Discussing Theatricality in Tartu

September 5-7 I participated in a conference in Taru, Estonia. The reason I accepted this invitation, in addition to never having ben to Iuri Lotman’s city before, was the topic: an interdisciplinary discussion of theatricality, and what theatre can do for the world. With my current project on Don Quijote as an attempt to deploy theatricality to support “remedial social bonding through empathy in support of the “mad” driven to isolation by violence, this seemed a must-go occasion.
To make my case, I gave my keynote lecture in a room where we had arranged the chairs theatrically around each of the four screens. And to make the event less conventional, during the discussion time I walked through the room instead of standing at the podium.
Here you get a sense of the look of the room, although one screen is not visible here.

I had a great time, made new friends, and learned a lot. It was also an opportunity to get feedback on our project, since I was able to display, in a sneak-preview, four episodes of it.
Here is friend number one, the organizer Hedi-Liis Toome, whose care and hospitality knew no limits. She is watching the “She, Too” episode.

In that episode, a young woman, daughter of a slave owner, is herself held captive by her father who is jealously guarding her. She looks at the slaves outside almost with envy: they, at least, are outside. In this picture you see two conference participants discuss the issue of contemporary slavery, in front of the same screen.

On another screen, the episode “Swim or Die” morphs from a plastic rendering of sea waves, where the hero threatens to drown, to a fight against plastic, the current danger to the seas. This is the most explicit presentation of the anachronistic relationship between past and present - the past in the present - that the project contains. This was also an occasion for intense discussion.

Two other women became close friends in no time: Anneli Saro and Raili Marling. It’s so heartwarming to meet committed, brilliant, and also, strongly concerned academics these days. Here you see them discussing - Anneli is on the right.

Tartu will be Cultural Capital of Europe in 2024. Congratulations to all my new friends, who will make a fantastic series of events out of that opportunity.
During the conference, Marina Grishakova presented a book she edited on Narrative Complexity in which I also have a chapter, on Madame B. Here she is, browsing her copy of the very big volume. I am proud to be part of it.


The great Don Quijote Shoot in Murcia

After a great week in Gdansk, Poland, of which you can see the report on the exhibition page Story-Telling in Bits & Pieces, I continued to do just that: collectively telling stories in bits & pieces, of which Miguel de Cervantes was the unequalled master. Without adequate funding I thought I’d never be able to make the dream come true of making a Don Quijote adequate for our time without the usual ridiculing of the old man. But thanks to innumerable volunteers, all friends of friends, we are now already half-way and have a museum exhibition in Sweden vouched for. Hence, this week:

Return to Murcia, where we had such a fantastic adventure in early May around the exhibition opening of Contaminaciones: leer, imaginar, visualizar / Contaminations: reading, imagining, imaging. and shooting the first scene of Don Quijote: Sad Countenances. This time we are going to shoot 5 scenes, around the issue of the difficulty of communication. This part of the project has been selected to fit the profile of the Faculty of Humanities, which sponsored this shooting week. I selected these particular scenes for the reason that it will be installed it in September when we celebrate the 25th anniversary of ASCA. On September 25 the installation will be opened. The next day, colleague and friend Margriet Schavemaker will give her inaugural lecture as professor, and the day after, an ASCA Summit will be held, followed by the inaugural lecture of Esther Peeren, current scientific director of ASCA. All this to contextualize the shoot in Murcia. Photo by Viviana Moin, who plays Sancho Panza.

Meanwhile, I went to Gdansk, in Poland, for a huge event, on which I have reported in the section on exhibitions, Story-Telling in Bits & Pieces. The Summer promises to be hot in more senses than one. I aim to briefly report on every day of the shoot, if I have the energy…

The camera operator Jesús Segura is a hero. He devotes his week, his energy, his talent as a great artist, to making DQ happen. Muchísimas gracias, Jesús! Thanks to photographer Mar Saéz I can symbolically show you his self-effacing labor:

Here you see the directing crew, in a photo by José Martín Izquierdo. On the right, Miguel and his friend Isabel Durante, someone I just met in May and who took upon herself to organize the entire week, including recruiting extras:

Thursday morning: I did not have that energy, but here is a short in-between report. The Murcia shoot, now already half-way, is going very well indeed. The complicated scene 10, on the young man Cardenio who has become mad when his best friend married Cardenio’s fiancée, was shot in a mountainous forest. The landscape participates as a character. The actor, Theor Román, did a brilliant madness number.

