In Their Own Words

In Their Own Words - ITOW
Une histoire orale des arts visuels en perspective féministe


The conference focuses on the rich intersections between artistic practices and experimental art-historical writing exploring the politics of voice and inaudible narratives. Scholars and artists will trace the emergence of intersectional feminist approaches to the notion of resonance, dialogic writing, voicing silenced history, decolonial narratives in oral history, and militant dimensions of sound creation.


PROGRAMME:

9:00 am – 9:00 am                Welcome Coffee
9:00 am – 9:50 am                Introduction 
                                              Julie ENCKELL et/and Federica MARTINI, co-responsables du projet de recherche)

9:50 am -10:20 am                Marysia LEWANDOWSKA, Artist - Voicing the Archive
10:20 am -10:50 am              Francesco VENTRELLA, School of Media, Arts and Humanities  - University of Sussex - Of Queer Resonance

                                              Break
 
11:30 am –12:00                   Giovanna Zapperi, Université de Genève
                                              Les parleuses : conversations sur l’art dans l’Italie des années 1960-1970

12h00 -12h20 pm                  Clovis Maillet, HEAD – Genève
                                              Deux prophétesses auditionnaires face à des savants : Hildegarde de Bingen et Elise Müller
                                              Discussion / Round Table

13:00 - 14:30 pm                  Lunch


14:30 pm - 14:50 pm            Olivia Alexandra FAHMY, Curator & Art historian
                                             "Interview as a tool to fight multiple systems of exclusions? The journey of "Women and Art
                                              in Egypt", 1989, Nazli Madkour."

14:50 pm - 15:10 pm            Julie BEAUZAC, autrice du podcast Vénus s'épilait-elle la chatte? -Histoire de l'art et militantisme : pourquoi une création sonore ?

15:10 pm -15h30 pm            Sara BISSEN, Digital Artist - ANOL1: the first encounter
                                             Discussion / Round Table

16:00 pm                               Closing remarks
 

Speakers: 

MARYSIA LEWANDOWSKA
Polish-born, London based artist Marysia Lewandowska has been exploring the public function of archives, museums and exhibitions. Her projects include the Women’s Audio Archive (2009); Undoing Property? Sternberg Press (2013); It’s About Time at the the V&A Pavilion 58th Venice Biennale (2019). Enthusiasts Archive (2019) Museum of Modern Art, Warsaw. Her work has been presented by Tate Modern, Moderna Museet, Muzeum Sztuki, The New Museum, Whitechapel Gallery. Her film Dismantling the Faculty of Law was included in the11th GIBCA Biennial in Gothenburg. In 2021/22 she was the inaugural Artist-in-Residence at the Cosmic House in London. Her new project Welcome featured as part of El Lissitzky: Self-portrait as the Kestner Gesellschaft in Hannover. Since 2020 she has been collaborating with Staatliche Kunsthalle Baden Baden on Institutional Healing project with its first iteration titled Recording_1989 exploring the institution and the role of the artist’s voice. She is co-editor with Jakub Gawkowski of Słów Brak, a collection of texts by Polish art critic Ewa Mikina published in 2023 by MSL and Galeria Miejska Arsenal. She served as Professor of Art in the Public Realm at Konstfack, Stockholm (2003-2013) and Chinese University in Hong Kong (2014-2016). She is a member of Tate Modern Advisory Group. 

FRANCESCO VENTRELLA
Francesco Ventrella is Senior Lecturer in Art History at the University of Sussex, where he is  also affiliated with the Centre for the Study of Sexual Dissidence. Francesco has written on the relationship between art writing, embodiment, gender and sexuality, and his research has been published in Art History, Studi Culturali, British Art Studies and European Journal of Women’s Studies. He has edited a special issue of Parallax on ‘Enthusiasm’ (2011) ; co-edited with Meaghan Clarke a special issue of Visual Resources on the topic of Women and the Culture of Connoisseurship (2017), and with Giovanna Zapperi he has published the volume Feminism and Art in Postwar Italy : The Legacy of Carla Lonzi (Bloomsbury, 2020). In 2018 Francesco also curated the exhibition ‘What Section 28 Did to Me’ at the University of Sussex. A former editor of Parallax (2008-2011), he is now a member of the editorial board of the journal Art History.

