective of the individual mother figure and makes space for collectivity, different forms of 'mothering' and political questions surrounding self-determination. Mothering Myths presents the emancipatory nature of the artist-mother, the voluntarily childless woman, the non-female mother and the 'raven mother', through concepts such as kinship, revolutionary parenting, womb consciousness and reproductive justice.

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Gives a radical, transhistorical and intersectional view on (m)otherhood in/and the arts, through concepts such as 'kinship', 'revolutionary parenting' and 'womb consciousness' Through the form of an abecedarium, a versatile and accesible read, accomodating the scattered attention span of the mother This book will have the form of an abecedarium.

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Mit dem deutschlandweit wegweisenden Programm bietet die Behörde für Kultur und Medien ein Stipendium, das in einem Sorgeverhältnis stehende Künstlerinnen und Künstler sowie Schriftstellerinnen und Schriftsteller anspricht. Ausgeschrieben werden sechs zweiwöchige Arbeitsaufenthalte mit Kindern auf dem Künstlerhof Annemirl-Bauer-Haus im Fläming. Dabei werden drei der sechs Stipendien im Bereich Literatur und drei im Bereich Bildende Kunst vergeben. Sie können wahlweise mit oder ohne Kinder angetreten werden, wobei die Kinder an der Stipendienstätte professionell betreut werden. (Mehr Infos unter Downloads und in den FAQs)

22. Juli bis 5. August 2024 für zwei Stipendiatinnen und Stipendiaten mit insgesamt bis zu sechs Kindern

9. bis 23. September 2024 für vier Stipendiatinnen und Stipendiaten ohne begleitende Kinder

Informationen zu den für 2024 ausgewählten Stipendiatinnen und Stipendiaten finden Sie hier.
Informationen zum Bewerbungsverfahren

Voraussetzungen
Für die Stipendien bewerben können sich in Hamburg lebende, professionell tätige Autorinnen und Autoren (Belletristik, Lyrik, Kinder- und Jugendliteratur, Theater, Drehbuch, oder Sachbuch), Comiczeichner:innen und Literaturübersetzer:innen sowie bildende Künstler:innen und Kurator:innen, die ihr Studium bereits abgeschlossen haben. Bewerben können sich Personen mit Kind bzw. Kindern zwischen einem und 16 Jahren.

Fristen
Bewerbungsschluss für das Jahr 2024 war der 17. Dezember 2023. Der nächste Bewerbungszeitraum wird rechtzeitig bekanntgegeben.

Online-Antragsverfahren

Bitte nutzen Sie für die Bewerbung das ONLINE-ANTRAGSVERFAHREN. Bitte halten Sie die hochzuladenden Dokumente sowie Ihre Kontodaten bereit. Die maximale Dateigröße je PDF-Dokument beträgt 4 MB.

Einzureichende Unterlagen

ausgefülltes Antragsformular

Motivationsschreiben (max. 2.000 Zeichen) mit Beschreibung des geplanten Arbeitsvorhabens

tabellarischer Lebenslauf mit Angaben zur Sorgearbeit, Veröffentlichungen bzw. Ausstellungspraxis

Nachweis einer privaten Haftpflichtversicherung (kann nachgereicht werden)

Für den Bereich Literatur: Textprobe2, max. 5 Normseiten (bitte keine Bücher einreichen)

Für den Bereich bildende Kunst: Nachweis der künstlerischen bzw. kuratorischen Arbeit: künstlerisches bzw. kuratorisches Portfolio, Kataloge (digital), Presse

Organisatorisches
Die Behörde für Kultur und Medien übernimmt die Miete der Residenzen sowie die Kosten für die Kinderbetreuung am Stipendienort. Zusätzlich erhält jede:r Stipendiat:in eine Aufwandspauschale in Höhe von 1.000 Euro, inkl. Fahrtkosten. Die Stipendien sind ausdrücklich für Elternteile vorgesehen und es besteht Residenzpflicht.

Kinderbetreuung
Für die mitreisenden Kinder gibt es eine professionelle Kinderbetreuung am Stipendienort, auch für die Mittagessen der Kinder wird gesorgt.

Kontakt
Stefanie Schrader
Organisation „Parents in Arts"
Sprechzeiten: Dienstag und Donnerstag 11 bis 13 Uhr
E-Mail: parentsinarts@gmx.de
Tel.: 0049 151-74584425

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Parents in Arts - Stipendium für Bildende Kunst und Literatur

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Das Stipendien-Programm spricht in einem Sorgeverhältnis stehende Künstlerinnen und Künstler sowie Schriftstellerinnen und Schriftsteller

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On the Move x Points of Entry - A Podcast Episode on Parenthood and Mobility in the Arts

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On the Move x Points of Entry - A Podcast Episode on Parenthood and Mobility in the Arts

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Version française ci-dessous.
On the Move is collaborating with Points of Entry to take its first leap into the world of podcasting - curating an urgent conversation about the lack of support for art workers with children and how this intersects with cultural mobility.

You can listen below or on all major podcast platforms ( Apple, Spotify, Google, Deezer ...).

In this episode, Points of Entry host Katie Kheriji-Watts speaks with Hettie Judah, a journalist and critic based in London who's authored a new book: How Not to Exclude Artist Mothers (and Other Parents). They talk about how discrimination against parenthood in the arts is an international issue, about what artists with care-taking responsibilities might need when they travel for their work, and about what cultural organisations could do to be more parent-friendly.

This episode was commissioned by On the Move and produced with the support of the French Ministry of Culture.

Resources

We have created a transcript of this episode and a written translation in French.

Mentioned in the episode:

Points of Entry is an international podcast about reimagining the roles of cultural organisations in a rapidly changing world. It was independently created and is hosted and produced by Katie Kheriji-Watts. (Katie also currently serves as On the Move's part-time head of Research and Publications.)

Further steps

On the Move is in the first stages of compiling a list of international resources on the intersection of parenthood and mobility across all creative disciplines.

We are prioritising opportunities which cover, at least partially, costs related to participants' mobility (primarily cross-border travel but also: visa fees, housing, meals, research or production grants...).

We are looking for programmes and initiatives that prioritise transparency, clear communications, and flexibility in accommodating and providing tailored support for arts workers with primary care-taking responsibilities.

Know of something we should include in our research ? Send an email to info@on-the-move.org. Thanks ! And stay tuned.

On the Move collabore avec Points of Entry pour cette première expérience dans le monde du podcast. Cette première coopération est l'opportunité d'entamer une conversation importante sur le manque de soutien des artistes et professionnel·le·s de la culture qui ont des enfants et une manière d'envisager la façon dont ce sujet crucial croise les enjeux de la mobilité culturelle.

Vous pouvez écouter l'épisode sur cette page web ou sur toutes les plateformes d'écoute de podcast ( Apple, Spotify, Google, Deezer ...).

Dans cet épisode Katie Kheriji-Watts, présentatrice de Points of Entry, reçoit Hettie Judah, une journaliste et critique d'art basée à Londres. Elle est l'autrice d' un nouveau livre How Not To Exclude Artist Mothers (and Other Parents) qui examine les difficultés et les discriminations auxquelles les artistes font face quand iels ont des enfants. Mettant en valeur la dimension internationale de cette thématique, elles abordent les besoins des artistes ayant des responsabilités familiales lorsqu'iels voyagent pour leur travail, et les soutiens que les organisations culturelles pourraient proposer pour mieux s'adapter aux parents.

Cet épisode a été commandé par On the Move et produit avec le soutien du ministère français de la Culture.

Ressources

Nous avons créé une transcription de cet épisode (en anglais) et une traduction écrite en français.

Mentionnées dans l'épisode :

Points of Entry est un podcast international qui cherche à réimaginer les rôles possibles des organisations culturelles dans un monde en mutation rapide. Il a été créé de façon indépendante et est animé et produit par Katie Kheriji-Watts. (Katie travaille aussi actuellement à temps partiel au sein d'On the Move sur la recherche et les publications).

À venir

On the Move vient de commencer la compilation d'une liste de ressources internationales au croisement de la parentalité et de la mobilité couvrant toutes les disciplines créatives.

Nous privilégions les opportunités qui couvrent, au moins en partie, les coûts liés à la mobilité des participant·e·s (essentiellement les déplacements transfrontaliers mais aussi : frais de visa, hébergement, repas, bourses de recherche ou de production...).

Nous recherchons des programmes et initiatives donnant la priorité à une communication claire et transparente, et à la flexibilité afin de soutenir concrètement les artistes et professionnel·le·s de la culture ayant des personnes à charge.

Connaissez-vous des ressources qui seraient pertinentes pour nos recherches ? Envoyez un email à info@on-the-move.org. Merci !

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On the Move x Points of Entry - A Podcast Episode on Parenthood and Mobility in the Arts

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illustration © Solene de BonyVersion française ci-dessous.On the Move is collaborating with Points of Entry to take its first leap into the world of podcasting - curating an urgent conversation about the lack of support for art workers with children and how this intersects with cultural mobility.

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#Motherfuckinghood - still on at Berliner Ensemble

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#Motherfuckinghood - still on at Berliner Ensemble

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VON CLAUDE DE DEMO UND JORINDE DRÖSE

MIT TEXTEN VON ANTONIA BAUM, MAREIKE FALLWICKL, EMILIA ROIG, U.A.

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Erfahrungen des Mutterseins decken sich selten mit dem, was Kultur und Sprache darüber vermitteln. Diese ideale, selbstlos sorgende, unendlich geduldige und noch dazu glückliche Mutter – es gibt sie natürlich nicht. Mutterschaft wird stattdessen zur Sollbruchstelle einer Gesellschaft: Wenn man Mütter weiterhin als bedingungslos Sorgende braucht, aber als Arbeitnehmerinnen nicht schonen kann. Wenn die Leistung des Mutterseins unsichtbar bleibt, wenn diese nicht nur das letzte Hemd, sondern auch noch die Rente kostet. Spätestens aber dann, wenn sich eine neue Generation von Frauen dagegen entscheidet, Mutter zu werden. ”#Motherfuckinghood” ist eine Collage über Erfahrungen des Mutterseins. Ein Abend über Arbeit und Sorgearbeit, Feminismus und Söhne, über Mutterschaft und Kunst.
Ensemblemitglied Claude De Demo initiierte das Projekt und schlug es der Regisseurin Jorinde Dröse vor. Dröse inszenierte u.a. am Thalia Theater, Maxim Gorki Theater, Schauspiel Frankfurt sowie Staatstheater Hannover. Seit 2009 arbeitet sie zudem als Mutter. Bitte beachten Sie: Eine Szene thematisiert auf sprachlich-darstellerischer Ebene Gewalt unter der Geburt. Diese Inszenierung ist aufgrund der Inhalte und Lautstärke nicht für Kleinkinder und Kinder geeignet.

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With Care Toolkit - Mothering in the performing arts

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With Care Toolkit - Mothering in the performing arts

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Parenting and international cultural mobility - On the Move publication

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Parenting and international cultural mobility - On the Move publication

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cultural mobility

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fair share! Sichtbarkeit für Künstlerinnen

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fair share! Sichtbarkeit für Künstlerinnen

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New book by Hettie Judah will be published in Sept. 2024

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Long taboo, lived experience of motherhood-and all that accompanies it-has become the subject of urgent discussions within the art world. Acts of Creation: On Art and Motherhood proposes the artist mother as an important cultural figure, though one long overlooked.

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Exhibition and network meeting by Mothers, Warriors and Poets

in Stuttgart Nov 2024

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How Not To Exclude Artist Parents: Some Guidelines for Institutions and Residencies

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You can view and join @caringculturecommunity right away.

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Sascia Bailer

Caring Infrastructures

Transforming the Arts through Feminist Curating, published November 2024

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Theories and methods for transforming the arts through feminist care ethics, fostering support and equity for art workers and caregivers.

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STIPENDIEN 2024
Wir gratulieren den Stipendiat*innen 2024
Juan Blanco (Kolumbien) - Residenzstipendium Bildende Kunst
Sara Cubarsi (ES) - Residenzstipendium Komposition
Clara Lena Langenbach (DE) -Arbeitsstipendium mit Kind
Senka (RUS, DE) - Residenzstipendium Literatur

PRESSEMITTEILUNG
Zur Vergabe der Stipendien 2024 als PDF zum Download.

Die Jurysitzungen fand am 11. Januar 2024 statt.
Wir bedanken uns für die zahlreichen Einsendungen.

Vorauswahl Residenzstipendium Komposition:
Zara Ali, Amen Feizabadi, Andres Nuno de Buen, Enrico Minaglia, Eveline Vervliet, Felix Mayer, Jinwook Jung, Mert Morali, Payman Mansouri, Philipp Henkel, Rachel C. Walker, Sagardia (Jens Micheal Müller), Sergey Khismatov

Vorauswahl Residenzstipendium Literatur:
Alisha Isabelle Jamisch, Berfin Orman, Carola Grube, Christian Dittloff, Daniel Palu, Elke Engelhardt, Heike Fink, Janna Steenfatt, Kathrin Tordasi, Lea Streisand, Rina Schmeller, Simone Falk, Stefan Hornbach

Vorauswahl Residenzstipendium Bildende Kunst:
Alessandro Giorgi, Alexander Wessel, Alisa Kossak, Boglárka Balassa, Carina Linge, Dirk Sorge, Jan Hottmann, Josef Köstlbacher, Julia Eichler, Julia Nordholz, Lea Gocht
Marte Kiessling, Masami Saito, Meike Redeker, Miriam Steinmacher, Nari Jo, Nina Maria Küchler, Patricia Paryz, Ruri Matsumoto, Silja Yvette, Sophia Uckmann, Takashi Sonoda, Verena Schöttmer, Victor Artiga Rodriguez, Wiebke Elzel

Vorauswahl Arbeitsstipendium mit Kind Bildende Kunst:
Alexandra Besta, Anik Lazar, Ankabuta Seuk Nijdam, Anna Mieves, ANna Tautfest, Constanze Böhm, Elisa Jule Braun, Franziska Nast, Hayley Austin, Jaewon Kim, Jana, Sophia Nolle, Jenny Schäfer, Kai-Hendrik Windeler, Kathrin Partelli, Keren Shalev, Lucy König, Margret Hoppe, Marian Mayland, Markus Zimmermann, Nadin Reschke, Nina und Adnan Softic, Pachet Fulmen, Sarah Ama Duah, Schore Mehrdju, Silja Yvette, Sophie Aigner

Das Künstlerhaus Lauenburg* wurde 1986 gegründet und ist eine internationale Stipendiat*innenstätte des Landes Schleswig-Holstein für zeitgenössische Bildende Kunst, Literatur und Komposition. Es bietet Nachwuchstalenten aus aller Welt die Möglichkeit, in einem ungestörten Arbeitsumfeld neue Projekte zu realisieren und diese einem interessierten Publikum öffentlich vorzustellen.

Residenzstipendien
Das Künstlerhaus Lauenburg schreibt jedes Jahr regulär 3 Aufenthaltsstipendien in den Bereichen Komposition, Literatur und Bildende Kunst aus und vergibt selbsttätig ein Stipendium im Bereich Bildende Kunst auf Einladung an einen/ eine Künstler*in. Auf die 3 Residenzstipendien können sich Künstlerinnen und Künstler ohne Einschränkung des Alters oder des Wohnsitzes bewerben.

Arbeitsstipendium mit Kind
Seit 2022 vergibt das Künstlerhaus Lauenburg auch ein Arbeitsstipendium ohne Aufenthaltspflicht an Bewerber*innen mit Kind (0- 15 Jahre), die ihren festen Wohnsitz in Deutschland haben. Auf das Arbeitsstipendium können sich Künstler*innen jährlich wechselnd in den Bereichen Komposition, Literatur und Bildende Kunst ohne Einschränkung des Alters bewerben. Die Reihenfolge wurde zu Beginn per Los entschieden: 2023 Komposition (Lin Yang), 2024 Bildende Kunst (Clara Lena Langenbach), 2025 Literatur.

Kuratierte Gruppenausstellung mit einer Auswahl von Arbeiten der Stipendienbewerber*innen in der Stadtgalerie Künstlerhaus Lauenburg
Das Künstlerhaus Lauenburg möchte einer größeren Anzahl an Künstler*innen, Autor*innen und Komponist*innen mehr Sichtbarkeit und Teilhabe ermöglichen, sowie den Aufwand wertschätzen, den sie in den Bewerbungsprozess investieren.
Da die Zahl an Bewerber*innen auf 4 Stipendienplätze jedes Jahr wächst, das Künstlerhaus Lauenburg derzeit aber nicht mehr Stipendien anbieten kann, werden wir ab 2024 ein neues Format ausprobieren: eine Gruppenpräsentation mit ausgewählten Arbeiten von Bewerber*innen unter wechselnder kuratorischer Leitung.
Zudem kann durch die Gruppenpräsentation die beeindruckende Bandbreite der Vielfalt der Bewerbungen abgebildet werden, die die diverse Zusammensetzung unserer Gesellschaft widerspiegelt bzgl. geografischer, ethnischer oder kultureller Herkunft, Alter, Geschlecht, sexueller Identität, Weltanschauung, Inklusion von Menschen mit Behinderung oder familiärer Situationen.
Alle beteiligten Künstler*innen (ca. 10) erhalten ein Ausstellungshonorar.
Am Ende des Bewerbungsformulars muss angekreuzt werden, ob eine Teilnahme an der Gruppenausstellung ggf. erwünscht ist oder nicht.
Die Gruppenausstellung (Frühjahr) zeigt eine Auswahl von Kunstwerken/Beiträgen aus allen zugelassenen Bewerbungen aller drei Stipendiensparten (Residenz- und Arbeitsstipendium).
Die Auswahl erfolgt nach kuratorischen Entscheidungen und wird nicht begründet. Durch die Teilnahme an der Ausstellung entsteht kein Förderanspruch, die Stipendiat*innen werden unabhängig davon ausgewählt und ausgestellt. Die Teilnehmer*innen der Ausstellung, die kein Stipendium erhalten haben, können sich wieder bewerben.

Das Künstlerhaus Lauenburg
Das Künstlerhaus Lauenburg zeichnet sich durch seine individuelle Betreuung und die Vernetzung der Stipendiat*innen untereinander aus. Es fördert ebenso die Vernetzung der Stipendiat*innen mit der kulturellen Szene der Metropolregion Hamburg und Schleswig-Holsteins.
Das Künstlerhaus liegt direkt am Ufer der Elbe, inmitten der historischen Altstadt. Lauenburg ist die südlichste Stadt Schleswig-Holsteins, hat 12.000 Einwohner*innen und ist etwa 50 km von Hamburg, Lübeck, Schwerin und 25 km von Lüneburg entfernt. Die Stadt liegt im Vierländereck von Schleswig-Holstein, Hamburg, Niedersachsen und Mecklenburg-Vorpommern mit Bahnanschluss an der Strecke Lübeck-Lüneburg. Das Haus wurde Mitte des letzten Jahrhunderts erbaut, 1982 unter Denkmalschutz gestellt und nach umfangreichen Restaurierungsarbeiten 1986 seiner neuen Bestimmung als Künstlerhaus übergeben. Seitdem haben hier 200 Stipendiat*innen gelebt und gearbeitet.

Räumlichkeiten und Ausstattung
Das Künstlerhaus verfügt über großzügige Räumlichkeiten (ca. 400 m²) auf drei Etagen. Im Erdgeschoss befinden sich die Stadtgalerie Künstlerhaus Lauenburg, ein multifunktionaler Veranstaltungsraum und eine große Südterrasse direkt an der Elbe. In den Innenräumen und auf der Terrasse finden regelmäßig Kulturveranstaltungen wie Kino, Lesungen und Konzerte statt.
In den beiden oberen Stockwerken befinden sich großflächige Künstler*innenateliers und Wohnungen. Alle Ateliers sind vollständig eingerichtet und verfügen über ein eigenes Duschbad und eine Küche sowie über einen Telefon- und WLAN-Anschluss. Weiterhin gibt es Druckpressen für Radierung und Hochdruck, eine Abzugspresse, ein Klavier sowie eine Stipendiat*innenbibliothek mit Computerarbeitsplatz. Im Nebenhaus des Künstlerhaus Lauenburg befindet sich die Stadtgalerie Künstlerhaus Lauenburg. Die 2021 modernisierten Ausstellungsräume sind häuserübergreifend miteinander verbunden.

Das Künstlerhaus Lauenburg erhält finanzielle Unterstützung durch das Land Schleswig-Holstein, den Kreis Herzogtum Lauenburg, die Stadt Lauenburg und den Förderverein Künstlerhaus Lauenburg/Elbe e.V., der das Haus seit 2009 in eigener Trägerschaft führt.