And my friend Miguel is the best fake priest I ever saw. Today he is going to marry Cardenio’s financé to his rival.

Yesterday June 26 we filmed a scene in a theatre. Don Quijote tries to speak to the public but he cannot manage it without bursting into sobs. Here you see the close collaboration between actor and director.
But one of the best decision has been to assign the role of Sancho Pança to Mathieu’s friend Viviana Moin, an Argentine performance artist. They make a great duo, as this photo by artist Mar Saéz clearly shows.

For me, he project is to connect cultural heritage, that is, Cervantes and his traumatizing experience of five years of slavery, his novel consisting of bits&pieces, with today’s world in shambles. No ridiculing of an old man and a working-class servant, as all DQ films without exception do; no artificial unity where none is appropriate; no linearity with its evolutionist arrogance.
And to think intensively about what we can do with art and thought for today’s world, which is as much in shambles as it was in Cervantes’s time. And laughter can nourish this, on the condition that it is not at the expense of, but with others, in the joy of learning. Mar Saez has captured this nuance with subtlety.

Friday morning, from 9 to 1, under 40 degrees. The final day, with the complex scene of Marcela, which I have retitled “Woman as Anti-Suicide Bomb”. A group of five mornings are crying over the dead body of their friend Grisóstomo, who killed himself after being rejected by the beautiful shepherdess Marcela. The five students did a great job crying, howling, and then accusing Marcela, who wanders by, of having killed him.

After pronouncing her firm “no es no”, Don Quijote comes racing in to defend her. After threatening the men with the sword (the camera-genic one that was given to me in Helsinki!) Marcela pushes him away and says it again, this time to the camera (meaning: to all viewers): no es no. Dr Irene Vilaescusa, one of the PhDs from ASCA I like to boast about, played a beautiful Cervantine feminist heroine.

The blue raincoat which served to make a bit of shadow won’t be visible in the video. These two photos were made again by artist Mar Saez.


Helsinki: Honor, History, Happiness

Last week, May 22-24, I had an experience unequalled by anything before. At moments, it felt like carnival, at others, like historical costume drama. But more profoundly, it felt like a (re-)encounter with commitments and values. During the boat ride, like tourism, and during the final Ball, I was just amazed that so many people had invested so much time and energy in organizing an awesome event: historic dances, for which they had rehearsed months and months. I had a dance with the Dean:

Honor:
What happened? I was awarded an honorary doctorate at the University of Helsinki. It turned out I had been nominated by professor Kirsi Saarikangas, historian of modern architecture, by chance I bumped into her last September in Torino, when she said to expect a letter from her university. I have had such honors before - in Bergen, Norway, in 1996, and in Luzern, in 2016. The award events are always both moving and fun. But what made this event so impressive was the serious engagement with a historical tradition. Look here for an impression, with Kirsi:

History:
The elaborate ceremony was first done in 1643, five years after Queen Kristina (the 12) founded the university. During the dinner after the conferment ceremony, I was asked to give a speech, in response to a speech to the honorary doctors by a “young doctor”, one of some 150, who had been “conferred” in the same ceremony, dr. Lammi. Here are some quotes from my speech.
“I am speaking in the name of the nine honorary doctors who have today received your ceremonial hat and sword and much more: three days of celebrations, according to a tradition that goes back to the age of my favorite painters; hence, evidence of French historian Fernand Braudel’s statement that ‘yesterday is today’. This photo that seems as if I am play-acting in a historical costume drama was made by Bona Fide Creatives:

