HOCH DIE LAPPEN [RAISE THE RAGS]

Doppeleröffnung / Double Opening: 8. Juni 2022  / June 8, 2022

Vorwärts-Haus, 17:00

→ Führung mit SKGAL, Michaela Maier (Geschäftsführung VGA) und Georg Spitaler (Archiv VGA) / tour in German with SKGAL, Michaela Maier (VGA management) und Georg Spitaler (VGA archive)

Fluc, 19:00

→ Führung mit SKGAL / tour in German with SKGAL
→ DJ Set: Jaxyn Randal @jaxyn_online

Für das zweiteilige Projekt HOCH DIE LAPPEN entwickelt das Künstlerinnenkollektiv Sekretariat für Geister, Archivpolitiken und Lücken (SKGAL) die Installation UNZUFRIEDENE für die Fassade und den Vorraum des Vorwärts-Hauses sowie die Plakatserie WER PUTZT DIE STADT? für den Außenraum des Fluc.

Ausgangspunkt des Projekts sind Fotos aus dem Bildarchiv der Arbeiter-Zeitung, einem der umfangreichsten Bildarchive Österreichs. Unter den etwa 600.000 Fotos finden sich nur wenige, die Pflege-, Sorge- und Putzarbeit zeigen – eine sprechende Lücke.

In der Auswahl und Installation der Fotografien aus den 1950er bis 1970er Jahren setzt sich HOCH DIE LAPPEN mit dem Missverhältnis von Sauberkeit und Schmutz und den damit verbundenen Arbeiten auseinander, die sich durch die Stadt und das kollektive Leben ziehen. Denn die Arbeit wird erst sichtbar, wenn sie nicht gemacht wird. Wenn Straßen, Wohnungen, Kunsträume, Schulen und Parks schmutzig bleiben. Gleichzeitig bezieht sich das Projekt auf die von 1923 bis 1934 im Vorwärts-Verlag herausgegebene feministische Zeitschrift Die Unzufriedene und stellt sich vor, wie sich die Unzufriedenen – die Pfleger*innen, Reinigungskräfte, Kinder- und Altenbetreuer*innen oder die, die sich um den Haushalt kümmern – organisieren.

SKGAL macht die Geschichte von Arbeiten sichtbar, die zwar gesellschaftlich unentbehrlich sind, aber meistens in der Verborgenheit der Nacht und des Morgengrauens – im Unsichtbaren – ausgeführt werden. Diese Arbeiten werden heute wie damals vor allem von weiblichen* Arbeitskräften gemacht, die seit den 1960er Jahren zunehmend migrantische Lebensgeschichten haben. Heute setzen sich historisch gewachsene sexistische und rassistische Zuweisungen in Bezug auf Reinigungsarbeiten in der professionalisierten Reinigungsindustrie fort. Es wird immer noch als selbstverständlich angesehen, dass unsere Umgebung sauber gehalten wird, während die Arbeit dahinter unbeachtet bleibt. Kaum jemanden kümmert es, wie es den Personen geht, die putzen oder wie sie entlohnt werden. Dabei ist ihre Arbeit in Zeiten der immer noch anhaltenden COVID-19 Pandemie umso wichtiger. 

I

The two-part project HOCH DIE LAPPEN [RAISE THE RAGS] by the artist collective Secretariat for Ghosts, Archival Politics and Gaps (SKGAL) consists of the installation UNZUFRIEDENE [DISCONTENTED] for the façade and vestibule of the Vorwärts-Haus and the poster series WER PUTZT DIE STADT? [WHO CLEANS THE CITY?] for the outdoor space of Fluc.

The point of departure for the project is the photographs from the image archives of the Arbeiter-Zeitung (AZ) [Workers’ Newspaper], one of the most extensive image archives in Austria. Among its approximately 600,000 photographs, there are only a few that show nursing, cleaning, and care labor – a telling gap.

In the selection and installation of photographs from the 1950s to the 1980s, HOCH DIE LAPPEN deals with the disproportion of cleanliness and dirt, and the labor incurred therein, flowing through the city and through collective life. The labor becomes visible only when it is not performed; when streets, homes, schools, parks and art spaces remain dirty. Concurrently, the project refers to the feminist magazine Die Unzufriedene (The Discontented), published by Vorwärts-Verlag from 1923 to 1934, and imagines how the discontented – the caregivers, cleaners, caretakers of children and the elderly, or those who take care of households – organize themselves.

