{"id":230,"date":"2009-03-24T21:55:28","date_gmt":"2009-03-24T20:55:28","guid":{"rendered":"https:\/\/www.lepeuplequimanque.org\/centre-pompidou-17-juin-2009"},"modified":"2023-11-01T23:41:39","modified_gmt":"2023-11-01T22:41:39","slug":"centre-pompidou-17-juin-2009","status":"publish","type":"post","link":"https:\/\/www.lepeuplequimanque.org\/en\/2009\/centre-pompidou-17-juin-2009\/","title":{"rendered":"Feminist Art-Action (Centre Pompidou, 2009)"},"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”][vc_column_text]\n

FEMINIST ART-ACTION<\/span><\/p>\n

\u00a0<\/div>\n

Panorama of the feminist video-performance<\/span>
\ncontemporary Latin-American<\/span><\/p>\n

\u00a0<\/div>\n

MUJERES CREANDO, REGINA JOSE GALINDO,
\nSANDRA MONTERROSO, MARIA ADELA DIAZ<\/span><\/p>\n

\u00a0<\/div>\n

\"\"<\/a><\/span><\/strong><\/p>\n

June 17, 2009<\/span><\/strong><\/p>\n

\u00a0<\/div>\n

7 PM, CENTRE POMPIDOU, CINEMA 2<\/p>\n

\"mamanomelodijo-1-2.jpg\"<\/a> Art-action. An art of resistance and insubordination, intrication of body and policy, seized, since the years 1960, the Latin-American continent. From there, origin blossoming, mainly since the Eighties, of a very great number of performeuses artists and vid\u00e9astes, working since the same place of a feminist of art, integral work with their work the dimension of the kind, sexuality and cultural identity. This meeting is the occasion to show an exceptional outline of this particularly long-lived, rich contemporary scene and explosive of the vid\u00e9operformance Latin-American artists, particularly fertile in Central America (Guatemala) and Bolivia.<\/em><\/div>\n
\n

A program presented and conceived by Kantuta Quir\u00f3s and Aliocha Imhoff, founders of the structure of programming and film distribution the\u00a0<\/em>le peuple qui manque<\/strong>. In the presence of the artists Mar\u00eda Adela D\u00edaz <\/strong><\/em>and Sandra Monterroso<\/strong>.<\/em>\u00a0<\/em><\/p>\n

 <\/p>\n<\/div>\n

\"regina-jose-galindo-quien.jpg\"<\/a>Regina Jos\u00e9 Galindo<\/strong>
\nPoetess, vid\u00e9aste and performeuse, born in 1974, Regina Jose Galindo appear since the middle of the Nineties like one of the Guatemalan artists embl\u00e9matiques of its generation, prize winner of the Lion of Gold to the Biennale de Venise in 2005. During its discussed performances, its body is the vehicle by which she denounces the political conflicts and is made clarification of the violence made to the women.<\/p>\n

\n

\u00bfQuien puede borrar las huellas ?<\/em> (2003, 2\u2019, coul., son.) \/ Mientras, ellos siguen libres<\/em> (2007, 2\u2019, coul., son.) \/\u00a0 Perra<\/em> (2005, 5\u2019, coul., son.)<\/p>\n

 <\/p>\n<\/div>\n

\n

\"deformacion-33-sandra-monterosso.jpg\"<\/a>Sandra Monterroso<\/strong>
\nThe actions of Sandra Monterroso, performeuse and vid\u00e9aste Guatemalan born in 1974, are the place of a conflict between emancipation and cultural tradition. Its vid\u00e9operformances is the trace of a car-catch of conscience, a work of sabotage of the social regulations and passage between several worlds.
\nDeformaci\u00f3n # 33<\/em> (2007, 5\u2019, coul., son.)<\/p>\n

Interview with Sandra Monterroso<\/a>, blog elles@centrepompidou<\/div>\n
\u00a0<\/div>\n<\/div>\n
\n

\"maria-diaz-borderline.jpg\"<\/a>Mar\u00eda Adela D\u00edaz<\/strong>
\nBorn in Guatemala in 1973, living in Los Angeles, vid\u00e9aste and performeuse, Mar\u00eda Adela D\u00edaz puts in scene its autobiographical experiment of migrant without paper in California.
\nBorderline<\/em> (2005, 2\u2019, coul, son.) (distribution: le peuple qui manque)<\/a><\/p>\n<\/div>\n