Zielsetzung des Künstlerhauses
Das Künstlerhaus Lauenburg hat sich der Förderung von Künstler*innen in den Bereichen zeitgenössische Bildende Kunst, Literatur und Komposition verschrieben, denen das Potential einer Karriere im Kunstbetrieb zugetraut wird. Es bietet im Rahmen des regulären Stipendienprogramms ein befruchtendes Arbeitsumfeld, in dem Künstler*innen, Autor*innen und Komponist*innen fernab vom (Kunst)Markt ihrem künstlerischen Schaffen nachgehen können. Weiter verfolgt das Künstlerhaus Lauenburg mit seinem Stipendien- und Veranstaltungsprogramm das Ziel, die überregionale Bedeutung des Hauses als Begegnungsort für Kunstschaffende, Fachleute, Kunst- und Kulturinteressierte zu sichern und auszubauen.

Ausschreibung 2024
Das Künstlerhaus Lauenburg/Elbe schreibt für das Land Schleswig-Holstein vier Stipendien in folgenden möglichen Bereichen aus:

Ein internationales Residenzstipendium im Bereich Bildende Kunst

Ein internationales Residenzstipendium im Bereich Literatur

Ein internationales Residenzstipendium im Bereich Komposition

Ein nationales Arbeitsstipendium mit Kind im Bereich Bildende Kunst (jährlich wechselnd, 2025 Literatur)

Der Aufenthaltszeitraum für die Stipendiat*innen im Künstlerhaus Lauenburg beträgt 4 Monate von Mitte Mai bis Mitte September.

Die Dauer des Arbeitsstipendiums beträgt ebenfalls 4 Monate von Mitte Mai bis Mitte September.

Die Vergabe der Stipendien erfolgt jeweils durch eine Fachjury.

Umfang der Förderung
Im Rahmen der Förderung erhält die/der Stipendiat*in für den Stipendienzeitraum einen monatlichen Zuschuss von 1000,- EUR netto (betrifft Residenzstipendien, Arbeitsstipendium und „Stipendium auf Einladung").

Das Residenzstipendium beinhaltet freie Wohnungs- und Ateliernutzung. Stromversorgung für Wohnung und Atelier, Internet sowie Telefonie im deutschen Festnetz sind ebenfalls kostenlos.

Zusätzliche Mittel für Materialausgaben und projektbezogene Publikationen können mit fachlicher Unterstützung des Künstlerhauses eingeworben werden, es besteht aber keine Erfolgsgarantie.

Erwartungen an die Stipendiat*innen
Wir gehen davon aus, dass bei einem Residenzstipendium der weit überwiegende Teil des Stipendiums in Lauenburg verbracht wird.

Von den Stipendiat*innen wird während ihres Aufenthaltes im Künstlerhaus die Teilnahme an und Gestaltung von verschiedenen Veranstaltungen erwartet (Ausstellung, Lesung, Uraufführung...). Entnehmen Sie die Spezifikationen und Details bitte den Formularbereichen für Bildende Kunst, Literatur, Komposition und Arbeitsstipendium mit Kind.

Wir freuen uns über eine präsentationsfähige Werkgabe für die Sammlung der Stadtgalerie Künstlerhaus Lauenburg (Träger Künstlerhaus Lauenburg). Dies ist aber eine freiwillige Entscheidung.
Ein DIN A4-Bericht über das Stipendium im Künstlerhaus Lauenburg für das Land Schleswig-Holstein ist jedoch verpflichtend.

Die Exklusivität der Ausstellungen und Produktionen im Künstlerhaus wird vorausgesetzt. Das Künstlerhaus begrüßt eine Beteiligung der Stipendiat*innen an Projekten zur Förderung von Kunst und Kultur als pädagogischem Auftrag in Kooperation mit dem Offenen Atelier des Künstlerhauses.

Weitere Ausstellungen, Aktionstage, Gesprächsrunden - auch an anderen Orten in Lauenburg und Schleswig- Holstein - werden nach Möglichkeit durch den Trägerverein Künstlerhaus Lauenburg/Elbe e.V. unterstützt.

Bewerbung und Auswahlverfahren
Um Aufnahme in das Künstlerhaus Lauenburg können sich professionelle deutsche und internationale Künstler*innen, Autor*innen (Veröffentlichung in deutscher Sprache) und Komponist*innen bewerben.

Von der Bewerbung ausgeschlossen sind Künstler*innen, Autor*innen und Komponist*innen, die zum Antrittszeitpunkt des Stipendiums noch studieren, ein anderes Stipendium erhalten oder in den vergangenen drei Jahren bereits ein Stipendium des Landes Schleswig-Holstein erhalten haben.

Das Künstlerhaus Lauenburg erhebt eine Bewerbungsgebühr von 10,00 €. (Begründung siehe FAQ)
Bitte überweisen Sie die Bewerbungsgebühr bei Einreichung der Bewerbung per PayPal oder an folgenden Empfänger:

Künstlerhaus Lauenburg e.V.
Raiffeisenbank Lauenburg
IBAN DE12 2306 3129 0000 2818 67
BIC GENODEF1RLB

Wir erwarten kontaktfreudige Menschen, die mit ihrer besonderen Befähigung in künstlerischer Praxis den Dialog suchen.

Die Online-Bewerbungsformulare werden zum 1. September 2023 zur Verfügung gestellt.
Wir akzeptieren nur Bewerbungen via Formular auf unserer Website.

Unvollständige oder nicht den Vorgaben entsprechende Bewerbungen werden nicht berücksichtigt. Ausgeschlossen sind ebenfalls Bewerbungen ohne Überweisung der Bearbeitungsgebühr in Höhe von 10,00 €.

(*) Wir umfassen im Textzusammenhang mit dem Begriff Künstler*innen, Autor*innen und Komponist*innen das gesamte Spektrum der Personen, die sich dem weiblichen oder männlichen Geschlecht zugehörig oder zwischen bzw. außerhalb der binären Geschlechtskonstruktionen orientiert fühlen.

Die Jurysitzungen für die Vergabe der Stipendien finden Anfang 2024 statt. Über die Vergabe der Stipendien wird zeitnah nach der Jurysitzung auf der Internetseite www.kuenstlerhaus-lauenburg.de informiert. Die ausgewählten Stipendiat*innen werden persönlich kontaktiert. Bitte sehen Sie von individuellen Nachfragen ab.
Wir bitten um Verständnis, dass wir keine Absagen versenden können.

Die Stipendien werden finanziert durch Mittel des Ministerium für Bildung, Wissenschaft und Kultur des Landes Schleswig-Holstein.

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Wir gratulieren den Stipendiat*innen 2024 Juan Blanco (Kolumbien) - Residenzstipendium Bildende Kunst Sara Cubarsi (ES) - Residenzstipendium Komposition Clara Lena Langenbach (DE) -Arbeitsstipendium mit Kind Senka (RUS, DE) - Residenzstipendium Literatur PRESSEMITTEILUNG Zur Vergabe der Stipendien 2024 als PDF zum Download. Die Jurysitzungen fand am 11. Januar 2024 statt.

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They have different groups that meet online to talk about books focusing on care & writing

and also to talk about their own texts

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Die Beteiligung an den Arbeitsgemeinschaften und Initiativen ist ausdrücklich erwünscht!

AG Textbesprechung

Lektoratsgruppe
Offene Gruppe, die sich an jedem zweiten Freitag im Monat online um 20 Uhr trifft, um Texte zu besprechen. Dauer etwa 2 Stunden.

Silke Sutcliffe - silke[at]other[minus]writers[punkt]de

Manuskriptgruppe
Geschlossene Gruppe, die sich regelmäßig online trifft, um sich zu aktuellen längeren Manuskripten auszutauschen und Textfragen zu diskutieren. Die Treffen finden tagsüber statt, Zeit und Dauer werden in der Gruppe nach Bedarf bestimmt. Neueinstieg ist alle drei Monate - im Januar, April, Juli, Oktober - möglich.

Barbara Peveling - barbara[at]other[minus]writers[punkt]de

AG Social Media

Begleitet die Aktivitäten des Netzwerks in den sozialen Medien, stellt Bücher rund um Care und Schreiben vor, beteiligt sich an Debatten im Internet und stößt neue Debatten an.

Sabine Schönfellner - sabine[at]other[minus]writers[punkt]de
Sebastian Schmidt - sebastian.schmidt[at]other[minus]writers[punkt]de

Maternal Nights

Drei- bis viermal im Jahr finden die other writers zu digitalen Abenden zusammen, bei denen ein bis drei other writers einen kurzen Input zu einem bestimmten Thema rund um Schreiben & Care vorbereiten und das anschließende Zoom-Gespräch moderieren.
Dokumentation vergangener Veranstaltungen
Katharina Bendixen - katharina[at]other[minus]writers[punkt]de
Sibylla Vricic Hausmann - sibylla[at]other[minus]writers[punkt]de

AG Schreibimpulse

Lucia Leidenfrost, Angela Lohausen und Silke Sutcliffe verschicken drei- bis viermal jährlich Schreibimpulse an alle other writers. Daraus entstehen Textreihen, die auf dem Blog erscheinen.

Silke Sutcliffe - silke[at]other[minus]writers[punkt]de

AG Literaturbetrieb

Vernetzt sich mit literarischen Institutionen, informiert das Netzwerk über familienfreundliche Angebote wie bspw. Literaturfestivals mit professioneller Kinderbetreuung, bietet Beratungen für Autor*innen mit Kind(ern) an und schließt Kooperationen mit Vereinen, Zeitschriften, Feuilletons, Literaturhäusern, die sich für familiengerechte Strukturen im Literaturbetrieb einsetzen wollen.

Slata Roschal - slata[at]other[minus]writers[punkt]de

AG Statistik & Argumente

Von den zehn bedeutendsten bildenden Künstlern sind 9 Väter, gemeinsam haben sie 32 Kinder. Von den zehn bedeutendsten bildenden Künstlerinnen sind 3 Mütter, sie haben jeweils ein Kind. (Zahlen: Fair Share) Und wie sehen diese Zahlen im Literaturbetrieb aus? Die AG erhebt Zahlen und liefert Argumente für fundierte Diskussionen.

Ann Kathrin Ast - ann-kathrin[at]other[minus]writers[punkt]de

AG Jahrestreffen

Einmal jährlich kommen die other writers an einem zentralen Ort zu einem Wochenende zusammen, um über literarische Texte, Schreiben & Care und den Literaturbetrieb zu sprechen.

Dorothee Riese - dorothee[at]other[minus]writers[punkt]de

AG Webseite

Technische Betreuung des Onlineauftritts samt Redaktion des Blogs.

Simone Scharbert - simone[at]other[minus]writers[punkt]de

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Die Beteiligung an den Arbeitsgemeinschaften und Initiativen ist ausdrücklich erwünscht! Lektoratsgruppe Offene Gruppe, die sich an jedem zweiten Freitag im Monat online um 20 Uhr trifft, um Texte zu besprechen. Dauer etwa 2 Stunden. Silke Sutcliffe - silke[at]other[minus]writers[punkt]de Manuskriptgruppe Geschlossene Gruppe, die sich regelmäßig online trifft, um sich zu aktuellen längeren Manuskripten auszutauschen und Textfragen zu diskutieren.

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kunst+kind berlin ist eine Initiative von Kulturschaffenden mit Kindern. Gegründet wurde sie am 8. März 2018 durch die Berliner Künstlerinnen Rani Le Prince und Ines Doleschal.
kunst+kind berlin engagiert sich für mehr Chancengerechtigkeit und Solidarität gegenüber Künstler*innen mit Kindern und setzt sich zum Ziel, zusammen mit Akteur*innen aus Politik und Kultur konkrete Lösungswege zu entwickeln, damit nicht nur unabhängige, mobile und kinderlose Künstler*innen im Kunstbetrieb reüssieren.
kunst+kind berlin trifft sich alle zwei Monate an wechselnden Orten in Berlin-Mitte zu einem Jour fixe.

kunst+kind berlin is an initiative of artists with children. It was founded on 8 March 2018 by the Berlin artists Rani Le Prince and Ines Doleschal.
kunst+kind berlin is committed to more equal opportunities and solidarity towards artists with children. It aims at developing solutions together with individuals from politics and culture so that not only independent, mobile and childless artists succeed in the German art world.
kunst+kind berlin meets once in two month at changing locations in Berlin-Mitte for a Jour fixe.
www.kunstundkind.berlin
fair share! Sichtbarkeit für Künstlerinnen / fair share for women artists e.V.

Das fair share! Aktionsbündnis ist eine wachsende Initiative von Bildenden Künstlerinnen*, Kunsthistorikerinnen* und Kulturschaffenden aus Berlin mit überregionaler Wirkung. Die Aktivistinnen* machen sich für mehr Sichtbarkeit von Künstlerinnen* im staatlich geförderten Kunstbetrieb stark und fordern eine Quote in allen Bereichen zeitgenössischer Kunst sowie eine Aufwertung historischer Positionen weiblichen Kunstschaffens.
www.fairshareforwomenartists.de
K&K - Bündnis Kunst & Kind / München

K&K ist ein Bündnis von und für Künstlerinnen mit Kindern, gegründet im Februar 2018 von Anna Schölß und Gabi Blum.
K&K pflegt einen Verteiler von mittlerweile über 70 Adressen, der sich auch um eine ständig wachsende Zahl männlicher Kollegen ergänzt.

K&K strebt eine dauerhafte Tätigkeit an und will zum einen die Arbeitsbedingungen von Künstler*innen mit Kindern verbessern und sich für deren Interessen stark machen, zum anderen geht es um Netzwerkbildung und das gemeinsame Arbeiten an Projekten, sowie das Bündeln und Archivieren von Informationen. K&K veranstaltet außerdem regelmäßige diskursive Treffen mit Gästen, die zum Thema referieren und mit den Teilnehmer*innen diskutieren. Wechselweise trifft man sich in Ateliers und Ausstellungsräumen.
www.kundk.xyz
Als bundesweites und spartenübergreifendes Kompetenzzentrum für die Förderung von Geschlechtergerechtigkeit in der Kunst setzt das CARING CULTURE LAB auf Aufklärung, Sichtbarkeit, Community Building, Wissenstransfer, Weiterbildung und Zertifizierungen rund um die Vereinbarkeit von Kunst und Care.

Praktische Maßnahmen des CARING CULTURE LABs u.a.:
- Organisation von künstlerisch-diskursiven Formaten (Symposien & Ausstellungen zu Care)
- bundesweite Vernetzung, Bündelung und Sichtbarmachung von Bedürfnissen und Wissen im Themenfeld
- Betreuung und Unterstützung von Kunstinstitutionen bei der Umsetzung von care-sensiblen Maßnahmen
- Aufbau eines Gütesiegels (CARING CULTURE Certificate), das Institutionen auszeichnet, die care-sensible Maßnahmen erfolgreich umsetzen
www.caringculturelab.org
other writers need to concentrate - über autor*innenschaft und elternschaft

"And sorry to tell you that we do not accept little kids as it really troubles other writers who need to concentrate", war die Antwort auf eine Anfrage an ein Künstlerhaus, ob die Möglichkeit bestehe, zu dem bereits zugesagten Aufenthaltsstipendium mit Familie anzureisen.
"Other Writers Need to Concentrate" ist eine Internetseite über die komplexen Verbindungen zwischen Autor*innenschaft und Elternschaft. Initiiert von Katharina Bendixen, Sibylla Vričić Hausmann und David Blum, möchte die Website den Austausch fördern, Arbeitsbedingungen dokumentieren und ein Bewusstsein für die Bedürfnisse schreibender Eltern schaffen.
www.other-writers.de
Im Mai 2021 haben Annika Mendrala und Verena Usemann die „Bühnenmütter" öffentlich gemacht. Der Zusammenschluss widmet sich den Unvereinbarkeiten von Bühnentätigkeit und Familie. Neben der Vernetzung der betroffenen Akteurinnen und der qualitativen Auswertung des bühnenseitigen Status quo liegt der Arbeitsschwerpunkt des Zusammenschlusses darin, die familienfeindlichen Strukturen an Theatern, Opern- und sonstigen Bühnenhäusern sichtbar zu machen und umzuwandeln.
www.buehnenmuetter.com
art+care ist ein schweizweit wachsendes Netzwerk von Menschen aus den Künsten - ein ganzer Kosmos. Das Netzwerk will von einem Künstler*innenverständnis ausgehen, das auf der Basis von caregeben und carenehmen aufbaut.
art+care veröffentlicht Erfahrungen, Bedürfnisse und Ressourcen, verbündet zu empowernden Kompliz*innenschaften und vereint Kräfte, um notwendige Veränderungen im Kultursektor zu erwirken.
www.artandcare.org
Mothers*, Warriors and Poets

Mothers*, Warriors and Poets ist eine in Stuttgart ansässige, von Künstlerinnen und Kuratorinnen betriebene Plattform, die diskursive Programme und Ausstellungen über Kunst, Pflege und Mutterschaft produziert.
www.mothers-warriors-and-poets.net

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förderung von frauen mit kindern in der kunst

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jahresstipendium für künstlerinnen mit kleinen kindern

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kunst+kind berlin ist eine Initiative von Kulturschaffenden mit Kindern. Gegründet wurde sie am 8. März 2018 durch die Berliner Künstlerinnen Rani Le Prince und Ines Doleschal. kunst+kind berlin engagiert sich für mehr Chancengerechtigkeit und Solidarität gegenüber Künstler*innen mit Kindern und setzt sich zum Ziel, zusammen mit Akteur*innen aus Politik und Kultur konkrete Lösungswege zu entwickeln, damit nicht nur unabhängige, mobile und kinderlose Künstler*innen im Kunstbetrieb reüssieren.

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For too long, artists have been told that they can't have both motherhood and a successful career. In this polemical volume, critic and campaigner Hettie Judah argues that a paradigm shift is needed within the art world to take account of the needs of artist mothers (and other parents: artist fathers, parents who don't identify with the term 'mother,' and parents in other sectors of the art world). Drawing on interviews with artists internationally, the book highlights some of the success stories that offer models for the future, from alternative support networks and residency models, to studio complexes with onsite childcare, and galleries with family-friendly policies. Some artists have described motherhood as providing them with renewed focus, a new direction in their work, and even inspiration for a complete change of career. Other artists choose to keep their domestic and creative lives compartmentalised. All are placed at a disadvantage by the art world as it is currently structured. This book argues that by making changes and becoming more sensitive to the needs of artist parents, the art world has much to gain.

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How Not to Exclude Artist Mothers and Other Parents (Hot Topics in the Art World)

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For too long, artists have been told that they can't have both motherhood and a successful career. In this polemical volume, critic and campaigner Hettie Judah argues that a paradigm shift is needed within the art world to take account of the needs of artist mothers (and other parents: artist fat...

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Burning Down the House

Rethinking Family

Herausgegeben von: Melanie Bühler

Beiträge von: Annette Amberg, Mirthe Berentsen, Melanie Bühler, Annie Goodner, Helen Hester, Laura McLean Ferris, Jennifer C. Nash, Kim TallBear

Deutsch, Englisch

September 2024, 232 Seiten

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Burning down the house | Hatje Cantz Verlag

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Die Familie ist ein seltenes Thema in der zeitgenössischen Kunst. Burning Down the House. Rethinking Family setzt sich kritisch mit der Familie auseinander. Die Ausstellung zeigt vierzig internationale künstlerische Positionen mit Arbeiten aus den 1970er-Jahren bis heute sowie ausgewählte Werke aus der Sammlung des Kun

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Reassembling Motherhood(s) // Publication — MATERNAL FANTASIES

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MATERNAL FANTASIES is an evolving group of international artists and cultural producers based in Berlin, Germany.

We (re)connected in 2018 to share experiences and insights into the most marginalised topic within both the art wold and feminist discourse: Motherhood.

We join forces to embrace, discuss, elaborate and exhale contrasting experiences and family stories, memories, fantasies, desires and horror scenarios related to ‘Maternal Fantasies’.

Currently we meet every three-weeks to examine through artistic research, collaborative artworks and lived experience the dynamics between artistic creation and motherhood seeking to shape the discourse of motherhood through our artistic working process.

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CARING CULTURE LAB | Community & Contact

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Artist or parent? You don’t have to choose.
The CARING CULTURE LAB shows how art and care can go hand in hand. Explore how creative practice and caregiving are not opposites, but powerful allies.

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M.A.R.S. - Maternal Artistic Research Studio

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M.A.R.S. - Maternal Artistic Research Studio

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Listen to this episode from tussen kunst en kind | between art and family on Spotify. Sophie Lewis is a German British academic and self acclaimed communist writer known for her theoretical ideas of family abolition and the use of surrogacy on a societal scale.

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Symposium by Mirthe Berentsen - (M)otherhood in the arts Feb 2024 in Amsterdam

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Symposium by Mirthe Berentsen - (M)otherhood in the arts Feb 2024 in Amsterdam

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Voor de Nederlandse versie van dit verslag, klik hier.

At the beginning of 2023, artist and writer Mirthe Berentsen wrote in Metropolis M, a Dutch contemporary arts magazine: "Within the arts, we can enter into endless panel discussions, create productions and exhibitions, publish books and articles on the many and various forms of care and their relative importance. But, as long as we exclude the ultimate form of long-term care-parenting-from these considerations, no real development and progress are possible."

