This two-day conference will explore the live and performance-based arts, sound and moving image practices that were an integral part of feminist creative and campaigning activities of the 1970s and 1980s.
Organised by CREAM (the Centre for Research and Education in Arts and Media at the University of Westminster) and hosted and co-organised by Tate curatorial, the conference brings together presentations from an international array of researchers and artists in response to an open call, aiming to expand the UK scope of the exhibition to consider international contexts and more recent approaches.
Speakers will address themes including radical film and political resistance, sound arts and feminism, female-led creative acts of resistance, activism, music and performance, archival practice in exhibition making and alternative models of making and storytelling.
The conference will also include parallel talks, reading groups and roundtable discussions as well as the exhibition Improvising Antiphony: The Lindsay Cooper Archive, curated by students on the MA Curating and Collections at Chelsea College of Arts (UAL) at Chelsea Space.
18.00-20.30 Exhibition opening: Improvising Antiphony: The Lindsay Cooper Archive
Free to all, introductions 19.00
Chelsea Space, Chelsea College of Arts (UAL), 16 John Islip Street, London SW1P 4JU (Opposite Tate Britain, next to the parade ground)
Improvising Antiphony celebrates the work and wider influence of the experimental musician, Lindsay Cooper. By exploring her use of improvisation to create opportunities for antiphonal exchange between performers and audiences, this archival display examines collaborative practice in sonic and feminist movements.
Drawing on the spirit of improvisation, Improvising Antiphony encourages visitors to listen, feel and respond to a generation of women's sounds influenced by Cooper.
Improvising Antiphony exhibits photographs, documents, and audio from the Lindsay Cooper Archive, housed at the University of the Arts London Archives and Special Collections Centre.
Exhibition continues Friday 22 March (12.00–20.00) and Saturday 23 March (11.00–17.00).
For information please see the Chelsea Space website
MA Curating and Collections are:
Afra Almazrouei, Nis Azmee Murat, Yining Bai, Stephanie Colclough, Mengze Geng, Riccardo Greco, Maria Herrero Tejada, Wenjing Huang, Yaqi Liang, Yijia Liu, Heyue Lu, Ya-hsin Luo, Wenyan Ma, Aayushi Rajput, Qinxue Shen, Mahalia Sobers, Xinhe Tang, Ziyu Tang, Lily Tanprasert, Charmaine Wah, Jiaxin Wang, Xiaoyu Wang, Shuyi Wang, Lin Wanjing, Ziyan Xu, Xingcheng Xu, Jiabin Xu, Xueqing Xu, Wenbin Ye, Kun (Lydia) Yu, Lilian Zancajo-Lugo, Zihan Zhou
Thanks to: Irene Revell, Lina Džuverović, Georgina Orgill, Zoe Buckberry, UAL Archives and Special Collections Centre, Linsey Young, Lucy Reynolds, Claire M. Holdsworth
Lindsay Cooper (1951–2013) was an innovative English composer and multi-instrumentalist known for her ground-breaking contributions to avant-garde music. Self-taught on bassoon and oboe, she co-founded Henry Cow in the late 1960s, shaping the band's distinctive fusion of rock, jazz, and classical elements. Cooper's versatile skills extended to collaborations with the Feminist Improvising Group and the Art Bears. As a composer, Cooper made significant strides in film, television, and theatre, demonstrating a unique ability to blend classical and experimental tones. In 1983, Cooper co-wrote the script for The Gold Diggers, alongside Sally Potter and the artist Rose English. It was Potter’s first feature-length film, made with an all woman crew, featuring stunning photography by Babette Mangolte and a score by Lindsay Cooper. Her compositions, marked by complexity and originality, earned her recognition and her legacy continues to inspire those exploring the boundaries of genre and expression in music and film.
9.30–10.00 Welcome
10.00-11.30 Panel 1: Other ecologies: collective work and the politics of space
The papers in this panel explore radical film histories rooted in direct political actions. Examining the lenses through which these campaigns and histories have been framed, discussions will explore power dynamics, space, place, and collective work, considering the process of re-telling these stories today.