SKGAL makes visible a history of labor that, although socially indispensable, is mostly performed invisibly, in the seclusion of the night and the dawn. Today, as was the case then, this labor is predominantly being performed by womxn workers of whom more and more have migrant backgrounds. Historically-grown sexist and racist attributions with regard to cleaning labor continue to pervade the professionalized cleaning industry. It is still taken for granted that our environment is kept clean, while the labor behind it goes unnoticed. Hardly anyone cares about how the people who do the cleaning are doing themselves or how much they are being paid. Yet their labor is all the more important in times of the still ongoing COVID-19 pandemic.

Rahmenprogramm / Parallel program: 16. Juni 2022 / June 16, 2022

Fluc, 19:00

Feminist Dwellings, Gepräch in Englisch zwischen SKGAL und Andrea Ancira (Forscherin und Herausgeberin @tumbalacasaedciones)

Andrea Ancira ist Autorin, Herausgeberin und Forscherin, deren Praxis an der Schnittstelle von Kunst, Politik und Experiment als Ort des (Ver-)Lernens angesiedelt ist. Seit 2017 ist sie Mitbegründerin der feministischen Plattform tumbalacasa  @tumbalacasaedciones.

Feminist Dwellings, Conversation in English between SKGAL and Andrea Ancira (writer, editor and researcher @tumbalacasaedciones)

SKGAL and Andrea Ancira will explore sustainable and/or unsustainable infrastructures behind their practices. It will address how the (re)productive chains of their work come into being, how they imagine or would like them to change, the responsibilities that come with the public dimension of their work and how to take care of this common/public space.

Andrea Ancira is a writer, editor, and researcher whose practice is situated at the crossroads of art, politics and experimentation, as a space of (un)learning. Since 2017, she has been co-creator of the feminist editorial platform tumbalacasa  @tumbalacasaedciones.

Finissage: 23. Juni 2022 / June 23, 2022

Vorwärts-Haus, 17:00

→ Führung mit SKGAL und Maria Steiner (Johanna Dohnal Archiv) / Tour in German with SKGAL and Maria Steiner (Johanna Dohnal Archive)

IN DER KUBATUR DES KABINETTS – Der Kunstsalon im Fluc, Praterstern 5, 1020 Wien
9. 06 – 30. 06 2022

Vorwärts-Haus, Rechte Wienzeile 97, 1050 Wien 
9. 06 – 23. 06 2022 

Öffnungszeiten Vorwärts-Haus / Opening times:

Dienstag bis Donnerstag: 10:00–16:00 (bitte anläuten) / Tuesday to Thursday 10:00 – 16:00 (please ring the doorbell)

Oder nach Vereinbarung / Or by appointment: sekretariatgal@gmail.com, @skgal__

Das Projekt ist eine Kooperation zwischen SKGAL, In der Kubatur des Kabinetts – Der Kunstsalon im Fluc und dem Verein für Geschichte der ArbeiterInnenbewegung (VGA).

The project is a cooperation between SKGAL, In der Kubatur des Kabinetts – Der Kunstsalon im Fluc and the Verein für Geschichte der ArbeiterInnenbewegung (VGA).   

Mit der freundlichen Unterstützung von BMKOES und dem Land Niederösterreich I With the kind support of the BMKOES and the Province of Lower Austria.

