Controversial “confrontationalist” legend Lydia Lunch‘s new project is a full-blown collaborative women’s workshop whose effort is “to change the status quo through art and group empowerment.”
The event, taking place at Les Ateliers du Vent (Rennes, France) will feature 10 artists from different countries and practices leading the workshops. The Post-Catastrophe collective needs some financial assistance for travel expenses and accommodation, you can help them out by donating (with exclusive rewards in return) on IndieGoGo.
Here is the mission statement for the project:
“’ The Post-Catastrophe Collaboration Workshop,’ curated by Lydia Lunch, seeks to give agency to women by encouraging artistic empowerment especially in these times of global chaos, media negativity, and the devastating effects on the psyche of disaster capitalism and catastrophe that plagues the individual on a daily basis.
For 3 days, in the Summer of 2012, Ateliers du Vent, a community art space in Rennes France, will become a collaborative and transformative exchange, for women and by women.
The artists involved will cover a wide range of mediums from visual and practical applications of art to spoken word and dance.
The outcome of this workshop will be realized in a collaborative group performance at Ateliers du Vent.
The purpose of this event is to empower the women involved to form a global collective, which will encourage not only those in attendance but spread a contagious enthusiasm to creative women everywhere.”
A list of the women involved:
Lydia Lunch (Barcelona, Spain): Luminary performer. Voted by Time Out Magazine as, “one of the most influential performers to have merged from New York City.”
Written and spoken word workshops.
Bibbe Hansen (New York, New York): Daughter of Fluxus artist Al Hansen, mother of the musician Beck, youngest Warhol Star.
Works on “Happenings” and unblocking creative potential to inspire us from passive art consumers to culture producers.
Sadie Mae aka Lisa Tomicich (Nyack, New York): Musician, collaborated with Lydia Lunch and Kim Gordon on “Harry Crews.”
Workshops on the agency of freelance art, various techniques, and applications.
Vanessa Skantze (Seattle, Washington): Performance artist, Butoh.
Workshops on Butoh and the power of the body.
Celine Le Corre (Rennes, France): Creator and pioneer of Atelier du Vent.
Merging word, photography, and sound in various exhibitions.
Nicoleta Esinencu (Chisinau, Moldova): Writer and performer. Gained international attention with her monologue “Fuck you, Eu.ro Pa”
Workshop on political performance art.
Lilia Dragneva (Chisinau, Moldova): Visual artist, critic, and curator. Founder of “Ksa’k (Center of Contemporary Art in Chisinau)
Workshops on experimental video and sound installations
Laetitia Sheriff (Rennes, France): Musician, writer.
Workshops on poetry and musical collaboration.
Jillian McManemin (Brooklyn, NY): Multimedia artist/writer
Workshops on ephemeral art. A frequent collaborator of Sadie Mae.
Elise Passavant (Paris, France):
Award-winning filmmaker, editor, VJ, “multi-media Swiss army knife.”
Taken from the press release:
“To question why women artists need a workshop by and for each other in 2012 is to ignore the damage done to the sensitive psyche by the brutarian policies of kleptomaniacal plutocrats in their race for global domination. From the imperialist profiteering of endless war, to the justification of the psychosis of bloodlust in the name of God, oil or natural resources, from austerity measures as punishment against entire nations for the fraud perpetrated by greedy corporations and their criminal finance ministers, to the blatant arrogance of corrupt politicians who do their bidding with utter disregard for the health of the planet or the life of its inhabitants, we as women demand a safe place in which to create from the ashes of this man-made destruction.
We are seeing in these times a striking attempt on a global scale to redress economic and social imbalance by sheer physical presence– the Arab Spring, the Occupy movement in the US. Pervasive ecological imperatives have been won (and lost) by indigenous-led groups in South America and Africa. This consensus is essential for large-scale change, and yet, the foundered promise of the movements of the 1960s and 1970s indicate the depth to which transformation must but has not yet occurred in the way we live.
The dominator model continues to run the world, and in so doing affects us in both obvious and unconscious ways. Indeed this bespeaks a need for the attention to the microcosm, to the immediate community. In the West where we are not bound by blood tribe or homeland, we come together in kindred passions. What is absolutely necessary is the fostering of environments, which we must learn together how to more adeptly create, in which the existing hierarchical, dominator paradigm can be further and further subverted by the constant intention to transform our learned ways of relating to ourselves and one another within this powerful action of collaboration/co-creation.
This by its nascent nature requires a protected space–here by and for women–in which to listen and share the deep language of the body; the creative impulse; the desire to collaborate and the methods to invoke; the experience of time, space and accomplishment unfettered by the anxieties of funding and recognition. This last is extremely important. Our current model of success for everyone, artists included, remains competitive and largely solitary in the West. Women who create and attempt to move within established systems find themselves indentured into the necessary sales pitch to self-promote, furthering the continuance of the established pattern, which fosters alienation and dissociation rather than community.
A workshop by and for women can provide a haven of inspiration, encouragement and a sense of community in these extremely trying times. The burden of often deeply traumatized women constantly having to manage their emotions and warp themselves to adjust to social situations that adhere to linear, rational, productive values is soul-killing.
Art has the ability to act as salve to the universal wound. It gives voice to the silent scream within us all. It rebels as pleasure in times of trauma. It brings a sense of beauty and joy by rising up in celebration of life, a direct contradiction to the widespread brutality of socio-sadistic bullies who seek to divide and conquer. A space of protection and clarity to explore the strengths and weaknesses women possess, along with their innate neural capacity for emotional imprint and communal feeling; concurrently with the research and practice of creative techniques together can foster tremendous healing along with powerful work. This is an essential contribution toward the continuance of the species and its shift away from trying to dominate the planet toward the recognition that it is simply part of all life. This workshop seeks to bring together a diverse and multi-generational collection of women artists who comprehend the importance of community, collaboration and creation as an inspirational weapon in the war against divisiveness, division and death.”
– Lydia Lunch, Vanessa Skantze
by JC Gonzo