Lina Džuverović, Katie Anania, Isobel Harbison, Invisible Women (Rachel Pronger) and T A P E Collective (Isra Al Kassi), Chair: Althea Greenan
12.00–13.30 Panel 2: Beyond Her Noise: Feminisms and the Sonic
With some notable exceptions, research at the intersection of sound arts and feminist (and other allied) politics did not commence until well into the new millennium. Taking the work of the Creative Research into Sound Arts (CRiSAP) group as its starting point, this panel maps some of this more recent practical, curatorial, historical, and theoretical work, with questions that include: what is the role of grassroots, DIY technology infrastructures? In writing feminist (sound) art histories, how is the interview itself a sonic artefact? What does silencing sound like?
Annie Goh, Louise Gray, Tomoko Hojo, Cathy Lane, Shortwave Collective (Lisa Hall, Brigitte Hart, Hannah Kemp-Welch, Georgia Leigh-Münster), Chair: Irene Revell
Organised by Creative Research into Sound Arts Practice (CRiSAP, UAL)
14.00–14.45 Talk: Martina (Judah) A t t i l l e in conversation with Onyeka Igwe
Martina (Judah) A t t i l l e will be in conversation with Onyeka Igwe, discussing her filmmaking practice from its emergence at Goldsmiths University in 1983, to her involvement in the collaborative laboratories of the workshop movement with Sankofa Film and Video and its continuation in the present as part of doctoral study, creating original knowledge about aesthetics, audience, and contemporary British Black female subjectivities. Featuring extracts from Attille’s filmography and with a focus on the ways in which her practice has persisted across the decades, exemplified by the varied and collaborative afterlives of Dreaming Rivers, this will be an opportunity to view the work of a pioneering Black female artist beyond narrow conceptualisations of visibility.
London College of Communication Sonic Screen Lab Artist Talk
15.00–16.30 Panel 3: On the Devaluation of ‘Women’s Work’: Female-led resistance and creative practice in Palestine from the 1970s-1990s and its legacy today
This roundtable includes readings, film screenings and a discussion with a range of women artists. Speakers will present and talk about their work, in conversation with Palestinian singer-songwriters who created revolutionary music during the period spanning the 1970s-1990s. The discussion will critically examine various female-led creative acts of resistance in Palestine during the period.
Amidst great upheaval, Palestinian women have engaged in various forms of resistance and endurance, creating art which spoke to their lived experiences, recording revolutionary anthems, smuggling pamphlets in loaves of bread, leading demonstrations, communicating coded messages through song to loved ones in prison and many other subversive acts. The roundtable will also look at some of the Palestinian folk tales, oral histories and rituals that have inspired Palestinian women’s creativity and continue to shape feminist arts practice in Palestine today.
Noor Abed, Hanan Awwad, Jumana Emil Abboud, Zeinab Shaath, Nadia Yahlom, , Chair: Ozlem Koksal
16.45–18.00 Roundtable: Contemporary Resonances: futures for feminist moving image, performance and sound
To conclude the first day of the conference, we invite some prominent cultural figures working in their fields to reflect on how moving image, performance and sound are currently being curated, archived, commissioned, and practiced. What are the challenges when working with these more ephemeral modes of feminist art making? What role might curatorial and archival work play to bring less well-known feminist figures and collective work practice to the fore? What impact might exhibitions such as Women in Revolt! have for future feminist art making?
Chaired by Professor May Adadol Ingawanij (CREAM), the roundtable will include curator and writer Karen Alexander, artist and Director of the Decolonising Arts Institute (UAL) susan pui san lok < > susan, lok pui san, artist Aura Satz, Charlotte Procter and Louise Shelley of the Cinenova Working Group and Curator of Contemporary of British Art at Tate Britain Linsey Young, who curated the exhibition Women in Revolt! Art and Activism in the UK 1970–1990.
Parallel event in the Taylor Digital Studio (opposite Women in Revolt!)
