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15 Jan 2009

n.paradoxa: international feminist art journal

Cover of vol 23 nparadoxa

Volume 23 of n.paradoxa just published and a call for papers for July 2009/Jan 2010


January 2009 - new volume - volume 23
Future copy deadlines:
May 15 2009 for volume 24, July 2009
Nov 1 2009 for volume 25, Jan 2010

44 208 858 3331
44 208 858 3331

38 Bellot Street
SE10 0AQ

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Volume 23 of n.paradoxa has just been published


'Feminism, Activism and Historicisation': Croatian artist Sanja Ivekovic talks to curator and critic Antonia Majaca about several of her major projects including 'Poppy Field' (2007) at Documenta XII; 'Women's House' (1998-2008); 'Gen XX' (1997-2001) and 'Triangle' (1979).

Kim Paice 'DownWind Productions: détournement Hawai'i.' Downwind Productions includes the artists Gaye Chan and Nandita Sharma and art historian Andrea Feeser. Their critique of Hawai'I as a site for tourism in their project 'Historic Waikiki' is the foucs of the article.

Joan Borsa 'Rebels with a Cause: the parodies and pleasures of our own disguises' discusses the work of Canadian women performance artists; Lorri Millan and Shawna Dempsey, Rita McKeough, Colette Urban and Lisa Baldissera'

Ebru B. Yetiskin, from Turkey, advances her own theory of '(Net)tachmental Arts' in relation to an analysis of the work of What, How and for Whom curatorial collective from Zagreb who will curate the next Istanbul Biennale.

Stacy E. Schultz 'Naming in Order to Heal and Redeem: Violence Against Women in Performance in the US' discusses the performance work of Suzanne Lacy/Leslie Labowitz, Ana Mendieta, Karen Finley on the subject of rape.

Rudolfine Lackner 'Institutional Activisms: the work of VBKÖ and IntAkt in Austria in the 1970s' brings together 4 artists involved in these groups to reflect on the legacies of these women's art organisations and their programmes for change.

Kirsty Robertson discusses her two projects 'The Viral Knitting Project' and 'Writing on the Wool'. Kirsty Robertson is based in Canada.

Jung-Ah Woo, a scholar from Korea, discusses 'Silence and Scream: Yoko Ono's Subversive Aesthetics'

Two artists from Bulgaria working in the USA, Boryana Rossa and Daniela Kostova, discuss 'Histories and Bodies: How to Make the Local International'

Kelly Dennis, from the US, discusses 'Gendered Ghosts in the Globalized Machine: the work of Coco Fusco and Prema Murthy'

'Martha Rosler: art activist' Mary Paterson from the UK interviews Martha Rosler

Book Reviews: Katrin Kivimaa Unruly bodies of women and gender politics of post-socialism: a review of Iva Popovicova 'New Body Politic'

Josie Faure Walker reviews 'Cooling Out - on the Paradox of Feminism'

Colour pages: Women artists in 'Artist-Citizen', 49th October Salon, Belgrade

To obtain a copy go to:

n.paradoxa publishes the work of women writers, curators, artists and critics of contemporary art (post-1970) who write about the work of contemporary women artists and its relationship to feminist theory: located anywhere in the world. n.paradoxa is bi-annual and published in English.

Please write to the editor: with a one-page proposal and information about yourself as author.

Call for Papers for future volumes.

Volume 24 (July 2009) of n.paradoxa is on the theme of Material Histories.

The theme of this journal calls for any papers from women writers, artists or curators working on theories/histories of materials, historical materialism, alternative histories or marginal histories of feminist art practices. After 40 years, feminist art practices have a wide range of legacies and histories in different parts of the world and this volume - with international contributors - will reflect new approaches to histories of contemporary art. Dialectical and reflective approaches are welcome as are readings of the material/dematerialised/immaterial=virtual art objects produced by women artists.

Deadline for copy is May 15, 2009.

Volume 25 (Jan 2010) of n.paradoxa is on the theme of Pleasure.

Have feminist art practices proposed new models of pleasure? Do they challenge ideas about women's pleasures or reinforce them? While women artists have challenged the assumptions embedded within the male gaze, have they shifted the object position for women in representation as something-to-be-looked-at? Is there a focus on the different kinds of visual, aural, sensual, or tactile pleasures in women's contemporary art work produced in the last 40 years? Articles on the subject of pleasure or pleasures - visual, aural, sensual, physical or in terms of other forms of pleasure/pain producing sensations - are welcome.