- 1.ARTL@S Seminar 2017-2018 : Opening
- 2.Béatrice Joyeux-Prunel : Why Not Map ?
- 3.The Artlas Databases : GEOMAP and the ARtlas Exhibition Database. Opening of the Test Phase
- 4.Béatrice Joyeux-Prunel: Exhibition catalogues and their use for art history
- 5.Elitza Dulguerova (INHA) : The Biennale de Paris. Issues of a Research Program.
- 6.Louis Gevart (PhD in Art History) : De jardin en jardin – La ronde des expositions internationales de sculpture en plein air dans l’Europe des années 1950
- 7.Cecilia Fajardo-Hill : the making of the Exhibition « Radical Women in Latin American Art 1960-1985 »
- 8.Thomas DaCosta Kaufmann (univ. de Princeton) : Tales of Trousers. Global clothing, history, and art history
- 9.B. Joyeux-Prunel : Digital Cartography: An Introduction, 1.
- 10.Elodie Vaudry : « Pre-colombian » // Alice Bombardier : The Biennials of Tehran (1958-1966)
- 11.Léa Saint-Raymond – Close and distant reading of art circulation in auctions
- 12.B. Joyeux-Prunel : Digital Cartography: An Introduction, 2.
- 13.Béatrice Joyeux-Prunel : Managing Big Corpora of Sources Digitally
- 14.Alexandre Kazerouni (PSL) : Les biennales comme outil d’analyse de la relation entre libéralisme culturel et autoritarisme dans le monde islamique depuis les années 1960
- 15.Artl@s Lab’ : Managing Big Corpora – Workshop
- 16.Adriana Ortega Orozco : Mexico at the Venice Biennial, 1950
- 17.WAS – Women Artists Shows·Salons·Societies (Catherine Dossin, Hanna Alkema)
“I propose a discussion about the making of “Radical Women” during an 8 years research process. This talk will give firstly an overview of the type of invisibility and stereotypical approaches that women artists have endured in Latin America in the twentieth century, and particularly 1960-80s when contemporary experimental languages were being created. Secondly I will analyze how Radical Women is an exhibition that attempts to generate a crisis on the type of patriarcal historiography of art we write, and the type of narratives and exclusions we have perpetuated in exhibitions. I will also discuss some of the works in the show to analyze the differences and specificities, as well as visibilize the shared sensibilities, conceptual and political ideas, with women artists internationally. A final point will be to analyze the historical and ideological reasons why “Radical Women” is not titled “Feminist Women”, e.i what is the role of feminism in the radicality manifested in the exhibition.”
Cecilia Fajardo-Hill is a British/Venezuelan art historian and curator in modern and contemporary art, currently based in Southern California. Fajardo-Hill has a PhD in Art History from the University of Essex, England, and an MA in 20th Century Art History from the Courtauld Institute of Art, London, England.
Fajardo-Hill was the Chief Curator and Vice-President of Curatorial Affairs at the Museum of Latin American Art, MOLAA in Long Beach, California Between 2009 and 2012. She was the Director and Chief curator of the Cisneros Fontanals Arts Foundation (CIFO) and the Ella Fontanals Cisneros Collection, Miami, USA between 2005 and 2008, and she was general director of Sala Mendoza, Caracas, Venezuela, between 1997 and 2001. She has curated and organized numerous group and solo exhibitions of international artists such as Susan Hiller and Mona Hatoum and emerging and mid-career contemporary artists from Latin America such as Johanna Calle, Mariana Castillo Deball, Leandro Erlich and Javier Téllez. Fajardo-Hill has published broadly on contemporary art and artists from Latin America.
At present she is co-curating with Andrea Giunta the exhibition The Political Body: Radical Women in Latin American Art 1960-1985, a survey of radical artistic practices by women artists in Latin America for the Hammer Museum, Los Angeles to open in 2017 under the umbrella of the Getty initiative PST LA/LA (http://www.getty.edu/foundation/initiatives/current/pst_lala/index.html). Fajardo-Hill is currently also curating the Sayago & Pardon initiative, Abstraction in Action (http://abstractioninaction.com), a multi platform project on contemporary abstraction in Latin America; and is guest curator at the Vincent Price Art Museum, Los Angeles, for the exhibition Ricardo Valverde: Experimental Sights, 1973-1996 to open in May 17, 2014 (http://vincentpriceartmuseum.org/exhibitions/year-2014/ricardo-valverde-…) and the general curator of the XIX Bienal Paiz in Guatemala to open in June 6, 2014 (http://19bienal.fundacionpaiz.org.gt).
Thursday, December 7, 13:30-15:30.
Place: Salle de l’IHMC, 45 rue d’Ulm, Paris, Escalier D, 4th floor (3e étage).