14.30–16.00 Counter Print: A Discussion about the Alternative Feminist Art Press
Victoria Horne, Sonny Ruggiero, Lily Evans-Hill, Catherine Spencer, Bec Wonders
Dr Lina Džuverović is a curator and Course Leader on the MA Curating and Collections, Chelsea College of Art. She is currently co-curating the 60th October Salon, Belgrade, Serbia, 2024. Lina’s research focuses on collectivity in art and the process of writing feminist art histories as a site of solidarity and community-building. Her current research project And Others: The Gendered Politics and Practices of Art Collectives, was awarded Bard College’s Centre for Arts and Human Rights Faculty Fellowship (2022). Previously Lina was Artistic Director of London’s Calvert 22 Foundation; founding Director of Electra, Media Arts Curator at ICA, London, co-curator of Momentum Biennial 2009 and has taught contemporary art in the UK and Austria.
Katie Anania is a scholar and curator of the arts of the Americas who specialises in queer and hemispheric ways of knowing, particularly in makers’ relationships with their materials. Her first book, Out of Paper: Drawing, Environment, and the Body in 1960s America, is forthcoming in June 2024 from Yale University Press. She currently works as an assistant professor of art history at the University of Nebraska-Lincoln, where she directs Art, Data, and Environment/s, an interdisciplinary consortium that uses art and design history to consider colonial histories of water use and resource extraction. She is @thevillagecharlatan on Instagram.
Dr Isobel Harbison is Senior Lecturer in the Art Department, Goldsmiths. In 2019, her monograph Performing Image was published by MIT Press. Harbison’s current academic research focuses on the international and intersectional history of moving image in Northern Ireland since 1968, its challenge to state-sanctioned media and various instances of censorship and intervention. The research has been supported by the Paul Mellon Centre for Studies in British Art and the Association of Art History, published by Afterall Journal and the British Art Studies Journal, and informed public events including Tapes Under the Bed (co-curated with Sara Greavu) at IMMA, Dublin.
Invisible Women is an archive activist film collective which champions the work of women and filmmakers with marginalised identities from cinema history through screenings, events and editorial. Since 2017, they have screened film programmes at cinemas, festivals and galleries across the UK and Europe. They have presented events with partners including Edinburgh Art Festival, Flatpack Birmingham, A Kind of Seeing, CinemaAttic, Cinema Rediscovered, London Short Film Festival, Glasgow Film Festival, HOME Manchester, EYE Filmmuseum Amsterdam, Balkan Can Kino Athens, Sheffield DocFest, Edinburgh International Film Festival, Feminist Elsewheres Berlin and BFI Southbank. Current members of Invisible Women are Camilla Baier, Lauren Clarke and Rachel Pronger. www.invisible-women.co.uk
T A P E was founded in 2015 by Angela Moneke and Isra Al Kassi after meeting through the Barbican Young Programmers scheme. T A P E launched as a response to the lack of representation on screen; wanting to platform and highlight the sheer variety of under-served films out there. Over the years T A P E has curated a number of well-rounded screenings bringing together film, art, music, talks and more into one space and events with a focus on representation, identity and heritage; bringing exciting screenings to new audiences, championing the forgotten could-be cult films of the festival circuit with a focus on programmes of women of colour both behind and in front of the camera.
Dr Althea Greenan (chair) works in Special Collections and Archives at Goldsmiths, University of London curating the Women’s Art Library (WAL) collection. She programmes projects that support artists, students and academics working with the wide range of materials and archives in the WAL This work is the subject of a film by Holly Antrum commissioned by the Art360 Foundation titled Yes to the Work!: The Women’s Art Library (2023). Additional roles include co-curating the Animating Archives website and sitting on the Advisory Board of Feminist Art Making Histories, an oral history, digital humanities project, funded by the Irish Research Council and the AHRC.
www.art360foundation.org.uk/media
sites.gold.ac.uk/animatingarchives
Cathy Lane is an artist, composer and academic. She works primarily in sound, combining oral history, archival recordings, spoken word and environmental recordings to investigate histories, environments, our collective and individual memories, and the forces that shape them. She is inspired by places or themes which are rooted in everyday experience and is particularly interested in ‘hidden histories’ and historical amnesia and how this can be investigated from a feminist perspective through the medium of composed sound. She is interested in what other people hear and don’t hear and the stories that they tell about these listenings. Most of her work is in the form of gallery installations, concert pieces, books, and essays. She is Professor of Sound Arts at University of the Arts London and directs Creative Research in Sound Arts Practice (CRiSAP), a UAL research centre.