This idea gave rise to the symposium: '(m)otherhood in the arts', a collaboration between Mirthe Berentsen and Flemish Arts Centre de Brakke Grond. A symposium with the goal of discussing and highlighting the urgency of the issue of parenting and other forms of care as a theme within the arts. Going beyond symbolic gestures and aimed at active engagement within the social infrastructure of the arts. In discussions with policymakers, researchers, institutions, artists and makers, the symposium sought perspectives for action and answers to the question: 'How can the arts sector provide care and make it possible to combine parenting with being an artist?'

The symposium, packed with lectures, panels, performances and workshops on art and care, was led by moderator, creator and program-maker Teddy Tops. Together with the 200 attendees, she went in search of ways of creating a more inclusive arts sector. The organizers made free childcare available during the symposium. This put into practice a recurrent wish from parents, and a recommendation to the funds and institutions: freeing up budget for childcare. The symposium was bilingual, with a morning program in Dutch and an afternoon program in English. During lunch, attendees further discussed, networked, and engaged with one another while taking advantage of an opportunity to visit the '(m)otherhood in the arts' book selection from the San Serriffe bookstore. The program for the whole day can be seen here.

A detailed report on the day is given below for anyone interested who was unable to attend the symposium, as well as for attendees wishing to refresh their memories.

Co-curators of the symposium Mirthe Berentsen (writer, artist and policy adviser) and Lisa Wiegel (artistic director at de Brakke Grond) opened the day. Wiegel commented on the clear desire within the artistic community to exchange knowledge on the subject of care. Parenthood is still overlooked within the sector, but is gaining ground little by little within the discourse. An important objective of the symposium is therefore to bring together the existing, fragmented, knowledge on the subject and to formulate joint responsibilities. Exchange between the Flemish and Dutch arts sectors can play an important role in this. Initiatives, research and support providers from Flanders offer a significant source of knowledge and inspiration for the Dutch field.

Berentsen discussed key points of the symposium, bringing attention to the fact that care tasks are not socially valued as work and that the arts sector is not geared towards the needs of people providing care. Berentsen also noted that the word 'mother' would be used often during the symposium. In her research, she noted that a great deal of value is attached to the word mother, not only because the mother figure has huge (and highly charged) cultural, political and historical significance, but also because the use of the more neutral term 'parent' obscures the gender gap that exists within care, and eliminates centuries of unpaid work by and exclusion of women. Others consider it important that the more neutral term parent is used, and believe that continuing to see parenting as a women's issue maintains inequality between men and women. Berentsen also launched her new English-language podcast 'between art and family'. In this podcast, she speaks with writers, artists and activists (including Hettie Judah, Camille Henrot and Sophie Lewis) about ideals ranging from care to parenting and from art to feminism. In addition, her first book will be published by publishers Das Mag at the end of 2024, investigating the politicization of the family and the importance of imagination. The aim of this collective work-podcast, book and symposium-is principally to offer new possibilities to make care a permanent component of the infrastructure of the arts.

Maxime van Haeren (researcher and editor at the Boekman Foundation) and Hannah Sweering (independent researcher, writer and political economist) provided, on behalf of the Boekman Foundation, a first look at the results of the study 'Vrouwelijke beeldend kunstenaars in Nederland: arbeidsmarktpositie, carrièreverloop, representatie' ('Female Visual Artists in the Netherlands: position on the employment market, career progression, representation'), commissioned by the Niemeijer Fund. The full findings of the research were published on 28 March 2024). You can read these here (in Dutch)

Van Haeren explained that the research serves as a representative baseline of the position of female, autonomous visual artists in the Netherlands, utilizing both existing information and new research. Through quantitative and qualitative methods, the study focuses in on the employment market position, career progression, and representation of the group being researched.

Van Haeren shared some key findings:

* Women have a lower average income than men, but this income difference is smaller than in other creative professions. (Note: the average income for visual artists is significantly lower than in other creative occupations).
* 71 percent of fine arts alumni are women, compared to only a slight majority (54 percent) in the employment market.

The Central Bureau of Statistics figures provide little insight into the impact of parenthood, which requires further investigation.

Sweering then explained that it can be demonstrated in practice that female visual artists have a disadvantaged position compared to their male counterparts in terms of representation. The extent of this disadvantage requires further investigation at multiple levels (museum, gallery, art fair). Sweering also discussed the lack of available figures regarding the exact representation of women in museums and galleries, due to the lack of representative statistics that allow for broader statements at the national level. Sweering further emphasized that such an important task should not be left to individual organizations-such as Mama Cash, Metropolis M or WOMEN Inc.-to measure, as no individual organization has the necessary resources. Rather, umbrella organizations (such as the Museumverenging for museums and the Netherlands galleries association Nederlandse Galerie Associatie for galleries) should take on this responsibility, as befits their size and scope. There is also a significant responsibility on individual museums to measure this gender data. Sweering notes that these institutions have shown an increased willingness to monitor this information in recent years; however, there is also a need for guidelines and collaboration at national level. The Boekman Foundation believes that umbrella organizations can play an important role in this, particularly in the streamlining of measurement methods.

Not everything can be captured in numbers. Even when women have the same formal rights, difficult-to-quantify dynamics often hinder equality. For example, deep-rooted norms, stereotypes, and prejudices. To understand these dynamics in particular, the Boekman Foundation has engaged in conversations with experts in the field to explore the inclusion and exclusion mechanisms at play in the visual arts sector. During these discussions, the topic of 'parenthood' and the definition of 'an artist' were frequently discussed. Recurring themes were the existence of pregnancy discrimination, stigmatizing ideas around 'feminine' art, and the norm of the white, male artist. The focus groups pointed out the existence of persistent stereotypes in the sector. On the one hand, regarding the idea of an artist, the man as an artist remains dominant in the artistic canon, in the museum, and in collective memory. On the other hand, regarding how caregiving responsibilities are distributed, women are seen as the primary caregiver and are therefore more often addressed for that task than their male counterparts. According to Sweering, this fact underscores the impact of imagery. To work towards sustainable equality, both stereotypes need to be revealed and disarmed. Other topics mentioned in the focus groups included the often-inaccessible nature of residencies for families as well as the impractical timing of network events, such as openings, which often take place around children's bedtime.

Sweering emphasized that creating a caring sector begins with the systematic mapping of inequality. By collecting gender data, the infrastructure of the visual arts sector can be mapped, including barriers and exclusion mechanisms and it is important to designate responsible parties at various levels in the sector.

The first panel discussion - featuring Ciska Hoet, Nixie Van Laere, Lucette ter Borg, Anne Breure, and Maxime van Haeren - focused on mapping and discussing systemic problems facing professionals providing care in the arts sector. This topic is often addressed 'front of house' (in productions, exhibitions, debates and publications), but often remains invisible within the infrastructure of institutions. In this conversation, representatives from (support) organizations shared and discussed knowledge and solutions related to this issue.

Ciska Hoet is a culture journalist and director of RoSa, a Brussels-based knowledge centre for gender and feminism. According to Hoet, the transition from research and data to structural change begins with a shift in mentality within society, both at the individual and organizational levels. Creating a child-friendly sector starts with providing flexibility and solidarity, for example regarding expectations about evening availability. She also emphasized the need for a broader perspective on how caregiving responsibilities are distributed and introduced the concept of the 'chain of care.' This concept describes how caregiving responsibilities are transferred from one household to another, forming chains. According to Hoet, the current chain of care lacks solidarity; within these chains, we must also take good care of those to whom we delegate caregiving tasks as well as caring in a responsible manner for those working in childcare, elderly care and healthcare.

Nixie Van Laere works as a visual artist and advisor for Kunstenpunt, an expertise centre for professional arts in Flanders and Brussels. There, she is collaborating with NICC on a project focusing on parenthood in the arts, working with artists who are parents, especially mothers, to explore how the sector can provide better support. During these discussions, Van Laere has learned that wellbeing and care are essential but often overlooked elements in the sustainable development of careers in the art world. The research indicates a lack of attention to the transformation experienced by parents, even though, for instance, the time fragmentation parents experience can also positively impact their artistic practice. Van Laere noted a significant need for the exchange of knowledge and experiences. This research project resulted in a publication with concrete tools that institutions can immediately implement to create a more caring visual arts sector with sustainable careers. Have a look at the advice text, tools and tips on this page. The text was compiled by NICC and Kunstenpunt, based on input from the 'Living as an artist' working group, with the aim of making the art sector more child- and parent-friendly.

Lucette ter Borg works as an art critic and research journalist. Ter Borg conducts research on various aspects, including unacceptable behavior in the art sector. Her investigation into the myth of the independent, male artist making a career led to her exploration of the combination of motherhood and artistic practice. Care and mutual dependence have traditionally been considered a threat to the idea of the brilliant, male artist. Currently, Ter Borg, along with artist and writer Richtje Reinsma, is researching the (in)visibility of care structures in the art sector. They jointly lead the experimental research program 'Settling Care' at the Gerrit Rietveld Academy and the Sandberg Institute, exploring how care can be successfully combined or even integrated into artistic practices. In this research, the transformative value of care is explored, but Ter Borg notes that many independent visual artists hardly recognize this and that they are often left to fend for themselves.

Ter Borg contended that fundamental and structural changes are needed in the visual arts sector and in art education. She mentioned that artists often have only two weeks to build an exhibition, which is all but impossible for someone with caregiving responsibilities; extending this period to three weeks would be a strong first step towards increased inclusivity. Ter Borg also acknowledged that residences often do not accommodate families; that subsidies are often contingent on a continuous, gapless CV; and that openings always occur at inconvenient times (from five in the afternoon). Ter Borg argued that, without any complex systemic changes, the arts sector should start offering more working hours flexibility immediately. Additionally, she highlighted the role that art academies can play in shaping perceptions around artistic practice: the myth of an artist fully dedicated to their practice could be debunked during art academy education and, instead of emphasizing excellence, art academies should pay more attention to how an artistic practice develops over years and through distinct phases.

Anne Breure is co-director of interest group for the cultural and creative sector Kunsten '92 and artistic director of Theater Utrecht. In 2014, Breure initiated the Fair Practice Code, a code of conduct for the cultural and creative sector born out of shared concerns about the labor market in the industry. The code is a Dutch guideline for work and entrepreneurship in the arts, culture and creative sector based on five core values: solidarity, diversity, sustainability, confidence and transparency. It is intended as a tool for cultural professionals to engage in conversations with one another, to make visible areas for improvement, and subsequently implement changes such as fair working conditions and compensation.

During her keynote speech, prominent British writer, curator and critic Hettie Judah spoke about her extensive research on art, care and parenthood. She highlighted three projects in which she has thoroughly explored this subject.

1 . Essay - 'Representation of Female Artists in Britain During 2019'

Judah was gripped by the topic of artist mothers when she realized that not everything, such as the impact of starting a family, becomes visible in data. For this reason, in 2019, Judah put out a call on Instagram asking for the experiences of mothers in the art world. This led to the creation of her essay for the Freelands Foundation. During the keynote lecture, Judah shared a series of experiences from the more than 50 artists she spoke with for this research. Experiences included curators/institutions breaking contracts when an artist becomes pregnant, taboos surrounding pregnant bodies, scrutiny of women's bodies in art, and a lack of support among women, based upon an attitude of, 'If I can do it, why can't you?' According to Judah, these shared experiences indicate that there is not only a gender pay gap but also a care gap between men and women. She recommended the audience read a recent survey by The Economist titled 'How motherhood hurts careers'.

2. Manifesto - 'How not to exclude artist parents: some guidelines for institutions and residencies'

In 2021, along with a group of artists, Judah wrote this manifesto advocating a more flexible arts sector that accommodates people who do not fit within the norm (non-caregiving, white male). Judah emphasized that diversity involves enabling a diverse flow of experiences, parenthood being one such experience. The manifesto delves into existing research and makes proposals for more inclusive models. The ten points derived from this manifesto can be found at: artist-parents.com.

In addition to the ten points from the manifesto, during her keynote Judah also shared a selection of other exclusion mechanisms that exist within the arts sector. She noted the existence of biases around certain media, such as handicrafts and textiles, and topics, such as motherhood. Alongside this lack of conceptual space for mothers, Judah also noted the physical absence of lactation spaces. She shared a UNICEF report describing what a breastfeeding room should include, highlighting the fact that both art schools and art institutions are still lacking in this regard.

3. National network - Art Working Parents Alliance (AWP)

Judah is also a founding member of the Art Working Parents Alliance (AWP), a nationwide British network for working parents in the arts sector. The network serves various purposes: as a social network for people with young children, as a platform for advice and expertise, and as a campaign group dedicated to making the art world a better place for parents to work in. Through this network, Judah hopes to address the broader art world regarding the lack of care, but more importantly, she aims to connect artist parents with one another. During her lecture she stated that, "As parents in the art world, we are often invisible to one another, making it difficult to consider the lack of care as a structural problem."

Judah posed several concluding questions. She questioned why this symposium did not take place in a major museum or a commercial gallery. She asked the audience: "How do we break the conversation out of the bubble and ensure the involvement of fathers from the art world? How do we act as an alliance and harness collective power without adhering to hierarchy?"

The second panel discussion, with Joke de Wolf, Sachli Gholamalizad, Lara Khaldi, Jonas Ohlsson, Magnus Monfeldt, and Hettie Judah, moderated by Mirthe Berentsen, focused on finding shared responsibilities. The panel explored how we can restructure the institutions and the communities in which we live in such a way that these align better with caregiving responsibilities, as well as what steps are necessary to create such an environment. How can the art world facilitate care following a period of absence (due to caregiving responsibilities, pregnancy, or illness)?

Sachli Gholamalizad, theatre-maker, musician and actor, presented a poetic text on the relations between different generations of women and her grappling with intergenerational traumas. Migration plays a significant role in this - the lack of a natural community and the physical distance from the country of her birth contribute to a feeling of isolation and alienation. She expressed her fear that her daughter will not feel any connection to her motherland, while at the same time always being treated as different in her current environment. Gholamalizad draws strength from her fears. She advocates embracing the contradictions motherhood involves and the freedom to form her own identity amidst all the expectations and images projected on her.

Visual artist duo Jonas Ohlsson and Magnus Monfeldt showed a film clip from their installation 'Gathering Moss'. This is part of a long-term collaboration around fatherhood and making art. In the central film of the installation, various life questions and ways of thinking concerning parenthood and the definition masculinity are examined. In broadening their own perspectives and lending additional concrete power to their project, they were inspired by the work of many female writers - from bell hooks to Maggie Nelson and Naomi Klein.

Joke de Wolf is an art historian who writes about visual arts. Her upcoming book (autumn 2024), titled 'Het Moedermodel' ('The Mother Model') delves into the interaction between visual art, artists, and the mold of motherhood from 1900 to the present. In this book, she discusses the urgent need for a new language for care and responsibility.

Lara Khaldi provided an example of a successful model: a WhatsApp group for mothers in Amsterdam-East that welcomes and invites other mothers to visit exhibitions together with their children. Khaldi also emphasized the importance of solidarity and taking intersectionality into account, given the large numbers of structurally discriminatory and exclusion practices. In 2022, Khaldi was part of the curatorial team for the five-yearly art event documenta, where care as a collective responsibility, lumbung, was a central theme. Khaldi explained how the curators actively sought ways to integrate care into their own organization. They started a daycare center, turning the Fridericianum into a shared, homely space for adults and children, with room for play, cooking, and the sound of children. According to Khaldi, children disrupt rigid hierarchies and structures; their presence disrupts the seriousness at art events.

Hettie Judah emphasized the importance of praising best practices, suggesting that organizations setting the right example should be encouraged with stickers and badges. Additionally, Judah raised the point that initiatives always seem to come from the same groups; how can we enable others to take the initiative? Like Khaldi, Judah underscored that addressing discrimination against mothers is impossible without an intersectional approach.

Following the second panel discussion, attendees engaged in various breakout sessions focused on the various themes raised during the day. The aim of these workshops, performances and discussions was to give participants space to share experiences and form the basis of a network.

During the symposium, it became clear that the panels, lectures and discussions that exposed structural exclusion stirred up a great deal of emotion in people in the audience. The sudden realization that a bad experience is part of a bigger pattern of structural exclusion and sexism can be hard-hitting, but also in a way a relief or liberation - you are not alone. There is a need for a safe space in which people can share experiences, forge new connections and perhaps remain in contact with others in order to draw strength from shared experiences.

From multiple distinct perspectives within the arts field, participants explored new methods and practical tools for a sustainable and equitable arts sector. The attendees were encouraged to think about a solution-oriented approach, so that they could feel stronger about implementing change, instead of being burdened by difficulties.

* In the workshop with Lara Khaldi and Basma al-Sharif, authors of the book 'Why Call it Labor? On Motherhood and Art Work', participants reflected on the precariousness of art and parenthood. Collecting personal anecdotes of exclusion and inhospitality, they aimed to find concrete perspectives for action towards a more inclusive sector.

* Artists Jonas Ohlsson and Magnus Monfeldt took participants on an intuitive journey into imagination in a drawing workshop for fathers (mothers were also welcome), accompanied by tunes from DJ Lonely.

* In the workshop led by artist and researcher Weronika Zielińska-Klein, participants, based on their personal experiences as parents or caregivers, searched for short-term and long-term solutions for the lack of care in the sector that can be implemented in their immediate work environment, organizations, networks and/or institutions.

Weronika works on an ongoing diagram of recourses on mother-artist initiatives, collectives and networks. Have a look here.

* Specially for the symposium, artist Richtje Reinsma developed her work 'Huidwandeling', from an experience for one person to one for several people. The participants lie on woolen blankets and sheepskins for half an hour with a weighted pillow on their stomachs and a blindfold, while listening to a narrative excursion that leads them back to the womb: the place where every body starts and becomes wrapped in its own skin.

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(m)otherhood in the arts - Vlaams Cultuurhuis de Brakke Grond | Amsterdam

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Dé expert in Nederland voor actuele vernieuwende Vlaamse podiumkunst, beeldende kunst en muziek. Bekijk hier het volledige programma.

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IntAkt - Internationale Aktionsgemeinschaft bildender Künstlerinnen / Wien

in Kooperation mit dem HilbertRaum und der Retramp Gallery, Berlin, April 2023

Kuratiert von Hannah van Ginkel, Mitglied des HilbertRaum gefördert vom österreichischen Bundesministerium für Kunst, Kultur, öffentlicher Dienst und Sport

Im kommerziellen und musealen Kunstbetrieb ist Mutterschaft bis heute ein Tabuthema. Immer noch wird Künstler*innen dazu geraten, sich zwischen Kind und Karriere zu entscheiden. Es existieren nach wie vor Klischeevorstellungen über Künstler*innen, die Mütter sind: Als würden sie durch die Geburt eines Kindes nicht nur ihre körperliche Selbstbestimmung, sondern auch die Energie verlieren, um gute Kunst zu schaffen. Ziel der Ausstellung ist es, die Mythen um männliche und weibliche Zuschreibungen zu hinterfragen und zu dekonstruieren. Die Ausstellung weist auf gesellschaftliche Strukturen hin, die es Künstler*Innen - Müttern wie Nicht Müttern - erschwert, sich am Kunstmarkt einen Namen zu machen.
HilbertRaum, Reuterstr. 31, 12047 Berlin Retramp Gallery, Reuterstr. 62, 12047 Berlin
Vernissage: Freitag, 21.04.2023, 18:00-22:00 Uhr mit Performance von Isabel Czerwenka-Wenkstetten „performance performance motherhood", 19:00 Uhr, Retramp Gallery

Diskussionsrunde: Samstag, 22.04.2023, 17:30-19:00 Uhr, HilbertRaum
Öffnungszeiten:
Samstag, 22.04.2023 und Sonntag, 23.04.2023, 14:00- 19:00 Uhr

Freitag, 28.04.2023, 16:00- 19:00 Uhr

Samstag, 29.04.2023 und Sonntag, 30.04.2023, 14:00- 19:00 Uhr

Finissage: Sonntag, 30.04.2023, 14:00-19.00 Uhr mit Performance von Mirka Raito„In Deiner Haut / Under Your Skin", 17:00 Uhr, HilbertRaum
Teilnehmende Künstlerinnen: Stella Bach, Maria Bergstötter, Asta Cink, Isabel Czerwenka-Wenkstetten, Die 4 Grazien, Dora Mai, Sarah Iris Mang, Karin Maria Pfeifer, Barbara Philipp, Ness Rubey, Johanna Tatzgern, Agnes Rossa, Dorothée Zombronner
Motherhood Team: Hannah van Ginkel, Agnes Rossa, Dorothée Zombronner

Concept & Performance: Isabel Czerwenka-Wenkstetten; artists milk / Künstlermilch, 2012, Photographic documentation: Klaus Pichler / Anzenberger Agency
HilbertRaum, Reuterstr. 31, 12047 Berlin, Germany Retramp Gallery, Reuterstr. 62, 12047 Berlin, Germany INTERNATIONALE AKTIONSGEMEINSCHAFT BILDENDER KÜNSTLERINNEN WUK, Währinger Straße 59, A-1090 Wien

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MOTHERHOOD I / Concepts of Motherhood - retramp

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Stella Bach, Maria Bergstötter, Asta Cink, Isabel Czerwenka-Wenkstetten, Die 4 Grazien, Dora Mai, Sarah Iris Mang, Karin Maria Pfeifer, Barbara Philipp, Ness Rubey, Johanna Tatzgern, Agnes Rossa, Dorothée Zombronner

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Care-Arbeit in der Kultur: Zwischen Kind und Kunst gehört kein oder

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Die zehn international erfolgreichsten Künstler haben zusammen 32 Kinder - die Künstlerinnen fünf. Es gibt also noch viel zu tun in puncto Care-Arbeit und Geschlechtergerechtigkeit. Aber durch Initiativen und Netzwerke bewegt sich auch etwas

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Symposium Kunst + Care in Düsseldorf 2023

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Symposium Kunst + Care in Düsseldorf 2023

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LaB K - Landesbüro für Bildende Kunst NRW

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Dienstag, 6. Juni 2023, 14-17 Uhr im Haus der Universität, Düsseldorf sowie 18-21 Uhr im Theatermuseum, Düsseldorf.

