Post-growth, Eco feminist, Responsible, Mutual, Agitation
Workshop and Artist Talk
June 4th, 2025t
Institut für Gleichstellung & Gender Studies
Wir begegnen in diesem Artist Talk und Workshop Revolutionär*innen, Hacker*innen, Aktivist*innen und Künstler*innen, die gemeinsam unberechtigte Machtgefälle enttarnt und überwunden haben. In welcher Beziehung stehen wir zu ihren vergangenen Kämpfen?
4-6 December 2024
Arts Campus, Umeå University
„The concepts of hurricanes and scaffolding will be used to identify new critically reflexive frameworks that the arts bring to the wider discourses of society, technology and politics. The hurricane being a non-human force, and scaffolding being the built infrastructure on which systems can grow. Nora N.Khan outlines her concepts of hurricanes and scaffolding in her essay ‘Towards a poetics of Artificial Super Intelligence’ (In: ‘The Atlas of Anomalous AI’ edited by Ben Vickers and K Allado-McDowell). The symposium presentations will explore human and non-human perspectives on infrastructures for new ways of thinking and making.
Whilst artistic academies and conservatoires have supported the development of the arts for many centuries, Artistic Research is a relatively new field of practice in relation to University research infrastructures. On the one hand disciplines want to protect their traditions, whilst on the other hand practices that engage with an interdisciplinary critique enable a clearer understanding of the contribution of the arts to society. This symposia will bring together artists, architects and designers who are moving beyond individual practices that rely on the art market or state sponsorship to engage with societal infrastructures and responsibilities through research. At the same time Universities in Sweden are slowly changing the way in which they validate artistic research supported by new initiatives such as CoARA which require subject specific assessment.“
from UmArts
Post-growth, Eco feminist, Responsible, Mutual, Agitation
January 17th, 2025
Lectures by Stefanie Wuschitz, Victor Mazón, Guely Morató Loredo and Fatrisia
15.30h
Women and Agrarian Injustice: Palm Oil Plantation Partnership That Deprives of The Livelihood, Land Rights, and Economic Rights of Women in Rural Areas
Lecture by Fatrisia
Fatrisia reports on how palm oil companies exacerbate the situation of women* in rural areas. Women* not only play a dual role in the household, but also in relation to the palm oil companies‘ land monopoly. In rural areas in Central Sulawesi, women* are forced to deal directly with the agrarian conflicts that control their economic resources and make their food sources unhealthy. They are silenced, their safety and freedom threatened by criminalization and gender-based violence as their land is confiscated by palm oil companies that are an integral part of the government’s plantation program. This makes their frontline struggle to restore their community’s rights and food security all the more astonishing.
____
16h
Triangle of Sacrifice: Technological Infrastructures of Colonialism
Lecture by Victor Mazón and Guely Morató Loredo
A critical review of the impacts of large-scale mining in the lithium triangle, a territory between Bolivia, Chile and Argentina that concentrates 65% of the lithium found on the planet.
____
16.45
Eco-Feminist Decolonial Hardware
Lecture by Stefanie Wuschitz
It is an open secret that the hardware in our smart devices contains not only plastics but also ‘conflict minerals’ such as copper and gold. Stefanie Wuschitz and Patricia J. Reis researched on fair-trade, ethical, biodegradable hardware for environmental justice, building circuits that use ancient community-centered crafts encouraging de-colonial thinking. Their artistic outcome is an Ethical Hardware Kit with a PCB microcontroller at its core. PCB is made of wild clay retrieved from the forest in Austria and fired on a bonfire. The conductive tracks used urban-mined silver and all components are re-used from old electronic devices
____
Bios
Fatrisia
As a child from a family of farmers, I was fortunate enough to be educated at a college level (I studied at the Department of Social and Political Sciences, at Muhammadiyah University of Yogyakarta), as were some of my colleagues who were also activists in a civil society organization founded by peasants in my area, called Forum Petani Plasma Buol (local peasants’ organization). As a young person and a woman, it was not easy for me to gain the trust of my community, which was mostly the older generation who were familiar with patriarchal ways, let alone being chosen to lead a mass struggle. However, for the past two years I have been trusted to lead my community’s resistance movement against the seizure of their rights by non-state actor, a large-scale palm oil company that have deceived around 4 thousand family groups in my community for 16 years through a government program called ‘Plantation Revitalization’, with a core-plasma partnership scheme.
