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In addition to a program of specific activities and workshops, the aim was to open up the exhibition space to be visited and activated by any group of people who wanted to experience the works and ideas within it.

During the exhibition, the space was visited and explored by patients from the psiquiatric ward from the University Hospital Mutua de Terrassa, a group of teenage students from the Fatima School for children with special needs and a group children from an alternative pedagogical learning space.

Más allá del programa específico de actividades y talleres, el objetivo era abrir el espacio expositivo a ser visitado y activado por cualquier grupo de personas que quisiera experienciar las obras y las ideas en ellas.

Durante la exposición el espacio fue visitado y explorado por los pacientes de psiquiatría del Hospital Universitario Mutua de Terrassa, por un grupo de estudiantes adolescentes del colegio Fátima para niñes con necesidades especiales y por una grupo de niñes de un espacio educativo de pedagogía alternativa.

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Opening performance: Creating the Zine_Catalogue

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In the name of the mother, in the name of the earth

24.01.2020 - 25.04.2020
Curated by Assumpta Bassas Vila Isabel Banal - Raquel Friera - Lucía Loren - Olga Olivera Tabeni - Irene Pérez - Carme Sanglas - Eulàlia Valldosera

Opening, Friday 24th January at 7 pm
in ACVIC Centre d'Arts Contemporànies

Photography: Lucía Loren. Madre sal, 01, 2009

is an exhibition that invites you to enjoy seven projects that celebrate the culture of life, demonstrating the capacity of artistic practice to create symbolism to guide us in these confused times. The show brings together works by seven contemporary artists from different generations and geographical locations (Isabel Banal, Raquel Friera, Lucía Loren, Olga Olivera Tabeni, Irene Pérez, Carme Sanglas and Eulàlia Valldosera), and attempts to be a prologue to what could be a broader show dedicated to highlighting the wisdom cultivated in the life experiences and cultural productions of many women of the present and the past.This is not an exhibition of eco-feminism or an exhibition "on" motherhood. We are not interested in labels that classify stereotyped topics, but rather in words in the mother tongue that overflow the codes of phallocentric language, that is, they classify and isolate us from supposedly objective knowledge. Feminism in art is not only a transgressive or reactive practice, but the possibility of reconnecting with its own voice and singing subtly but without interruption, in a polyphony of voices with all those who have spoken or written - from their visions, intuitions and reasoning - of respect and love for the mystery of life in them and in nature. In the name of the mother, in the name of the earth

In this prologue, I bring together artistic practices in a variety of languages ​​(painting, installation, video, sculpture, objects, publications, etc.) originating from the life lessons learned by artists in two very specific areas of life. On the one hand, learning resulting from a relationship of trust with nature, conceived as the master of an order of holistic relationships and nourishing physical and spiritual knowledge (Isabel Banal, Lucía Loren, Carme Sanglas and Eulàlia Valldosera). To free nature from a reifying and destructive gaze, is also to free ourselves from the gaze that destroys us as women, and to open the way to recover and regenerate an understanding of the wonderful life force that connects us with it. On the other hand, the learning that mother artists have discovered in the specific experiences of motherhood; a motherhood understood in its harsh, diverse and complex reality, without idealization, but from the radical and clear certainty that "mothering" is not a set of tasks to be distributed, but a great possibility to take care of life, a masterful lesson that is universally addressed to all.

All of this shapes a culture of life that needs to be recreated and re-energised in every body and every human relationship. Although not owned by women, the culture of life has been guarded, represented, lived and transmitted in many ways by many of them. In that sense, honouring the memory of those who have done so, listening and dialoguing with a female genealogy of creation may guide us in political work. Creative thinking and reflection form a fabric, woven day in and day out, responsible for the fact that, despite the patriarchal-capitalist violence, we can maintain an awareness of the common good and the strength needed to stubbornly insist that we are here to take care of life, and to make art and politics that honour it.

Isabel Banal i Xifré (Castellfollit de la Roca, 1963). Visual artist and teacher at the Massana School of Barcelona. Her origins have permeated her work; her relationship with nature, the countryside, the tradition of landscape painting at the School of Olot; and have led her to reflect on the tension and coexistence between the rural and urban worlds, between the concepts of nature and artifice. She has been granted a scholarship at the Spanish Academy in Rome (2013-14).Among her many individual exhibitions, notable shows include intents (Museu de la Mediterrània, Torroella de Montgrí, 2019), locus amoenus, Rad-Art/ Bòlit. San Romano (Itàlia), Amb els peus a terra (ARBAR, Vall de la Santa Creu, 2018), Llunyanies (Espai Dieu, Cadaqués, 2017), Natura morta amb passos (Fundació Miró, Barcelona 2016), Via Lactea (Arts Santa Mònica, Barcelona2014), La maleta [blava] de W.B. (Portbou, 2011), Ascensioni (Galleria Enrico Fornello, Prato, 2007), feix petit pel camí creix (Centre de Lectura, Reus, 2004), Allez (Centre d'Art Contemporain, Saint-Cyprien, 2004), Rumiant (Espais, Girona, 2003), Sense revelar (Espai Zero1, Olot, 2002). http://www.isabelbanalx.com

Lucia Loren (Madrid, 1973) has realised numerous specific interventions examining the relationship betweenart and ecology in various natural environments in Spain, Italy, Poland, Switzerland, Argentina and the Western Sahara. In all these interventions, she uses elements of the landscape to make small variations which question the very concept of cultural landscape. She has presented her artworks in centres of contemporary art such as: CDAN, MUSAC, IVAM, CAB, Escorxador, La Casa Encendida, Cercle de Belles Arts, Estampa, Museu Contemporani Esteban Vicente, La Panera, Centre Cultural Montehermoso, Galeria Estampa, Museu Provincial Belles Arts de Tucumán, Jardí botànic de Bogotà, Palau de l'Quintanar, Ap Gallery, among others. www.lucialoren.com

Raquel Friera (Barcelona, 1974) combines a critical approach to economics with gender-awareness. Her projects explode what she learned during her BA in Economics, and take full advantage of her Fine Arts degree, which she completed in Barcelona in 2006. With this learning and unlearning, she always seeks to combine conceptual reflection, a long work process with the participants involved in her projects, and an aesthetic critique of all hierarchies. From the perspective of gender theory, she has dealt more precisely with the subject of work, both in the context of the art world and in other sectors as well, focusing on areas where precariousness in work is prevalent. These topics of interest (work, precariousness and gender) seem to take on a different slant in the series of performances she is currently conducting, entitled Feminizing Art History, which consists of reinterpreting, in a gender perspective, some of the mythical performances in the history of art. www.raquelfriera.net