Wir möchten auch denjenigen unter Ihnen die Teilnahme ermöglichen, die in der Zeit ihre Kinder betreuen würden. Zwei Museumspädagoginnen sind für beide Programmteile anwesend. Für Kinder ab 2 Jahren. Hierzu ist eine verbindliche Anmeldung notwendig. Diese Angaben müssen Sie bitte in Ihrer Eventbrite-Anmeldung eintragen.

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Symposium KUNST + CARE. Fürsorge als Chance und Risiko im aktuellen Kunstbetrieb (MobiLaB) " Kalender

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06. Juni 2023, 14:00 | MobiLaB | Ein Kooperationsprojekt zwischen LaB K (Landesbüro für Bildende Kunst/ Kunsthaus NRW), Frauenkulturbüro NRW und Masterstudiengang Kunstvermittlung und ...

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Mutterschaft reclaimed

Wie Mütter die Kunstszene verändern

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Mutterschaft: Wie Mütter die Kunstszene verändern

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Beruf und Familie lassen sich in kaum einer Branche so schlecht vereinbaren wie in Kunst und Kultur. Eine neue Generation von Künstlerinnen möchte das ändern.

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Netzwerktreffen Art with Care – Gesprächsrunde und Netzwerkformat von, mit und für Initiativen für Sichtbarkeit, Gleichberechtigung und Anerkennung von Care-Arbeit in den Künsten.

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■ 7. Oktober 2023 - 12. November 2023

WE CARE. DO YOU?

Eine Ausstellung zum Thema Fürsorge und Kunstproduktion

Künstlerinnen:
Ines Doleschal
Irena Jukić Pranjić
Magdalena Kallenberger
Rachel Kohn
Teresa Monfared & BeyondRe:Production*
Alice Münch
Christina Stark
Ellen Louise Weise

Konzept und Umsetzung: Ines Doleschal
Kuratorische Beratung: Dr. Katharina Koch

Zur Ausstellungseröffnung am Freitag, dem 6. Oktober, laden wir Sie herzlich ein.

17 Uhr
Begrüßung: Kerstin Ottersberg, Projektraum | Ines Doleschal
Einführende Worte: Dr. Katharina Koch, Kunsthistorikerin

18 Uhr
Bericht einer Mutter
Performance von Alice Münch

Auslobung des solidary:WE Atelierstipendiums an eine durch Care-Arbeit an den Wohnort gebundene Künstlerin

Da künstlerische Arbeit als genialisches Produkt eines autonom lebenden Künstlers heute noch normativ ist, müssen Künstler*innen flexibel, mobil und möglichst bindungslos auftreten, um sichtbar zu sein. Sozialität - Bindungsverantwortung und Sorgearbeit - ist im Berufsbild nicht vorgesehen. Damit sind Künstler*innen mit Sorgeverantwortung in vielerlei Hinsicht diskriminiert. Nicht nur der Mangel an familienfreundlichen Förderungen und Residenzprogrammen, sondern auch die Vorurteile des institutionellen und kommerziellen Kunstbetriebs gegenüber Künstlerinnen, die Mutter werden, sind deutliche Beispiele für Verweigerung von Teilhabe. Wenn Zeit zur kostbarsten Ressource wird und Produktivität und Kontinuität vorübergehend eingeschränkt sind, ist das kein Qualitätsverlust - doch einen solchen wollen „Experten", Gremien und Juror*innen angesichts der Lücken im Lebenslauf konstatieren. Sie zeichnen lieber jene aus, die lückenlose - „sorglose" - Biografien vorlegen können und im Kunstbetrieb sichtbar sind. Ausdrucksvoller Beleg für die Problematik ist die Kinderlosigkeit von sieben der zehn weltweit erfolgreichsten Künstlerinnen. Für alle anderen gilt: Kinder zu haben und vor allem für diese zu sorgen, ist (immer noch) ein enormer Risikofaktor für eine erfolgreiche Künstlerinnenbiografie.

In der Ausstellung We care. Do you? eröffnen acht Positionen von care-arbeitenden Künstlerinnen einen Diskurs- und Reflexionsraum. Sie visualisieren die schwierige Verbindung zwischen Sorgeverpflichtungen als Mutter und den wenig familienfreundlichen Strukturen und Erfordernissen des zeitgenössischen Kunstbetriebs. Vom analytisch-kritischen Blick auf den Status Quo - auch in Nachbardisziplinen wie den Darstellenden Künsten - über subversive Solidaritätsgesten bis hin zu poetischen Äußerungen und Visionen zeigt die Ausstellung, was ist und was möglich wäre.

*BEYOND RE:Production - Mothering in the performing Arts ist ein Performatives Rechercheprojekt von Nora Elberfeld, Angela Kecinski, Hannah Kowalski, Sylvi Kretzschmar, Sarah Lasaki, Teresa Monfared, Liz Rech, Regina Rossi, Annika Scharm, Felizitas Stilleke und Lotte Dohmen

Mit freundlicher Unterstützung durch die Senatsverwaltung für Kultur und Gesellschaftlichen Zusammenhalt, Ausstellungsfonds Kommunale Galerien und Fonds Ausstellungsvergütungen für bildende Künstlerinnen und Künstler.

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Das Kulturhaus Alte Feuerwache ist eine Einrichtung des Bezirksamtes Friedrichshain-Kreuzberg mit einem Projektraum und einer Studiobühne.

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Exhibition Stuttgart 2023 + workshop + discussion

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Exhibition Stuttgart 2023 + workshop + discussion

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Exhibition by Mothers*, Warriors and Poets

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„Mothers*, Warriors, and Poets" ist eine künstlerisch-aktivistische Plattform, die von den Stuttgarter Künstlerinnen Anna Gohmert, Renate Liebel und Marie Lienhard gegründet wurde, um die Beziehung zwischen künstlerischer Produktion und Mutterschaft* zu hinterfragen und neu zu verhandeln. Der Name der Plattform ist inspiriert von der Selbstbeschreibung der Schwarzen

Feministin Audre Lorde, „black, lesbian, mother, warrior, poet." Für Lorde war es von zentraler Bedeutung, sich mit mehreren Begriffen gleichzeitig zu beschreiben, da diese die Komplexität ihrer Identität als auch ihrer Kämpfe als Schwarzer Feministin, Künstlerin, und Mutter* aufzeigt - eine Mutter*-Künstler*in zu sein bedeutet, gleichzeitig eine Krieger*in zu sein, und radikal und sinnbildlich wie eine Dichter*in zu denken. Für diese Ausgabe von „Mothers*, Warriors, and Poets" laden die drei Initiatorinnen der Plattform die Künstlerinnen Anna Schiefer und Julia Wirsching ein, sowie Didem Yazıcı und Sascia Bailer als Kuratorinnen.

In Kooperation mit DAS BÜNDNIS.

Weitere Informationen unter www.mothers-warriors-and-poets.net.
Zugänglichkeit der Ausstellung

Alle Räume sind rollstuhlgerecht

Audiotranskripte für Videoarbeiten der Ausstellung

Audio-Einführung in die Ausstellung (auf Deutsch, inkl. QR-Code zum Abspielen per Smartphone)

Ausstellungstext verfügbar in Deutsch, Englisch und Türkisch

Stillraum ist vorhanden

Bei weiterem Unterstützungsbedarf bitte Kontakt aufnehmen unter contact@mothers-warriors-and-poets.net
*Wir verwenden den Begriff Mutter mit einem *, um diesen für alle Menschen mit Sorgeverantwortung zu öffnen.

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Mothers*, Warriors, and Poets: Fürsorge als Widerstand - StadtPalais - Museum für Stuttgart

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Mit einem Raum-Hörerlebnis und spannenden Diskursen erzählt die Ausstellung sowohl von der Stuttgarter Hip-Hop-Kultur als auch von engagierten Protestbewegungen als Teil der Stuttgarter Stadtgeschichte.

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Mythen von Müttern und anderen Monstern

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Stella Bach, Julia Bugram, Die 4 Grazien, Katya Dimova, Ines Doleschal, Sibylle Gieselmann, Rachel Kohn, Susanne Kompast, Claudia Kragulj, Sarah Iris Mang, Barbara Philipp, Anna Rafetseder, Katharina Reich, Agnes Rossa, Christiane Spatt, Martina Tritthart, Linde Waber, Sula Zimmerberger, Dorothée Zombronner

IntAkt - Internationale Aktionsgemeinschaft bildender Künstlerinnen in Kooperation mit dem HilbertRaum und der Retramp Gallery

Vernissage: Freitag, 26.01.2024, 18:00 - 22:00 Uhr

mit Lesung „Mutter kocht Suppe" von Lena Kothgasser-Haider, 19:00 Uhr, Retramp Gallery, Reuterstr. 62, 12047 Berlin

Künstlerinnenführung: Samstag, 27.01.2024, 15:00 - 17:00 Uhr, Treffpunkt im HilbertRaum

Finissage: Sonntag, 04.02.2024, 14:00 - 19:00 Uhr

mit Performance „How I Apply My Products" von Tanja Ritterbex, 17:00 Uhr, HilbertRaum

Dauer: 26.01.2024 - 04.02.2024

Online-Konferenz: Samstag, 10.02.2024, 12:00 - 15:00 Uhr,

Anmeldungen für die Online-Konferenz an motherhoodzwei@gmail.com

kuratiert von: Hannah van Ginkel

Motherhood Team: Stella Bach, Hannah van Ginkel, Barbara Philipp, Agnes Rossa, Verity Oberg, Dorothée Zombronner

Die Ausstellung „Motherhood II / Shifting Realities", stellt die zweite Ausstellung einer Ausstellungsreihe rund um das Thema Mutterschaft und Frau - Sein dar, deren Ziel ist es, Mythen um männliche und weibliche Zuschreibungen zu hinterfragen und zu dekonstruieren.

Organisiert und kuratiert wird das Projekt von der IntAkt - Internationale Aktionsgemeinschaft bildender Künstlerinnen, Wien - in Zusammenarbeit mit dem HilbertRaum, sowie der Retramp Gallery. Letztere sind zwei Projekträume für zeitgenössische Kunst in Berlin Neukölln. Die aktuelle Ausstellung stellt eine unerlässliche Erweiterung zu der 2023 vorangegangenen Ausstellung „Motherhood I / Concepts of Motherhood" dar, welche ebenfalls von dem HilbertRaum Mitglied Hannah van Ginkel, in enger Abstimmung und mit Unterstützung des Motherhood Teams realisiert wurde.

In „Motherhood II / Shifting Realities" sind generationsübergreifende und historische Themen rund um Mutterschaft in den Fokus gerückt. Des Weiteren werden gesellschaftlich höchst relevante Perspektiven wie queer feministische und sozialpolitische Positionen gezeigt, um damit einen stärker intersektionalen Blick auf das Thema zu lenken. Die Ausstellung weist zusätzlich auf gesellschaftliche Strukturen hin, die es Künstler*innen - Müttern wie Nicht-Müttern - erschwert, sich am Kunstmarkt einen Namen zu machen.

Das Motherhood Team wird parallel zur Ausstellung in Kooperation mit „Procreate Project"(London) Arbeiten von internationalen Künstlerinnen im öffentlichen Raum auf Plakatwänden zeigen. Diese werden in der vom HilbertRaum und der Retramp Gallery benachbarten Pannierstraße (Pannierstr. 37, 12047 Berlin) in Neukölln zu sehen sein. Procreate Project ist ein wachsendes Archiv internationaler Künstlerinnen, die Mütter/ Eltern sind. https://archive.procreateproject.com/archive/

Am Samstag, den 10.02.2024 um 12:00 Uhr (deutscher Zeit) findet die erste internationale Online-Konferenz der IntAkt mit anderen Netzwerken zum Thema Mutterschaft statt. Teilnehmende sind unter anderem Dyana Gravina von „Procreate Project" (London), Marcia Breuer Gründerin von „Mehr Mütter für die Kunst" (Hamburg), Ruchika Wason Singh von „A.M.M.A.A." (the first platform to focus on mother artists in Asia) (Indien), Len-Len und Illyang Montenegro von „the O Home" (Philippinen), sowie die Gründerinnen Ines Doleschal und Rachel Kohn von „Fair Share! Sichtbarkeit für Künstlerinnen" (Berlin). Ziel ist eine zukünftige Zusammenarbeit und die Sichtbarmachung von Künstlerinnen, sowie eine Förderung des Informationsfluss zum Thema Mutterschaft in der zeitgenössischen Kunst. Im Frühling wird die zweite Motherhood Onlinekonferenz der IntAkt Kuratorinnen, Kollektive und Plattformen einladen.

Anmeldungen für die Online-Konferenz erfolgen an: motherhoodzwei@gmail.com

Text: Agnes Rossa

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English version

The exhibition "Motherhood II / Shifting Realities" is the second in a series of exhibitions about motherhood and being a woman. The aim of the exhibition is to question and deconstruct myths surrounding male and female attributions. The project is organized and curated by IntAkt - International female visual artists ( Internationale Aktionsgemeinschaft bildender Künstlerinnen), Vienna - in collaboration with HilbertRaum and Retramp Gallery. The latter are two project spaces for contemporary art in Berlin Neukölln. The current exhibition is an essential extension of the previous exhibition "Motherhood I / Concepts of Motherhood", which was also realized by HilbertRaum member Hannah van Ginkel in close cooperation and with the support of the Motherhood team.

In "Motherhood II / Shifting Realities", the focus is on intergenerational and historical themes relating to motherhood. Furthermore, socially highly relevant perspectives such as queer feminist and socio-political positions are shown to direct a more intersectional view of the topic. The exhibition also draws attention to social structures that make it difficult for artists - both mothers and non-mothers - to make a name for themselves on the art market.

Parallel to the exhibition, the Motherhood Team will be showing works by international female artists in public spaces on billboards in cooperation with "Procreate Project". Procreate Project is a growing archive of international artists who are mothers/parents. The location is at Pannierstr. 37, 12047 Neukölln. https://archive.procreateproject.com/archive/

On Saturday, December 10, 2024, at 12:00 noon (GMT +1), an international online conference of IntAkt will take place with various other networks on the topic of motherhood. Participants include Dyana Gravina from "Procreate Project" (London), Marcia Breuer from "Mehr Mütter für die Kunst" (Hamburg), Ruchika Wason Singh (India) "A.M.M.A.A." (is the first platform for mother artists in Asia Yllyang Montenegro and Len-Len from "the O Home" (Philippines), as well as Ines Doleschal and Rachel Kohn from "Fair Share" (Berlin). The aim is future collaboration and the visualization and promotion of the flow of information on the topic of motherhood in contemporary art. In spring, the second IntAkt Motherhood online conference will invite curators, collectives and platforms.

Registrations for the online conference should be sent to motherhoodzwei@gmail.com

Text: Agnes Rossa

mit freundlicher Unterstützung vom

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Trotz einer insgesamt positiven Entwicklung der Präsenz von Frauen im Kunstbetrieb haben es Künstlerinnen und insbesondere jene mit Kind(ern) im Kunstbetrieb immer noch schwer.

Dass sich jede Mutterschaft in allen wirtschaftlichen Bereichen als massive Karrierebremse auswirkt, ist ein Gemeinplatz. In der Kunstwelt, die zunehmend über Beziehungen, Sichtbarkeit, Selbstdarstellung, „Coolness" und auch Jugend funktioniert, ist es nicht anders: Die Künstlerin partizipiert nicht mehr an den Mechanismen und Strukturen, die für Erfolg und Marktwertsteigerung notwendig sind - sie wird „UNSICHTBAR".

Das zeigt sich auch in der Praxis der altersbeschränkten Stipendien und der Residencies: Hier werden Künstlerinnen mit Kindern und/oder jenseits der 35 dahingehend benachteiligt, dass sie im Förderspektrum selten Berücksichtigung finden. Aufenthaltsstipendien fernab der familiären Basis sind nicht alltagstauglich für Frauen mit Kindern, zugleich aber resultiert der Verzicht in der Familienphase oft in einem eklatanten Bruch, wenn nicht gar einem Aus der Karriere. Gerade solche Stipendien aber generiert der „Markt", die jene fördern, die flexibel, mobil, jung und (in der Mehrheit) männlich sind.

Unser Workshop mit Kinderbetreuung (!) stellt zum einen internationale Fördermöglichkeiten vor, die eine Vereinbarkeit von Familie und Beruf im Blick haben und sich direkt an Eltern richten bzw. ganz ohne Altersbeschränkung sind.

Zum anderen suchen wir den Austausch und die Auseinandersetzung mit Frauen und betroffenen Männern: Welche Erfahrungen gibt es, welche Wege können beschritten werden, um in diesem Feld mehr Bewusstsein zu schaffen?

Zu diesem Gespräch im bbk-bildungswerk laden ein:

Johanna Thompson, Bildende Künstlerin (USA/Deutschland), Mutter eines Kindes

Ines Doleschal, Bildende Künstlerin (Deutschland), Mutter dreier Kinder

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Trotz einer insgesamt positiven Entwicklung der Präsenz von Frauen im Kunstbetrieb haben es Künstlerinnen und insbesondere jene mit Kind(ern) im Kunstbetrieb immer noch schwer. Dass sich jede Mutterschaft in allen wirtschaftlichen Bereichen als massive Karrierebremse auswirkt, ist ein Gemeinplatz.

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Mutter-schafft - Band 295-2024 - www.kunstforum.de

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Jetzt entdecken: KUNSTFORUM International Band 295 "Mutter-schafft. Eine Bestandsaufnahme." herausgegeben von Larissa Kikol.

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Milkyways is a collection of essays by artist Camille Henrot, exploring the ambivalence of motherhood and the process of creation in both art-making and life. Each chapter delivers a cosmos of references in literature, cartoons, art history, psychoanalysis, and more-from ancient maternity myths to modern maternity wards; from Marcel Proust to Maggie Nelson to Hélène Cixous. Alongside illustrations of the artist's work in painting, drawing, and sculpture, Henrot's perspectives in writing oscillate freely between the personal and the societal, the obvious and the more complex, the visceral and the utterly mundane.

Milkywayswas originally conceived for Republik magazine on invitation by Antje Stahl. Written with Jacob Bromberg, Antje Stahl, and Léa Trudel.

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Milkyways is a collection of essays by artist Camille Henrot, exploring the ambivalence of motherhood and the process of creation in both art-making and life. Each chapter delivers a cosmos of references in literature, cartoons, art history, psychoanalysis, and more-from ancient maternity myths to modern maternity wards; from Marcel Proust to Maggie Nelson to Hélène Cixous.

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Recently published by a friend of mine in Berlin.

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Natanja von Stosch und Juliet Kothe

Natanja von Stosch und Juliet Kothe

288 Seiten, 125 Farbabbildungen, Hardcover mit Leinen

Eine Kunst- und Bildgeschichte der Brust

Boobs in the Arts: Fe:male Bodies in Pictorial History ist ein Kompendium an Bildern über unterschiedliche Epochen, Kunstströmungen und Diskurse hinweg. Die präsentierten Werke können als Kommentar der jeweiligen Gegenwart gelesen werden und fassen künstlerische Positionen vom Anfang des 20. Jahrhunderts bis in die Gegenwart in chronologischer Reihenfolge zusammen.

Mit etwas mehr als 100 Künstler*innen, die sich alle mit der weiblichen Brust beschäftigen, bietet jede der Positionen einen Einblick in die Konstruktion und Dekonstruktion von „Weiblichkeit" seit der Wende zum 20. Jahrhundert. Viele der ausgewählten Werke spiegeln die Zuweisung und den Wandel von Geschlechterrollen in dieser Zeitspanne wider. Sie beziehen sich oft auf kulturelle Praktiken, Mythen und das institutionalisierte Denken, die tief in soziale und kulturelle Narrationen eingeschrieben sind, die alle eine Rolle bei der Bestimmung dessen gespielt haben, was gemeinhin als „weiblich" definiert wird.