Víctor Mazón Gardoqui
Mazon Gardoqui´s work exposes the unheard and unseen, addressing the inaccessible and experiencing vulnerability and awareness on the viewer. Perception and altered states are key concepts in his performances through the use of sound or light.His art practice explores amplification, electromagnetic phenomena and images of invisible fields by using locative audio and custom electronics.His work materializes in three main fields: actions or site-specific performances through experimental processes, exhibitions as consequences of previous actions and collaborative works through seminars to form a communal dialog.He is a senior educator and professional working with open hardware and experimental circuit design, coordinating workshops and educational formats in the domain of device-studies and experimental sensory applications. His work has been performed or exhibited in museums, biennials, galleries, bill- boards, urban screens and TV/radio stations in Africa, Russia, Nepal, North America, Canada, Mexico, Bolivia, Colombia, Argentina, Uruguay, Antarctica and numerous locations across Europe. Mazon Gardoqui has been a guest artist and lecturer at Slade School of Fine Art, Concordia University, Universität der Künste Berlin, Rijksakademie Amsterdam, Ecole Nationale Supérieure des Beaux Arts de Paris, Universität für angewandte Kunst Wien, Superior Technical School of Architecture of Madrid, Master Studies Interface Cultures Linz, University College London – Arts and Sciences, HFK Bremen University of Arts, Master Studies C:Art Media Valand Univ Goteborg, Institute of Dramatic Arts and Cultural Studies Casablanca, University Mohamed V Rabat, Patricio Lynch Universidad de Valparaíso, Universidad de Humanidades y Arte Concepción, Harvestworks Digital Media Arts Center, MediaLAB Prado, LABoral Art and Industrial Creation Centre and Hangar.org, among others. https://victormazon.com
Guely Morató Loredo
is curator, artist and researcher. Winner CIFOxARS Electronica award, 2024, winner of the Cultural & Artistic Responses to Environmental Change-2023 award by the Prince Claus Fund and the Goethe-Institut. Curator of six editions of the Sonandes International Biennial of Sound Art (2014-2024) and one edition of the Biennial of Listening (2023). Head researcher of the ALTER residency, a mountain laboratory specializing in solutions for the period of cultural, climate and energy transition held in the Swiss Alps (2022). During 2021 she was the head researcher of the Bolivian team participating in The Witness_Openlab, annual research laboratory focusing on the anthropocene and the human footprint on the planet. She led the Gender, Science and Technology Observatory (2019-2022). She led the Medialab at the Cultural Center of Spain in La Paz (2019). She is currently curator of Wak’a, a project that involves several communities and creators who reflect on extractivism, sacredness and deep listening in the Lithium Triangle. Since 2014 she founds and directs Sonandes: Platform for Experimentation and Research, which organizes the only biennial specialized in sound art in Latin America, Puertos: Residency Program, laboratories, exhibitions and projects specialized in sound art and listening.
Stefanie Wuschitz
is an arts-based researcher investigating strategies to decolonise technology. Her publications evolve around feminist hacking. Her artwork has been exhibited and screened at international venues such as Ars Electronica Festival (Austria), ART|JOG 8 (Indonesia), Bouillants Vern-Sur-Seich (France), Austrian Cultural Forum (United States), 8th International Sinop Biennale (Turkey), 16th International Biennial of Aveiro (Portugal) among others. She had solo exhibitions at Kunstraum pro arte, Galerie 3 and solo exhibitions with her former artist collective Mz* Baltazar’s Lab at Kunstraum pro arte, VBKÖ, Forum Alpbach and Medienwerkstatt Vienna among others. She is currently Principal Investigator of a project on Digital Colonialism in Indonesia affiliated to the Academy of Fine Arts Vienna.