And before all, an honor from an institution that thereby demonstrates that its staff care for the combination of the advance of knowledge and insight, culture, and education.Dr Lammi is a good instance of the integration of these domains, as a scholar specialized in education. She defined this field as a breeding ground of encounters. She could not have chosen a more adequate word. This implies a horizontal, dialogic, communicative social interaction, rather than a hierarchical, authoritative monologic by those who know addressed to the ignorant. Her view of education matches precisely my own, my conviction that learning is only possible on such a basis. But that goes both ways. My slogan in this context is: ‘if you don’t learn from your students, you are a bad teacher.’ This is the most important road to integration of social and academic, and also artistic performance and progress.”
(photo by Bona Fide Creatives)
On the history of my connection to Finland, which underlies the honor bestowed on me, I said this:
“My first invitation to Finland was academic, in August 1996, when I participated in the Nordic Research School Gender, Art and Modernity. At that occasion I met professor Kirsi Saarikangas, and a number of other “Nordic” art historians. Kirsi’s work on the aesthetic of social space fascinated me especially. It concerned art and living space; “architexture” as a special art form that aims to make the living space of actual people, more comfortable as well as, or because, more beautiful. But differently from many others who study the history of architecture, for her it was really, first and foremost, the “living space” that mattered, as the primary frame of artistic beauty. […] It didn’t take me long to associate this interest of Professor Saarikangas with the great Finnish tradition of architecture and design, of which Alvar Aälto is perhaps the most famous. But the interest of this group of Helsinki art historians extended, inflected, or specified, the combination of the aesthetic of space with gender. I dressed, perhaps provocatively, for the evening-before when “evening dress” was required. Photo also by Bona Fide Creatives:

Since in the older traditions, it was women who spent most of their time in the home, it made total sense, for cultural historians, to analyze the connections - obvious, but sometimes too obvious to study them in detail - between gender, space, and art. This combination lies at the heart of a new kind of social art history that exceeds the usual obsession with 19th century French painting. After that I have visited several times in Helsinki and the University of Helsinki, and although we were both too busy to stay in regular contact, I never quite lost touch with Kirsi. In 2008 I came as a guest of her research project “Representing and sensing gender, landscape and nature”. The title alone speaks volumes about her commitment to the integration mentioned above. The Academy of Fine Arts, the National Gallery Ateneum and the Finnish Women’s Studies Research School came together. She was director of the Christina Institute for Gender Studies, named after the founder of this university. Queen Christina became later one of the two main characters of my “theoretical fiction” film, Reasonable Doubt, on Christina and the philosopher René Descartes, a film of which Kirsi organized a screening last Wednesday.
Beyond academics alone, I have interacted with and learned from artists, such as Jussi Niva and others. Among my main connections to Finland is the internationally renowned artist Eija-Liisa Ahtila, to the brilliant work of whom I have devoted a book-length study, Thinking in Film. She is a pioneer in broaching socially relevant topics that became hot afterwards, such as immigration, refugees, nature, environmental issues and gender. The current exhibition at Kiasma focuses on all these. Ahtila counts among the intelligent and politically aware artists I have studied who have stimulated me in my own attempts to integrate artmaking and academic reflection.
And this brings me to my third engagement with this beautiful country. Immersing myself in its nature, culture, and the hospitality and friendliness of people, I have set films in Finland, mainly on Åland, in Turku and in Tampere. From 2007 to 2011 I worked with Finnish actress Marja Skaffari, performance artist Helinä Hukkataival, and curator Mervi Appel and many others, such as doctoral candidate Mia Hannula, for the making of a cinematic exploration into the possibility of helping psychotic patients without drugs and institutionalization, and again, from 2011 to 2013, with the same people, Madame B, both also exhibited as video installations on Åland and in Turku. I mention these events because they were the product of genuine encounters, in which luck, commitment, intelligence play together to make something happen.”

Happiness:
My loyal partner Ernst was with me all the time, and very helpful to deal with the stress of the elaborate dress codes, to which he himself also had to conform. He kept the fun alive even when I was tired or nervous.

Among many pleasurable and fun moments, such as the boat trip where we were welcomed with a delicious mimosa, most important to me was the re-encounter with Kirsi and her husband Tuomas, who took care of us every minute of the three days. They are now close personal friends as well as great intellectual interlocutors.

And meeting many wonderful people for the first time, such as, most exciting, Tuula Arkio, founder and long-time director of the fantastic museum of contemporary art Kiasma. I had an immediate bond with her over contemporary art and many more topics. She had come to see my film and was very enthusiastic about it; another great honor.
All in all, it was a unique, unforgettable event, to be immersed in a true intellectual community where friendship was as exciting as the academic, artistic and pedagogical sociality.
Here is a short video of the ceremony.


Still more positive energy: Växjö, Sweden

After the week in Murcia described in the previous blog, I turned around and went on to Växjö, Sweden, where I have recently developed fantastic contact with colleagues who care about the same things as I do: cultural analysis with relevance; friendship as the way to productive work; collegiality and non-hierarchal thinking as the mode of making the university work. I have enjoyed being there and interacting with those brilliant and lovable people. A long list of names won’t improve the legibility of this blog. Let me just say that a team of around 30 volunteers, colleagues and students have contributed to the filming of 3 to 4 scenes from the DQ project - the inserted novella of “The Captive” which we use for a visual awareness of and plea for the abolition of slavery. No, this most horrific crime against humanity was not really, only officially abolished in 1833; it still goes on today. The lead actor, Mathieu Montanier, expresses the infinite sadness of confinement in this photo made by Ebba Sund.