Jede Abbildung wird von einem Text begleitet, in dem entweder die Künstler*innen ihre Werke beschreiben oder Autor*innen in die Bildgegenstände einführen. Cecilia Alemani, Ann Mbuti und Lana Wachowski teilen ihre Perspektiven in zusätzlichen Beiträgen.

Boobs in the Arts: Fe:male Bodies in Pictorial History integriert neue Perspektiven und Diskurse aus der Perspektive der Kunst und möchte so einen Beitrag zur Neudeutung konventioneller Lesarten des weiblichen Körpers leisten.

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boobs – fe:male bodies in pictorial history

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Boobs in the Arts: Fe:male Bodies in Pictorial History | 978-3-95476-406-8

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Eine Kunst- und Bildgeschichte der Brust

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Virginia Woolf extract "Profession for Women", 1942

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Virginia Woolf extract "Profession for Women", 1942

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Art Monsters: Unruly Bodies in Feminist Art by Lauren Elkin

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Art Monsters: Unruly Bodies in Feminist Art by Lauren Elkin

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When Lauren Elkin began work on this book, she believed its subject was monstrosity and female creativity, her spur a now much-quoted line from Jenny Offill's 2014 novel Dept of Speculation: "My plan was to never get married. I was going to be an art monster instead." Naturally, Elkin hardly needed to be told that such a monster is almost inevitably male: a beast who relies on women for all the mundane things in life (the cooking, the washing, the regular praise due to an undoubted genius). Female art monsters are thin on the ground because to become one means choosing work over motherhood.

But it wasn't only such unfairness that interested her. The more she thought about it, the more she saw that while it is still agonisingly difficult for a woman to allow herself to be monstrous - how we fear baring our teeth - it's also terrifyingly easy inadvertently to become so, at least in the eyes of others. Behaviour that is perfectly acceptable in a man - determination, rage, ambition - is all too often seen as ugly and unwarranted in a woman.

Somewhere along the way, however, Elkin's plan changed. She stuck with her title, but her book is not, after all, about these tensions. Converting a masculine figure (the art monster) into a female one, she tells us, strands women on the side of the second sex, making work only in reaction to the patriarchy. Monstrosity is "a trap" even if we revel in it; the female monster is Other in a way the male monster is not. Instead, she has written about a variety of female artists who placed the body at the centre of their practice; who made a language of the body, and by doing so defined their own aesthetic aims. Elkin's book asks - and here I begin to struggle to summarise it - whether women should prioritise feeling over thought; it looks at how they might literally take up more space in the world; and it celebrates the "joy" to be found in the "meat" of our flesh, our unruly female bodies.

Imagine a crocodile of children led by a teacher (Elkin) who loves each one of them just a little too much

How did she put it together? Obviously, she did a lot of reading and gallery-going. But its composition, ultimately, had to do with "vibrations". Written in a "hyper alert state of linking and connecting", any consequent disorganisation is, she insists, deliberate: "For me this book is an experiment in critical form as much as it is a feminist intervention... I needed to follow the line of thought as it developed; I couldn't impose a primary argument followed with supporting chapters."

I think there are times when it's profitable for a writer to freestyle a bit: to show their workings, all those sudden unnerving blots and semi-revelations. But in the case of Art Monsters, I'm afraid there is no getting away from the fact that the result is desperately contingent. However hyper-alert Elkin was as she wrote - and she is a very good writer, one whose last two books, and No 91/92, I loved to bits - the connections she makes are sometimes so loose as to be invisible. Imagine a crocodile of children led by a teacher (Elkin) who loves each one of them just a little too much. Try as she might to encourage them to hold hands, some are resistant; they go their own way, and quite rightly, too, for they belong elsewhere. What I'm trying to say is that this book might have worked better reframed as a collection of essays.

'An experiment in critical form': Lauren Elkin. Photograph: Gary Calton/The Observer

Still, it's nothing if not capacious. Here is Virginia Woolf, lying in a bath where she is dreaming up a book about the sexual life of women, and here is Laura Knight, painting a female nude whose buttocks look for all the world as if they've just been spanked.Elkin writes about the photographs of Julia Margaret Cameron, and of the slashing of Velázquez's The Rokeby Venus by the suffragette Mary Richardson; she tells us, too, about Fanny Burney's mastectomy, an operation, the novelist describes in a letter of 1812, performed without anaesthetic. But while all these women are, individually, perfectly interesting, I cannot string them together for you, like beads; the only real connection I could see between them as I was reading was the fact that they were female, and in possession of such things as breasts and vaginas (though, as Elkin makes plain when she writes about the American artist Hannah Wilke, who made little vulvas out of chewing gum and stuck them all over her face, she thinks the "association of genitalia with gender" is terribly démodé - a statement I found confusing in the context of her book).

The presiding spirits of Art Monsters, though, are less well-known than the above. Elkin admires the writer Kathy Acker, and what she calls her "philosophy in the first person", and she has a passion for the sculpture objects of the German-born American artist Eva Hesse. Above all, she's a fan of the performance artist Carolee Schneemann, who in 1975 famously drew a roll of paper from her vagina, on which she'd written a (female) critic's criticism of her work.

I did wonder at Elkin's reverence for Schneemann, which seemed disproportionate to me (when she is good..., etc). But it wasn't until I considered another section of the book, in which she writes about the (white) American painter Dana Schutz, and the controversy that blew up when her painting of the corpse of Emmett Till was exhibited at the Whitney Biennial in 2017, that I began to wonder about Art Monster 's parameters all over again. If it's hard to understand why Schutz appears in the book at all - she is not, so far as I'm aware, an explicitly feminist artist, and her subject is not the body - I was even more puzzled by Elkin's vociferous condemnation of what she regards as Schutz's cultural appropriation.

It's not necessarily that I disagree with Elkin on this. It's more a question of double standards. Aren't artists allowed, sometimes, to make mistakes? And isn't it the case that female artists are more likely to be punished when they do? I thought of the Barbican's Schneemann retrospective last year, where I saw the cheap and utterly gratuitous Terminal Velocity (2001-05), in which outsize images of bodies falling from the twin towers on 9/11 are used to no good purpose. Elkin doesn't mention this piece, but to me it's a good example of the kind of connections she fails to make in her book; a vibration whose tremors here go unfelt.

Art Monsters: Unruly Bodies in Feminist Art by Lauren Elkin is published by Chatto & Windus (£25). To support the Guardian and Observer order your copy at guardianbookshop.com. Delivery charges may apply

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Art Monsters: Unruly Bodies in Feminist Art by Lauren Elkin review - when freestyle thinking goes too far

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Elkin's capacious survey of female artists who focused on the body might have worked better as a collection of essays

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Sure, here is a list of books that explore themes of motherhood and parenting in the arts:

1. "Motherhood and Art: How Motherhood Changes Our Creativity" by Sharon Louden - This book delves into how becoming a mother influences the creative process of artists.

2. "The M Word: Real Mothers in Contemporary Art" edited by Myrel Chernick and Jennie Klein - A collection of essays and artworks that examine the intersection of motherhood and contemporary art.

3. "Maternal Measures: Figuring Caregiving in the Early Modern Period" edited by Naomi J. Miller and Naomi Yavneh - This book looks at representations of motherhood in early modern art and literature.

4. "Mommy Angst: Motherhood in American Popular Culture" by Mardia J. Bishop and Ann C. Hall - Analyzes the portrayal of motherhood in various forms of American media and popular culture. - maybe not

5. "Mother Reader: Essential Writings on Motherhood" edited by Moyra Davey - A compilation of writings that reflect on the experience of motherhood from various artistic perspectives.

6. "Mothers and Sons: In Their Own Words" by Mariana Cook - A photographic book capturing the relationships between mothers and sons, along with their stories.

7. "The Art of Motherhood" by Susan Bracaglia Tobey - This book showcases a variety of artworks that explore the theme of motherhood.

8. "Artists' Parenthood: The Impact of Parenthood on the Practice of Visual Artists" by Elena Marchevska and Valerie Walkerdine - Investigates how becoming a parent affects the artistic practice of visual artists.

9. "Mothering and Creativity: The Challenge of Parenthood" edited by Patrice DiQuinzio - Essays exploring how motherhood impacts creativity and the creative process across different art forms.

10. "Motherhood in Contemporary Art" by Martha Joy Rose and others - A look at how contemporary artists incorporate and reflect on motherhood in their works.

11. "The Motherhood Constellation: A Unified View of Parent-Infant Psychotherapy" by Daniel N. Stern - Although more clinical, this book offers insights into the psychological aspects of motherhood and its representation in therapeutic contexts.

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Die beiden Veranstaltungen sind finanziert:

mit Steuermitteln auf der Grundlage des vom Sächsischen Landtag beschlossenen Haushalts
der Servicestelle FREIE SZENE, in Trägerschaft des Landesverbandes Soziokultur Sachsen e.V., des Career Service der Hochschule für Bildende Künste Dresden, des Landesverbands Bildende Kunst Sachsen e.V.;
sowie durch das Künstlergut Prösitz e.V., den Sächsischen Musikrat und den Sächsischen Literaturrat.
Außerdem dank des TanzNetzDresden - gefördert vom Fonds Darstellende Künste aus Mitteln der Beauftragten der Bundesregierung für Kultur und Medien im Rahmen von NEUSTART KULTUR, TANZPAKT in residence, den DACHVERBAND TANZ Deutschland, der Institutionellen Förderung der Landeshauptstadt Dresden, der Kulturstiftung des Freistaates Sachsen und der Bürgerstiftung Dresden.

„Eltern und Künstler:in"-Sein zwischen Flexibilität und Struktur

Erfahrungsaustausch und über die Selbstermächtigungsstrategien sogenannter „Eltern-Künstler:innen

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"Elternschaft & Kunstbetrieb #2" | Digitale Konferenz am 01. Juni 2022

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_____P r o f i l_____

DIEresidenz ist ein internationales Künstlerresidenzprogramm, das zeitgenössische Kunst im ländlichen Raum fördert und sich durch einen feministischen Fokus auszeichnet. Pro Jahr sind zwei KünstlerInnen eingeladen, einen Monat lang in Die, Frankreich, zu leben und ein Projekt zu verwirklichen. Das Programm richtet sich an bildende KünstlerInnen aller Sparten. Bei der Auswahl werden Frauen bevorzugt, um das weiterhin bestehende Ungleichgewicht zwischen den Geschlechtern in der Kunstwelt zu thematisieren und ihm entgegenzuarbeiten.

Seit 2018 bietet DIEresidenz zwei verschiedene Arten von Künstlerresidenzen an.

Das Sommerprogramm läuft während der Schul- bzw. Kitaferien und richtet sich an KünstlerInnen mit Kind(ern), für welche(s) eine Betreuung angeboten wird. Dies soll insbesondere Künstlerinnen einen Wiedereinstieg in das künstlerische Schaffen nach der Elternpause ermöglichen - abseits des Alltags und mit Unterstützung einer ggf. deutschsprachigen Betreuerin oder einer mitreisenden Betreuungsperson.

Im Herbst findet ein Austausch mit den Lichtenberg Studios statt, einem Künstlerresidenzprogramm aus Berlin, welches eine(n) Berliner KünstlerIn ins ländliche Die schickt, während ein(e) KünstlerIn aus dem Landkreis Diois, Drôme, einen Monat in der deutschen Metropole lebt und arbeitet. Der Wechsel Stadt/Land, Deutschland/Frankreich soll neue Impulse setzen, Eindrücke und Inspirationen für weitere Projekte bieten.

Beide Residenzstränge von DIEresidenz schließen mit einer Ausstellung ab, welche die Arbeitsergebnisse dem kulturinteressierten Publikum aus Die und Umgebung vorstellt. Ein offenes, von Conny Becker moderiertes Künstlergespräch will das Schaffen der ResidentInnen vermitteln und mit den AusstellungsbesucherInnen diskutieren.

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Nectar is a rural center for artistic creation, production and research located in the midst of nature in the off-the-grid 16th-century farmhouse, surrounded by endless forest inside Les Guilleries...

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Lyndsy Welgos: Camille, congratulations on your solo exhibition! First and foremost, I'm interested to talk to you about your sculpture 3,2,1 (2021), which is the centerpiece of Mother Tongue at Kestner Gesellschaft in Hanover, Germany. The bird figure in this piece is spectacular, with large Jean Arp-like breasts and a tear falling from its steely eye as it stands above a pile of trash and debris. Can you talk a little bit about the grief and extenuating circumstances that drive this piece?
Camille Henrot: Thank you. This sculpture was conceived and produced in partnership with the Art Foundry Kunstgiesserei St. Gallen in Switzerland. The waste at the bird figure's feet is actual discarded objects and materials collected during the production of the piece at the Foundry.
I'd like to ask you about your series Wet Job, which addresses breastfeeding in all its messiness and explores the link between soft labor and the economy. One of the paintings in the Mother Tongue exhibition comes from this series. And I know new paintings and sculptures from the series were commissioned for the 2021 Liverpool Biennial as well. Minimalist artists such as Richard Serra and Carl Andre have created sculptures that explore the relationship between industrial labor and the economy. These sculptures are now considered to be landmark works within the history of modern and contemporary art. But works that explore soft labor and emotional labor have typically been excluded from the art-historical canon. Can you talk a little bit more about this series?
I had been researching psychological and emotional responses to the climate crisis and started to think about how postpartum depression and climate grief are both crises of monumental responsibility that we are forced to bear as individuals while the failures and destruction of the patriarchal, capitalist economy go unaddressed. When you have a child, you are faced with the immense crush of responsibility that comes with bringing a new human into the world. I had been thinking about the psychological state of regression that accompanies motherhood and how, through empathy for our children, we might re-experience our own childhood traumas. I wanted to try to dismantle the expectation of the "good mother " and think about motherhood as a state in which contradictions, ambivalence, and inner conflict could arise and be acceptable.

The large bird figure is a crow mother, and the collected detritus at her feet conveys the weight of responsibility that she feels. But the waste is also her nest. The process of production is, in some ways, the subject of the piece-it seems we are always consuming, and being consumed by, our own production. The guilt of creating new life amidst a climate crisis is combined with the guilt of being an artist. The sculpture represents the ambivalence between destruction and transformation. Each transformation involves the generation of waste and the birth of something new, and it can be regenerative and painful at the same time.

Wet Job refers to the act of breastfeeding. I became interested in how the act of breastfeeding was connected to a sort of invisible labor. The breast pump, as an object, started to carry the expectation of the woman as an endless resource who could produce at all hours of the day in any setting. But because this labor is uncompensated, taboo, and even considered illegal in certain public settings, the mother's milk could be considered an abundance that society does not have to pay for, or even look at. While society has come to acknowledge the very real phenomenon of postpartum depression, and the mental toll that new mothers experience, I don't think we see enough representations of the depletion and sacrifice that the body undergoes in child-bearing and child-rearing. I wanted to show the visceral and physical quality of the depleted postpartum body-the contrast between the weakened, exhausted arm that holds the child and the full, rounded flesh of the baby.

I like this expression- "soft labor." Hard labor is an expression that is associated with work that requires muscle. Yet soft labor and emotional labor, while often psychological in nature, have direct implications on the body, too, even though they are never recognized as "hard " work. You don't often see soft labor generating public admiration, or celebrated in classic literature and art, like hard labor is-Diego Rivera's monumental frescoes come to mind. But what would it be like if soft labor was considered as important as economic trade, construction, and agricultural production? During the pandemic, I imagined that this type of labor would be better recognized and I even fantasized that artists could be commissioned to work within the parameters of the domestic setting.

Soft labor is also like an underground type of labor. The work of nannies, for instance, tends to go unrecognized, and they often don't get healthcare. It's the kind of labor that also typically falls on women of color. This adds another layer-not only do we need to attribute more value to this work, but we also need to examine the system that materially and symbolically erases nannies and their labor. Undocumented nannies are often undermined in the economy because their work is classified as an "illegal " activity, and parents often diminish the importance of nannies in the way they represent their childrens' lives and memories. We need to decolonize the hierarchy of privilege that keeps this kind of system in place.

I know in the past we have spoken about the burden of responsibility that we bear toward things we cannot really control. For instance, you've expressed worry about how your work as an artist might negatively impact the environment: "I make a new sculpture, but it's also producing waste," you said. Was there a moment that really drove that concern home for you?
I've looked at the history of breastfeeding and it's interesting to note that many women used to not only breastfeed their own children, but the children of other women as well. This was called "wet nursing." It was a common practice in more rural communities where a person's primary resource was often their own body. In An Apartment on Uranus, Paul B. Preciado wrote about this and the connection between sex work and nursing a child. Both of those activities, largely practiced by women, have been specifically targeted by authorities and even made illegal.

I am also interested in thinking about breastfeeding in relation to debt. We are all ultimately indebted to our mothers. In industrial terms, breast milk is an extractable resource that one human takes from another. In psychoanalytic terms, I have started to think that the debt that we all inherently owe our mothers might be responsible for society's prejudice against women.

The pandemic really brought concerns around production and output into focus. All of a sudden all art fairs and exhibitions were cancelled or postponed and site visits were being replaced with Zoom calls and video tours. My 2020 show at Art Sonje Center was produced super successfully thanks to the flexibility of the curator Heehyun Cho. We found ways to make quick decisions over Whatsapp, and I trusted her vision. It made me think about ways that we could be successful digitally, or ways that galleries and museums in different regions could collaborate on shows so that they might reduce shipment costs and travel for artists and art workers.

The shame and guilt that comes with producing artwork-the environmental cost, et cetera-is in some ways related to the shame and guilt one might feel about bringing a new human into the world. We talked about that at the start, with 3,2,1. Having a child brings with it an awareness of how different the world you grew up in is from the one that your child is now growing up in. "Once upon a time in a place that no longer exists..."

Children's stories always involve jungle animals-lions, tigers, rhinoceros-and the truth is that their habitat is actively being destroyed as we speak. A is for alligator. B is for bee: yet the bees are one of the most threatened species, and their decline will have a severe impact on our food production and survival as humans. C is for coelacanth: a prehistoric fish that every scientist thought was extinct 66 million years ago but was rediscovered in 1938 in the waters off the coast of South Africa. Ultimately, the scientists ended up killing the fish in order to bring it back to the museum and study it. So they deliberately caused its extinction. This illustrates how scientific research can sometimes be part of the problem, too. I was thinking about this when I made Grosse Fatigue (2013)-the activity of collecting also contributes to destruction. Original contexts or narratives become fractured, and animals are reduced to specimens. These are just a few stories that come from the ABC's, but we could do the full alphabet with stories of other animals who are now on the brink of extinction because of the way that we as humans live.

Yet, in every way, having a child makes it more difficult to subscribe to a no-waste, more sustainable practice. You have less time, less money, and fewer choices. There is a constant conflict between individual practices and global issues, and artistic practices aren't excluded from that.
Working to produce not one but multiple exhibitions in the middle of the COVID-19 pandemic must have been overwhelming, especially because you were displaced at the time. Can you talk a little bit about the other pieces in the Mother Tongue exhibition, including the paintings?
You've previously mentioned an article by Meehan Crist called "Is It Ok To Have a Child." I haven't read that article but it sounds like it might have informed your work for Mother Tongue.

Yes, it's a really good essay. It was shared with me by a friend and poet Jacob Bromberg when we were discussing a new film I'm working on. It's pretty interesting because it shows how women in particular are asked to bear the burden of personal responsibility for the climate crisis. This isn't rooted in scientific evidence: individual women don't create more carbon emissions than men do. It's just a PR campaign. The term "carbon footprint " was popularized by BP so that people would think that climate change had more to do with our personal choices than corporate greed and irresponsibility. As Crist argues, a student who chooses not to eat meat, who produces absolutely zero waste, is only going to make a tiny impact on the environment. It's nothing compared to the impact that corporations make.
Do you find it liberating-this shift toward a more meticulous style of painting?
Of course, I think everyone who can make personal choices to reduce their contribution to carbon emissions and pollution should. But I also feel it's wrong to ask mothers to justify their choice to have a child-the next step is eugenics. A lot of women don't even get to choose in the first place.

Mother Tongue is my largest show in Germany to date. Mother Tongue is the title of a drawing I had made, but it worked well for the exhibition title, too. I became interested in thinking about the birth of language, and the mouth, or tongue, as the site of both expression and consumption. In terms of the building layout, the focus is the main hall, which is kind of like the belly of the show. It features sculptures, paintings, and drawings from the series System of Attachment and Wet Job, the majority of which are new and were produced after the pandemic began. They all speak to the themes I have been exploring in the past few years-motherhood as a political category, the stages of human psychological development, the formation of language, and how our interpersonal or family dynamics are representative of larger, global concerns and issues.
You feel like the slowness of painting was an obstacle for you?
There are also very small paintings from a series titled Is Today Tomorrow. I started to work on a smaller square format for practical reasons when I first left New York City at the start of the pandemic. I would work on them at the kitchen table or on the living room floor. They became kind of diaristic-I would make quick impressions with the paint that was left over from that day. All together, they look like Instagram posts because they are square, but the characters are a bit messy and dissolved, angry and full-of-rage. There's disorder of all sorts. All of the works have the word "day " in them- Training Day, Lockdown Day, The Day we Met, Two in One day, Ruin my Day, On My Mind all Day. Our concept of time was totally disrupted and disordered because of the pandemic and the title of the series, Is Today Tomorrow, came from that feeling.