Olga Olivera-Tabeni (Lleida, 1972). Bachelor of Fine Arts. Her artistic projects attempt to highlight systems and mechanisms of discrimination, such as silence, and specifically the tools used to silence voices, whether feminine voices and the voices of non-hegemonic social classes, or self-imposed social amnesia. She is also interested in exploring the meanings we attribute or impose on nature, and in opening up questions, and in considering alternatives to the crisis and the collapse of our world. Lately she has realised a number of solo and collective exhibitions: Centre d'Art la Panera ( Art i Natura 2017-18 grant), La Gòtica de l'IEI (Lleida), la Bienal Internacional de Arte Textil Contemporáneo WTA (Madrid), Museu tèxtil de Terrassa, la Trastera(Segur de Calafell), la casa Duran i Sanpere i la Casa Dalmases de Cervera, Biennal de Riudebitlles, Museu Paperer de Capellades, Embarrat (Tàrrega), UCLM (Cuenca), UPV (València), Fundació La Posta and the Lisbon Culturgest. https://www.olgaoliveratabeni.net

Irene Pérez (Terrassa, 1975) is a visual artist, mother and eco-feminist activist. She began her career in Chicago, United States, where she lived between 1999 and 2009. Her studies include art history at the Universitat Autònoma de Barcelona,and photography and fine arts at the College of DuPage, IL. EUA. Bachelor of Fine Arts from the University of Illinois at Chicago. Her work explores issues of identity, gender, language and education, starting out from personal experience and in a multidisciplinary way, so that they become the vehicle for generating thought. Since 2017 she has been developing a project called Seeds for Resistance, based on conversations Pérez has had with her daughter, specifically those related to gender discrimination, ecology and politics. This premise, together with the practice of feminist and conscious parenting, has allowed the artist to continue working with the idea of ​​her previous project, New Universe: Exploring Other Possibilities, which used education as a driver of change. http://ireneperez.net

Carme Sanglas (Barcelona, 1953) Painter. Bachelor in Art History from the University of Barcelona, and with a degree in Fine Arts. Since 1986 she has been living in Ordis (Alt Empordà). She creates a body of work that attempts to represent experiences and realities through a stylised imagination that approaches purification, using traditional techniques such as gilding, while considering the present-day meanings of the images offered for reflection. She has exhibited in Catalonia and Europe, and has works in public and private collections. She has also created illustrations for books and other media. http://www.carmesanglas.cat

the language of artificial light and, more recently, of sunlight, she creates devices using everyday and ephemeral materials to relocate perception and the body as nuclei where memory and consciousness are formed and transformed. Her position of commitment to a healing art that unveils the traps of the market has led her to begin a new cycle of work called : Eulalia Valldosera (Vilafranca del Penedès 1963). Using Economía de la visió, with spoken-voice actions and videos. She works in parallel on two planes, the pollution of the water and the dark areas of the collective psyche. She received the Premi Nacional d'Arts plàstiques of the Generalitat for her retrospective at the Tàpies Foundation (2001) in recognition of her multidisciplinary installations. Her most important works and projects have been exhibited at Witte de With (Rotterdam), 2001, MNCARS, 2009, Antarctic Biennale 2017, Biennale de Lyon2010, Bienal de São Paulo 2004, Yokohama Triennale 2005, Biennale di Venezia 2001, Site Santa Fe (New Mexico) 1998, Istanbul Biennale 1997 and Manifesta I (Rotterdam) https://eulaliavalldosera.com
Curadora
Assumpta Bassas Vila. Mother, lecturer of Contemporary Art History and Performance Studies at the Universitat de Barcelona, curator of educational projects and exhibition. She studies and writes about the work and careers of contemporary artists, the encounters between feminism and art, the sexual difference in art history and the spirituality of women in contemporary art. She has co-curated (with Joana Masó) the exhibition series Blanc sota Negre. Treballs des de l'imperceptible, White under Black, Artworks from the imperceptible at Arts Santa Mònica, Barcelona 2014-2015, among other exhibitions dedicated to exploring various themes in artists' working practices and thought in the women's tradition. She has created a number of teaching methodologies, as well as the Entremestres workshops, and the programme on women's art and culture, Les Juliettes (with María José González) in la Bonne (Barcelona, ​​2018). Most recently, she has curated the performance season, Irreductibles, as part of Feminisms, at the CCCB, Barcelona (October 6, 2019).

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24.01.2020 - 25.04.2020 Curated by Assumpta Bassas Vila Isabel Banal - Raquel Friera - Lucía Loren - Olga Olivera Tabeni - Irene Pérez - Carme Sanglas - Eulàlia Valldosera Opening, Friday 24th January at 7 pmin ACVIC Centre d'Arts Contemporànies Photography: Lucía Loren.

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SFR: our_hi/story(ies)

Catàleg zine
Llavors per la resistència:our_hi/story(ies)

Catálogo zine
Semillas para la resistencia: our_hi/story(ies)

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Catalogue Zine Seeds for Resistance: our_hi/story(ies)

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Opening performance: Creating the Zine_Catalogue

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Few weeks before September 2014 the artists and and member of the coop bookstore La Caníbal, Jesús Arpal-Moya, independent curator Pilar Cruz and I were sitting around a table in the back of the bookstore. They have asked me to meet with them to talk about this idea they had to create a Subversive Knitting group. The idea was to create a feminist and anticapitalist periodical gathering of people that would take textile practices as its common thread.

That was how it all started, and six years later the gatherings of Mitja Subversiva continue to be my home and the navigation guide I most use in these troubled times and damaged planet we live in.

It was only fitting to share with Mitja Subversiva the space and the time of the closing of this exhibition. We gathered, we talked, we embroidered, we knitted, we crocheted, we read, we hugged, we held space for each other… we continued to create community and critical thinking.

Unas semanas antes de septiembre de 2014, xl artista y socix de la librería cooperativa La Caníbal, Jesús Arpal-Moya, la curadora independiente Pilar Cruz y yo estábamos sentados alrededor de una mesa en la parte trasera de la librería. Me pidieron que me reuniera con elles para hablar sobre esta idea que tenían para crear un grupo de tejido subversivo. La idea era crear una reunión periódica feminista y anticapitalista de personas que tomara las prácticas textiles como su hilo conductor.

Así fue como comenzó todo y, seis años después, las reuniones de Mitja Subversiva siguen siendo mi hogar y la guía de navegación que más uso en estos tiempos difíciles y el planeta dañado en el que vivimos.

Era apropiado compartir con Mitja Subversiva el espacio y el momento del cierre de esta exposición. Nos reunimos, hablamos, bordamos, tejimos, hicimos ganchillo, leímos, nos abrazamos, nos dimos apoyos mutuos ... sobretodo, continuamos creando comunidad y pensamiento crítico.