07. June 2022 by admin
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Ausstellung I Exhibition AGGRESSIVE PEACE

14.5.2022 – 8.6.2022
Memphis Kunstraum (Untere Donaulände 12, 4020 Linz)

Eröffnung I Opening 14.5.2022 17 Uhr

Elke Auer & Yorgia Karidi
Selma Doborac
Sekretariat für Geister, Archivpolitiken und Lücken (SKGAL)
in Zusammenarbeit mit I in collaboration with
Ego Ahaiwe Sowinski, Lina Dokuzović, Margit Hauser, Sassy Splitz
In Kooperation mit I In cooperation with STICHWORT. Archiv der Frauen- und Lesbenbewegung

Jahrzehntelang war ein pazifistischer Grundkonsens die unantastbare Basis für Sicherheit, Stabilität und Wohlstand in westlichen Gesellschaften. Was ist davon geblieben?‍

Ausgehend von dieser Frage nähern sich fünf Künstlerinnen der fragilen Fiktion des Friedens. Der Forderungskatalog der internationalen Friedensbewegung dient dabei ebenso als Referenzraum, wie die antimilitaristischen Aktionen der Frauen- und Antikriegsbewegung der 1970er bis ´90er Jahre, Aspekte der binären Rollenzuschreibung in Konfliktsituationen, was es heisst, als Frau „nicht – friedvoll“ zu sein, der Einfluss von Bildsprache und Propaganda und die immerwährende Frage, in welcher Welt wir eigentlich leben wollen. Die unterschiedlichen künstlerischen Zugänge ergänzen sich durch Gegenüberstellung von Archivmaterial und aktuellen Perspektiven und über allem schwebt die Frage nach der individuellen Handlungsfähigkeit. Einmal mehr wird deutlich, dass es Frauen* sind, die in Auseinandersetzungen als erste zum Schweigen gebracht werden sollen, einmal mehr zeigt sich, dass es gerade Frauen*stimmen sind, die immer wieder aufs Neue die Notwendigkeit von Widerstand gegen autoritäre Strukturen, Krieg und Gewalt einfordern.

I

For decades, a fundamental pacifist consensus was the inviolable basis for security, stability and prosperity in Western societies. What has remained of it?

‍Starting from this question, five artists approach the fragile fiction of peace. The list of demands of the International Peace Movement serve as a reference space, as do the anti-militarist actions of feminist and anti-war movements of the 1970s to ‚90s; aspects of binary gender role attributions in conflict situations; what it means to be a „un-peaceful“ woman; the influence of visual language and propaganda; and the perpetual question of in what kind of world we actually want to live in. The different artistic approaches complement each other through juxtaposing archival materials and current perspectives. Hovering over everything is the question of individual agency. Once again it becomes clear that it is womxn who are the first to be silenced in conflicts; once again it shows that it is above all voices of womxn who call, time and again, for the need of resistance against authoritarian structures, war and violence. 

13. May 2022 by admin
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TEXT (english): Dear Sibila: We are Freelance Feminist Instituting from our Homes, Aren’t You?, ONCURATING, 2021

What does it mean […] to curate an exhibition or run feminist art organizations that attempt to challenge and undermine dominant structures, modes of production, and forms of art and knowledge? What acts of self-exploitation may be involved? […] How can creative dark matter[1] and knowledge be made visible without playing into cognitive capitalism’s hands?[2]

These were some of the questions that we—as part of the curatorial team together with art educator and artist Andrea Haas and art historian and curator Véronique Boilard—raised in the exhibition booklet DARK ENERGY. Feminist Organizing, Working Collectively (2019); questions that were tackled by the different channels of the project: a pre-gathering, an exhibition, an accompanying programme, a workshop, and a published translation of an interview.[3]

For more of the article, see https://on-curating.org/issue-52-reader/dear-sibila-we-are-freelance-feminist-instituting-from-our-homes-arent-you.html

“Instituting Feminism” (Issue 52 / November 2021, eds. Dorothee Richter, Helena Reckitt) reflects on the efforts of curators, artists, and community organisers to move beyond identifying inequities in the cultural industries to devising tools that can foster structural change. Exploring how curators have developed projects informed by feminist politics and aesthetics, contributors also look beyond representational formats to highlight the infrastructures and co-dependencies upon which cultural production relies. Envisaging feminist instituting as an active, relational practice, articles discuss curatorial, artistic, and organisational initiatives that seek to forge alliances with struggles for ecological and social transformation.


