OBS! Arrangementet foregår på engelsk og er gratis, men kræver billet.

I samarbejde med billedkunstnerne Michala Paludan, Lea Porsager, Anne Mette Schultz og kurator Malene Dam inviterer SMKinviterer til det internationale symposium CUT THE GAP, som undersøger feministiske praksisser i kunstverdenen.

Symposiet diskuterer, hvordan en historisk og strukturel kløft, et køns- og diversitetsproblem, fortsat gennemsyrer hele kunstfeltet. Samtidig præsenteres de kunstneriske og kuratoriske kræfter, som insisterer på at være besværlige, og som strategisk udfordrer institutionerne, klasseværelset, kunsthistorien, atelieret og de kommercielle gallerier.

Arrangementet foregår på Scenen

PROGRAM
17. november 2017, kl. 9-16

9:00-9:30 WELCOME
Registration, coffee and welcome

Mikkel Bogh, director, SMK
Birgitte Anderberg, museumsinspektør og seniorforsker, SMK
Malene Dam, curator
Michala Paludan, artist
Lea Porsager, artist
Anne-Mette Schultz, artist

9:30-10:30 KEYNOTE
Catherine de Zegher, director of Museum of Fine Arts, Gent: ”Women’s Art Out Front”

10:30-12:00 PANEL
“What forms of history can feminism offer in the space of the museum?”
Birgitte Anderberg, museum inspector and senior researcher, SMK
Temi Odumosu, art historian, Malmö Universitet
Sara O’ Keeffe, curator, New Museum, New York

12:00-13:00 LUNCH BREAK

13:00-14:00 KEYNOTE
Iris van der Tuin, Associate Professor, Liberal Arts and Sciences, Utrecht Universitet, The Netherlands: “How Maria Popova (1984- ) helps me understand Susanne K. Langer (1895-1985)”

14:15-15:30 PANEL
“Take Possession – Unruly Biographies”
Bruce Hainley, Associate Chair, Graduate Art, ArtCenter College of Design and editor of Artforum
Ann Lislegaard/Bob Smith, artists, Copenhagen
Kenyatta A. C. Hinkle, artist, Los Angeles, Oakland, CA.

15:30 PERFORMANCE
”The empathy”
Liv Schulman, artist

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CUT THE GAP is supported by the Oticon Foundation, The Danish Agency for Culture and Palaces and Statens Kunstfond.

The international symposium CUT THE GAP encourages a dialogue focused on feminist practices across the artworld. The title points to the historical and structural GAP, as well as a problem of gender- and diversity that runs throughout the field of the arts - all the while we CUT the question differently by praising the forces that insist on continually being idiosyncratic to ruling structures of power and strategically force institutions - the classroom, the history of art, the studio and the commercial galleries - into a more complex and solidary form.