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Few weeks before September 2014 the artists and and member of the coop bookstore La Caníbal, Jesús Arpal-Moya, independent curator Pilar Cruz and I were sitting around a table in the back of the bookstore. They have asked me to meet with them to talk about this idea they had to create a Subversive Knitting group. The idea was to create a feminist and anticapitalist periodical gathering of people that would take textile practices as its common thread.

That was how it all started, and six years later the gatherings of Mitja Subversiva continue to be my home and the navigation guide I most use in these troubled times and damaged planet we live in.

It was only fitting to share with Mitja Subversiva the space and the time of the closing of this exhibition. We gathered, we talked, we embroidered, we knitted, we crocheted, we read, we hugged, we held space for each other... we continued to create community and critical thinking.

Unas semanas antes de septiembre de 2014, xl artista y socix de la librería cooperativa La Caníbal, Jesús Arpal-Moya, la curadora independiente Pilar Cruz y yo estábamos sentados alrededor de una mesa en la parte trasera de la librería. Me pidieron que me reuniera con elles para hablar sobre esta idea que tenían para crear un grupo de tejido subversivo. La idea era crear una reunión periódica feminista y anticapitalista de personas que tomara las prácticas textiles como su hilo conductor.

Así fue como comenzó todo y, seis años después, las reuniones de Mitja Subversiva siguen siendo mi hogar y la guía de navegación que más uso en estos tiempos difíciles y el planeta dañado en el que vivimos.

Era apropiado compartir con Mitja Subversiva el espacio y el momento del cierre de esta exposición. Nos reunimos, hablamos, bordamos, tejimos, hicimos ganchillo, leímos, nos abrazamos, nos dimos apoyos mutuos ... sobretodo, continuamos creando comunidad y pensamiento crítico.

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Subversive Knitting Group Gathering and Closing Reception

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Few weeks before September 2014 the artists and and member of the coop bookstore La Caníbal, Jesús Arpal-Moya, independent curator Pilar Cruz and I were sitting around a table in the back of the bookstore. They have asked me to meet with them to talk about this idea they had to create a Subversive Knitting group.

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In 2017, after the presentation of the book Maternalias. De la historia de la maternidad by Cira Crespo at the associative bookstore Synusia, the Laboratorio de CoMadres was created. Comadre is a word used in its origins to designate those women who assisted the mother in labor as well as in the upbringing of a child. Thus comadres are women that mother with other women. Laboratorio de CoMadres is therefore a space for a group of feminist and anti-racist mothers to think, talk, support and practice a more collective mothering. It is also a space for experimentation, trail and error, failure, deconstruction and reconstruction of motherhood and all its entanglements.

We gather monthly and at the end of January 2020 some of us sat together to share our stories regarding obstetric violence in order to produce a text that would be part and (re)present this violence agains our bodies in the larger text of the feminist manifesto at the March 8th demonstration and strike in Terrassa, Bercelona, Spain.

En el 2017, y a raíz de la presentación en la librería asociativa Synusia del libro Maternalias. De la historia de la maternidad de Cira Crespo, se creó el Laboratorio de CoMadres. Comadre es una palabra utilizada en sus orígenes para designar a aquellas mujeres que ayudaban a la madre en el trabajo de parto y en la crianza de un hijo. Así pues, las comadres son mujeres que ayudan a maternar a otras mujeres. El Laboratorio de CoMadres es, por lo tanto, un espacio para que un grupo de madres feministas y antirracistas piensen, hablen, apoyen y practiquen una maternidad más colectiva. También es un espacio para la experimentación, la prueba y el error, el fracaso, la deconstrucción y la reconstrucción de la maternidad y todos sus enredos.

Nos reunimos mensualmente y, a finales de enero de 2020, algunas de nosotras nos sentamos juntas para compartir nuestras historias sobre la violencia obstétrica y para crear un texto que formará parte y (re)presentará esta violencia contra nuestros cuerpos en el texto más amplio del manifiesto feminista creado para la manifestación y huelga del 8 de marzo en Terrassa, Bercelona, España.

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In 2017, after the presentation of the book Maternalias. De la historia de la maternidad by Cira Crespo at the associative bookstore Synusia, the Laboratorio de CoMadres was created. Comadre is a word used in its origins to designate those women who assisted the mother in labor as well as in the upbringing of a child. Thus comadres are women that mother with other women. Laboratorio de CoMadres is therefore a space for a group of feminist and anti-racist mothers to think, talk, support and practice a more collective mothering. It is also a space for experimentation, trail and error, failure, deconstruction and reconstruction of motherhood and all its entanglements.

We gather monthly and at the end of January 2020 some of us sat together to share our stories regarding obstetric violence in order to produce a text that would be part and (re)present this violence agains our bodies in the larger text of the feminist manifesto at the March 8th demonstration and strike in Terrassa, Bercelona, Spain.

En el 2017, y a raíz de la presentación en la librería asociativa Synusia del libro Maternalias. De la historia de la maternidad de Cira Crespo, se creó el Laboratorio de CoMadres. Comadre es una palabra utilizada en sus orígenes para designar a aquellas mujeres que ayudaban a la madre en el trabajo de parto y en la crianza de un hijo. Así pues, las comadres son mujeres que ayudan a maternar a otras mujeres. El Laboratorio de CoMadres es, por lo tanto, un espacio para que un grupo de madres feministas y antirracistas piensen, hablen, apoyen y practiquen una maternidad más colectiva. También es un espacio para la experimentación, la prueba y el error, el fracaso, la deconstrucción y la reconstrucción de la maternidad y todos sus enredos.

Nos reunimos mensualmente y, a finales de enero de 2020, algunas de nosotras nos sentamos juntas para compartir nuestras historias sobre la violencia obstétrica y para crear un texto que formará parte y (re)presentará esta violencia contra nuestros cuerpos en el texto más amplio del manifiesto feminista creado para la manifestación y huelga del 8 de marzo en Terrassa, Bercelona, España.

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In 2017, after the presentation of the book Maternalias. De la historia de la maternidad by Cira Crespo at the associative bookstore Synusia, the Laboratorio de CoMadres was created. Comadre is a word used in its origins to designate those women who assisted the mother in labor as well as in the upbringing of a child.

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We gathered to share experiences, texts, written and oral hi/stories in a safe space. The writer Rosa Pérez, the photographer and embroiderer Tatiana Donoso, and the multidisciplinary artist Carmen Hurtado were our special guests.

Nos reunimos para compartir experiencias, textos, historias escritas y orales en un espacio seguro. La escritora Rosa Pérez, la fotógrafa y bordadora Tatiana Donoso, y la artista multidisciplinaria Carmen Hurtado fueron nuestros invitados especiales.

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We gathered to share experiences, texts, written and oral hi/stories in a safe space. The writer Rosa Pérez, the photographer and embroiderer Tatiana Donoso, and the multidisciplinary artist Carmen Hurtado were our special guests.