Romane Bernard, Nanne Buurman, Sofia Cecere, Ève Chabanon, Emelie Chhangur, Anna Colin, Angela Dimitrakaki, Berit Fischer, Jennifer Fisher, Thelma Gaster, Nandita Ghandi, Janna Graham, Althea Greenan, Jeanne Guillou, Husseina Hamza, Merete Ipsen, Joyce Jacca, Tracey Jarrett, Daria Khan, Sharlene Khan, La Sala (Alba Colomo and Lucy Lopez), Barbara Lefebvre, Séraphine Le Maire, Oksana Luyssen,Rosa Martínez, Alex Martinis Roe, Erin McCutcheon, Rose Moreau, Camille Morineau, Adele Patrick, Madeleine Planeix-Crocker, Jeanne Porte, Laurence Rassel, Helena Reckitt, Maura Reilly, Dorothee Richter, Secretariat for Ghosts, Archival Politics and Gaps (SKGAL), Nizan Shaked, Cornelia Sollfrank, Ann Sutherland Harris, The Two Talking Yonis, Miska Tokarek, Elena Zaytseva, Catherine de Zegher.

13. November 2021 by admin
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EVENT: Emergency Ectoplasmic Exodus, Rejected Material (Take 4), June 8, The Kitchen

Emergency Ectoplasmic Exodus, Rejected Material (Take 4)
SAT, JUNE 8, 2019
3-6pm

The Kitchen, 512 West 19th Street, 10011 New York

CONTRIBUTORS: Todd Ayoung, Stephanie Deumer, Ectoplasmic Materialism, Gregory Sholette and Sekretariat für Geister, Archivpolitiken und Lücken.

In the 1989 film “Ghostbusters II” a river of pink slime runs through the sewers beneath First Avenue. It is composed of the negative human emotions of New York, the residual waste products and dark matter of everyday life, worries, debts and work. The slime is ectoplasm, an emotionally-reactive substance that fuels the manifestation of specters.

This event aims to explore the potentials and pitfalls of this dark matter and ectoplasm, materials that make up the bulk of artistic activities but exist in the shadows of and haunt the formal art world, and its history. The event will therefore be looking at approaches towards invisibilized histories, potential connectivities and solidarities within the broader social factory enabled by these notions, and how they might be used as a collective artistic material. When the slime of art history and production has been pushed out of sight beneath the social factory floor, what spectral traces can still be seen or dug up? What happens when these ghosts have been exposed?

Contributions include a spectral appearance by the theorist Gregory Sholette discussing, ten years after publication, his book “Dark Matter”, which still holds an important position as an analytical tool, not only for highlighting invisible parts of the art world, but also for pointing out that they are crucial to its very reproduction. Secretariat for Ghosts, Archival Politics and Gaps will present their practice, that involves uncovering historical gaps and looking at dark matter from a feminist perspective, most recently in the exhibition “Dark Energy. Feminist Organizing, Working Collectively“. The artist Todd Ayoung will offer concrete examples of both his personal and collective artistic and activist practice, while exploring the relation between the “blackout” and dark matter. Stephanie Deumer will present her recent video “Spooky Action at a Distance”, which traces the objectification of women through their disembodiment and discusses and how past norms are literally amplified through new technologies, and the collective Ectoplasmic Materialism will offer some thoughts on the crossovers between the spiritualism movement of the early 1900s with women’s empowerment and conceptual art practices from a feminist-marxist perspective.

Emergency Ectoplasmic Exodus, Rejected Material (Take 4)
is part of Whitney Museum of American Art Independent Study Programme and will be hosted at The Kitchen.

31. May 2019 by admin
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Streaming HAUNTINGS IN THE ARCHIVE! / SPUKEN IM ARCHIV! / ¡HECHIZOS EN EL ARCHIVO!

28. March 2019 by admin
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AUSSTELLUNG: DARK ENERGY. FEMINIST ORGANIZING, WORKING COLLECTIVELY, March 28-May 25, xE

Ego Ahaiwe Sowinski, Aida Wilde, Posters inspiriert von Plakaten der I posters inspired by posters from the Women’s Art Library, Goldsmiths, University of London, Installationsansicht I installation view Empowered PrintWorks, 2015), Foto I photo: Will Cenci

DUNKLE ENERGIE. Feminisch organisieren, kollektiv arbeiten I DARK ENERGY. Feminist Organizing, Working Collectively