Ebba also made the photo of “renegade” Thomas Germaine, who comes to help the Captive in his attempt to escape. But the ambiguity is: can the slaves trust a renegade? The short scene, for which Thomas came all the way from Paris, is essential for the presentation of the difficulty of human relations in a context of slavery, captivity, and other forms of confinement.

The day after arriving I found out that my Murcia-based friend Miguel Ángel Hernández Navarro (see previous blog) was awarded to be a finalist for the Premio Mandarache de Jóvenes Lectores. For this prestigious prize he is one of three finalists. Over 6000 students read the novels of the finalists and will elect the winner in 2020. It is remarkable that his novel El dolor de los demas (the pain of others) about a traumatic event in a community, was elected by young readers. For it is both upsetting, on an event that truly happened, autobiographical, and “postmodern”, sometimes verging on poetry. For me it is totally brilliant. Congratulations, Miguel! Let me add that Miguel is not only a brilliant writer, poet, and art historian, but he can also act, as the second photo from A Long History of Madness shows. This is to hint at his interest in deploying fiction to probe theoretical issues, such as, in the new novel, trauma. We call it “theoretical fiction”, and Miguel is a masterful practitioner of that genre. Here he played a guardia civil, inspecting driver’s licences.

Meanwhile, the shoot went on, and thanks to the commitments of all, it yielded beautiful material. I wish I could post photos of them all, but it must suffice to let Johan Høglund, a friend-at-fist-email, director of the Centre for Colonial and Postcolonial Studies “Concurrences”, one of the two centres that sponsored this shoot, stand for the academic colleagues who share my commitment to focusing academic interests on relevant issues for society today. The name of the Centre, Concurrences”, expresses the wish to substitute the problematic use of “post-” in the term “postcolonial”, which wrongly suggests that colonialism is over.

And Niklas Salmose, an active member of the other sponsoring institute, the Centre for Intermedial and Multimodal Studies (dir. Lars Elleström), represents the other important issue that motivates it all: the merging of making and analyzing, that goes under the somewhat problematic term “artistic research”. With this merging, of which Leonardo da Vinci is the pioneer, we seek to get deeper into understanding (contemporary) culture through the participation of the imagination. Niklas pursues this with great talent and dedication.

I must also mention and show a new “cinegenic” acting talent emerged from the large number of participating PhD candidates: Nafiseh S. Mousavi, who interrupted her diligent work on her PhD on migratory story-telling to incarnate a wonderful Zoraida, a character in the Captive’s Tale who, imprisoned by a father who takes surveillance for love, helped the latter to escape, and going along with him. Her acting allowed us to insinuate the fact that of the 43 million slaves today, 71% are women. We may well have to extend the planned three scenes into four because of her.

So far these photos are by Ebba Sund. The second photographer, Magdalena Engrup, also made beautiful photos. Here, I only show two crew members Magdalena depicted. First, the guy behind the camera, Jonas Valthersson, the cinematographer who came to this task after having for a long time concentrated on photography. His talent, intelligence and commitment, his eagerness to consult and act in togetherness, made the product into a great gift. He worked along with a second camera operator, Aya Sheikmoussa, who also made terrific shots.

Last but not least, we are lucky enough to have Isabelle de Mullenheim, with whom I have also worked for at least a decade, come from Paris to record, and later edit the sound. Knowing how fine the work is she makes, I was very keen to have her on board. With her combination of good cheer and professionalism, she is a joy to have around.

I must end this series of portraits, but not before I explain the reason for this choice of the portrait genre in this blog. During the same week, on May 9th, I had to miss, unfortunately, the unveiling of a group portrait by Dutch painter Rogier Willems, commissioned by the Faculty of Humanities and its dean, professor Fred Weerman. This is a portrait that honors five prominent women professors and thus does a little bit of catching up with the exclusivist decoration of the historic buildings with practically only men as honoraries. I feel greatly honored to be one of them (at the left). The genre of the portrait was on my mind during the day of the unveiling.


