This is the third episode of Art in Permacrisis, a podcast on the organization of art workers in the face of the ever-growing stack of crises. How can artists make a living without selling their souls? Can we imagine and practice a sustainable art economy beyond precarity? How should we transform the circulation of artworks, the curriculum of art and design academies, the exhibition programs of museums, and the organization of collectives and unions? We invite speakers with combined backgrounds in art, theory, and organizing to share their insights.In this episode, we talk to Katja Praznik. Katja is an associate professor at the University at Buffalo’s Arts Management Program and the Department of Global Gender and Sexuality Studies. Our conversation focuses on her book, Art Work: Invisible Labour and the Legacy of Yugoslav Socialism as well as questions of strategy and the future of work in the arts.
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The moment of casting is a crucial one in any media production. Casting the ‘right’ person shapes the narrative as much as the way in which the final product might be received by critics and audiences. For this article, casting—as the moment in which gender is hypervisible in its complex intersectional entanglement with class, race and sexuality—will be our gateway to exploring the dynamics of discussion of gender conventions and how we, as feminist scholars, might manoeuvre. To do so, we will test and triangulate three different forms of ethnographically inspired inquiry: 1) ‘collaborative autoethnography,’ to discuss male-to-female gender-bending comedies from the 1980s and 1990s, 2) ‘netnography’ of online discussions about the (potential) recasting of gendered legacy roles from Doctor Who to Mary Poppins, and 3) textual media analysis of content focusing on the casting of cisgender actors for transgender roles. Exploring the affordances and challenges of these three methods underlines the duty of care that is essential to feminist audience research. Moving across personal and anonymous, ‘real’ and ‘virtual,’ popular and professional discussion highlights how gender has been used and continues to be instrumentalised in lived audience experience and in audience research.
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Amateur Cities and Institute of Network Cultures are proud to present Feminist Finance Syllabus, a supplement to the Feminist Finance Zine titled Radical Care: Embracing Feminist Finance. It is a result of the Twitter conversations that took place during three launch events of the zine between April and May 2020.This syllabus is a starting point for diving into the field of feminist finance. It features scholarly concepts, grassroots projects, artistic thought-experiments, fictional responses, and questions without answers. The events from which we sourced the references and quotes featured in our syllabus are just snapshots of bigger discussions and are in no way exhaustive. Our discussions were influenced by the events of early 2020, the experience of living through the COVID-19 pandemic, and its socio-economic consequences. This perspective framed already existing feminist debates in a different way, adding new urgencies to particular struggles. We saw important lines of thought emerge in the discussion, and structured them into six topics: fundamental critiques, radical care, interdependence, units of account, alternative money design, forms of organizing.We would love to keep the conversation on feminist finance alive and this syllabus is an invitation to continue it. Download your digital copy of the Feminist Finance Syllabus here and follow the links in the syllabus to participate.
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Entangled Machines is a project by Mariana Fernández Mora that interrogates the colonial and extractive legacies underpinning artificial intelligence (AI). By introducing slowness and digital kinship as critical frameworks, the project reconceptualises AI as embedded within intricate social and ecological networks, thereby contesting dominant narratives of efficiency and optimisation. Through participatory, practice-based methodologies such as the Material Playground, the project integrates feminist and non-Western epistemologies to articulate alternative models for ethical, sustainable, and equitable AI practices. Over a four-year period, Entangled Machines develops theory, engages diverse communities, and produces artistic outputs to reimagine human-AI interactions. In collaboration with partners including ARIAS Amsterdam, Archival Consciousness, and the Sandberg Institute, the research seeks to foster decolonial and interdisciplinary approaches to AI. Its culmination will be an “Anarchive” – a curated assemblage of artistic, theoretical, and archival outputs – that serves as a resource for rethinking AI’s socio-political and ecological impacts.
Society continues to place an exaggerated emphasis on women's skins, judging the value of lives lived within, by the colour and condition of these surfaces. This artistic research will explore how the skin of a painting might unpack this site of judgement, highlight its objectification, and offer women alternative visualizations of their own sense of embodiment. This speculative renovation of traditional concepts of portrayal will explore how painting, as an aesthetic body whose material skin is both its surface and its inner content (its representations) can help us imagine our portrayal in a different way, focusing, not on what we look like to others, but on how we sense, touch, and experience. How might we visualise skin from its ghostly inner side? This feminist enquiry will unfold alongside archival research on The Ten Largest (1906-07), a painting series by Swedish Modernist Hilma af Klint. Initial findings suggest the artist was mapping traditional clothing designs into a spectral, painterly idea of a body in time. Fundamental methods research, and access to newly available Af Klint archives, will expand upon these roots in maps and women’s craft practices and explore them as political acts, linked to Swedish Life Reform, and knowingly sidestepping a non-inclusive art history. Blending archival study with a contemporary practice informed by eco-feminism is an approach to artistic research that re-vivifies an historical paradigm that seems remote today, but which may offer a new understanding of the past that allows us to also re-think our present. This mutuality, and Af Klint’s rhizomatic approach to image-making, will therefore also inform the pedagogical development of a Methods Research programme, as part of this post-doc. This will extend across MA and PhD study, and be further enriched by pedagogy research at Cal-Arts, Los Angeles, and Konstfack, Stockholm.