Eröffnung I opening: 28.03.2019, 7.00 p.m.
Ausstellungsdauer I exhibition duration: 29.03.2019 – 25.05.2019
Ort I Venue: xE – Ausstellungsraum der Akademie der bildenden Künste Wien, Eschenbachgasse 11, Ecke Getreidemarkt, 1010 Wien

AUSSTELLUNGSBOOKLET I EXHIBITION BOOKLET

Wie das All besteht die Welt der kulturellen Produktion zum größten Teil aus dunkler Energie und Materie.[1] Diese unsichtbaren Massen und Bewegungen bilden sich aus spontanen, amateurhaften, autonomen, aktivistischen, selbst-organisierten kollektiven Praktiken, die für feministische Kulturarbeit eine wesentliche Rolle spielen. Dabei handelt es sich auch um die un- oder unterbezahlte Arbeit jener, die sich bewusst der Sichtbarkeit entziehen oder keine andere Wahl haben, als unsichtbar zu bleiben. Es ist die unsichtbare dunkle Materie, die den kulturellen Bereich am Laufen hält!

DUNKLE ENERGIE. Feministisch organisieren, kollektiv arbeiten setzt sich mit feministischen Formen der Organisation und Wissensproduktion im Kulturbereich auseinander. Sie rückt die visuellen, materiellen und performativen Eigenschaften feministischer Zusammenarbeit in den Vordergrund. Die Ausstellung geht der Frage nach, wie diese Organisations- und Produktionsweisen von ihren ökonomischen Bedingungen beeinflusst werden und was in diesem Zusammenhang politisch zu wanken beginnt. Welche Formen kreativer dunkler Materie und produktiven dunklen Wissens können wann, wo und wie praktiziert, produziert und verbreitet werden?

Die Ausstellung vereint ein breites Spektrum von Versuchen, die sich diesen Fragen in unterschiedlichen Kontexten und zeitlichen Zusammenhängen widmen. Durch die Arbeit der involvierten Künstlerinnen, Archivarinnen, Designerinnen und Aktivistinnen, bietet die Ausstellung aus feministischen, queeren und dekolonialisierenden Perspektiven Einsichten in die Kräfte, die mit den Kunstinstitutionen und -organisationen und innerhalb ihrer Strukturen kollidieren.

I

Like the universe, the realm of cultural production consists mostly of dark energy and matter.[1] These invisible masses and movements form from spontaneous, amateurish, autonomous, activist, self-organized, collective practices that play an important part for feminist cultural work. This is also a matter of the unpaid or underpaid labor of those who deliberately shun visibility or have no choice but to remain invisible. It is the invisible dark matter that keeps the cultural sector going!

DARK ENERGY. Feminist Organizing, Working Collectively explores feminist forms of organization and knowledge production in the cultural sector. It gives center stage to the visual, material and performative characteristics of feminist collaborative practices. It asks how these forms of organization and production are influenced by their general economic setup and what begins to sway politically in this context. Which forms of creative dark matter and knowledge can be practiced, produced, and disseminated when, where, and how?

The exhibition brings together a diverse range of efforts that tackle these questions in different contexts and times. Through the work of the participating artists, archivists, designers, and activists the exhibition provides insights from feminist, queer, decolonizing perspectives into the forces that collide with(in) art institutions and organizations.

Kuratorinnen I curators: Véronique Boilard, Andrea Haas, Nina Höchtl, Julia Wieger

Teilnehmer_innen I participants: Felicity Allen; Anti*Colonial Fantasies – Imayna Caceres, Sunanda Mesquita, Sophie Utikal; Chantal DuPont; ff. Feministisches Fundbüro; Martha Fleming und Lyne Lapointe; Vera Frenkel; Anne Golden; Althea Greenan; Minna Henriksson; Belinda Kazeem-Kaminski; Annette Krauss and the shifting team at the Casco Art Institute; lamathilde; Tanya Mars; Diane Poitras; Anne-Marie Proulx; Martha Rosler; Ego Ahaiwe Sowinski; Sekretariat für Geister, Archivpolitiken und Lücken; Vidéographe; Joyce Wieland; Aida Wilde


[1]  Gregory Sholette, Dark Matter. Art and Politics in the Age of Enterprise Culture (London: Pluto Press, 2011).