Nos reunimos para compartir experiencias, textos, historias escritas y orales en un espacio seguro. La escritora Rosa Pérez, la fotógrafa y bordadora Tatiana Donoso, y la artista multidisciplinaria Carmen Hurtado fueron nuestros invitados especiales.

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We gathered to share experiences, texts, written and oral hi/stories in a safe space. The writer Rosa Pérez, the photographer and embroiderer Tatiana Donoso, and the multidisciplinary artist Carmen Hurtado were our special guests. Nos reunimos para compartir experiencias, textos, historias escritas y orales en un espacio seguro.

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In collaboration with the collectives El Salto de Mendieta and La Guerrilla dels Cossos, we organized a feminist and anti-capitalist game night and the screening of the documentary Lorenza Böttner: Portrait of an Artist.

En colaboración con los colectivos El Salto de Mendieta y La Guerrilla dels Cossos organizamos una tarde de juegos feministas y anti-capitalistas y la proyección del documental Lorenza Böttner: Portrait of an Artist.

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We played: Feminismos Reunidos created by Sangre Fucsia // Who Is She? designed and created by Zuzika Koserska-Girard // Herstoricas Pioneras created by the Herstoricas Collective // Commonspoly a cooperative game created by a "working group during the 17th ZEMOS98 festival hackcamp."

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STORYTELLING AND OTHER HI/STORIES OF SEEDS AND FORESTS

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STORYTELLING AND OTHER HI/STORIES OF SEEDS AND FORESTS

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Conta contes i altres histories de llavors i boscos

Cuenta cuentos y otras historia de semillas y bosques

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History is full of untold stories. Nature is full of hidden history. Storytelling is the bridge between the hidden, the untold and us.

A storytelling evening with Filagarsa, an art and nature collective made up by Rosanna Fontanet, Joan Ignasi Ros and Irene Pérez.

Presentation of Filagarsa's Stop Cutting Trees, an ongoing project about watching, protecting trees and denouncing their destruction in the city of Terrassa.

Cuenta cuentos y otras historias de semillas y bosques_28.12.19

La Historia está llena de historias no contadas. La naturaleza está llena de historias ocultas. La narración de cuentos es el puente entre lo oculto, lo no contado y nosotres.

Una tarde de cuentos con Filagarsa, un colectivo de arte y naturaleza compuesto por Rosanna Fontanet, Joan Ignasi Ros e Irene Pérez.

Presentación del Stop Tallar Arbres, un proyecto en curso de Filagarsa sobre la vigilancia y protección de árboles y la denuncia de su destrucción en la ciudad de Terrassa.

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Storytelling and Other hi/stories of Seeds and Forests_12.28.19

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History is full of untold stories. Nature is full of hidden history. Storytelling is the bridge between the hidden, the untold and us. A storytelling evening with Filagarsa, an art and nature collective made up by Rosanna Fontanet, Joan Ignasi Ros and Irene Pérez.

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Accions
Acciones

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Noves obres
Obras nuevas

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Exhibition catalogue_zine

Catàleg_zine de l'exposició

Catálogo_zine de la exposición

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More Opening performance: Creating the Zine_Catalogue

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Opening performance: Creating the Zine_Catalogue

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Bilioteca i arxiu

Biblioteca y archiva

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An archive of references and documentation gathered and used for the project Seeds for Resistance.

Una archiva de referencias y documentos obtenidos y usados para el proyecto Semillas para la resistencia.

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Seeds for Resistance Library and Archive

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An archive of references and documentation gathered and used for the project Seeds for Resistance. Una archiva de referencias y documentos obtenidos y usados para el proyecto Semillas para la resistencia.

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becoming a mother

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Cuido per que m'importa.

Cuido por que me importa.

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Qui creieu que sóc?

Quién creéis que soy?

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Les sobres de les seqüeles.

Las sobras de las secuelas

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Arnes i àvies.

Polillas y abuelas

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Exhibition at gallery Tigomigo
December 2019 - February 2020.

Exposició // Exposición

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Gracias a mi hija y a través de ella, estoy expuesta a ideas innovadoras y experimentando la posibilidad de nuevos paradigmas. Y es desde este lugar en el que me encuentro en este momento y en el que soy tanto maestra de mi hija como aprendiz de ella, donde el mundo entra a mi estudio de artista. (1)

Resistencia. Capacidad de pensar diferente, de cuestionarnos la manera en que las mujeres (y los hombres) nos posicionamos en este mundo, de preguntarnos qué significa hoy en día ser madre, ser hija. Resistere. Mantenernos en pie, firmes. A pesar del pensamiento binario y hegemónico. Persistir, defender nuevas formas de mirar, de estimar, de crear y de cuidarnos.

Irene Pérez es artista, activista, madre y exploradora de nuevos territorios mentales y artísticos. Llavors per a la resistència. Our_hi/story(ies) -Semillas para la resistencia- es la historia, inacabada, de una exploración consciente, metódica y apasionada sobre los lazos que se crean entre una madre y una hija. Un cuento que nos habla de complicidades, de dudas y de la lucha diaria para huir de lo que es normativo y encorsetado.

"Llavors per la resistència_

_nace del lazo entre una madre y una hija
y de todo aquello que de este lazo se nutre y genera_

_son objetos artísticos, acciones de curas,
lecturas colectivas,
prácticas de pedagogías contra normativas,
miradas no adulto-céntricas, apoyos mutuos, transmisiones orales de conocimientos en forma de conversaciones, historias y cuentos, conciencia afectiva y complicidad de cuerpos_

_es un legado de pensamiento, acción y práctica
para la germinación y la floración de pensamientos,
acciones y prácticas de nuevos paradigmas
a través del apoyo y el fomento del pensamiento divergente
en oposición a todo pensamiento binario, normativo y hegemónico_

_es una exploración de la maternidad
como herramienta de resistencia política y de cambio paradigmático
a través de la práctica de la maternación consciente
como activismo que replantea la construcción histórica,
la educación y al relación con la Tierra
desde una diversidad de perspectivas feministas_

Llavors per la resistència
es un aprendizaje
constantemente cambiante
e inacabado
Irene Pérez.

Inauguración y actividades

La exposición incluye una serie de actividades abiertas y gratuitas donde las curas estarán siempre en el centro. Por ello, la artista requiere el máximo respeto hacia las personas y no se tolerarán actitudes machistas, racistas, LGTBIQ+fóbicas, xenófobas, adulto-céntricas o perpetuadoras de cualquier otro tipo de opresión.

Inauguració y performance. Sábado 14/12 de 17:30 a 20:30.
Creación personalizada del catálogo- fanzine de la exposición. Todos los participantes se llevarán una copia del mismo (edición limitada).

Cuenta cuentos y otras historias de la naturaleza. Sábado 28/12 de 17:30 a 19h.
Actividad abierta y gratuita para niños de 0 a 99 años. Colaboran la librería Synusia y Filagarsa.