It is very different. In drawing, the quality of the line comes from how fast a work is executed and how easily I can repeat the gesture. It requires a combination of concentration and relaxation. It's a bit of a sport, because it takes both physical and mental effort. I think it's been difficult for me to take this approach with painting, because the process is usually much slower. It's harder to work slowly and maintain a level of concentration and focus at the same time.
I'm curious to hear more about your process. Why not just paint watercolor on canvas-why do you think you need a different medium of paint?
Painting on really small formats was liberating because I didn't feel intimidated by the scale and the medium. The main reason why I prefer drawing over painting is because the paper takes up less space and the gesture is usually quickly accomplished. Painting requires more anticipation and planning. I felt that I could have somewhat of the same freedom and casual approach with this small format as I have with drawing on paper.
Let's talk about one of the smaller bronze sculptures, Celui qui a faim, which translates to The One that is Hungry. It's one of the more disturbing pieces; I can't stop staring at it. The sculpture is a squat figure and has what appears to be thick teeth and a dislodged tongue; it reaches out toward the viewer, and its features are fetal yet mummified. This piece stands out with a certain surreal horror. Could you talk a little bit about this piece?
It was and still is an obstacle for me. Acrylic and oil are heavy mediums with dense particles-they have a weight that water-based pigments don't have. But I've been experimenting with different solutions, like using calligraphy brushes, which are ordinarily used for lighter mediums. I've been making my own paint. I've also been layering mediums-watercolor, acrylic, and oil-especially in the series System of Attachment, which I started in 2019. Adding and removing is also part of the strategy.

My frustration with the medium of painting gave birth to new gestures: I started to use my hands to drip the paint. In a way, the activity became more violent in terms of gesture. I would say that the viscosity of the paint also opened the door to representations that were more violent-the heavier medium is more fleshy and bloody, in a way. I was reading Diane Wakowski's collection of poems, Inside the Blood Factory, and at one point I was painting all-red backgrounds, and my studio itself started to look a little bit like a blood factory. I really like this phrase-it refers to both the body and the process, and place, of body-making.

Technically, yes, you can paint watercolor on canvas. But it doesn't really allow me to create the diluted, liquified effect that I want. Watercolor on paper can be very striking, but on canvas, the color is much more pale. So I need to use acrylic and oil to add in other textures. I like to layer them together-I'll create a colored background in watercolor, and then I will add the figure in acrylic or oil. Layering watercolor on paper doesn't work too well-after three layers, the color turns brownish. And on canvas, layering with watercolor means erasing. But with oil or acrylic, you can layer the colors in an additive sense, to achieve a lighter color if you want. It's been interesting to experiment with blending the mediums. It has been quite complicated in terms of studio organization, but I have found a lot of hope in making my own paint. It can be very pigmented, while still being very liquid. And it's very fast to prepare in quantity.

This figure came as I was working on figures and shapes that you find in classical sculpture, like apples and fruit. I realized that there will always be something quite violent about food-chopping vegetables, killing animals. Along with the work on breastfeeding, I was thinking about what it means to be food for another human being. How comfortable are we, really, with this idea? You cannot really imagine breast milk being turned into cheese, or using it in your morning coffee-there is a certain level of disgust with that.
You are working with Antje Stahl on a new weekly, multi-chapter column for Republik magazine focused on the topic of birth, and how old Western myths, legends, and religion still have a stronghold on how we think about birth, creation, and female self-sacrifice. In your first chapter, you wrote, "Creation and procreation are still being mystified as quasi-divine manifestations located in the secrecy of ateliers, bedrooms, and hospitals. In the western culture, the artistic genius and the Virgin Mary remain two lonely figures, as archetypes they continue to influence the way we perceive artistic, sexual, and domestic life." Can you talk a little bit about how these stories and legends still have an undue influence on contemporary art? As a mother myself, I have always hated the myth about birth being quasi-divine.
The labor of harvesting, selling, and preparing food is so devalued in our society, and food is also symbolically associated with the mother-our first source of nutrition. Being consumed, as a verb, is always somewhat pejorative or submissive. I was thinking about a lot of things when I was creating that sculpture, including the physical sensation of actual hunger. I had never before experienced hunger like I did while I was breastfeeding, and I started to think that hunger was its own person-that it had a body and a face. So the sculpture comes from that idea.

I love what you say about the mummified fetus. The appearance of mummification comes from the texture on the surface. Originally it was very smooth but it broke in some areas, so I started to work with that texture. I brushed it with a metallic brush to create wrinkles, as if it was aging like an elephant or a mummy. The teeth are also very rounded, and ultimately, unthreatening. It is kind of ageless-both old and young at the same time.

The figure lies on a little bedside table with a little drawer. It's a detail you only really notice when you see the sculpture in person. To me, the drawer is a confirmation that the sculpture has something to contain-the way the stomach contains food or the belly contains a child. Our bodies are constantly being filled and emptied. Something comes in, and something goes out.

Yes, I'm very happy with the column and my collaboration with Antje Stahl. It seems both important and dangerous to write on this topic. The first chapter is called "(Pro)creation and its myths, " the second is "The Bird Mother, " which is about the "good mother "/ "bad mother " binary and ecological guilt, and the third chapter "Echo Verse" is about sonograms, music, and image-making in wet environments. The upcoming chapter, "Please Don't Touch, " relates to sculpture and tactility. When Antje invited me, I was at first intimidated because I don't often publish my writing. But it felt necessary.

There's a vast amount of beautiful literature and scholarly writing about motherhood, early childhood, and creativity-from Moyra Davey, Adrienne Rich, Ursula Le Guin, Annie Erneaux, Hélène Cixous, Jacqueline Rose, Julia Kristeva, Catherine Clément, and Chantal Chawaf, to Melanie Klein, Roland Barthes, Jules Michelet, Carl Jung, and Françoise Dolto. But within popular media, these things are consistently described or spoken about with ignorance and prejudice.

Like you, I was never able to relate to most representations of mothers in art, both before and after having a child. The fact that death is completely erased from the experience of birth is maybe the first signal that the archetype of motherhood is a man-made construction. Stillborn babies, genetic malformations, abortions, maternal death, miscarriage, and infertility are all inextricable aspects of the experience of parenting or the desire to be a parent, so much so that most doctors treat these things as a banality. But the rest of society acts as if these things don't exist, or acts as if they always happen to someone else. We see this in the way economic labor is structured - for instance, women are usually not given paid leave after miscarriages and abortions. And in the arts, with a few exceptions, the splashy, bloody, smelly, shitty messiness and violence of birth is still mostly unrepresented. The postpartum body is largely unrepresented as well, except for in the amazing paintings of Alice Neel.

In the past two years, I had such a strong feeling of revolt against what is expected of women when they give birth that it was actually hard to see and accept myself as a woman. When I started to work on System of Attachment and Wet Job, it was so difficult to have the work be properly discussed outside of the clichés, or outside of my own biography. I decided for a while that I needed to banish the word "mother " from the whole conversation. I started to think that we needed a whole new vocabulary-not just images and objects.

New technology makes it seem as if our society is "contemporary," but the values of our culture are still bathing in archetypes, in superstitious waters that cascade from centuries of patriarchal and religious inheritance. The Virgin Mary figure used to serve multiple purposes. For instance, Christian missionaries presented the Virgin Mary to Greek, Celtic, and Roman societies as a substitute for the goddesses of their pagan religions so that they would be more willing to convert to Christianity. In the process, birth and procreation became divorced from sexuality. This in turn forced women into motherhood if they wanted respect and admiration from society at large.
Lyndsy Welgos is the founder and director of Topical Cream 501c3.
I'm from the region of Brittany in France, and my grandmother was a professional storyteller when I was growing up. She was very attached to Breton folklore, and though she sometimes rejected religion, she was spiritual in her own way. She would not pray to the Virgin Mary but rather to St. Anne, Mary's mother. The reason for this was that a long time ago, missionaries who came to Brittany invented the idea that St. Anne was born in Brittany, in the city of Auray, where my grandmother was also born. This was a sort of micro-targeted strategy to convince the Breton people to give up their long-held, local, protected pre-Christian beliefs.

It's a funny anecdote, but it illustrates the resilience of old narratives, of mythological figures, and our attachment to them-as well as the immense power of fiction and storytelling to influence cultural norms. With new images, new iconography, and new stories, we can both acknowledge that identities are constantly in flux, and build a culture that is more accepting of complexity, ambivalence, and multiplicity.

Currently on view: Mother Tongue, Kestner Gesellschaft, Hannover, Germany (April 18-August 8, 2021)

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Camille Henrot: On Climate Grief, Soft Labor, and "Mother Tongue"

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Lyndsy Welgos: Camille, congratulations on your solo exhibition! First and foremost, I'm interested to talk to you about your sculpture 3,2,1 (2021), which is the centerpiece of Mother Tongue at Kestner Gesellschaft in Hanover, Germany.

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 In the workshop led by artist and researcher Weronika Zielińska-Klein, participants, based on their personal experiences as parents or caregivers, searched for short-term and long-term solutions for the lack of care in the sector that can be implemented in their immediate work environment, organizations, networks and/or institutions.

Weronika works on an ongoing diagram of recourses on mother-artist initiatives, collectives and networks. Have a look here.

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resources on mother-artists initatives, collectives and networks ...

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resources on mother-artists initatives, collectives and networks ...: resources on mother-artists initatives, collectives and networks (last update March 2024), Mother Art is one of the first examples of self-organised mother-artists initiatives, from the Western perspective.* Screen Shot 2022-01-10 at 12.08.28 , :,

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Mothers in Arts Residency (MA Residency) is a studio space combined with a communal day care. The Residency is specialized in supporting emerging women artists, who are also mothers.

Mothers in Arts is free of charge; the artists agree on take turns to work and look after each others children around an organized work schedule. The Residency was designed around the childcare policies of the Netherlands: 3 months is the given maternity leave and 2 years is the minimum age, when children are provided with 2 days a week subsidized daycare. This "in between" period is crucial for an artistparent: through the strict schedule and the constant attention which a baby requires, critical practice becomes limited.

Mothers in Arts and the trial residency were created with the hope that it could help artists to combine their artistic practice with early parenthood. Through the project I wanted to put forward a discussion about a problem that affects many emerging artist women when they become parents; Even though, many artists have children, parenthood remains stigmatized in the art world. Therefore, besides the physical and mental challenges of childbearing - which are consuming enough - an added feeling of isolation can be felt by many mothers. This situation isn't exclusive for artists of course, it is a common dilemma for most working mothers. After becoming a parent maintaining a professional life becomes difficult.

Mothers in Arts is geared to mother artists and by drawing attention to this hidden segment of the art world I wish to stimulate mothers in general. By showing and promoting their existence, I hope that the professional and also the general public realizes and confirms their importance as a matter of public health.

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Mothers in Arts Residency (MA Residency) is a studio space combined with a communal day care. The Residency is specialized in supporting emerging women artists, who are also mothers. Mothers in Arts is free of charge; the artists agree on take turns to work and look after each others children around an organized work schedule.

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Lithuanian Artists‘ Association‘s Artist‘ House in Palanga is located 500 meters to the Baltic seashore.

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The UAFS Art & Design Artist In Residence

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The UAFS Art & Design Artist In Residence

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The UAFS Art & Design Artist In Residence

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The Department of Art & Design offers a B.A. in Studio Art, a B.S. in Graphic Design, and minors in Art History and Studio Art. UAFS holds NASAD accreditation. The Department is housed within the Windgate Art & Design Building, home to robust facilities for Design, Book Arts and Letterpress, Printmaking, Digital Photography, Drawing, and Painting.

The University of Arkansas - Fort Smith is a vibrant mid-sized public university dedicated to breaking the higher education mold by bringing truly transformative, hands-on experiences to every student. Located on the Arkansas-Oklahoma border and situated in a region of lakes, Fort Smith is the third-largest city in Arkansas. It features a vast array of cultural activities, shopping, dining, and entertainment, including a thriving downtown entertainment district.

Parks, trails, and water recreation are all within the city limits, and true outdoor enthusiasts will find the area's lakes, streams, and mountains offer adventure only minutes away from campus. Proximity to Crystal Bridges Museum of American Art and its partner institution, The Momentary, and the rich arts culture of Northwest Arkansas provide access to world-class arts culture in the region. The city is within easy driving distance of Tulsa, Kansas City, Dallas, Little Rock, and Memphis.

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Click here to learn about the Artist-in-Residence Program at the University of Arkansas - Fort Smith.

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Kyoto Art Center 2023 AiR for for Performing Arts

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Kyoto Art Center 2023 AiR for for Performing Arts

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Kyoto Art Center 2023 AiR for for Performing Arts

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Kyoto Art Center’s Artist-in-Residence Program offers support to emerging artists and art researchers

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When I speak to her, Sun Chang has just moved her things from her residence at Witte Rook in Breda to her home in Amsterdam. Back home, but leaving behind another home in Breda. This is not surprising. As a visual artist, Sun does not so much work towards an end product like a sculpture of a painting, but investigates social fabrics and the different meanings we assign to social roles, in particular to motherhood. Her project to M*Others started in the lockdown winter of 2021 and was expanded and continued at Witte Rook. The residency in Breda was more than a working period, it was a chance to build a community.

After studying in Bejing and London, Sun studied at the Sandberg Institute in Amsterdam. Whilst at Sandberg, she mainly worked with foodstuffs, for example in the exhibition titled kənvìviaéləti, which included a dinner as well as a number of workshops. The main ingredient was soy, from miso to tempeh, from tofu to edamame the goal was to bring people together in the same place at the same time: a dialogue in a casual micro-society.

SC: Originally my work explored just that: How can I connect people? How can I work in a community? As a social artist I am interested in bringing different people together and researching how a shared sense of belonging can be created. As a visual artist my work should have an impact on the world and society in which I live. So I asked myself questions like: How do you make everyone a part of a group? I organized dinners as research, in which I connected my mission as an artist with the social aspects of food. Since 2020, the pandemic has made this virtually impossible. Additionally, the focus of my research shifted. Cooking is a part of one's identity, as a person and as a woman. How do you, as a woman, relate to other domestic chores? As a feminist this is problematic, but I have started to explore what it does with me when I fully embrace the role of caretaker. What does this say about my identity, about my community, and about my work as a visual artist?

Sun's residency at Witte Rook began in November 2021 and went on till January 2022. Somewhat unexpectedly, The Netherlands was in lockdown again. During her working period at Witte Rook, Sun developed a letter as a part of a long-term letter-writing project.

SC: The lockdown of spring 2020 was a personal lockdown for me. I was thrown back to myself, unable to travel for work or go home (BS: Sun Chang was born in Wuhan, China). My contacts also changed. This is why I started writing a letter, in collaboration with designer Léo Ravi. Letters have the great advantage that you can send them and get in touch, and that the letter can then be passed on. The lockdown demanded a new form of publishing. Everything was closed, even art institutions, bookstores, and museums. Getting in touch became very difficult. The household became even more the central point of my life. Besides the space for living, it became a place of work, as well as a place to meet people through a laptop or writings.
Lockdown made another thing apparent: much of the work around the house is done by women. This is no news, but it made clear that even when everyone is at home, most chores still end up on the plates of women. Gender plays a role in the home. This was the starting point of my project to M*Others,in which I examine M(other)ing: mothering, taking care of another, the home, and oneself. I started examining motherhood as an action, not as a state of being. In the end motherhood, the act of mothering, is a sort of taking care of one another that can be performed by anyone, regardless of gender identity.
Sun is not a mother herself, nor does she have stepchildren. But her research into motherhood is not necessarily about giving birth, or the producing and rearing of offspring. Mothering is something we can do for each other: caring, looking after, to form a stronger, more consciously, bond, even with strangers.

Sun sets up the letters in a playful manner and offers a number of starting points for a conversation in the form of a game. Is reading aloud a type of work? Is it best to be comforted by your mother? The relationship between yourself and your role as a mother was broadened at Witte Rook. Can mothering be the starting point for setting up a network of, initially, women who help each other?

SC: The first letter, dated March 2021, was created in collaboration with several mothers, who, at my invitation, took part in the project in Amsterdam Zuidoost. Each of the women had a different relationship with motherhood: as grandmothers, housewives, single mothers, or stepmothers. Together we investigated what M(other)ing means in a context of an urban community with a large immigrant population. The resulting letter is available for pickup at a number of locations in Zuidoost.
Residencies at Witte Rook are set up as encounters. Three resident artists have their stay at the same time, one from the Breda region, one from The Netherlands, and one international guest. They live together in the Witte Rook buildings, and form a temporary community, together with the Witte Rook team. A number of them are mothers, and thus my project has found a deepening in the residency. Especially after meeting Kija Benfold, the co-author of the letter that will appear in early February. In this letter we examine the relationship between motherhood and being an artist, a theme that is also central in Kija's work. How can you raise a child and create?
The letter How do you invite Mothering back into the Arts? Is more than just a result of research, it is a pamphlet, although Sun describes it as an invitation.

SC: In the conversations with Kija it soon became apparent that artistry and motherhood seem to be two separate identities within the art world.While there are so many commonalities. Skills, for example. As an artist you are trained in the development of artistic skills, like painting or calligraphy. As a mother you also have skills that you train consciously and unconsciously, such as caring, but also communicating, putting people at ease, and maintaining relationships.These are not only skills, they are a way of thinking that promotes cohesion.
In our letter we invite the art world to discuss their views on motherhood and artistry. How can we raise children and create? But, more precisely, how can we create an art world that revolves around shared values such as caring for each other, rather than individual success?As a starting point, I interviewed a number of women, mothers, who operate within the Witte Rook community.Their insights and knowledge are part of the letter. We invite the art world to continue this polyphonic exchange.
100 letters will be printed and sent to museums and other art institutions, as an invitation to reflect on the art institute as a space for caring for each other and the community.

SC: In the end, everyone can be a mother, regardless of gender or sex. M(other)ing is a verb, an intention.

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When I speak to her, Sun Chang has just moved her things from her residence at Witte Rook in Breda to her home in Amsterdam. Back home, but leaving behind another home in Breda. This is not surprising.

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How do you invite mothering back to the art world?, Sun Chang 

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How do you invite mothering back to the art world?, Sun Chang 

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It is my great honour to share my recent journey with you.

My name is Sun Chang, a social artist and independent publisher. Born and raised in Wuhan, China, live and work in Amsterdam, the Netherlands. I am the initiator and director of to M*Others, a participatory publishing, exploring womxnhood and female economy through the idea of mothering.

Co-learning with Vrouwenmantel Art Research Group

I encountered Kija Benford through Witte Rook. Kija is a previous resident, an artist mother who initiated Vrouwenmantel Art Research Group. A research platform for maternal in art. After reading her archives and following her platform online, I invited her for a collaboration. Then, the publication to M*Others x Vrouwenmantel Art Research Group is born!

This publication stemmed from the hardships parents experience while working in the arts, as a joint open-ended research on " How do you invite mothering back to the Art? " It is designed into a personal letter delivered to those working in Dutch art institutions, to create a direct conversation about embracing parenting and especially motherhood into today's art world.

Meeting with Barbara Strating

I had a chance to speak with Barbara Strating in the occasion of interview. Surprisingly, Barbara knews my work from the past, then we spoke a lot about the turning point of my practice and how the new normal of the pandemic impacts my focus and world view.

"Mothering is a verb rather than a status." That is very inspiring feedback from Barbara. Both being a woman and non-mother, I think this is a great way of viewing our in our common angel.

Being with Witte Rook community

I followed my womxnhood to Witte Rook, and Witte Rook returned their womxnhood to me. It is fascinating and extremely privileged to be involved in its community, to witness the ways of how it is organized and taken care of.
I would like to recommend you to read a review by Julia Strik, who is a 16 years old intern in Witte Rook. It is also her first article published online, which has very interesting points of viewing artwork. This article is made by an invitation from the residents, Magot Zweers and Karina Beumer, and supervised by the staff, Ruth de Vos.
In the end, I would like to share a side discovery during my stay in Breda - the Beguines movement. It is a free-women and semi-monastic community, originating from the mediaeval Period in Europe (mainly in Belgium and the Netherlands).
The quote from the film "All om all" could rephrase my research of womxhood and female economy well - "The question is still open: Is there any way?"

With my warmest greetings,

Sun Chang

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It is my great honour to share my recent journey with you. My name is Sun Chang, a social artist and independent publisher. Born and raised in Wuhan, China, live and work in Amsterdam, the Netherlands.

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A gallery in Berlin to "fill the gap" in an artist's CV when giving birth or looking after a child

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CULTURAL REPRODUCERS is a creative platform, a web resource, an event series, and a community-based project founded in 2012 by artist and mother Christa Donner, with the increasing involvement of many others.

CULTURAL REPRODUCERS are an evolving group of active cultural workers (professional artists, designers, curators, musicians, performers, writers, etc) who are also parents.

