{"id":338,"date":"2013-03-05T19:25:20","date_gmt":"2013-03-05T18:25:20","guid":{"rendered":"https:\/\/www.lepeuplequimanque.org\/fais-un-effort\/rendez-vous"},"modified":"2024-03-10T11:32:30","modified_gmt":"2024-03-10T10:32:30","slug":"rendez-vous","status":"publish","type":"page","link":"https:\/\/www.lepeuplequimanque.org\/en\/fais-un-effort\/rendez-vous\/","title":{"rendered":"Events"},"content":{"rendered":"[vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][nectar_global_section id=”3763″][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/4″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/2″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]Events<\/span>
\nA program proposed by Aliocha Imhoff and Kantuta Quiros<\/p>\n

SATURDAY 16 MARCH 2013
\n:: 2.30 PM
\nAFTERNOON ABOUT MONIQUE WITTIG
\nTemporalities, mythologies and fictionnalization of History within the work of Monique Wittig <\/strong><\/p>\n

With Beno\u00eet Auclerc, Yannick Chevalier, Catherine Ecarnot, Dominique Samson, Suzanne Robichon<\/p>\n

Beno\u00eet Auclerc<\/strong> – “Ce qui “n\u2019a pas de nom pour l\u2019heure” : nomination et r\u00e9alit\u00e9s invisibles”.
\nBeno\u00eet Auclercis a literature teacher at Universit\u00e9 Lyon 3 and studies the relations between literature and politics. He will talk about the nomination issues in the work of Monique Wittig<\/p>\n

Yannick Chevalier<\/strong> is a teacher of French stylistic at Universit\u00e9 Lumi\u00e8re Lyon 2. He works on the links between language and gender. Beno\u00eet Auclerc & Yannick Chevalier edited the book Lire Monique Wittig aujourd\u2019hui<\/em> (Editions PUL, 2012).<\/p>\n

Catherine Ecarnot<\/strong> \u2013 Going in circles to go where? The cyclic figures in Wittig\u2019s work<\/strong>
\nCatherine Ecarnot is the author of the first thesis in France about Monique Wittig and she published L\u2019\u00c9criture de Monique Wittig. A la couleur de Sappho<\/em>, at L\u2019Harmattan, in 2002.
\nShe will talk about the cyclic dimension of time in Monique Wittig\u2019s work<\/p>\n

Dominique Samson<\/strong>, niece of Monique Wittig, PHD in education sciences entitled L\u2019ombre de l\u2019auteur : des rapports de force dans l\u2019acte d\u2019\u00e9crire<\/em>.
\nDominique Sanson\u2019s communication will focus on the bibliography which closes Brouillon pour un dictionnaire des amantes<\/em>, as a place for a double stage: staging another history and reals and collectives imaginaries.<\/p>\n

Suzanne Robichon<\/strong>, founder of the journal Vlasta, journal of Amazonian fictions and utopias, co-editor with Marie H\u00e9l\u00e8ne Bourcier of the seminar and the publication Parce que les Lesbiennes ne sont pas des femmes – Autour de l\u2019oeuvre politique, th\u00e9orique et litt\u00e9raire de Monique Wittig<\/em> (\u00e9ditions gaies et lesbiennes, 2002).<\/p>\n

