Key Note Speakers

Motherhood and creative practice:

Maternal structures in creative work

Confirmed Key Note Speakers

faith1

Faith Wilding is Professor Emerita of performance art at the School of the Art Institute of Chicago, a graduate faculty member at Vermont College of Fine Arts, and a visiting scholar at the Pembroke Center, Brown University. Wilding was a co-initiator of the Feminist Art Programs in Fresno and at Cal Arts, and she contributed “Crocheted Environment” and her “Waiting” performance piece to the historic Womanhouse exhibition. Her artwork have been featured in major feminist exhibitions including WACK! Art and the Feminist Revolution. Wilding cofounded and collaborates with subRosa, a cyberfeminist cell of cultural producers using BioArt and tactical performance in the public sphere to explore and critique the intersections of information and biotechnologies in women’s bodies, lives, and work, and she is the co-editor of “Domain Errors! Cyberfeminist Practices!”. She is the recipient of a Guggenheim Fellowship, Creative Capital grant, and NEA artist grants.

BrachaEttinger

Bracha L. Ettinger, Ph.D., is the Marcel Duchamp Chair & Professor of Psychoanalysis and Art at the European Graduate School EGS, artist, senior clinical psychologist, practising psychoanalyst, and groundbreaking theoretician working at the intersection of feminine sexuality, psychoanalysis, and aesthetics. Bracha L. Ettinger has been forging for the last twenty years a new ‘matrixial’ theory and language with major aesthetical, analytic, ethical and political implications. Bracha Ettinger’s ideas offer the hope that identities might not have to be achieved either sacrificially or at someone else’s expense.

Porträtt av Mary Kelly

Mary Kelly is known for her project-based work, addressing questions of sexuality, identity and historical memory in the form of large-scale narrative installations. She studied painting in Florence, Italy, the sixties, and then taught art in Beirut, Lebanon during a time of intense cultural activity known as the “golden age.” In 1968, at the peak of the student movements in Europe, she moved to London, England to continue postgraduate study at St. Martinʼs School of Art. There, she began her long-term critique of conceptualism, informed by the feminist theory of the early womenʼs movement in which she was actively involved throughout the 1970s. n 1989 she joined the faculty of the Independent Study Program at the Whitney Museum of American Art in New York. Since 1996, Kelly has been Professor Art and Critical Theory Art in the School of Art and Architecture at the University of California, Los Angeles where she has established an Interdisciplinary Studio area for graduate students engaged in site-specific, collective and project-based practices.

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