CULTURAL REPRODUCERS is for anyone interested in making the art world a more inclusive and interesting place by supporting arts professionals raising kids

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Alberto Aguilar, Rest Area (Museo Picasso Barcelona) , 2011 by Christa Donner The Atlantic magazine has just bafflingly proclaime...

Cultural ReProducers are an evolving group of active cultural workers who are also parents. This site is for anyone interested in making the art world a more inclusive and interesting place by supporting arts professionals raising kids.

Want to be part of the conversation? Join our closed Facebook Group to connect with other Cultural ReProducers worldwide.

To follow what we're up to locally, drop us a line at culturalreproducers (at) gmail.com and ask to be added to our mailing list for event updates and other news.

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Alberto Aguilar, Rest Area (Museo Picasso Barcelona) , 2011 by Christa Donner The Atlantic magazine has just bafflingly proclaime... Cultural ReProducers are an evolving group of active cultural workers who are also parents. This site is for anyone interested in making the art world a more inclusive and interesting place by supporting arts professionals raising kids.

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Procreate Project (UK)

Pioneering arts organisation supporting contemporary artists who are also m(others)

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Our supporters and partners include Arts Council England, Royal College of Art, Mayor of London, The Esmée Fairbairn Foundation, Women's Art Library at Goldsmiths University of London, King's College London, Zabludowicz Collection, IKLECTIK, Mimosa House, Create London, AWITA, LADA Live Art Development Agency.

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MER is a literary journal about motherhood. MER promotes and celebrates the creative force of mother writers and artists through publications, performances, workshops, and online

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Published to coincide with an exhibition held at The Photographers’ Gallery and The Foundling Museum in London and touring to Chicago’s Museum of Contemporary Photography

Curated by Susan Bright

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Photography and Motherhood

Edited by Susan Bright

Essays by Susan Bright, Stephanie Chapman, Nick Johnstone and
Simon Watney
With featured artists Janine Antoni, Elina Brotherus, Elinor Carucci, Ana Casas Broda, Ann Fessler, Tierney Gearon, Miyako Ishiuchi, Fred Hüning, Leigh Ledare, Annu Palakunnathu Matthew, Katie Murray and
Hanna Putz

'Gorgeous and brave ... painfully revealing' - Chicago Tribune
'Surprising, stirring and provocative' - Evening Standard
'Visceral and powerful' -'Playful and eloquent, unsentimental yet deeply moving, this is a welcome reassessment of maternal iconography' - Time Out

Published to coincide with an exhibition held at The Photographers' Gallery and The Foundling Museum in London and touring to Chicago's Museum of Contemporary Photography, this beautiful and striking book examines contemporary interpretations of one of the most enduring subjects in the history of picture-making: the image of the mother. Focusing on the work of twelve international photographic artists, the publication challenges the stereotypical or sentimental views of motherhood handed down by traditional depictions, and explores how photography can be used to address changing conditions of power, gender, domesticity, the maternal body, and female identity.

The work featured here is highly personal, often documentary in approach and with the individual subject at its centre, reflecting photography itself in the twenty-first century. The featured artists offer very different views of contemporary motherhood, from the devoted to the dysfunctional, representing the myriad ways that becoming - or even trying to become - a mother can radically alter a woman's sense of self and how others perceive her. Each one explains in their own words the inspirations - and the emotions - behind the work.

The book's essays, illustrated with dozens of comparative images from antiquity to the present day, present the historical and contemporary context of the mother figure. Curator of the exhibition and volume editor Susan Bright traces the history of photographs of motherhood from the nineteenth century to our 'postfeminist' age. Simon Watney weaves a fascinating narrative of the Madonna figure through the centuries. Nick Johnstone looks at the presentation of the mother from the perspective of the father, and considers how images of fatherhood compare, while Stephanie Chapman lays out the moving history of London's Foundling Museum through photographs and repositions the mother in a story of loss where she is strangely absent.

Presenting contemporary thinking on motherhood through an exploration of its changing representation in photography, Home Truths provides a fresh and unique insight into one of the most universal and well documented of experiences.

Susan Bright is an independent curator and writer based in New York. She was formerly Assistant Curator of Photographs at the National Portrait Gallery, Curator at the Association of Photographers and Acting Director for the MA at Sotheby's Institute of Art, all in London. Recent exhibitions include Something Out of Nothing, Fotogalleriet, Oslo (2007), How We Are: Photographing Britain (co-curated with Val Williams), Tate Britain, London (2007) and Face of Fashion, National Portrait Gallery, London (2007). Her books include Art Photography Now and Auto Focus: The Self Portrait in Contemporary Photography.

Stephanie Chapman is the curator of exhibitions and displays at The Foundling Museum, London.

Nick Johnstone is the author of fourteen books of non-fiction. As a journalist specializing in lifestyle and culture, he has written for the Guardian, the Observer, The Times, the Daily Telegraph, the Sydney Morning Herald, the Irish Independent and the Huffington Post.

Simon Watney is the author of several books, and writes regularly for the Art Newspaper and the Burlington Magazine, of which he is a member of the editorial advisory committee.

What others say

'Gorgeous and brave ... painfully revealing ... Motherhood has too often gone unnoticed, especially in an art world that to this day regularly tells artists - female artists, on the whole - that they must choose between having children and having a career. "Home Truths" gives the lie to that fallacy, and plenty of heroic honesty along with it.' - Chicago Tribune

'Reveals surprising, stirring and provocative angles on relationships between mothers and their children.... The overall effect of this fascinating collection not only exposes home truths, it also suggests intriguing fantasy in the maternal links.' - Evening Standard

'Playful and eloquent, unsentimental yet deeply moving, this is a welcome reassessment of maternal iconography.' - Time Out

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Edited by Susan Bright Essays by Susan Bright, Stephanie Chapman, Nick Johnstone and Simon WatneyWith featured artists Janine Antoni, Elina Brotherus, Elinor Carucci, Ana Casas Broda, Ann Fessler, Tierney Gearon, Miyako Ishiuchi, Fred Hüning, Leigh Ledare, Annu Palakunnathu Matthew, Katie Murray and Hanna Putz 'Gorgeous and brave ...

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Why call it labor? On Motherhood and Art Work

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Why call it labor? On Motherhood and Art Work

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Published by Mophradat and Archive Books, Berlin 2020

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— Why Call It Labor? comprises four essays and one conversation with contemporary artists and curators discussing their experience of becoming mothers as professionals in the arts, its reality and effects. While their reflections represent a similar strata of art worker in terms of background, class, and career trajectory, the impact of instruments of patriarchy on rendering maternity invisible that they describe is recognizable and insidious.

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In this impassioned book, art historian Catherine McCormack asks us to look again at what these images have told us to value, opening up our most loved images – from those of Titian and Botticelli to Picasso and the Pre-Raphaelites. She also shows us how women artists – from Berthe Morisot to Beyoncé, Judy Chicago to Kara Walker – have offered us new ways of thinking about women's identity, sexuality, race and power.

Women in the Picture gives us new ways of seeing the art of the past and the familiar images of today so that we might free women from these restrictive roles and embrace the breadth of women's vision.

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Artist/Mum is a publication recording extracts of conversations between Rosie Morris and 9 Artists (who are also Mums). The documented accounts deal with the pressures maternity puts on an artists time, practice and ways of working, as well as their evolving outlook, wisdom and resolve, reflecting on different stages in their journey through motherhood. Artists include Catherine Bertola, Deborah Bower, Rachael Clewlow, Lindsay Duncanson, Taryn Edmonds, Laura Harrington, Alexandra Hughes, Kate Liston and Kate Sweeney, with Forward by Martina Mullaney and parallel text by Fiona Larkin.

There is full preview online on issuu :)

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Artist/Mum is a publication recording extracts of conversations between Rosie Morris and 9 Artists (who are also Mums). The documented accounts deal with the pressures maternity puts on an artists time, practice and ways of working, as well as their evolving outlook, wisdom and resolve, reflecting on different stages in their journey through motherhood. Artists include Catherine Bertola, Deborah Bower, Rachael Clewlow, Lindsay Duncanson, Taryn Edmonds, Laura Harrington, Alexandra Hughes, Kate Liston and Kate Sweeney, with Forward by Martina Mullaney and parallel text by Fiona Larkin.

Articles inside

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Artist/Mum is a publication recording extracts of conversations between Rosie Morris and 9 Artists (who are also Mums). The documented accounts deal with the pressures maternity puts on an artists time, practice and ways of working, as well as their evolving outlook, wisdom and resolve, reflecting on different stages in their journey through motherhood.

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A.M.M.A.A.- The Archive For Mapping Mother Artists In Asia

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A.M.M.A.A.- The Archive For Mapping Mother Artists In Asia

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Research group offering an online archive, readinglist + podcast (in dutch only!)

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A
o Up Close and Personal With the Artist Marlene Dumas - Hilton Als
o Why Do We Make It So Hard for Artist Moms to Flourish? - The New York Times, Mara Altman

B
o Mothernism - Lise Haller Baggesen
o Post-Mothernism (or: Regarding the Pain of Mothers) - Lise Haller Baggesen
o The Revoution Will Be Mothernized! Part 1 (3AM Maternal) - Lise Haller Baggesen
o The Revoution Will Be Mothernized! Part 2 (Kinder, Küche, Kirche, Bitte!) - Lise Haller Baggesen
o Who's Yo Mama? - Lise Haller Baggesen
o Letters to Joan - Sascia Bailer, Gilly Karjevsky and Rosario Talevi
o Curating, Care, and Corona - Sascia Bailer
o 'Daar' - Kija Benford
o De moeder in de kunst is onzichtbaar omdat wij willen dat zij onzichtbaar is - Kija Benford o Een onbeschreven blad, in gesprek over vaderschap in de kunst - Kija Benford
o Mythes over Moeders in de Kunst, Het Gelaagde Spinnenweb van Onuitgesproken Machtsverhoudingen - Mirthe Berentsen
o Zoon/Son - Koos Breukel
o Inappropriate Bodies; Art, Design, and Maternity - Rachel Epp Buller and Charles Reeve
o Reconciling Art and Mothering - Rachel Epp Buller

C
o Mothers Days - Lenka Clayton
o Why Call It Labor? On Motherhood an Art Work - Nikki Columbus, Basma Alsharif & Lara Khaldi
o Centering Single Mothers: my work at the Old Knitting Factory - Betsy Cornwell

D
o Mobile AutonomyExercises in Artists' Self-Organization - Nico Dockx & Pascal Gielen

E
o An Artist and A Mother - Edited by Tara Carpenter Estrada, Heidi Moller Somsen, and Kaylan Buteyn

F
o Parenting and Labor in the Art World: A Call to Arms - Hyperallergic, Michelle Fisher
o Invisible Spaces of Parenthood - a project by Andrea Francke

G
o The Myth About Having Children as an Artist - Daniel Gerwin

o IK MIS - Leonie Gossens

K
o 자아, 예술가, 엄마 Selfhood, Artisthood, Motherhood - Dani Daeun Kim
o 서울의 엄마들 (moeders in seoul) - Dani Daeun Kim
o 자아, 예술가, 아빠 Selfhood, Artisthood, Fatherhood - Dani Daeun Kim
o In Gesprek, deel 1 - Milou van Kessel, Mariša Goedhart

L
o On Care: Denouncing Mothering - Barbara Lehtna
o Full Surrogacy Now, Feminism Against Family - Sophie Lewis
o On Being Mother-Artist - Rebecca Livesey-Wright
o New Maternalisms: redux - edited by Natalie Loveless
o New Maternalisms - curated by Natalie Loveless
o New Maternalisms - by Natalie Loveless and Alejandra Herrera Silva
o Scarcity, Overflow, Europe, the Americas - Alina Lupu

M
o M(other) Voices: the maternal as an attitude, maternal thinking and the production of time and knowledge - Reader
o Studies of the Maternal: Volume 1 - Issue 1 - 2009 by MaMSIE
o Studies in the Maternal: Volume 1 - Issue 2 - 2009 by MaMSIE
o Studies in the Maternal: Special Issue: M(o)ther Trouble: Motherhood, Psychoanalysis, Feminism - Volume 2 by MaMSIE
o Studies in the Maternal: Volume 3 - Issue 1 - 2011 by MaMSIE
o Studies in the Maternal: Special Issue: Motherhood, Servitude and the Delegation of Care - Volume 3 by MaMSIE
o Studies in the Maternal: Volume 4 - Issue 1 - 2012 by MaMSIE
o Studies in the Maternal: Special Issue: Austerity Parenting - Volume 4 by MaMSIE
o Studies in the Maternal: Volume 5 - Issue 2 - 2013 by MaMSIE
o Studies in the Maternal: Special Issue: The Surprise of the Real - Volume 5 by MaMSIE
o Studies in the Maternal: Special Issue: Non-Reproduction: Politics, Ethics, Aesthetics - Volume 6 bij MaMSIE
o Studies in the Maternal: Volume 7 - Issue 1 - 2015 by MaMSIE
o Studies in the Maternal: Volume 8 - Issue 1 - 2016 by MaMSIE
o Studies in the Maternal: Performing Everyday Maternal Practice; Volume 8 - Issue 2 - 2016 by MaMSIE
o Studies in the Maternal: Volume 9 - Issue 1 -2017 by MaMSIE
o Studies in the Maternal: Volume 10 - Issue 1 -2018 by MaMSIE
o Studies in the Maternal: Volume 11 - Issue 1 - 2019 by MaMSIE
o Studies in the Maternal: Volume 12 - Issue 1 - 2020 by MaMSIE
o Studies in the Maternal: Volume 13 - Issue 1 - 2020 by MaMSIE
o Spilt Milk: Matriarchal structures for art world participation. - Lauren McLaughlin
o 'Ik' staat voor 'wij' - Melanie Maria
o Re-Assembling Motherhood(s): On Radical Care and Collective Art as Feminist Practices - Maternal Fantasies
o Mameere - Weronika Morawiec

N
o The Argonauts - Maggie Nelson
o Vader worden is een gunst - Rashid Novaire

R
o De moedernistische revolutie; over kunst en moederschap - Richtje Reinsma
o The Mother as a new artistic role model; in conversation with artist and researcher Deirdre M. Donoghue - Richtje Reinsma
o Moederschap in de kunst - Jorieke Rottier
o Menstrual Cups in Museums? It's Time. - Melena Ryzik

S
o ARiM - Artist Residency in Motherhood #1 - Laura Schippers
o ARiM - Artist Residency in Motherhood #2 - Laura Schippers
o ARiM - Artist Residency in Motherhood #3 - Laura Schippers
o ARiM - Artist Residency in Motherhood #4 - Laura Schippers
o ARiM - Artist Residency in Motherhood #5 - Laura Schippers
o ARiM - Artist Residency in Motherhood #6 - Laura Schippers
o Live Art and Motherhood - a Study Room Guide on Live Art and the Maternal - Lena Simic and Emily Underwoord-Lee
o Performance Research: On the Maternal - Lena Simic and Emily Underwood-Lee
o Productie en Reproductie; Het Taboe op Zwangerschap in de Kunst - Sanne Fleur Sinnige
o You're 16... you should probably be on the pill: Girls, the non-reproductive body, and the rhetoric of self-control
- Lisa Smith
o Michele Matyn - Club Solo
o Introduction: "Let us overthrow, in short, the 'family.'" - Madeline Swainhart

T
o to M*Others: 1st Generation Archive (#0 and #1)
o Motherland - Andrea Galano Toro, Boetie Zijlstra and Nai-Syuan Ye

U
o Manifesto for maintenance art 1969! Proposal for an exhibition "CARE" - Mierle Laderman Ukeles

v
o Kunstenaar of moeder? - Cécile Verwaaijen
o De Moederfiets - Vrouwenmantel Art Research Group

W
o Mother Stone - Anne Wagner
o Reframing Motherhood for 20 Years - Taiwan Panorama, Annie Hsiao-ching Wang
o Tijdgeest: Ideale moeders - De moederkunstenaar rukt op - Joke de Wolf
o De Eerste Verjaardag - Ilse van der Woude and Monique Friesen

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archive - Vrouwenmantel Art Research Group

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Het Vrouwenmantel Archief A o Up Close and Personal With the Artist Marlene Dumas - Hilton Als o Why Do We Make It So Hard for Artist Moms...

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Liz Berry was born in the Black Country and now lives in Birmingham. Her first book of poems, Black Country (Chatto 2014), described as a 'sooty, soaring hymn to her native West Midlands' ( Guardian) was a Poetry Book Society Recommendation, received a Somerset Maugham Award and won the Geoffrey Faber Memorial Award and Forward Prize for Best First Collection 2014. Her pamphlet The Republic of Motherhood (Chatto, 2018) was a Poetry Book Society Pamphlet choice, shortlisted for the Michael Marks Award, and the title poem won the Forward Prize for Best Single Poem 2018. Liz works as a tutor for organisations including the Arvon Foundation and Writing West Midlands.

More about the author →

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The Republic of Motherhood | Liz Berry | Granta

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'a cardigan / soft as a creature, smelling of birth and milk' - New poetry from Liz Berry.

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Wet: On painting, feminism and art culture (1997)

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Wet: On painting, feminism and art culture (1997)

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Taking aim at the mostly male bastion of art theory and criticism, Mira Schor brings a maverick perspective and provocative voice to the issues of contemporary painting, gender representation, and feminist art. Writing from her dual perspective of a practicing painter and art critic, Schor’s writing has been widely read over the past fifteen years in Artforum, Art Journal, Heresies, and M/E/A/N/I/N/G, a journal she coedited. Collected here, these essays challenge established hierarchies of the art world of the 1980s and 1990s and document the intellectual and artistic development that have marked Schor’s own progress as a critic.

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Subjects
Gender and Sexuality > Feminism and Women's Studies, Art and Visual Culture > Art Criticism and Theory, Feminist Art

" Wet is a great read. Schor is gloriously fierce, often hilarious, and has boldly trod on powerful, or at least fashionably clad toes." - Erica Rand, Bookforum

" Wet is a subversive take on the aesthetics and politics of art." - Ms.

"A fascinating collection of her best writings. . . ." - Katy Deepwell, n.paradoxa

"In 20 essays divided into four primary sections - "Masculinity," "Femininity and Feminism," "Teaching," and "Painting" - Schor manages to mesh and unravel the prevailing issues of art and feminist history and theory arisen over the last decade with absolute authority. ... Schor walks many lines securely - balancing formalism and feminism, theory and practice, public advocacy and private artistry - and finds ways to honor and integrate opposites, without ever getting wishy-washy. ... Schor presents history - of feminism and of art - so truthfully, with so much of its original integrity still intact, and with so little agenda interference that it can behave like poetry." - Jennifer Liese, Provincetown Arts

"Where have all the feminists gone? Let us hope they are all putting together collections like this one by Schor, a painter, writer and teacher at the Parsons School of Design.... Feminist, artists and other keepers of our subversives fires will certainly find a home in this inspiring collection." - Publishers Weekly

"Far more than a collection of random essays, Schor's deliciously titled Wet is a cohesive and lively group of writings addressing issues central to the practice and theory of postmodern art. One is compelled to respect her passion and eloquence and to enjoy her rhetorical flair. Wet is a 'must' for all scholars, critics, and artists interested in the contemporary art scene." - Amelia Jones, author of Postmodernism and the En-gendering of Marcel Duchamp

"Mira Schor's collected critical art essays are witty, insightful, incisive. As artist, writer, and magazine editor, she shows us cracks in the art world's walls. She is up-to-date, on target. In a controversial field, she is a bold and confrontational critic." - Nancy Spero, artist

Related links

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Subjects Gender and Sexuality > Feminism and Women's Studies, Art and Visual Culture > Art Criticism and Theory, Feminist Art " Wet is a great read. Schor is gloriously fierce, often hilarious, and has boldly trod on powerful, or at least fashionably clad toes."

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Der Traum vom Beruf auf der Bühne und einer Familie scheint immer noch unmöglich.

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"Rooted in historical, site-based, narrative, and political accounts, Full Surrogacy Now is the seriously radical cry for full gestational justice that I long for. This kind of gestation depends on realizing the implications of knowing that we all actually, materially, make one another, and that this labor continues to

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Bestellen Sie Es geht nur gemeinsam! als Hardcover jetzt günstig im ULLSTEIN Online-Shop! ✓ Sichere Zahlung ✓ Gratis-Versand ab 9,00 Euro ✓ Vorbestellen…

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What if we could do better than the family?

We need to talk about the family. For those who are lucky, families can be filled with love and care, but for many they are sites of pain: from abandonment and neglect, to abuse and violence. Nobody is more likely to harm you than your family.

Even in so-called happy families, the unpaid, unacknowledged work that it takes to raise children and care for each other is endless and exhausting. It could be otherwise: in this urgent, incisive polemic, leading feminist critic Sophie Lewis makes the case for family abolition.