Juegos de mesa y cinefórum. Viernes 10/1 de 17:30 a 21h.
Os invitamos a una tarde juegos de mesa mientras disfrutamos del documental Lorenza Böttner - Portrait of an Artist. Con la colaboración de los colectivos El Salto de Mendieta y Guerrilla dels cossos.

Lecturas colectivas improvisadas. Sábado 18/1 de 18 a 20h.
La artista multidisciplicar Carmen Hurtado, la fotógrafa y bordadora Tatiana Donoso y la escritora Rosa Prérez nos presentarán textos relacionados con sus obras. Todos los asistentes estáis invitados a traer poemas o textos para compartirlos con el resto del grupo. La actividad requiere inscripción previa a través del correo ireneperez.net@gmail.com.

Visita acompañada y taller de fanzine/ancestros. Sábado 1/2 de 17:30 a 18:30 h.
Os invitamos a pasear por la exposición acompañados por la artista Irene Pérez. Después realizaremos un taller de creación de fanzines sobre las mujeres de nuestra familia y su legado. Para la segunda actividad es necesario reservar plaza.

Cierre de la exposición y encuentro del grupo Mitja Subersiva. Sábado 15/2 de 17:30 a 20:30 h.
Os invitamos a hacer la última visita de la exposición, disfrutar de una merienda junto al grupo de Mitja Subersiva. Traed agujas y lana si queréis uniros a la costura.

(1)Irene Pérez (Novembre, 2015) EDUCATION AS A CREATIVE AND TRANSFORMATIVE PROCESS. m/other Voices Foundation Column

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Llavors per a la resistència. our_hi/story(ies)

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Gracias a mi hija y a través de ella, estoy expuesta a ideas innovadoras y experimentando la posibilidad de nuevos paradigmas. Y es desde este lugar en el que me encuentro en este momento y en el que soy tanto maestra de mi hija como aprendiz de ella, donde el mundo entra a mi estudio de artista.

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SFR*****
_worlds of words

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SFR****
_the transmission of wor/l/ds

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SFR***
_the non hegemonic wor/l/ds

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SFR**

other wor/l/ds

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SFR* the moth/er wor/l/d

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ART, RESEARCH, THEORY: In the November column we are pleased to feature Irene Pérez (Spain), a visual artist based in Terrassa (Barcelona). Her work explores identity, language and the physical space. She is also a mother to a vibrant five-year-old girl. Their life together has made Pérez question and further investigate the social constructs of the world around her. From these inquiries Pérez has been inspired to take part in projects such the co-creation of the feminist group Mitja Subversiva (Subversive Knitting), a group of people who meet periodically at the La Caníbal co/op bookstore in Barcelona to discuss socio-political issues and create actions through textile production. From both being an artist and a mother, she has learned to see obstacles in life as stepping-stones for new discoveries.

EDUCATION AS A CREATIVE AND TRANSFORMATIVE PROCESS

Last summer I attended the The Mothernists conference, a three-day spent with a group of women artists and cultural producers who engage with motherhood and mothering in their practices. Organized by the m/other voices foundation and inspired by artist Lise Haller Baggesen's project and book, it was a truly stimulating and eye opening experience. So, when at the end of the conference I was invited to write a column for m/other voices I was thrilled and immediately said yes. Almost as immediately, I felt the anxiety that invades you when you feel not fitted for a task you have undertaken. What will I write about? What kind of knowledge could I share? On a greater level, I had had the same feeling when, after twenty-four hours of labor during which both my life and my daughter's where at risk, I found myself holding a premature tiny baby who looked nothing like I had imagined. Holding her for the first time, two thoughts immediately entered my mind: T his new person who came out of my body feels like a stranger; I have no idea what am I supposed to do now.

Doubt and uncertainty are part of the equation both in parenting and artistic practice and nobody tells you about them neither in art school nor in the prenatal courses. In both instances, once you know their presence is only temporary, though recurrent, you learn to navigate them and use them to your advantage.

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November 2015 / Irene Pérez, ES - m / other voices

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ART, RESEARCH, THEORY: In the November column we are pleased to feature Irene Pérez (Spain), a visual artist based in Terrassa (Barcelona). Her work explores identity, language and the physical space. She is also a mother to a vibrant five-year-old girl. Their life together has made Pér

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Acció de cures VII_Descobriment

Acción de cuidados VII_Descubrimiento

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Being my daughter's mother has taken me to many places I did not expect.

Education, thinking about how we learn and how we teach and the proceses, systems and pedagogies used to transmit knowledge has become one of my main areas of interest.

In 2017 I found out about marine biologist Rachel Carson, one of many relevant women lost in the hegemonic historical account.

Carson was, among other things, the author of several beautifully written books. Among them this one gem made it into my hands. Only the title, The Sense of Wonder is already enough make you think about education from another stand point. I read the book and I decided it would make a wonderful present for many people who I knew would find discovery and solace in her words.

Gifting this book is an ongoing action within the Seeds for Resistance project.

Descubriendo el sentido del asombro
Ser la madre de mi hija me ha llevado a muchos lugares que no esperaba.

La educación, pensar sobre cómo aprendemos y cómo enseñamos y los procesos, sistemas y pedagogías utilizados para transmitir el conocimiento se ha convertido en una de mis principales áreas de interés.

En 2017 descubrí a la bióloga marina Rachel Carson, una de las muchas mujeres de relevancia perdidas en relato histórico hegemónico.

Carson fue, entre otras cosas, la autora de varios libros exquisitamente escritos. Entre ellos, esta gema llegó a mis manos. Tan solo el título, El sentido del asombro, ya es suficiente para hacerte pensar en la educación desde otro lugar. Leí el libro y decidí que sería un regalo maravilloso para muchas personas que sabía que encontrarían descubrimiento y consuelo en sus palabras.

Regalar este libro es una acción continua dentro del proyecto Seeds for Resistance.

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Being my daughter's mother has taken me to many places I did not expect. Education, thinking about how we learn and how we teach and the proceses, systems and pedagogies used to transmit knowledge has become one of my main areas of interest.

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Care Action VI_Restitution and Resistance

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Care Action VI_Restitution and Resistance

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Acció de cures VI_Restitució i Resistència

Acción de cuidados VI_Restitución y Resistencia

https://open.spotify.com/playlist/6nK6ujDaRaW9vny7qOFGlm?si=9DK3jUWbTlWviUpnjNE6gw

https://open.spotify.com/playlist/0cnoWfnRbe73GIfpuE3Wsd?si=iQrIv6MDSHOeqvfpe3STHg

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Music has restitutive powers. Women, amongst other oppressed bodies, need the restitution for everything patriarchy and capitalism takes away from them.