15.30h
Women and Agrarian Injustice: Palm Oil Plantation Partnership That Deprives of The Livelihood, Land Rights, and Economic Rights of Women in Rural Areas
Lecture by Fatrisia
Fatrisia reports on how palm oil companies exacerbate the situation of women* in rural areas. Women* not only play a dual role in the household, but also in relation to the palm oil companies‘ land monopoly. In rural areas in Central Sulawesi, women* are forced to deal directly with the agrarian conflicts that control their economic resources and make their food sources unhealthy. They are silenced, their safety and freedom threatened by criminalization and gender-based violence as their land is confiscated by palm oil companies that are an integral part of the government’s plantation program. This makes their frontline struggle to restore their community’s rights and food security all the more astonishing.
____
16h
Triangle of Sacrifice: Technological Infrastructures of Colonialism
Lecture by Victor Mazón and Guely Morató Loredo
A critical review of the impacts of large-scale mining in the lithium triangle, a territory between Bolivia, Chile and Argentina that concentrates 65% of the lithium found on the planet.
____
16.45
Eco-Feminist Decolonial Hardware
Lecture by Stefanie Wuschitz
It is an open secret that the hardware in our smart devices contains not only plastics but also ‘conflict minerals’ such as copper and gold. Stefanie Wuschitz and Patricia J. Reis researched on fair-trade, ethical, biodegradable hardware for environmental justice, building circuits that use ancient community-centered crafts encouraging de-colonial thinking. Their artistic outcome is an Ethical Hardware Kit with a PCB microcontroller at its core. PCB is made of wild clay retrieved from the forest in Austria and fired on a bonfire. The conductive tracks used urban-mined silver and all components are re-used from old electronic devices
____
Bios
Fatrisia
As a child from a family of farmers, I was fortunate enough to be educated at a college level (I studied at the Department of Social and Political Sciences, at Muhammadiyah University of Yogyakarta), as were some of my colleagues who were also activists in a civil society organization founded by peasants in my area, called Forum Petani Plasma Buol (local peasants’ organization). As a young person and a woman, it was not easy for me to gain the trust of my community, which was mostly the older generation who were familiar with patriarchal ways, let alone being chosen to lead a mass struggle. However, for the past two years I have been trusted to lead my community’s resistance movement against the seizure of their rights by non-state actor, a large-scale palm oil company that have deceived around 4 thousand family groups in my community for 16 years through a government program called ‘Plantation Revitalization’, with a core-plasma partnership scheme.
