18th of July at 6pm
​Does Art Have a Past?

Go to Calvert 22 Foundation page  (​​http://calvert22.org/does-art-have-a-past/)
During the seminars we will discuss:
Zofia Rydet and the passion for photography
                          photography as a way to keep the past alive
the importance of the past in feminist memory
                                                             artistic projects today in which photography is essential
 feminism
                     suffrage
                                    herstories 
                                                      silences of the past 
                                                                           and many others
Here about:
  • July 18, 2018, London: Does Art Have a Past? Discussion. Calvert 22
  • July 18, 2018, Birmingham: The Power of Anger and Art. Discussion. Centrala Gallery. 

Calvert 22 Foundation

Ewa Sidorenko
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Q: How inspiring projects like the ones of Zofia Rydet can be? 
Senior Lecturer in the Department of Education and Community Studies, University of Greenwich. Originally from Warsaw, Poland, Dr Sidorenko studied (BA) Sociology and Anthropology at Goldsmiths College, London.  She received her PhD in 1998 for the thesis: ‘Neo-liberalism after Communism. Accounting for the political space of post-1989 Poland’.  She currently teaches sociology to students of education and childhood studies.   In 2016 she collaborated with Street Collodion Art photographic collective on ‘A Portrait of Lower Silesia’. The project, interested in identities of inhabitants of Lower Silesia has generated some 300 collodion photographs and about 80 stories.  She is currently researching the impact of Brexit on Polish nationals in UK. 

Alicja Rogalska

Q: What can we learn from the past? Your input to the centenary of Polish women's rights to vote ? 
an artist living in London and working internationally. Her practice is research-led, interdisciplinary, collaborative and focuses on social structures and the political subtext of the everyday. She mostly works in specific contexts creating situations, performances, videos and installations. 
Alicja graduated with an MFA in Fine Art from Goldsmiths College and an MA in Cultural Studies from the University of Warsaw. She was artist in residence at MuseumsQuartier in Vienna (2018), IASPIS in Stockholm (2017), MeetFactory in Prague (2016), National University of Colombia in Bogota (2014) and Tate Britain (2011-12), attended the Home Workspace programme at Ashkal Alwan in Beirut (2013-14) and was an Artsadmin Bursary recipient in London (2016-17).

Dorota Hadrian
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Q:  What kind of the references to the past in your videos? What is your idea of dialogue with the other projects from the past if you enter such dialogues?
Dorota Hadrian (b.1984 in Ruda Śląska). She graduated from the Sculpture Department at the Academy of Fine Arts in Krakow. Currently, she is a PhD student at the Faculty of Arts at the Pedagogical University in Krakow. She reaches the iconographic patterns available in the classical European art, combining the stereotypes in high culture and the pop culture. In her works, she uses the cultural, multifaceted references, allusions and quotations.
Her main means of expression is sculpture, video and painting. She took part in numerous group and individual exhibitions. She has hold many scholarship and grants. She lives and work in in Bytom.

Iwona Demko
​

Q: You say that your art is a Seeing the World as a Woman. What are your methods? How important is to see the world from the woman's perspective? 
A vaginatist artist, sculptor, feminist, artistic missionary and artivist. 2001 diploma at the Academy of Fine Arts in Krakow at the Sculpture Department, where she works since 2008. In 2012 she defended her PhD based on her dissertation ‘’Vaginatism” and the sculpture ‘’The Chapel of Vagina”. In 2016 she received her post-doctoral degree. Against the warnings coming from her own artistic and academic circles she deliberately produces work that may be classified as feminist art. Iwona curated a few feminist exhibitions, such as ‘’Krzataczki” [Bustlers], ‘’HERstoria sztuki” [Art HerStory], ‘’Gastronomki” [Caterers]. 
www.iwonademko.art.pl
https://www.facebook.com/iwona.demko.femina

Małgorzata Dawidek 

Q: Your research on the untold, silenced herstories on women's creativity? How politically important is it in today's art? 
a Polish born visual artist, writer and art historian currently based in the UK. Her artistic and academic interests are located between language, the visual arts, psychology and medicine. She deals with the language aspect of communication – the relationship between words and their visual representations. She is focused on the phenomenon of the body as a text and storage of memories. The artist uses text of the body to talk about organic physicality as a continuous narration, the text “in process”. She is interested in the extreme states of the body, anatomy, inexpressible emotions, physical limitations and mental blockages.

19th of July at 6pm
The Power of Anger & the Art: Discussing Emancipation & Feminism


The women’s use of anger as a vengeance has its cultural connotation; of course, woman’s anger is often portrayed in connection to the Greek mythological Erinyes (Furies), the Greek deities of vengeance who they take the vengeance on men whosoever hath sworn a false oath. The notion of falsehood and disloyalty is essential here when we think about the use of anger in the feminist movement: it is anger against injustice, and men are here seen not as the co-victims of the same- the sexist, patriarchal structure but the agents of patriarchy. The disloyal men are here used in the metaphorical way as representing the sexist, patriarchal structures. And this kind of anger can be seen in many of the feminist movement, in the European suffragists movement, in the building up of National Organisation of Women in US in the late 1960s. 
During the panel the Polish Women Artists and the British Activists will refer to anger, the metaphors of anger, the use of anger in the suffragists tradition and today. 
​
The discussion will be chaired by exhibition curator Urszula Chowaniec (UCL)
confirmed speakers:
Alicja Rogalska
Zofia Krawiec
Iwona Demko
Dorota Hadrian
SIKSA
The Feminist Work for Change - Sarah Silverwood and Katy Sadler
Sisters Uncut Birmingham
2018 marks the centenary of women gaining voting rights in Poland,also in the UK and many other countries. Centrala in the exhibition 100 Years, SO What? present what this centenary means for women in contemporary society. Juxtaposing the political and social debate on emancipation at the beginning of the 20th century with contemporary artistic practices (suchasselfie-feminism), the exhibition aims to create a cultural and social space for discussion of the position of women in contemporary society.
Today's world needs transgression from the growing level of inequality and injustice to significantly new space.
We have invited artists and activists for to discuss the centenary of women's emancipation is a centenary which mirrors the peoples' struggle to get rid of many injustices arising from gender inequality.


#100yearssowhat #fminism #emancipation #feministart #womensart