For the Care Action VI of the Seeds For Resistance project, I asked a lengthy group of women to share with me songs and music that they listen to when they need to heal their emotional wounds and/or feel empowered. With them I created the SFR_Restoration Playlist.

In turn for their gift, I gifted them the SFR_Resistance Playlist I have been compiling since 2017 that contains music my daughter and I listen to to feel empowered.

La música tiene poderes restitutivos. Las mujeres, entre otros cuerpos oprimidos, necesitan la restitución de todo lo que el patriarcado y el capitalismo les quitan.

Para la Acción de Cuidados VI del proyecto Semillas Para la Resistencia, le pedí a un amplio grupo de mujeres que compartieran conmigo canciones y música que escuchan cuando necesitan sanar sus heridas emocionales y / o sentirse empoderadas.Con ellas cree la %SFR_Restoration Playlist.

A cambio de su regalo, les regalé la SFR_Resistance PLaylist que he estado compilando desde 2017 que contiene música que mi hija y yo escuchamos para sentirnos empoderadas.

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Music has restitutive powers. Women, amongst other oppressed bodies, need the restitution for everything patriarchy and capitalism takes away from them. For the Care Action VI of the Seeds For Resistance project, I asked a lengthy group of women to share with me songs and music that they listen to when they need to heal their emotional wounds and/or feel empowered.

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Acció de cures V_Connectar

Acción de cuidados V_Conectar

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Acció de cures IV_Curar

Acción de cuidados IV_Curar

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With ageing the body accumulates the changes that have been produced through the passing of time. Furthermore, the female body in our patriarchal societies also acumulates the pain and suffering of discrimination, abuse and agresion. Right before my 43th birthday I relized I needed to start a healig process to rair the pain done by such accumulation. The next day Hierbas contra la tristeza. Un manual para sanar juntas. [ Herbs against sadness. A manual to heal together.] by Yadira López found me. In Spetember, on the day of my birthday, I made several copies of the bookled and gifted it to all the women that walk by my side in this feminist healing process.

You can find the document of this essential text following this link.

The permition for shearing this document reads: This text is part of the project Barricada of free texts that seeks to recover texts that seem relevant to our current events, shared under the Peer Production License with the intention of generating dialogues and collective reflections. It can be shared under the same non-capitalist license. To buy the printed copy or support the project, write to edicionesestridentes@gmail.com .

Con el envejecimiento el cuerpo acumula los cambios que se han producido con el paso del tiempo. Además, el cuerpo femenino en nuestras sociedades patriarcales también acumula el dolor y el sufrimiento de la discriminación, el abuso y la agresión. Justo antes de cumplir 43 años, me di cuenta que necesitaba comenzar un proceso de sanación para aliviar el dolor causado por tal acumulación. Al día siguiente Hierbas contra la tristeza. Un manual para sanar juntas. de Yadira López me encontró. En septiembre, el día de mi cumpleaños, hice varias copias del libro y se las regalé a todas las mujeres que caminan a mi lado en este proceso de curación feminista.

Se puede encontrar un pdf de esta publicación indispensable siguiendo este enlace.

El permiso para compartir este documento dice: Este texto forma parte del proyecto Barricada de textos libres que busca recuperar textos que nos parecen pertinentes para nuestro acontecer actual, compartidos bajo la Licencia de Producción de Pares con la intención de generar diálogos y reflexiones colectivas. Puede compartirse bajo la misma licencia no capitalista. Para comprar el ejemplar impreso ó apoyar el proyecto escribir a edicionesestridentes@gmail.com .

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With ageing the body accumulates the changes that have been produced through the passing of time. Furthermore, the female body in our patriarchal societies also acumulates the pain and suffering of discrimination, abuse and agresion. Right before my 43th birthday I relized I needed to start a healig process to rair the pain done by such accumulation.

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Acció de cures III_Colaboració

Acción de cuidados III_Colaboración

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Acció de cures II_Suport

Acción de cuidados III_Apoyo

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In January 2018 I sent a letter, a thank you note and a gift (xylography print)
to thirty-eight women who are mothers and care givers.

The letter read: This gift is an act of care as a form of resistance.
This action is part of the project Seeds for Resistance, a series of artworks and actions that aim to be significant and to bring attention and value to the historical importantce of women, especially mothers, and their work.

Thank you note:

This is a thank you
This is an appreciation
This is a care action
This is a resistance

I thank you
I appreciate you
I care for you
I resist with you
____

En enero de 2018 envié una carta, una nota de agradecimiento y un regalo (una estampa xilográfica) a treinta y ocho mujeres que son madres y cuidadoras.

La carta decía: Este regalo es un acto de cuidado como forma de resistencia. Esta acción es parte del proyecto Semillas para la resistencia, una serie de obras de arte y acciones que pretenden ser significativas y ponerla atención y el valorar la importancia histórica de las mujeres, especialmente las madres, y su trabajo.

Nota de agradecimiento:

Esto es un agradecimiento
Esta es una apreciación
Esta es una acción de cuidado
Esta es una resistencia

Te doy las gracias
Te aprecio
Te cuido
Resisto contigo

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In January 2018 I sent a letter, a thank you note and a gift (xylography print) to thirty-eight women who are mothers and care givers. The letter read: This gift is an act of care as a form of resistance.

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Care Action I_Story Telling a collaboration with Synusia Associative Bookstore

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Care Action I_Story Telling a collaboration with Synusia Associative Bookstore

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Acció de cures I_Conta Contes una col·laboració amb la llibreria associativa Synusia

Acción de cuidados I_Cuenta Cuentos una colaboración con la librería asociativa Synusia

https://synusia.cc

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A series of story telling events to present some of the stories and songs about female historical figures created by the feminist media co-op Pandora Mirabilia for their project 'Un cuento propio.'

Action performed in collaboration with Synusia Bookstore, the illustrator Montse Mazorriaga and Pandora Mirabilia.

____

Una serie de sesiones de cuenta cuentos para presentar algunas de las historias y canciones sobre figuras históricas femeninas creadas por la cooperativa feminista de comunicación Pandora Mirabilia para su proyecto 'Un cuento propio.'

Acción realizada en colaboración con la librería Synusia, la ilustradora Montse Mazorriaga y Pandora Mirabilia.

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A series of story telling events to present some of the stories and songs about female historical figures created by the feminist media co-op Pandora Mirabilia for their project 'Un cuento propio.' Action performed in collaboration with Synusia Bookstore, the illustrator Montse Mazorriaga and Pandora Mirabilia.