GIOVANNA ZAPPERI
Giovanna Zapperi est professeure ordinaire d’histoire de l’art contemporain l’Université de Genève. Elle est l’auteure de L’artiste est une femme. La modernité de Marcel Duchamp (Paris 2012), Lo schermo del potere. Femminismo e regime della visibilità (avec Alessandra Gribaldo, Verona 2012) et de Carla Lonzi. Un art de la vie (Dijon 2018). Elle a dirigé l’ouvrage L’avenir du passé. Art contemporain et politiques de l’archive (Rennes 2016) et, avec Francesco Ventrella, Art and Feminism in Postwar Italy. The Legacy of Carla Lonzi (Londres 2021). En 2019-2020, avec Nataša Petrešin-Bachelez, elle a assuré le commissariat de l’exposition Defiant Muses. Delphine Seyrig and Feminist Video Collectives in France, 1970s-1980s au Museo Reina Sofia à Madrid et au LaM, Lille Métropole (puis Kunsthalle Vienne et Württenbergischer Kunstverein de Stuttgart en 2022-2023).

CLOVIS MAILLET
Spécialiste des questions de genre et d’histoire des transidentités, titulaire d’une thèse de doctorat à l’EHESS sur la parenté médiévale sous la direction de Jean-Claude Schmitt (2010), il a publié La parenté hagiographique (Brepols, 2014), Les genres fluides (Arkhê, 2020), et il prépare un ouvrage sur l’histoire trans (Perrin, à paraître en 2025) et un second sur les écologies trans (avec Emma Bigé pour LLL à paraître en 2025). Il a dirigé plusieurs numéros de revues scientifiques (Regards homoérotiques, Parenté en images dans Images re-vues, Fabriquer le Genre dans Techniques & Culture) et réalisé des entretiens avec des artistes (Nicki Green, François Chaignaud pour AOC). Il amené des recherches sur les usages de l’histoire dans l’art contemporain (Witch TV, video, 2021, Un Moyen âge émancipateur, avec Thomas Golsenne, Paris, 2021). Il a enseigné à l’Université Paris-Cité, à l’ESAD TALM Angers, à l’UCO, et est, depuis 2023, chargé de cours HES à la Haute Ecole d’art et de Design de Genève et co-responsable du Work.Master. Avec Louise Hervé, il pratique la performance, l’installation et réalise des films depuis de début des années 2000, et a publié trois livres Attraction Etrange, JRP Ringier, 2013, Spectacles sans objet, Edition P/Spectacles Without Objects, Kunsthal Aarhus, 2015, L’Iguane, Thalie Art Foundation, 2018. Il a également participé avec le collectif Foulles au spectacle Medieval Crack (Belluard Bollwerk à Fribourg, Le spot à Sion, ADC à Genève).

OLIVIA ALEXANDRA FAHMY
Olivia Alexandra Fahmy (*1990) is an art historian and curator. She holds a Master’s degree in art history and history from the University of Lausanne and a Master’s degree in Contemporary Art Theory with a focus on critical approaches from Goldsmiths College University of London. She is the author of texts published in scientific catalogues, art magazines and exhibition catalogues.
Head of publications at the Centre de la photographie Genève in 2018, she co-founded and co-directed the art space Tunnel Tunnel in Lausanne with the eponymous collective from 2015 to 2022. Since 2019, she is the curator of the collection of African Contemporary Art and of the Diaspora at the Fondation Gandur pour l’Art in Geneva as well as independent curator.

JULIE BEAUZAC
Diplômée de l’école du Louvre, Julie Beauzac a créé en 2019 le podcast Vénus s’épilait-elle la chatte ?, qui examine l’histoire de l’art occidentale avec une perspective féministe. Lauréat de trois prix au Paris Podcast Festival en 2021, le podcast cumule plus de 2 millions d’écoutes.

SARA BISSEN
Sara Bissen, a digital artist from Kazakhstan. She successfully completed programs in Site- Specific Art at the University of Applied Arts in Vienna and Post-Conceptual Art Practices at the Academy of Fine Arts in Vienna. Her studies culminated in a Master’s degree in Critical Curatorial Cybernetics at la HEAD, Geneva, where she was granted the Hans Wilsdorf Scholarship for two consecutive years and the Prix du Excellence HES-SO Geneva in 2022. Additionally, she was honored with the Bourses déliées du Fonds cantonal d’art contemporain de Geneve in 2023. In recent years, she has initiated various collaborations giving rise to presentations at the Tanzhaus in Zurich and at the Neumarkt theater in particular.



Study day organized by Julie Enckell & Federica Martini (HEAD – Genève).
Coordination: Nina F. D’Elia

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In their own words
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