Monique Wittig (1935-2003), the author of a significant body of work influenced by the Nouveau Roman, played, from 1970 onwards, an important role in the appearance of the women\u2019s liberation movement: publishing both manifesto texts (co-author of the first manifesto Pour un mouvement de liberat ion des femmes in 1970), literary works (L\u2019Opoponax<\/em> (1964), Les Gu\u00e9rill\u00e8res<\/em> (1969), Le Corps lesbien<\/em> (1973), Brouillon pour un dictionnaire des amantes<\/em> (1976), etc.) as well as theoretical texts such as La Pens\u00e9e straight<\/em> (1980), in which she defines heterosexuality as a political regime, and that had a profound influence on the whole development of queer studies. Wittig was equally the co-founder of the MLF and a member of numerous militant groups. In Wittig\u2019s work, the feminist writing of History uses the methods of the myth or the fable to constitute a history that does not yet exist, entirely oriented towards the future, and on the basis of a grammatically feminised narration. The \u201cfable carriers\u201d (\u201cporteuses de fables\u201d) in Brouillon pour un dictionnaire des amantes<\/em>, co-written with Sande Zeig, are the incarnation of a cyclical History, organised around” \u201chistories as History\u201d and the imaginary at the service of a new world\u201d1 . The Brouillon<\/em> is both a parody of patriarchal studies and the creation of a History of women, which follows the maxim of the Gu\u00e9rill\u00e8res<\/em>, another of Monique Wittig\u2019s splendid books: \u201cMake an effort to remember. Or, failing that, invent.\u201d 2013 is the tenth anniversary of her disappearance.<\/p>\n

1) Kate Robin, From nowhere to everywhere: Wittig\u2019s Utopia to transform the present and the future,<\/em> revue Temporalit\u00e9s n\u00b012-2010 \u00ab Utopies \/ Uchronies \u00bb<\/p>\n

TUESDAY 26 MARCH 2013
\n:: 7 PM
\nTHINKING THERESA HAK KYUNG CHA<\/strong><\/p>\n

On the occasion of the publication of the first monographic book on the Korean-American artist Theresa Hak Kyung Cha (1951-1982), its author, Elvan Zabunyan, will talk about this unique work, at the crossroads of performance, of conceptual art, of video and of poetry.<\/p>\n

One of the most important motifs in the work of the American conceptual artist Theresa Hak Kyung Cha who is of Korean origin, is related to her representation of History, marked by the experience of exile and migration, of temporal, cultural, geographical and social dislocation. Cha\u2019s best-known work, her last book Dict\u00e9e<\/em> (1982) was published several days before her tragic assassination and can be considered to be an autobiography. Dict\u00e9e<\/em> is the history of women, corresponding to the nine Muses of Greek antiquity, and combines voices and narrative registers (newspapers, allegorical stories, dreams) as metaphors for dislocation, loss and the fragmentation of memory.<\/p>\n

Elvan Zabunyan, contemporary art historian, is a teacher at University Rennes 2 and art critic. Her research is about North-American art from the 1960s and particularly the turning point of the year 1970 around racial and feminist questions. She has been working since the beginning of the 1990s on the issues shown by cultural studies, postcolonialist theories and gender studies, trying to build, thanks to critical thoughts, a methodology of history of contemporary art articulated around a cultural, social and political history. She published Black is a color, une histoire de l\u2019art africain am\u00e9ricain<\/em> (Dis Voir, 2004 et 2005 for the English version), she co-edited several books and wrote many articles in collective works, exhibition catalogues and periodicals.<\/p>\n

SATURDAY 30 MARCH 2013
\n:: 2.30 PM
\nREWRITING ART HISTORY : (POST)FEMINIST FICTIONS AND NARRATIONS<\/strong><\/p>\n

In Differencing the Canon<\/em> (1999), art historian Griselda Pollock shows that writing a feminist art history was not only about reintegrating women artists to the canon 2. We can think that producing this feminism, and so to say this queerisation of History, came down first and foremost to an epistemological modification of the discipline of \u2018art history\u2019, and more precisely the way it is recounted and its narrative forms. It is thus through invention or the deployment of new means of writing (such as fictionalising archives or historiographical metafictions (Carola Dertnig, Cheryl Dunye or Roee Rosen), non-linear narrative editing (Ren\u00e9e Green, Carla Lonzi), reenactment (Faith Wilding)) that (post)feminist artists, writers, art historians , scrutinize normalized forms of knowledge and linear historical narratives.
\n2) Griselda Pollock, Differencing the Canon: Feminist Desire and the Writing of Art\u2019s Histories<\/em>, Londres \/ New York, Routledge, 1999<\/p>\n