15. March 2019 by admin
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GATHERING: ARCHIVAL PRACTICES, IMAGINATIONS AND FUTURE HISTORIES, Dec 7, ]a[ University Library

ARCHIVAL PRACTICES, IMAGINATIONS AND FUTURE HISTORIES
A gathering set in motion by the Secretariat of Ghosts, Archival Politics and Gaps

Ego Ahaiwe Sowinski, Kathy Carbone and Roshini Kempadoo

Friday, December 7, 2–7 PM

Academy of Fine Arts Vienna, University Library, Augasse 2–6, 1090 Vienna

Over the past two decades, the archive has emerged as a crucial site of feminist knowledge production, activism and visual art practices. Feminist archives, special collections and informal repositories have been used to document art practices and activist movements. Through such archives previously obscured forms of knowledge and practice can become visible.

This gathering assembles a group of artists, archivists and scholars committed to finding disruptive and engendering modes of engaging with archives. They will discuss the entangled, queer and messy ways we create meaning and images today by looking to the past and imagining the yet-to-come.

Ego Ahaiwe Sowinski (independent artist/designer, archivist and organizer), Kathy Carbone (scholar and archivist, University of California Los Angeles) and Roshini Kempadoo (photographer, media artist and scholar, University of Westminster, London) will stage presentations and conversations that traverse transatlantic historical contexts. They will explore a variety of archival materials from the Women’s Art Library, the Women of Colour Index, the California Institute of the Arts, The Feminist Art Program Materials, the National Archives of Trinidad and Tobago (1920s–1960s) and contemporary artworks from the diaspora and the Caribbean.

 

The gathering will take place in English and is part of the program accompanying the exhibition DARK ENERGY. feminist organizing, working collectively opening March 28, 2019 at xhibit, Eschenbachgasse 11 at the corner of Getreidemarkt, 1010 Vienna.

16. November 2018 by admin
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DEPARTMENT OF ULTIMOLOGY: WAS WO/WHAT WHERE, steirischerherbst’18 Volksfronten


Nach einem Auszug von /adapted from a page from Maria Strnad, Österreichische Trachtendirndl (Traditional Austrian Dirndls), (Vienna: Sogra Modeverlag, 1950), Courtesy Department of Ultimology

 

Was Wo / What Where (2018)
Forschungsprojekt und Installation / Research project and installation

In Auftrag gegeben von / Commissioned by steirischer herbst’18 Volksfronten

Produziert von / Produced by steirischer herbst and Grazer Kunstverein. Coordinated by Fiona Hallinan, Nina Höchtl, Kate Strain, und / and Julia Wieger

21.9.–17.11.
Grazer Kunstverein
Palais Trauttmansdorff
Burggasse 4
8010 Graz

19. September 2018 by admin
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SCREENING and Q&A: SPUKEN IM ARCHIV! / ¡HECHIZOS EN EL ARCHIVO!, MUAC

12. August 2018 by admin
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Screening and Q&A with Julia Wieger: HAUNTINGS IN THE ARCHIVE!

HAUNTINGS IN THE ARCHIVE!, Screening and Q&A with Julia Wieger

AT/MX, 2017, 72 min

A film by
Nina Höchtl and Julia Wieger
Secretariat for Ghosts, Archival Politics and Gaps

Q&A with Julia Wieger


HAUNTINGS IN THE ARCHIVE!
reflects on the history/ies of the Austrian Association of Women Artists (the VBKÖ) through its archive of letters, photos, catalogues and administrative documents. The Secretariat for Ghosts, Archival Politics and Gaps assembles the material to conjure up the spectres of the multiple lives of the VBKÖ that was founded more than a hundred years ago. In the film, the ghosts of National Socialism encounter colonial fantasies and share the scene with old and new feminist agencies.

 

hauntings_2

Nina Höchtl and Julia Wieger / Secretariat for Ghosts, Archival Politics and Gaps, SPUKEN IM ARCHIV! (Hauntings in the Archive!), 2017, film still. Camera: Liesa Kovacs, Nick Prokesch

http://izk.tugraz.at/semesters/summer-semester-2018/screening-hauntings-in-the-archive/

01. May 2018 by admin
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