Art as Labour. Über Kunst, Mutterschaft und Institutionskritik

At the end of the Sixties artist Laderman Ukeles had to experience the dilemma that being an artist and mother in one person turned out to be a irreconcilable condition for the art market of this time. Half a century later Laderman Ukeles’ critique is still justified: mother artists are still considered as not being fully reliable, less resilient and a risk factor to production processes and standards. Moreover, this is regardless of the precarities women have to tackle on a material and timely level and beyond the care responsibilities they already fulfil. How would an art institution have to be organised that will promote art evolving from reproduction and de-production? How can motherhood and care work can be made visible in and for the art system. How can forms of neoliberal production be opposed by strategies of maintenance? Eleonora Herder and Inga Bendukat of andpartnersincrime invite collaborators with background in the arts, activism and theory to discuss, activate and re-write Laderman Ukeles’ “Maintenance Art Manifesto” and by doing so can define new claims for a compatibility of care work and art practice.

With digital und analog inputs from Marcia Breuer (Künstlerin und Initiatorin „Mehr Mütter für die Kunst“), Hannah Cooke (Künstlerin), Sara Gröning (Dramaturgin und Vermittlung), Katrin Hylla (Regisseurin und Co-Verfasserin des Care Manifestes von 2018), Magdalena Kallenberger (Mitglied von MATERNAL FANTASIES), Olivia Hyunsin Kim (Performerin und Regisseurin), Mary Jirmanus Saba (Filmemacherin und Geografin, Mitautorin von „Why Call It Labor?“)

The number of participants is limited, please register for places and day care at: assistenz [at] wunderderpraerie.de

Spontaneous participation will be made possible in accordance with place capacities