Within a day, the group portrait became the site of a demonstration, after a “me-too” scandal had broken out. The battle remains hard to win…

I do regret missing that party, but not to have sacrificed it to the progress in the video project and the joy of working with such wonderful people.

I hope to have more to tell about this project soon. But first things first. Now I must edit it all…


New exhibition: Contaminaciones: leer, imaginar, visualizar, in Murcia

Contaminations: reading, imagining, imaging. This exhibition in Murcia of my video work of “theoretical fictions” consists of fragments that make new meanings. The new bits&pieces have been edited to constitute new wholes, sequences that detach the fragments from the narrative films from which they were taken. The work has never been exhibition before in this way. The exhibition is curated by Miguel Á. Hernández Navarro, with whom I curated the traveling exhibition 2Move in 2007-08.

Miguel and I met in 2004, and have remained in regular contact ever since, collaborating on numerous projects. Thanks to our “intellectual friendship” as I like this constructive collegial collaboration, my book Tiempos Trastornados was made possible thanks to Miguel’s commitment to my work for his book series on visual culture, and another exhibition of my documentary work, La última frontera in the Fundación José García Jiménez, in 2011, was also initiated and curated by Miguel.
The gallery space of the Centro Parrága in Murcia will be filled with fourteen screens, each composed of fragments from the film work, and twenty-five photographs. A catalogue will be published soon after the opening on May 2. The exhibition will run until June 9. For more information see this page published by the Centro. Here you see Miguel putting the final touches to the exhibition in Centro Párraga.

Murcia is the centre of my engagement with Spain, which goes deep. My current video project (left column of the page Film Projects) is engaging the historical masterpiece Don Quijote, jewel of Spanish literature. I entered the Spanish context in Murcia, and keep returning there. The first episode of the new project will be shot there, on April 28th. Here you see that lead actor, Mathieu Montanier, playing Homais in Madame B, in the scene based on the alternative ending Flaubert had written but could not get published - not surprising, since it is an utterly postmodern piece.

The first episode of the new project, titled “reading”, will serve as a “moving” poster for the Contaminaciones exhibition: suggesting the importance of reading, as well as announcing the future of my work, and its bond with Spanish culture. Right after the installation and opening of the exhibition, and the filming and editing of the first scene of Don Quixote: tristes figuras and its display as a poster, the actor Mathieu Montanier, main role in this new project, and I will go to Växjö in Sweden, where we will shoot and draft-dit the final three scenes of the project.


London, and more

London in March, the beginning of Spring, was the right time to celebrate the new exhibition at the Lethaby Gallery of the University of the Arts London. I hope to soon find the time to post the exhibition with images on the page devoted to that work. The curators Michaela Giebelhausen and Alison Green, and the gallery director Kate Pelen did a brilliant job.

left: Alison, right: Michaela

The show officially opened on March 13, and the day after we held three workshops and two lectures. My greatest joy was to be working with Michelle again. I realized how much I have missed working with her. We are plotting and planning for a new collaborative exhibition project.

The week after, I returned to London to give two lectures which had been planned last year but fell through due a strike. One was a conversation with the host at King’s College, Luis Rebaza Soraluz, on Doris Salcedo’s work Palempsesto; the other one, the next day, on political art, at University College London, hosted by Maria Chiara d’Argenio. I used the opportunity to have a first session with Michelle about both our new projects, to see how we can bring those together.

And right after returning on Friday afternoon, I attended the opening of five exhibitions at the Haags Gemeente Museum. One of these was devoted to the art of Maria van Kesteren. Another was on Vladyslaw Strzeminski and Katarzyna Cobro, heros of the Polish avant-garde. Both these were exquisitely installed. The great bonus was the profound pleasure to link up again with Jaroslaw Suchan, director of the Museum Sztuki in Lodz, where we had the great honor of premiering the Madame B exhibition.