Víctor Mazón Gardoqui
Mazon Gardoqui´s work exposes the unheard and unseen, addressing the inaccessible and experiencing vulnerability and awareness on the viewer. Perception and altered states are key concepts in his performances through the use of sound or light.His art practice explores amplification, electromagnetic phenomena and images of invisible fields by using locative audio and custom electronics.His work materializes in three main fields: actions or site-specific performances through experimental processes, exhibitions as consequences of previous actions and collaborative works through seminars to form a communal dialog.He is a senior educator and professional working with open hardware and experimental circuit design, coordinating workshops and educational formats in the domain of device-studies and experimental sensory applications. His work has been performed or exhibited in museums, biennials, galleries, bill- boards, urban screens and TV/radio stations in Africa, Russia, Nepal, North America, Canada, Mexico, Bolivia, Colombia, Argentina, Uruguay, Antarctica and numerous locations across Europe. Mazon Gardoqui has been a guest artist and lecturer at Slade School of Fine Art, Concordia University, Universität der Künste Berlin, Rijksakademie Amsterdam, Ecole Nationale Supérieure des Beaux Arts de Paris, Universität für angewandte Kunst Wien, Superior Technical School of Architecture of Madrid, Master Studies Interface Cultures Linz, University College London – Arts and Sciences, HFK Bremen University of Arts, Master Studies C:Art Media Valand Univ Goteborg, Institute of Dramatic Arts and Cultural Studies Casablanca, University Mohamed V Rabat, Patricio Lynch Universidad de Valparaíso, Universidad de Humanidades y Arte Concepción, Harvestworks Digital Media Arts Center, MediaLAB Prado, LABoral Art and Industrial Creation Centre and Hangar.org, among others. https://victormazon.com
Guely Morató Loredo
is curator, artist and researcher. Winner CIFOxARS Electronica award, 2024, winner of the Cultural & Artistic Responses to Environmental Change-2023 award by the Prince Claus Fund and the Goethe-Institut. Curator of six editions of the Sonandes International Biennial of Sound Art (2014-2024) and one edition of the Biennial of Listening (2023). Head researcher of the ALTER residency, a mountain laboratory specializing in solutions for the period of cultural, climate and energy transition held in the Swiss Alps (2022). During 2021 she was the head researcher of the Bolivian team participating in The Witness_Openlab, annual research laboratory focusing on the anthropocene and the human footprint on the planet. She led the Gender, Science and Technology Observatory (2019-2022). She led the Medialab at the Cultural Center of Spain in La Paz (2019). She is currently curator of Wak’a, a project that involves several communities and creators who reflect on extractivism, sacredness and deep listening in the Lithium Triangle. Since 2014 she founds and directs Sonandes: Platform for Experimentation and Research, which organizes the only biennial specialized in sound art in Latin America, Puertos: Residency Program, laboratories, exhibitions and projects specialized in sound art and listening.
Stefanie Wuschitz
is an arts-based researcher investigating strategies to decolonise technology. Her publications evolve around feminist hacking. Her artwork has been exhibited and screened at international venues such as Ars Electronica Festival (Austria), ART|JOG 8 (Indonesia), Bouillants Vern-Sur-Seich (France), Austrian Cultural Forum (United States), 8th International Sinop Biennale (Turkey), 16th International Biennial of Aveiro (Portugal) among others. She had solo exhibitions at Kunstraum pro arte, Galerie 3 and solo exhibitions with her former artist collective Mz* Baltazar’s Lab at Kunstraum pro arte, VBKÖ, Forum Alpbach and Medienwerkstatt Vienna among others. She is currently Principal Investigator of a project on Digital Colonialism in Indonesia affiliated to the Academy of Fine Arts Vienna.
A NEW AXIS OF KNOWLEDGE 3
11-14th of June 2025
The Africa Asia Conference-Festival happened for the third time and had the title „A New Axis of Knowldge“. The track “ ‚Pan-Africanims‘, ‚Bandung Spirit‘, ‚Global South‘ Futures and the New World Order‘ was dedicated to the important influence of the non-alignment movement.
I was in particular fascinated by the many lectures that outlined the strong impact that the Bandung conference had. The Bandung conference took place 70 years earlier in Indonesia, propelling South-South collaborations in education, architecture, art and culture, generating new and lasting networks of solidarity.
I was allowed to listen to outstanding international relation experts, inspiring activists, ground breaking artists, passionate scholars, brave documentary film makers who all left a deep impression on me:
Nalini E. de Sousa, Solange Chatelard, Gustavo Ciriaco, Thuy-Trang T. Nguyen, Yamini Krishna Chintamani, Idrissou Mora-Kpai, Ling Zhang, Vera Leigh Fennel, Emily Shin-Jie Lee, Mamadou Drame, Isaac Odoom, Kamila Junik and my old friend Seyram Avle, to name just a few.
Thank you to all the volunteering students of UCAD University who helped to make this gigantic conference festival happen. My thanks go in particular to the Cinè Film Club, that struggles for political justice and the right to higher education.