Abolish the Family traces the history of family abolitionist demands, beginning with nineteenth century utopian socialist and sex radical Charles Fourier, the Communist Manifesto and early-twentieth century Russian family abolitionist Alexandra Kollontai. Turning her attention to the 1960s, Lewis reminds us of the anti-family politics of radical feminists like Shulamith Firestone and the gay liberationists, a tradition she traces to the queer marxists bringing family abolition to the twenty-first century. This exhilarating essay looks at historic rightwing panic about Black families and the violent imposition of the family on indigenous communities, and insists: only by thinking beyond the family can we begin to imagine what might come after.

Reviews

Read all 17 reviews

Sophie Lewis once again shines forth as one of the boldest thinkers of our current moment with this highly anticipated sequel to her groundbreaking Full Surrogacy Now. How might we understand caring, sharing, and loving outside the concept of kinship? In this energizing little book - part history and critical analysis, part manifesto - Lewis helps us understand family abolition as world-making rather than as a subtraction of infrastructure, and she does so with remarkable clarity, precision, and wit.

What would it be like to imagine a communism not just of wealth but also of care, love and belonging? Where the full range of human needs are met without depending on the fragile bubble of the nuclear family? That institution we are all supposed to believe will be there for us - even though so many books and films detail all the ways in which it fails. This is the difficult yet important terrain where Sophie Lewis ventures. Abolish the Family is a short, sharp shock to our assumptions about the good life and how to achieve it.

In her writing, Lewis shows us the kind of feminist care that is within our reach and the intellectual work we must do to actualise it. Generous, charged and always underpinned by a comradely orientation to its reader, Abolish the Family traverses historical and contemporary arguments for unmaking the bourgeois family and methodically interrogates the idea that it is an unshakeable, ubiquitous institution that must be protected at all costs. Lewis draws on a number of radical political genealogies to say "no" - the nuclear family is a deficient provider of care and resource, a conceptual footstool for the racist nation-state and its many border regimes, a hotbed of gendered exploitation and violence...there are other possibilities! Let's embrace them together!

Sophie Lewis is at the forefront of a vital queer, trans, feminist communist movement to create an expansive field of revolutionary theory and strategy for today. Abolish the Family is an important contribution to Lewis's already discourse-shaping body of work, analyzing and seeking ways to move beyond the contradictory and complex function of families under conditions of extreme capital accumulation and capitalist crisis. A call for liberation from the privatization of domestic labor and the cruel scarcities of care under capitalism, Abolish the Family exhorts us toward something so much better than what we've got.

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What if we could do better than the family?We need to talk about the family. For those who are lucky, families can be filled with love and care, but for many they are sites of pain: from abandonment and neglect, to abuse and violence.

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Willkommen auf der Bühne München! Hier findest Du alle Informationen zum Programm, das offline in München und online in der Care-Landschaft auf der Bühne München zu sehen ist.

Zum ersten Mal wird es unter dem Motto „Care Utopien" im kommenden Jahr auch in München eine Veranstaltung zum Equal Care Day geben. Das Münchner Bündnis Equal Care, das sich die gerechte Verteilung von Sorgearbeit auf die Fahnen geschrieben hat, lädt alle Interessierten ein, sich auf einer großen ganztägigen Veranstaltung irgendwo zwischen Konferenz und Festival mit den großen Fragen unserer Zeit zu befassen: Wer sorgt unter welchen Bedingungen und kann gesellschaftliche Fürsorge unter heutigen Bedingungen überhaupt noch aufrechterhalten werden?

Auf dem Podium nimmt sich Moderatorin Barbara Streidl (Bayerischer Rundfunk) mit ihren Gästen der Frage an, wie eine care-gerechte Arbeitswelt aussehen könnte. Am Nachmittag sind die Teilnehmer*innen eingeladen, sich in Workshops zu den Themen „Progressive Männlichkeit", „Care-Chains", „Pflegende Angehörige" und „Eltern von Kindern mit Behinderungen" auszutauschen und Forderungen an die Politik zu formulieren.

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Willkommen auf der Bühne München! Hier findest Du alle Informationen zum Programm, das offline in München und online in der Care-Landschaft auf der Bühne München zu sehen ist. Zum ersten Mal wird es unter dem Motto „Care Utopien" im kommenden Jahr auch in München eine Veranstaltung zum

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Aufenthaltsstipendien mit Kinderbetreuung

Camargo Core Programm, Cassis (Frankreich)
Weitläufiges Areal mit dreizehn Appartments verschiedener Größe in einer kleinen Stadt am Meer. Kinder sind ab einem Alter von sechs Jahren willkommen und können die örtlichen Schulen besuchen.

Saari Residence der Kone Foundation, Hietamäki (Finnland)
Großes Areal mit mehreren finnischen Holzhäusern, sogar eine Sauna ist vorhanden. Partner*innen und Familie können mitgebracht werden, Kinder erhalten Betreuung. Sehr hilfreiches und freundliches Personal. Die Lage ist einsam, ein Auto ist aber vorhanden und der Einkauf wird einmal wöchentlich mit allen Stipendiat*innen organisiert.

Villa Massimo, Rom (Italien)
Großzügige Wohn- und Arbeitsräume, gelegen in einem riesigen Park. Betreuung der Kinder im Schweizer Kindergarten bzw. der Schweizer Schule möglich. Ausschreibung über die Institutionen der Bundesländer.

Familienfreundliche Aufenthaltsstipendien

Villa Concordia, Bamberg
Diverse Wohnungen verschiedener Größe. Keine Eigenbewerbung möglich.

Literarisches Colloquium Berlin
Zahlreiche Zimmer verschiedener Größe, die meisten allerdings recht klein für eine Familie. Kinderbett und Kinderstuhl vorhanden. Gemeinsame Küchennutzung mit allen anderen Stipendiat*innen. Großer Garten, Hafen Wannsee und ein Spielplatz in unmittelbarer Umgebung. Alle weiteren kinderfreundlichen Orte nur mit ÖPNV zu erreichen.

Dresdner Stadtschreiber*in, Dresden
Nach Absprache ist die Anreise mit Kind(ern) und/oder die zeitweise Aufhebung der Residenzpflicht möglich. Die Stadt Dresden leistet Unterstützung bei der Suche nach Betreuungsplätzen für mitreisende Kinder.

Künstlerhaus Eckernförde
Diverse Wohnungen verschiedener Größe. Sehr kinderfreundliche Kleinstadt mit Stadtbibliothek, Strand und zahlreichen Spielplätzen.

Künstlerhaus Edenkoben
Vier recht geräumige Wohnungen in ländlicher Umgebung, großer Garten, Spielplätze. Auto von Vorteil. Der Aufenthalt mit Kindern ist nach Absprache eventuell möglich.

Stipendium der Forschungsbibliothek Gotha
Unterbringung im Gästehaus des Forschungszentrums Gotha (Wohneinheit mit eigenem Bad und Küche). Für Stipendiat*innen mit Kindern wird ein einmaliger Familienzuschlag in Höhe von 100 Euro gewährt.

Literaturhaus Thurgau, Gottlieben (Schweiz)
Das Stipendium kann nach individueller Vereinbarung in mehreren Etappen angetreten werden. Zusätzlich gibt es einen Zuschuss zur Kinderbetreuung während der Abwesenheit. Bevorzugt für Schweizer Autor*innen.

Stipendien des Hausacher LeseLenz, Hausach
Kleine Wohnung (35 qm) mit großem Garten, vor allem in den Sommermonaten für eine Familie mit einem Kind geeignet.

Fellowship Literatur auf der Raketenstation Hombroich
One-Man-House mit nur einem Zimmer, aber freistehend im Grünen.

Villa Kamogawa, Kyoto (Japan)
Nicht allzu große Wohnungen, Aufenthaltsraum und Küche werden gemeinsam mit den anderen Stipendiat*innen genutzt. Kinderfreundliche Umgebung: wenig Autoverkehr, direkt gegenüber Fluss mit endlosem Ufer.

Künstlerhaus Lauenburg
Diverse Ateliers verschiedene Größe. Zusätzlich wird ein Arbeitsstipendiuem für Künstler*innen mit Kind(ern) ausgeschrieben, das man von zu Hause aus absolvieren kann.

Villa Aurora, Los Angeles (USA)
Unter Umständen ist die Anreise mit Familie möglich.

Heinrich-Heine-Stipendium, Lüneburg
Gut ausgestattete Zwei-Raum-Wohnung, für mehr als ein Kind eher zu klein. Kinderfreundliche Stadt mit Stadtbibliothek, zahlreichen Spielplätzen, diversen soziokulturellen Zentren.

Casa Baldi, Olevano Romano (Italien)
Diverse Wohnungen, schlechte Infrastruktur.

Literaturhaus Prag (Tschechien)
Sehr geräumige Dreiraumwohnung direkt an der Moldau, gegenüber ist eine Halbinsel mit Park, Kinderspielplatz, viel Grün. Ausschreibung über verschiedene Institutionen, bspw. Kulturstiftung des Freistaats Sachsen, Hessischer Literaturrat, Literaturhaus Bremen.

Istituto Svizzero Rom (Italien)
Diverse Wohnungen verschiedener Größe. Nur für Autor*innen aus der Schweiz.

Stiftung Künstlerdorf Schöppingen
Diverse Wohnungen verschiedener Größe. Kinderbett und Kinderstuhl vorhanden. Kinderfreundliches Anwesen mit großem Garten; mehrere Spielplätze und (private) Tiergehege in unmittelbarer Nähe. Für größere Kinder auf Dauer eher eintönig. Betreuung der Kinder in den örtlichen Kindergärten möglich. Nächster Kinderarzt in Münster (50 Minuten mit ÖPNV).

Künstlerhof Schreyahn
Haushälfte mit offenem Arbeits-Wohnraum, im oberen Stockwerk gibt es ein Schlafzimmer und eine Kammer, die als (kleines) Gäste- oder Kinderzimmer genutzt werden kann. Großer Garten, ländliche Umgebung. Ein eigenes Auto ist von Vorteil, dann lassen sich tolle Sachen mit Kindern unternehmen.

Akademie Schloss Solitude, Stuttgart
Diverse Ateliers verschiedener Größe. Kinderbett und Kinderstuhl vorhanden. Kinderfreundliche Umgebung mit Wald und Spielplätzen. Allerdings ungünstige Infrastruktur, zum Supermarkt 15 Minuten mit dem ÖPNV.

Alfred-Döblin-Haus, Wewelsfleth
Geräumige Wohnungen, großer Garten. Nur für Berliner Autor*innen.

Familien unerwünscht

Künstlerhaus Lukas, Ahrenshoop

Bonner Stadtschreiber*in (Ferdinande-Boxberger-Stipendium), Bonn

Kloster Broumow, Broumow (Tschechien)

Gelsenkirchener Literaturstipendium, Gelsenkirchen

Otto-Ubbelohde-Haus, Goßfelden bei Marburg

Grazer Stadtschreiber*in, Graz (Österreich)

Atelier Galata, Istanbul (Türkei)

GEDOK Atelier-Haus, Lübeck

Magdeburger Stadtschreiber*in, Magdeburg

Kunsthaus Lisa, Marlow

Fondation Jan Michalski, Montricher (Schweiz)

Schwazer Stadtschreiber*in, Schwaz (Österreich)

Fundaziun Nairs, Scuol (Schweiz)

Stuttgarter Schriftstellerhaus, Stuttgart

Brecht-Haus, Svendborg (Dänemark)

Villa Sarkia, Sysmä (Finnland)

Artist in Residence, Vechta

Deutsches Studienzentrum, Venedig (Italien)

International Writers' and Translators' House, Ventspils (Lettland)

mare-Künstlerhaus, Wentorf bei Hamburg

Schloss Wiepersdorf, Wiepersdorf

Zu Hause bleiben: Werkstipendien

Österreich
Bundeskanzleramt
Zu weiteren Einrichtungen siehe: Literaturhaus Wien

Schweiz
Pro Helvetia Landis & Gyr Stiftung
Diverse Einrichtungen der Kantone und Städte:
Aargau Appenzell Ausserrhoden Appelzell Innerrhoden Basel-Landschaft Basel-Stadt Bern (Kanton) Bern (Stadt) Freiburg Glarus Graubünden Luzern Obwalden/Nidwalden Schaffhausen Schwyz St. Gallen Thurgau Uri Zug Zürich (Kanton) Zürich (Stadt)

Deutschland
Deutscher Literaturfonds Stiftung Literatur
Diverse Einrichtungen der Bundesländer:
Baden-Württemberg Bayern Berlin Bremen Brandenburg Hamburg Hessen Mecklenburg-Vorpommern Niedersachsen Nordrhein-Westfalen (Ministerium für Wissenschaft und Kultur) Nordrhein-Westfalen (Kunststiftung) Rheinland-Pfalz Saarland Sachsen Sachsen-Anhalt Schleswig-Holstein Thüringen

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Camargo Core Programm, Cassis (Frankreich) Weitläufiges Areal mit dreizehn Appartments verschiedener Größe in einer kleinen Stadt am Meer. Kinder sind ab einem Alter von sechs Jahren willkommen und können die örtlichen Schulen besuchen. Saari Residence der Kone Foundation, Hietamäki (Finnland) Großes Areal mit mehreren finnischen Holzhäusern, sogar eine Sauna ist vorhanden.

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Specially for the symposium, artist Richtje Reinsma developed her work ‘Huidwandeling’, from an experience for one person to one for several people. The participants lie on woolen blankets and sheepskins for half an hour with a weighted pillow on their stomachs and a blindfold, while listening to a narrative excursion that leads them back to the womb: the place where every body starts and becomes wrapped in its own skin.

WhatsApp group 'Sharing is caring'

During the symposium, it transpired that there is a great need for an informal place and space to discuss care and parenthood, as well as to exchange tips and initiatives. This is why Mirthe Berentsen set up the WhatsApp group ‘Sharing is caring’.

Join the group by clicking this link!

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to M•Others is an artistic research on the ideas of M(Other)ing, practised through creative publishing, queer pedagogy and community intersections.

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Authors HIAP – Helsinki International Artist Programme

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HIAP Call for Artists: Three Residency Types in Helsinki

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The international open call for HIAP Residency Programme offers 3 options. Deadline: 31 October, 2022.

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Ob liebevoll oder distanziert, nah oder fern, lebendig oder tot - sie bleibt immer Ursprung und existentieller Beginn des menschlichen Lebens: die Mutter. Kaum ein Begriff, ein Konzept, provoziert vielfältigere Assoziationen, Empfindungen und Rollenklischees. Das internationale Ausstellungsprojekt „MUTTER!" zeigt, wie die veränderte Wahrnehmung von Mutterschaft in der Kunst - von Alten Meistern, über Werke der frühen Avantgarde bis zur Gegenwart - gespiegelt wird. In der Ausstellung sind Arbeiten unter anderem von Egon Schiele, Pablo Picasso, Edvard Munch, René Magritte und Otto Dix zu sehen. Mit Werken von Paula Modersohn-Becker, Louise Bourgeois, Yoko Ono, Rineke Dijkstra, Tracey Emin, Laure Prouvost und VALIE EXPORT konzentriert sich die Schau jedoch vor allem auf eine Zeit, in der die feministische Bewegung die traditionelle Rolle der Frau in Frage stellt. Vom 20. Jahrhundert mit der Erfindung der Antibabypille und der legalisierten Abtreibung bis hin zu heutigen Rollenkonzepten zwischen biotechnologischen Möglichkeiten und queeren Familienstrukturen, wird das Bild der Mutter im Hinblick auf kulturelle Erwartungen und Normen dargestellt. In der Ausstellung treffen zeitgenössische Kunst, historische Werke, Film und Literatur sowie Artefakte aus der Welt der Wissenschaft und der Populärkultur aufeinander, um das facettenreiche Thema der Mutterschaft zu erzählen.

Kurator*innen: Marie Laurberg (Louisiana Museum of Modern Art), Kirsten Degel (Louisiana Museum of Modern Art), Johan Holten (Kunsthalle Mannheim).

Eine Ausstellung des Louisiana Museum of Modern Art, Humlebæk, Dänemark in Zusammenarbeit mit der Kunsthalle Mannheim.

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Ob liebevoll oder distanziert, nah oder fern, lebendig oder tot - sie bleibt immer Ursprung und existentieller Beginn des menschlichen Lebens: die Mutter. Kaum ein Begriff, ein Konzept, provoziert vielfältigere Assoziationen, Empfindungen und Rollenklischees. Das internationale Ausstellungsprojekt „MUTTER!"

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Listen to Artist/Mother Podcast on Spotify. The Artist/Mother podcast interviews incredible working Artists who are also Mothers, inviting them to share from their experiences as they make art and mother their children. We hope these interviews inspire you to dedicate time, passion, and energy to your art practice while simultaneously being the best parent you can be.

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Tool kit for Mother House Studio coming soon!

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Tool kit for Mother House Studio coming soon!

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Mother House Studio London

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The first Artstudio model for women artists with integrated childcare, where children are invited into the working space

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De Jan van Eyck Academie biedt haar deelnemers de tijd, ruimte en expertise om hun artistieke praktijk verder te verdiepen en hun horizon te verbreden

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visual artists | diverse conditions
Conference and working groups in 2024 (...)

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visual artists | diverse conditions
Conference and working groups in 2024 (...)

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https://www.igbk.de/en/projects/vadc-2024-e

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European Dance Network: Practice of Care and Well Being

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European Dance Network: Practice of Care and Well Being

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Monica Gillette gathers evidence from the field for EDN’s new research publication.

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Unbereinigter Gender Pay Gap (GPG) nach Wirtschaftszweigen ab 2014

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Diese Tabelle enthält: Unbereinigter Gender Pay Gap nach Wirtschaftszweigen ab 2014

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Gender Care Gap - ein Indikator für die Gleichstellung

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Kindererziehung, Pflege von Angehörigen, Hausarbeit, Ehrenamt: Frauen wenden pro Tag im Durchschnitt 44,3 Prozent mehr Zeit für unbezahlte Sorgearbeit auf als Männer. Dieser Unterschied wird als…

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Kunst-& Elternschaft. Arbeitsrealitäten von Eltern in den  Freien Künsten - Umfrage Dez 2022

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28. Oktober 2024: Podiumsgespräch über die Vereinbarkeit von Mutterschaft und Karriere in der Filmbranche - HFF München

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Das Frauen*kollektiv der HFF lädt ein: Podiumsgespräch über die Vereinbarkeit von Mutterschaft und Karriere in der Filmbranche

moderated by Anne Theiss (author of Rethinking Motherhood)

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28. Oktober / 18 Uhr: Podiumsgespräch über die Vereinbarkeit von Mutterschaft und Karriere in der Filmbranche - HFF München

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Mehr zu diesem Thema, weiteren News und Infos zum Studium an der HFF München gibt es hier.

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New residency starting in January 2025

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Von Anne Theiss

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Kaum werden Frauen zu Müttern, verändert sich alles: Sie werden entmündigt und übergangen, gegebene Versprechen werden nicht gehalten. Vor allem aber sind sie die unbezahlte Arbeitskraft, auf die ein ganzes System sich verlässt. In Zeiten der Krisen und darüber hinaus.
Warum unser antiquiertes Mutterbild wirtschaftlichen Schaden anrichtet
Dabei ist ihr Einsatz - privat und beruflich - von zunehmender, ja essenzieller Bedeutung für die Zukunftsfähigkeit dieses Landes. Trotzdem werden massenhaft gut ausgebildete Mütter vom Arbeitsmarkt ferngehalten, weil institutionelle Betreuungssysteme versagen, überkommene Mütterbilder Frauen unter Druck setzen und fragilere Familienstrukturen weniger verlässlich sind.

Und so hat der schlechte Umgang mit Müttern gesamtwirtschaftliche Konsequenzen.
"Alles an der Familienpolitik in unserem Land schreit nach Veränderung." Anne Theiss
Klug und pointiert skizziert Anne Theiss in diesem Buch die Missstände, an denen sich bis heute wenig geändert hat und zeigt, wie die Politik ihre Verantwortung gegenüber Müttern und Familien endlich ernst nehmen kann. Sie beleuchtet, warum ein "Weiter so " langfristig das Wirtschafts-Modell der Bundesrepublik gefährdet und warum wir es besser nicht so weit kommen lassen.
Ein fundierter Beitrag zu einer sich verschärfenden Debatte von einer Mutter, die es leid ist zu schweigen.

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Ein überfälliger Beitrag zur Care-Debatte: Warum der schlechte Umgang mit Müttern den Wohlstand des Landes gefährdet. Kaum werden Frauen zu Müttern,

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Will be published in March 2025

Rethinking Motherhood

Prominente Stimmen für mehr Solidarität und ein neues Mutterbild

Der Kipppunkt ist erreicht: Ein Appell von wütenden Müttern, u.a. Magdalena Neuner, Juliane Köhler und Laura und Armgard Karasek

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Der Kipppunkt ist erreicht: Ein Appell von wütenden Müttern, u.a. Magdalena Neuner, Juliane Köhler und Laura und Armgard Karasek Angesichts

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Fair Share Fact sheet 2024 in Vorbereitung auf das Parlamentarische Frühstück in Berlin

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The Alliance was founded by Jo Harrison and Hettie Judah in October 2022