Queer motherhood is the subject of the podcast discussion that Frauke Haß (DFF) has with the Berlin artist annette hollywood and Daria Berten, curator of the DFF exhibition WEIMAR WEIBLICH. Women and Gender Diversity in Modern Cinema (1918-1933).
Among other things, it is about the question of why lesbian mothers hardly ever appear in historiography and if they do, then mostly in criminal files. In addition, the artist presents the video project of her search for traces of queer motherhood, [anderkawer], a video of which can also be seen in the foyer of the exhibition. annette hollywood is live on Friday, June 16 at 6 p.m. in the DFF cinema. On the occasion of the screening of the silent film CYANKALI (DE 1930) she will present [anderkawer] in a lecture.
Weimar weiblich
Women and Gender Diversity in Weimar Cinema (1918 – 1933)
The exhibition focuses on gender diversity and women in the cinema of the Weimar Republic. Gender swapping, self-determination and homosexuality were themes in film. But the most popular was the “New Woman”.
To this day, her type stands for modernity and the breaking of conventions; she comes to life in series like Babylon Berlin and Eldorado KaDeWe. But who were the real new women? After the First World War, they confidently seized the professional opportunities presented to them, including those offered by the burgeoning film industry. Their stories are told through numerous exhibits and film clips.
Using biographies and events in society, the long-term project [anderkawer] explores the situation of non-heteronormative families and the linked ideologies of families and motherhood over the past one-hundred years in Germany. In the mirror of the print media and the public, the project investigates the invisibility and becoming visible of lesbian mothers in particular. A search for testimony of these women, who due to persecution and discrimination and their consequences often lived secretly and whose traces have been hardly investigated, leads to queer-feminist and historical archives.
BEYOND NUCLEAR FAMILY: Home sweet home
November 17, 2022 – January 7, 2023
exhibition EFA Project Space | The Elizabeth Foundation for the Arts | 323 W 39th St | New York | US
Exhibiting artists: Karolina Balcer, Lizza May David and Claudia Liebelt, Kristina Fingerland, Robert Gabris, Johannah Herr and Cara Marsh Sheffler, annette hollywood, Binelde Hyrcan, Charlotte Jarvis in collaboration with Lucy Kirkwood, Signe Johannessen, Agnė Jokšė, Eva Koťátková, Marie Lukáčová, Mary Maggic, Markéta Magidová, MATERNAL FANTASIES, Mothers Artlovers, Chiara No, Alanis Obomsawin, Nina Paszkowski, Minh Thang Pham, Anni Puolakka, Vojtěch Radakulan, Tabita Rezaire, Janek Rous & Architects without Frontiers, Adam Rzepecki, Jiří Skála, Jonne Sippola, Maja Smrekar, Martina Drozd Smutná, Sophia Süßmilch, Marie Tučková in collaboration with Raffia Li and Iga Świeściak, Sophie Utikal
The exhibition Beyond Nuclear Family: Home Sweet Home seeks to provide a critical revision of the modern Western concept of the family and, through the works of more than forty international artists, explores the alternatives – historical and contemporary, geographical and cultural, utopian and fictional. The third chapter of this long-term research and discursive project, after two iterations in Berlin and in Prague, seeks to redefine the questionable concept of the Nuclear Family and bring it back to its original ‘home’, the U.S., where it was coined and distributed in the second half of the 20th century.
mit ALEF BLA, NOMBUSO DOWELANI, ANNETTE HOLLYWOOD, LAURA HORELLI, SVEN JOHNE, JANA MÜLLER, ALINA SIMMELBAUER, OFW/PHILIPP URRUTIA, SIMON WACHSMUTH, MOIRA ZOITL
Die Decke hat ein Loch [The Hole in the Blanket] is an exhibition and research project by the artists annette hollywood, Jana Müller and Moira Zoitl, in collaboration with the Kunstverein am Rosa- Luxemburg-Platz Berlin/Susanne Prinz, in which (auto)biographical narratives are used to examine material, contemporary and cultural histories that lie outside of mainstream society.
The working methods of the participating artists overlap in questioning archival inventories using different research and artistic-scientific methods. In artistic works, traces of archive materials are linked, reworked and made visible to form new narratives. Artefacts, documents and other narratives from institutional archives are consciously intertwined with knowledge and objects from the private sphere. The constructed, porous and temporary state of the nature of archives is addressed, a condition that distorts or completely omits the perspective of many realities of life. In accordance with the children’s clapping game that gives the title, and which continues to rhyme with “… da sah ich sie dann doch.” […I then saw her after all.], the exhibition project follows the idea that only by looking once again through the holes and fractures of historical archives, a more accurate and diverse picture of society emerges.
Using biographies and events in society, the long-term project [anderkawer] explores the situation of non-heteronormative parents and the linked ideologies of families and motherhood over the past one-hundred years in Germany.