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Llavors per la resistència_

_neix del llaç entre una mare i una filla

i de tot allò del que aquest llaç es nodreix i

genera_

_són objectes artístics, accions de cures,

lectures col·lectives,

pràctiques de pedagogies contra normatives,

mirades no adult-cèntriques, recolzaments mutus, transmissions orals de coneixements en forma de converses, histories i contes, consciència afectiva, carícies i complicitats de cossos_

_és un llegat de pensament, acció i pràctica

per a la germinació i la floració de pensaments,

accions i pràctiques de nous paradigmes

a través del suport i el foment

del pensament divergent

en oposició a tot pensament binari,

normatiu i hegemònic_

_és una exploració de la maternitat

com a eina de resistència política i de canvi paradigmàtic a través de la pràctica de la maternació conscient com a activisme que replanteja la construcció històrica, l’educació i la relació amb la Terra des d’una diversitat de perspectives feministes_

Llavors per la resistència

és un aprenentatge constantment

canviant i inacabat

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Semillas para la resistencia_

_nace del lazo entre una madre y una hija

y de todo de lo que este lazo se nutre y genera_

_son objetos artísticos, acciones de cuidados,

lecturas colectivas,

prácticas de pedagogías contra normativas,

miradas no adultocéntricas, apoyos mutuos, transmisiones orales de conocimientos en forma de conversas, historia y cuentos, consciencia afectiva,

caricias y complicidades de cuerpos_

_es un legado de pensamiento, acción y práctica

para la germinación y floración de pensamientos, acciones y prácticas de nuevos paradigmas

a través del sustento y el fomento

del pensamiento divergente

en oposición a todo pensamiento binario,

normativo y hegemónico_

_es una exploración de la maternidad como

herramienta de resistencia política y cambio paradigmático a través de la práctica de la maternación consciente y los cuidados maternos

como activismo que replantea la construcción histórica, la educación y la relación con la Tierra

des de una diversidad de perspectivas feministas_

Semillas para la resistencia

es un aprendizaje constantemente

cambiante e inacabado

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Seeds for Resistance_

_is born from the bond between a mother and a daughter

and from everything this bond

feeds itself of and generates_

_are artistic objects, care actions,

collective readings, counter-normative pedagogical practices,

non-adult centered regard for children,

mutual support, oral transmission of knowledge

through conversations and storytelling,

affective consciousness and body complicities_

_is a legacy of thought, action and practice

for the germination and growth of thoughts, actions and practices of new paradigms through the sustenance and encouragement to generate divergent thinking as opposed to binary, normative and hegemonic thinking_

_is an exploration of mothering as tool for political resistance and paradigmatic change through the practice of conscious parenting as an activism that rethinks historical construction, education and our relationship to Earth from an array of feminist perspectives_

Seeds for Resistance

is an ever changing and unfinished

learning process

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Seeds For Resistance: Our_ Hi/story(ies)

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Seeds For Resistance: Our_ Hi/story(ies)

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Llavors per la resistència: la/es nostra/es hi_storia/es

Semillas para la resistencia: nuestra/s hi_storia/s

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Mare i Terra

Madre y Tierra

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Living through the event that is motherhood, I was awaken to the fierce experience of that what is personal is political*. Since 2017 I have been developing the project Seeds for Resistance, which explores this notion through the conversations I have with my daughter. For the comisioned exhibition at the Centre for Contemporary Art and Sostainability, within their yearly series Gender and Territory, I created works considering rethinking care work, specifically that involving the accompaniment in the child's learning experience and its essential role in relation to our ecosystem(s).

*Concept that appears for the first time in the article "The personal is political" written by Carol Hanisch, published in Notes from The Second Year: Women's Liberation, 1970.
A través de la experiencia de la maternidad se despierta en mi la vivencia feroz de que lo personal es político*. Desde el 2017 he estado desarrollando el proyecto Semillas para la resistencia, que explora esta noción a través de las conversaciones que tengo con mi hija. Para la exposición comisionada por el Centre d'art contemporani i sostenibilitat (CACIS) dentro de su cíclo anual Genere i territori, creé varias obras considerando repensar los trabajos de cuidados, en concreto el del acompañamiento en el aprendizaje en la infancia y su lugar esencial en relación a nuestro(s) ecosistema(s).

* Concepto que aparece por primera vez en el artículo "The personal is political" escrito por Carol Hanisch, publicado en Notes from The Second Year: Women 's Liberation, 1970.

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Living through the event that is motherhood, I was awaken to the fierce experience of that what is personal is political*. Since 2017 I have been developing the project Seeds for Resistance, which explores this notion through the conversations I have with my daughter.

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Accions de cures

Aciones de cuidados

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The Prelude: Conversations With my Daughter

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The Prelude: Conversations With my Daughter

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Preludi: converses amb la meva filla

Preludio: conversaciones con mi hija

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Motherhood: gestation and birthing, care labor, ecology and feminism. A self-portrait.

Maternitat: gestació i part, treballs de cures, ecologia i feminsme. Un autoretrat.

Maternidad: gestación y parto, trabajos de cuidados, ecología y feminismo. Un autorretrato

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Multidisciplinary project that stems from the conversations I have been having with my daughter. They are conversations about favorite colors, our bodies, super-(s)heros, comic books, feminism(s), illness, politics, sexuality, clothing, economics, racism, migration, fanzines, ecology, music, death, language and many other things.

Project in progress.
SFR MANIFESTO Seeds for Resistance is born from the bond between a mother and a daughter and from everything this bond feeds itself of and generates are artistic objects, care actions, collective readings, counter-normative pedagogical practices, non-adult centered regard for children, mutual support, oral transmission of knowledge through conversations and storytelling, affective consciousness and body complicities is a legacy of thought, action and practice for the germination and growth of thoughts, actions and practices of new paradigms through the sustenance and encouragement to generate divergent thinking as opposed to binary, normative and hegemonic thinking is an exploration of mothering as tool for political resistance and paradigmatic change through the practice of conscious parenting as an activism that rethinks historical construction, education and our relationship to Earth from an array of feminist perspectives Seeds for Resistance is an ever changing and unfinished learning process
Proyecto multidisplinar que surge de las conversaciones que tengo con mi hija. Se trata de conversaciones sobre colores favoritos, nuestros cuerpos, superhéroes y superheroinas, cómics, feminismo(s), enfermedad, política, sexualidad, ropa, economía, racismo, migración, fanzines, ecología, música, muerte, lenguaje y muchas otras cosas.

Proyecto en desarrollo.
MANIFIESTO SFR Semillas para la resistencia nace del lazo entre una madre y una hija y de todo de lo que este lazo se nutre y genera son objetos artísticos, acciones de cuidados, lecturas colectivas, prácticas de pedagogías contra normativas, miradas no adultocéntricas, apoyos mutuos, transmisiones orales de conocimientos en forma de conversas, historia y cuentos, consciencia afectiva y complicidades de cuerpos es un legado de pensamiento, acción y práctica para la germinación y floración de pensamientos, acciones y prácticas de nuevos paradigmas a través del sustento y el fomento del pensamiento divergente en oposición a todo pensamiento binario, normativo y hegemónico es una exploración de la maternidad como herramienta de resistencia política y cambio paradigmático a través de la práctica de la maternación consciente como activismo que replantea la construcción histórica, la educación y la relación con la Tierra des de una diversidad de perspectivas feministas
Semillas para la resistencia es un aprendizaje constantemente cambiante e inacabado

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Multidisciplinary project that stems from the conversations I have been having with my daughter. They are conversations about favorite colors, our bodies, super-(s)heros, comic books, feminism(s), illness, politics, sexuality, clothing, economics, racism, migration, fanzines, ecology, music, death, language and many other things. Project in progress.