 <\/p>\n

\"acciones-mujeres-creando.jpg\"<\/a>Mujeres Creando<\/strong>
\nThe feminist collective Bolivian Mujeres creando has carried out for more than fifteen years, an enthralling development between urban, critical intervention radical, irrepressible Utopia, celebration ostentation of the body, the pleasure, the daily newspaper, the powers of the imaginary one. Graffiteuses and vid\u00e9astes, they reject any separation of art, their actions of street drawing a single ethical posture in its kind of agitatrices, in fight against patriarchal oppressions, the colonial diagrams, the neoliberal policies.
\nMujeres Creando – Acciones \u2013 Creando Mujeres \u2013 s\u00e9lection <\/em>(2001,\u00a0\u00a0 \u00a0vost, 24\u2019)
\nMujeres Creando & Maria Galindo – Mama no me lo dijo \u2013 s\u00e9lection<\/em> (2003, vost, 30\u2019)<\/div>\n
\n

 <\/p>\n

FILM\u00a0 \u00a0<\/span><\/strong><\/p>\n<\/div>\n

\n

The National museum of modern art\/Centre of industrial creation proposes a regular appointment (every Wednesday with 19:00) heading FILM.
\nEach one of these programs is the occasion to put in prospect the cinematographic collections for the Museum while wavering between cinema experimental, documentary, film of artist and video.
\nConceived as a critical space, \u201cFilm\u201d takes the form of monographic meetings sets of themes or, freehands and invitations suggested with speakers of different backgrounds likely to throw a new glance on the history and the practices of the noncommercial cinema.<\/p>\n

In echo with the fixing elles@centrepompidou (a presentation of the collections of the National museum of modern art devoted to the artists women, from May 27, 2009), the cinema of the Museum proposes a cycle devoted to the work of women scenario writers and vid\u00e9astes which marked the history of the images moving. It invites within its go FILM, the structure of programming and film distribution le peuple qui manque<\/strong>, working between art and policy, and who will propose this exceptional panorama of the Latin-American contemporary feminist video-performance.<\/p>\n<\/div>\n

\"logo_pompidou.jpg\"PRACTICAL INFORMATIONS<\/strong>
\nCentre Pompidou
\n75191 Paris Cedex 4
\nCin\u00e9ma 2, Niveau -1
\nm\u00e9tro Rambuteau ou H\u00f4tel de Ville
\nTarifs
\n6\u20ac \/ cheap rate 4\u20ac \/ free with the pass,
\nwithin the limit of the reserved places (if not, 4\u20ac)
\nwww.centrepompidou.fr\/evenements<\/p>\n

\n

Curators and texts :<\/strong> Kantuta Quiros & Aliocha Imhoff (le peuple qui manque<\/em>)
\nThanks<\/strong>: The artists, Centre Pompidou (Philippe-Alain Michaud, Isabelle Ribadeau-Dumas, Marie Canet), prometeogallery di Ida Pisani (Cristina Rota).<\/p>\n<\/div>\n

 <\/p>\n[\/vc_column_text][\/vc_column][\/vc_row]","protected":false},"excerpt":{"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”…<\/p>\n","protected":false},"author":1,"featured_media":4061,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[40,31],"tags":[],"class_list":{"0":"post-230","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-2005-2009","8":"category-curating"},"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/www.lepeuplequimanque.org\/en\/wp-json\/wp\/v2\/posts\/230","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.lepeuplequimanque.org\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.lepeuplequimanque.org\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.lepeuplequimanque.org\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.lepeuplequimanque.org\/en\/wp-json\/wp\/v2\/comments?post=230"}],"version-history":[{"count":0,"href":"https:\/\/www.lepeuplequimanque.org\/en\/wp-json\/wp\/v2\/posts\/230\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.lepeuplequimanque.org\/en\/wp-json\/wp\/v2\/media\/4061"}],"wp:attachment":[{"href":"https:\/\/www.lepeuplequimanque.org\/en\/wp-json\/wp\/v2\/media?parent=230"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.lepeuplequimanque.org\/en\/wp-json\/wp\/v2\/categories?post=230"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.lepeuplequimanque.org\/en\/wp-json\/wp\/v2\/tags?post=230"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}