- 1.Introduction – One year on Women and their Global Circulation (B. Joyeux-Prunel & L. Saint-Raymond)
- 2.Sabrina Moura : « On returns, exiles and belongings: the notion of diaspora through the work of Maria Magdalena Campos-Pons”
- 3.Women in the Artl@s Databases (Béatrice Joyeux-Prunel)
- 4.Around Ana Mendieta. With Esther Ferrer and Shelley Rice. November 8, 1:30 PM!!
- 5.Artists’ Widows and the posthumous lives of works (1945-1980) – Julie Verlaine
- 6.Séverine Sofio: Artists, gender and borders at the turn of the 19th c.
- 7.Artl@s’Lab : Tracing women in international exhibitions (B. Joyeux-Prunel)
- 8.January 10, 2019 – LAB: How to study the international circulation of women artists? Women in the Artl@s catalogue database (B. Joyeux-Prunel & Léa Saint-Raymond))
- 9.24 January 2019 – LAB: Geomapping the international circulations of women artists (B. Joyeux-Prunel)
- 10.February 7, 2019. Japanese Catalogues and Art History. An encounter with Pr. Torahiko Terada and his students from Tokyo University
- 11.February 28, 2019 – LAB- Semantic Description of Catalogues (with Richard Walter)
- 12.March 21, 2019. Are the pioneers women of contemporary art in Turkey more globalized than their male peers? (Perin Emel Yavuz)
- 13.Aphrodite-Vénus, ‘art femme par excellence’ (K. Bender)
- 14.Presentation of students’ work
- 15.CANCELED: Race, Ethnicity, Empathy. Radical Women. Latin American Art, 1960-1985 (Andrea GIUNTA)
- 16.the Union des Femmes Peintre et Sculpteurs (Catherine Gonnard)
In 2004, Cuban-american artist Maria Magdalena Campos-Pons (Matanzas, 1959) landed in Senegal to set up her first exhibition on African soil — 3×3: Three Artists/ Three Projects —, part of the parallel program of the sixth Dakar Biennial. For the occasion, the artist revisited her multimedia installation Threads of Memory: One Thousand Ways of Saying Goodbye. “Can we return to a place we have never been before?” asked Campos-Pons while describing her experience in Senegal. By turning into the leitmotif for the critical appreciation of Threads of Memory in Dakar, the question enunciated by Campos-Pons evokes the contours of a diasporic mythology. While anchored in vague images, these narratives offer an important key for grasping artistic practices constituted through axes of mobility, in which the sense of belonging extrapolate definite geopolitical contours. Likewise, the evocative force of the “return” imagery brought by Campos-Pons is constitutive of the modern Atlantic experience and has a long discursive trajectory. Present in the political and intellectual debates of Black movements since the 19th century, it goes back to the aspirations of various individuals who nurtured the return to the African continent as the path to a homeland, both idealized and tangible.
Sabrina Moura is a researcher and curator based in São Paulo, Brazil. She is currently a PhD Candidate at the History Department at the University of Campinas. Her previous academic degrees include a M.A. Art History and Aesthetics at the University Paris VIII and Master’s in Management and Conduct of Cultural Projects at the University Paris III Sorbonne Nouvelle. Moura has conceived and organized seminars and public programs presented by a number of institutions, including: SESC-SP, Goethe Institut, Videobrasil, World Biennial Forum, among others. She edited the book Southern Panoramas: Perspectives for other geographies of thought (Ed. SESC) which presents cultural and artistic perspectives on the concept of Global South. In 2016, she was a visiting researcher at the Institute of African Studies at Columbia University, with a grant from the Connecting Art Histories Program by Getty Foundation/Unicamp. She was a lecturer at the Universidade Federal do Rio Grande do Sul (Porto Alegre, Brasil) and has taught courses at the Museu de Arte de São Paulo (MASP), Instituto Moreira Salles, among other institutions.
Ecole normale supérieure, salle de l’IHMC (Stair D, 4th floor / Escalier D, 3e étage).
Thursday, October 4, 1:30-3:30.