Louise Gray writes on music and sound art for The Wire and other publications. Her interest in the sonic knowledge created through dialogue came out of doctoral research, which used in-depth interviews with five post-1945 female composers, each one working in a different transmission of music and sound art, as a way of understanding the methods and networks necessary to create work. Her recent writing has focused on ways of listening in the works of Eliane Radigue, Annea Lockwood and Pauline Oliveros. Louise also teaches on the BA and MA Sound Arts courses at LCC, University of the Arts London.
Tomoko Hojo is a sound artist working within the fluidities between sound, music and performance. Recently she has developed a series of archival projects around Yoko Ono in Tokyo, London and New York. She has an ongoing collaborative project with Swiss sound artist Rahel Kraft. She also co-ordinates and performs as part of the Tokyo-based Ensemble for Experimental Music and Theater. In 2016–17 she was a visiting researcher at CRiSAP, and in 2019 she co-organised the Tokyo edition of Sound::Gender::Feminism::Activism.
Annie Goh is an artist and researcher working primarily with sound, space, electronic media, and generative processes within their social and cultural contexts. She co-curated the discourse program of CTM Festival Berlin 2013-2016 and is an editorial member of Feminist Review since 2022. She is Course Leader of BA Sound Arts at LCC, UAL and a member of CRiSAP (Creative Research into Sound Arts Practice).
Shortwave Collective is an international, interdisciplinary artist group, brought together by an interest in feminist practices and the radio spectrum. The collective’s approach aims to create an inclusive and collaborative tech-based learning environment, which attends to gendered education gaps. Recent commissions include Living Radio Lab (2023), an open studio for DIY making and public programme at Struer Tracks Biennial (DK); and Constellations of Listening (2022), a 22-hour broadcast on the theme of radio-listening for Radio Art Zone (LU). Shortwave Collective are: Alyssa Moxley, Brigitte Hart, Georgia Leigh-Münster, Hannah Kemp-Welch, Karen Werner, Kate Donovan, Lisa Hall, Maria Papadomanolaki, Meira Asher and Sally Applin.
Irene Revell (chair) is a writer and curator who works with artists across sound, text, performance and moving image. She is an RCA Postdoctoral Researcher on Aura Satz’s Preemptive Listening project. With Sarah Shin she is editing a book on feminisms, sound and listening (Silver Press, 2024). Much of her curatorial work has been with Electra and she is closely involved with collections including Electra’s Her Noise Archive and Cinenova: Feminist Film and Video. She recently completed her doctoral thesis, Live Materials: Womens Work, Pauline Oliveros and the Feminist Performance Score at CRiSAP where she has been the affiliated curator/lecturer on the MA Sound Arts since 2014.
Martina (Judah) A t t i l l e is currently in the writing-up year of her practice-based PhD, Africandescence, at University of the Arts London. Attille is one of the founding members of the London-based collective Sankofa Film & Video (with Maureen Blackwood, Robert Crusz, Isaac Julien and Nadine Marsh-Edwards), initially working with the group to deliver public facing film discussions hosted by Cinema Action and 16mm film workshops for women hosted by Women in Sync and Four Corners, in response to the desire for change in the representation of Black people and black women in the media. Her PhD film installation, Africandescence Blue (2023) concludes Attille’s affection for the films of Sankofa Film & Video, including Territories I & II (Isaac Julien,1984), The Passion of Remembrance (Maureen Blackwood/Isaac Julien, 1986), Dreaming Rivers (Attille, 1988) and the optimism they propose for a changed aesthetic in British filmmaking, expressed by an alliance of graduates in their twenties, supported by their enablers.