With Carola Dertnig, Fabienne Dumont, Jules Falquet, H\u00e9l\u00e8ne Fleckinger, Laura Iamurri, Giovanna Zapperi<\/strong><\/p>\n

2.30 pm
\nFabienne Dumont<\/strong>, art historian, Ecole Sup\u00e9rieure d\u2019Art de Quimper Reenactment of feminist performances: the example of Faith Wilding, from Waiting (1972) to Wait-With (2007)
\nIn addition to the screening of extracts of the original performance and its renewal in the 2000s, Fabienne Dumont will explore the historical contexts of the Californian feminist movement in the 1970s, the ethical values that came out of these years, and the relevance of their reactivation 40 years later.
\nFabienne Dumont is contemporary art teacher at EESAB, author of a thesis, Arts et f\u00e9minismes dans les ann\u00e9es 1970 en France<\/em> (PUR, to be published), director of the anthology La r\u00e9bellion du Deuxi\u00e8me Sexe<\/em> (Presses du r\u00e9el, 2011). She is currently preparing a monographical essay about Nil Yalter and has just published an article in the exhibition catalogue Linder Femme\/Objet<\/em> du MAMVP.<\/p>\n

3.30 pm
\n“Lora Sana”, PERFORMANCE by Carola Dertnig<\/strong>, artist, Vienna
\nIn-depth research on the history of performance \u2013 an account of which is given in the book Let\u2019s twist again<\/em> (2001) \u2013 was what lead the Austrian artist Carola Dertnig (born in 1963) to question the place of women at the heart of Viennese Actionism. The project Lora Sana is based on this research into its historiography and its documentation. Dertnig was surprised by the absence of their names in books on the history of art, and set out to meet these phantom women, visual evidence of whom is nonetheless preserved in the archives of this transitional period. The fictive figure of the artist Lora Sana was born, therefore, from the synthesis of discussions with Hanel Koeck and Annie Brus, who were both Actionists in the 1950s \u2013 or rather, \u201cmodels\u201d, as such was their status at the time. Carola Dertnig\u2019s project is thus anchored in a re-writing of the history of art, combining real testimonies with historiographical metafictions, thus allowing us to question the value of an archive, when it is subjected to a gaze that is no longer masculine, but rather feminist or queer.<\/p>\n

4.30 pm
\nLaura Iamurri<\/strong>, art historian, University of Rome 3
\nGiovanna Zapperi<\/strong>, art historian, Ecole Nationale Sup\u00e9rieure d\u2019Art de Bourges<\/p>\n

A radical discontinuity: Carla Lonzi, 1970<\/strong>
\nIn 1969, Carla Lonzi, art historian and critic, publishes her conversation with 14 artists under the title Autoritratto<\/em> (Self-Portrait). The recorded interviews are edited to make times are superimposed and intertwined: the result is a long conversation without apparent pause, in which time has no linearity, and the transition from oral language to its transcription is often thematized. After the publication of the book, Lonzi gives up art criticism in order to focus on feminism. The publication of the Manifesto di Rivolta femminile<\/ em> in July 1970 marks the beginning of the most radical thought on Italian feminism.<\/em><\/p>\n

5.30 pm
\nREWRITING HISTORY: (POST)FEMINIST FICTION AND NARRATION <\/strong>
\nJules Falquet<\/strong>, sociologist, Universit\u00e9 Paris 7
\n“Theorical contributions of the Chicanas feminists from artistic and activist work”<\/p>\n

Jules Falquet is working on feminist theories \u2013 materialist, interweavist and decolonial theories in particular. She recently co-edited with Paola Bacchetta and Norma Alarc\u00f3n a Cahier du CEDREF<\/em> about feminist and queer decolonial theories, Chicanas and Latin American interventions<\/p>\n

6.30 pm
\nH\u00e9l\u00e8ne Fleckinger<\/strong>, cinema historian, Universit\u00e9 Paris VIII
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