In the mirror of the print media and the public, the project investigates the invisibility and becoming visible of lesbian mothers in particular. This detective-like research, inspired by the artist’s own biography, and its results, invite a broad public to join the investigation using this constantly growing online-archive.
BEYOND NUCLEAR FAMILY: Around the Family Table
April 28, 2022
screening / talk Tschechisches Zentrum Wilhelmstraße 44 10117 Berlin 7 p.m.
An evening programme on the occasion of the closing of the exhibition Beyond Nuclear Family: Around the Family Table at the gallery alpha nova-galerie futura. The exhibition is part of a long-term project of the Jindrich Chalupecký Society aimed at exploring the nuclear family model and its alternatives. During the evening at the Czech Centre Berlin, a thematic screening of short films/videos will take place, accompanied by a curatorial commentary and a further programme.
annette hollywood, Marie Lukáčová, Zoë Claire Miller, Mothers Artlovers, MATERNAL FANTASIES, Sophia Süßmilch, Marie Tučková & Iga Świeściak, Sophie Utikal // Beitragende zum The Family Album: Khairani Barokka, Catherine Biocca, Triple Candie, Lenka Klodová, Michelle Lévy, Laure Prouvost, Egill Sæbjörnsson, Tai Shani, Jakub Woynarowski
The project Beyond Nuclear Family, established by the Jindřich Chalupecký Society, evaluates the family as one of the basic units of togetherness found in human communities. The project is aimed primarily at offering a critical review of the modern, western family model, assessing its historical and contemporary, geographical and cultural, utopian and fictitious alternatives. The nuclear family, defined as the marital partnership of a man and a woman living with their biological children, represents an unwritten status quo in western culture. It has become a standard against which other family constellations are measured.
The exhibition Beyond Nuclear Family: Around the Family Table at alpha nova & galerie futura is one of three exhibition and performative projects focusing on the theme of family in relation to these concepts. It will be followed by shows at Display in Prague and EFA Project Space in New York. Even though each exhibition focuses on a slightly different area of research, the projects are also conceptually linked within the artworks themselves. They pose the question about considering and presenting the nuclear family as the leading paradigm throughout the political, social and educational system as well as the rule of law in the European and American contexts, despite the fact that this model does not correspond to all contemporary realities.
Beyond Nuclear Family: Around the Family Table focuses on gender roles within the concept of family, the representation of LGBTQAI+ families, the concept of motherhood, and women’s corporealities, as well as on other forms of communality beyond biological connections, even the absence of family, particularly in light of the Covid-19 pandemic and its impact on the definition and (non)functioning of the family. It does this in a variety of formats, including performance, video, text, textile works, sculpture, performative readings, discussions, and research presentations.
Beyond Nuclear Family is the third phase of the Jindřich Chalupecký Society’s long-term project Islands: Possibilities of Togetherness.
BEYOUND NUCLEAR FAMILY: Recipes for Happiness
October 12 – November 27, 2022
exhibition / talk Display gallery | Dittrichova 9 | Praha 2 | Prag
mit:Karolina Balcer, Lizza May David and Claudia Liebel, Kristina Fingerland, Robert Gabris, annette hollywood, Binelde Hyrcan, Charlotte Jarvis in collaboration with Lucy Kirkwood, Signe Johannessen, Agnė Jokšė, Eva Koťátková, Marie Lukáčová, Mary Maggic, Markéta Magidová, MATERNAL FANTASIES, Zoë Claire Miller, Mothers Artlovers, Chiara No, Alanis Obomsawin, Nina Paszkowski, Minh Thang Pham, Anni Puolakka and Ellie Hunter, Vojtěch Radakulan, Janek Rous, Karolína Kripnerová and Vojtěch Sigmund (Artyčok.TV and Architects without Borders), Adam Rzepecki, Jonne Sippola, Jirka Skála, Maja Smrekar, Martina Drozd Smutná
The Prague exhibition entitled Beyond Nuclear Family: Recipes for Happiness provides a complex artistic probe into the various ways of creating and categorizing the family, relationships and roles that its members occupy. The exhibition’s subtitle incorporates the well-established phrase “recipe for happiness” commonly used as a hyperbole, indicating the impossibility of finding a universal recipe for a happy life. By translating this phrase into the plural, we want to express the plurality of forms that different family constellations can take. By means of the installation by the artist collective Mothers Artlovers (in collaboration with the Berlin-based collective MATERNAL FANTASIES), visitors will be given specific recipes and dishes during the exhibition, all relating to the critique of social institutions (also including the concept of family) and relationships. The audience will be able to reflect on these themes at a triangular table reminiscent of the iconic feminist work The Dinner Party by Judy Chicago. The other works on display – paintings, photographs, videos, texts, textiles, sculptures, performances, and arts research outputs – can also be freely read as possible recipes or (missing) ingredients for (family) happiness. In its totality, the exhibition thus presents a comprehensive and diverse “cookbook”.
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