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Works about the body of the mother and its relation to the child's body beyond gestation, birthing and breastfeeding.

Fortalezas, límites y limitaciones del cuerpo
Obras sobre el cuerpo de la madre y su relación con el cuerpo de la hija más allá de la gestación, el parto y la crianza.

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Works about the body of the mother and its relation to the child's body beyond gestation, birthing and breastfeeding. Fortalezas, límites y limitaciones del cuerpo Obras sobre el cuerpo de la madre y su relación con el cuerpo de la hija más allá de la gestación, el parto y la crianza.

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Group of works that aim to make visible and reflect on ideas about the experience of motherhood and mothering.

Grupo de obras creadas con la intención de hacer visibles y reflexionar sobre ideas que parten de la experiencia de la maternidad y lo maternal.

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Group of works that aim to make visible and reflect on ideas about the experience of motherhood and mothering. Grupo de obras creadas con la intención de hacer visibles y reflexionar sobre ideas que parten de la experiencia de la maternidad y lo maternal.

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These group of works were born out of the exploration of ideas, materials and aesthetic choices that come from the knowledge the artist has acquired either directly or indirectly from her daughter.

Descubrimientos_ Este grupo de obras nacen como resultado de explorar ideas, materiales y estéticas a partir de conocimientos que la artista ha adquirido directa o indirectamente de su hija.

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These group of works were born out of the exploration of ideas, materials and aesthetic choices that come from the knowledge the artist has acquired either directly or indirectly from her daughter. Descubrimientos_ Este grupo de obras nacen como resultado de explorar ideas, materiales y estéticas a partir de conocimientos que la artista ha adquirido directa o indirectamente de su hija.

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New Universe: Discovering Other Possibilities

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New Universe: Discovering Other Possibilities

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In the wake of becoming a mother and the following relationship developed with her daughter, an interest to explore the learning processes was born for visual artist Irene Pérez. What and how we learn, when do we learn, where do we learn, and from whom do we learn are some of the ideas that Pérez has been investigating through this project.

New Universe presents a group of works that take as their starting point moments and experiences within the family and in particular through the child-mother relationship. From these experiences, Irene Pérez's creations explore ideas related to discovery, invention and the unknown. Thus, there are pieces born from daily activities such as playing, time spent with family and care labor, as well as those born from conversations with other parents and research.

New Universe: Discovering Other Possibilities is a journey through the relationships between parents and children, but above all the artist would like this project to be a reflection on all the things we rediscover and all the new things we learn that change us forever when we have children.

In its entirety the project included and exhibition, a workshop and several activities during a three month period at the Textile Museum and Documentation Centre in Terrassa, Barcelona, Spain.

This project is still growing.
Nuevo universo: descubriendo otras posibilidades
A raíz de ser madre y la posterior relación desarrollada con su hija, nace en la artista Irene Pérez un interés por explorar los procesos de aprendizaje. Qué y cómo aprendemos, dónde aprendemos y de quién aprendemos son algunas de las ideas que investiga a través de las obras que forman parte de este proyecto.

Presenta así un grupo de obras que toman como punto de partida momentos y experiencias dentro de la familia y en especial a través de la relación filio-maternal. Des de estas experiencias las creaciones de la artista exploran ideas relacionadas con el descubrimiento, la invención y lo desconocido. Así pues hay piezas nacidas a partir de actividades diarias como el juego, el tiempo pasado en familia y los trabajos de cuidados y también obras que provienen de conversaciones con otras madres y padres a su vez que de la investigación sobre temas relacionados.

Nuevo Universo: descubriendo otras posibilidades es un viaje por las relaciones entre padres/madres y sus hijo/as pero sobretodo quiere ser una reflexión sobre aquello que redescubrimos y aquello nuevo que aprendemos y que nos cambia para siempre cuando tenemos hijo/as.

El proyecto en su totalidad incluyó una exposición, un taller y varias actividades a lo largo de un periodo de tres meses en el Centro de Documentación y Museo Textil en Terrassa (Barcelona).

Este proyecto aún sigue creciendo.

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New Universe: Discovering Other Possibilities

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In the wake of becoming a mother and the following relationship developed with her daughter, an interest to explore the learning processes was born for visual artist Irene Pérez. What and how we learn, when do we learn, where do we learn, and from whom do we learn are some of the ideas that Pérez has been investigating through this project.

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The Mothernists II: Who Cares for the 21st Century? is the second iteration of The Mothernists, a transatlantic summit & art exhibition first held in The Netherlands in June 2015 and which brought together the work and thought of practicing international artists and art historians for the cross pollination of art, philosophy, and maternal theory, practice, and experience. It was co-organized and co-hosted by Astrid Noacks Ateliers and the The Royal Danish Academy of Fine Arts and was made possible through the generous support from the Danish Arts Foundation, Copenhagen, and Centrum Beeldende Kunsten Rotterdam. The Mothernists- series is the brainchild of Lise Haller Baggesen (Mothernism) and Deirdre M. Donoghue (m/other voices) and it combines their two long running projects concerning artistic and academic research into maternal (aesth)ethics. The 1st edition was co-produced together with Upominki, Leeszaal West and PrintRoom in Rotterdam and was kindly supported by Gemeente Rotterdam and the many volunteers who contributed their time and skills to help make The Mothernists I happen.

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The Mothernists II: Who Cares for the 21st Century? is the second iteration of The Mothernists, a transatlantic summit & art exhibition first held in The Netherlands in June 2015 and which brought together the work and thought of practicing international artists and art historians for the cross pollination of art, philosophy, and maternal theory, practice, and experience.

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5-6 June 2015, Rotterdam

A three-day-long transatlantic conference, bringing together the work and thought of practicing international artists, art historians, educators, curators and writers on the topic of caring labour and cultural re-production. The Mothernists attempts to open up philosophical, political, aesthetic and social questions made visible through the co-existing practices of mothering and cultural re-production, bringing these into the diverse discourses that the participants professionally as artists, writers, philosophers, curators, historians and educators are part of.

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5-6 June 2015, Rotterdam A three-day-long transatlantic conference, bringing together the work and thought of practicing international artists, art historians, educators, curators and writers on the topic of caring labour and cultural re-production.