But the week was not over yet. Sunday afternoon I held the lecture on Salcedo’s Palimpsesto again, this time in the framework of an exhibition of Colombian art, organized by Framer Framed and What Art Can Do, two organizations in Amsterdam devoted to contemporary art with special attention to its political potential.
For those interested in the lecture, I tried to post it here as pdf with the powerpoint images, but the file, with the images, is too large. If you write to my email address mieke.g.bal@gmail.com I will send it to you. I here post the lecture without the images.
salcedolecturenoimages.pdf


new beginnings

It seems to never stop. In January I gave a lecture on, and screened Reasonable Doubt at the Rietveld Academy in Amsterdam. Slowly, it seems that the Dutch art world is discovering what I do. It was a lovely event.
Also in January, I gave a lecture “La agencia de la imagen: ¿Activa, activista, o activando?” in the Seminar “Espectros de otros 68: Genealogías estéticas y activismo global”, Universitat de Barcelona, 10 January 2019, an earlier version fo Which I gave as the as inaugiral lecture for the Escuela Doctoral de otoño, Sevilla, 7 November 2018.
In February I spent a wonderful week as a Visiting Professor at the Centre for Intermedial and Multimodal Studies (IMS), and the Centre Concurrences for colonial and postcolonial studies, Linnaeus University, Växjö, Sweden. The seminars and workshops came with the preparation of a film shoot for my new project, described on the left-hand column of this page Film Projects.
The connection with these two research centres at the Linnaeus University fulfill my wish to seriously integrate (academic) research and (artistic) research - two domains that are currently trying hard to connect. My film work is entirely based on that integration. I am jubilant about the connection - intellectual and artistic - with the Linnaeus University. Early may we will shoot there the final three scenes of the Don Quijote project, and right before that, the first scene in Murcia, Spain, at the occasion of the opening of my solo show “contaminaciones”. More on that later.
The lecture “Advocacy of shock: animating the museum, slowing down the visitors”, about rejuvenating curatorial practice, based on the exhibition in Oslo, Emma & Edvard: Love in the Time of Loneliness, I delivered for a very engaged audience at the University of Utrecht, MA Arts and Society, RMA Media, Art and Performance Studies, 30 January 2019.
The short film “Sissi in Analysis”, which Michelle and I edited especially for the exhibition Saying It at the Freud Museum London, was screened at a special occasion, at “Freud’s Lost Lecture”, presented by CREAM Screens, Regent Street Cinema, on 27th February 2019.
Just yesterday I did something strange: I sat for a photograph in an artist book.The artist, Carla van de Putterlaar, is making a book of photographs of women in the artworld, dressed extravagantly.


Carla’s website shows an astonishing array of women, dresses, and jewelry. She needs financing for the publication. See her website for a range of portraits.

I am now heading to the conference “Sublime Imperfections: Mistakes, Cracks, Noise Today” organized by my colleague and friend Ellen Rutten.

Right after that I am going to London to participate in the workshop day to celebrate our exhibition Madame B: Explorations in Emotional Capitalism” at the Lethaby Gallery of Central St Martins.

Click on the image for event info:


In Conversation with Sarah Lookofsky

Here I discuss my writing devoted to Nalini Malani’s Shadow Plays, multi-dimensional artworks that draw from different cinematic technologies and disparate repositories of images.


another semester flew by

The period from January through the Summer of 2018 was turbulent. While I tried to develop a new video project and a collaborative grant application, most of my time was taken by lectures, essay-writing, and installing small exhibitions. Both Precarity, a short 5-screen version of Madame B, and Reasonable Doubt were exhibited several times. Mostly, this went together with lectures, seminars, and other academic activities. I enjoyed the combination very much.
I am currently completely taken up by various speaking and writing engagements. These include writing up after conferences of last semester, and preparing new ones. But I promise, I will have news again by next Spring (I hope).

Also, during this semester I received the announcement that in 2019 I will be awarded two Honorary Doctorates. Only weeks after being given the honorary doctorate in Philosophy at the University of Helsinki, I received an honorary doctorate in the University of the Arts London; my fourth honorary degree. It seems especially significant that these two fields, apparently (only) so far apart, both recognize my work in their fields; or rather, in the integration in what is today called “artistic research”. This is an outpost - again, only apparently - of my ongoing advocacy of interdisciplinarity on which the research institute ASCA I co-founded has been based, now almost 25 years ago.


Mariana Madena, Radical Busts

In October 2017 During that long, busy semester, I went to Vienna to celebrate the book Anna Babka had edited around Marianne Maderna’s brilliant project Radical Busts. Today, six months later, I received the link to a beautiful video she edited based on the event. It is only ten minutes long, but it covers an entire brilliant project of recuperating the women omitted from history. Making gold-covered busts, ina contemporary aesthetic style, of women and place them nxt to the prestigious guys in the University’s courtyard, is an amazingly subversive act - a truly performative artwork. Thank you, Marianne!

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