Onyeka Igwe is a London born, and based, moving image artist and researcher. Her work is aimed at the question: how do we live together? Not to provide a rigid answer as such, but to pull apart the nuances of mutuality, co-existence, and multiplicity. Onyeka’s practice figures sensorial, spatial, and counter-hegemonic ways of knowing as central to that task. She has had solo/duo shows at Bonington Gallery (2024), MoMA PS1, New York (2023), High Line, New York (2022), Mercer Union, Toronto (2021), Jerwood Arts, London (2019) and Trinity Square Video, London (2018). Her films have screened in numerous group shows and film festivals worldwide. Currently, she is Practitioner in Residence at the University of the Arts London and will participate in the group show Nigeria Imaginary in the national pavilion of Nigeria at the upcoming 60th Venice Biennial in 2024. She was awarded the New Cinema Award at Berwick Film and Media Arts Festival 2019, a 2020 Arts Foundation Fellowship, the 2021 Foundwork Artist Prize and has been nominated for the 2022 Jarman Award and Max Mara Artist Prize for Women.
Noor Abed is an interdisciplinary artist and filmmaker. Her practice examines notions of choreography and the imaginary relationship of individuals, creating situations where social possibilities are both rehearsed and performed. Abed’s work has been screened and exhibited internationally at Anthology Film Archives, New York, Gabes Cinema Fen Film Festival, Tunisia, Ji.hlava International Documentary Film Festival, The New Wight Biennial, Los Angeles, Leonard & Bina Gallery, Montréal, Ikon Gallery, Birmingham, Ujazdowski Centre for Contemporary Art, Warsaw, The Mosaic Rooms, London, Nottingham Contemporary, Nottingham and MAXXI National Museum of 21st Century Art, Rome. Abed is currently a resident at the Rijksakademie in Amsterdam 2022–24.
Hanan Awwad is an activist, poet and women’s rights advocate. In 1988, Dr Awwad founded the Palestinian section of Women's International League for Peace and Freedom (WILPF). In her role as chair of Palestinian PEN (part of PEN International), she has fought for freedom of speech and the protection of persecuted writers. She takes part every year in conferences all over the world addressing issues such as imperialism, conflict resolution, and the role of women in resistance struggles. During the outbreak of the First Intifada, together with her sisters and brother Riad Awwad, she co-created Intifada 1987, a cassette tape album which was seized by the Israeli military and banned for its revolutionary content, only to be rediscovered recently.
Jumana Emil Abboud engages with personal and collective stories and mythologies, weaving folklore and contemporary tales in an integrated relationship that navigates themes of memory and dispossession. She is currently completing her practice-based PhD at Slade School, reactivating folkloric practice through collaborative and creative workshop methodologies; through storytelling performances, drawing and crafts; using such tools to rewrite the tales as a gesture of reclaim and reunion with water, and in order to situate our connectedness to story heritage once more. During the past two decades, Abboud’s work has been presented in numerous solo and group exhibitions, including in the Casco Art Institute, Utrecht, Sharjah Biennale, BALTIC Centre for Contemporary Art, Venice Biennale and Istanbul Biennale, among many others. She has participated in art residencies, including Sakiya – Art/Science/Agriculture, Ein Qiniya; Delfina Foundation, London; Arts Initiative Tokyo; and Gästeatelier Krone, Aarau. Abboud lives and works in Jerusalem and London.
Ozlem Koksal (moderator) is a Senior Lecturer, Course Leader on the MA Film, Television and Moving Image and Co-Director of the CREAM Doctoral Programme at University of Westminster. Ozlem’s research focuses on the intersection between issues concerning race, ethnicity, minorities and displacement, and their representation in visual culture, especially in moving images. She is particularly interested in the tension between history and memory, practices of constructing, monumentalising and/or erasing past narratives, and the ways in which such tension is translated into the visual realm.
Nadia Yahlom is a PhD student at CREAM, Westminster, looking at hauntedness, supernatural life and the necropolitical between Palestine and the UK, whose research considers how both humans, artefacts and landscapes reverberate with colonial violence. Her work explores how spaces such as museums, state archives and other institutions reinforce colonial biopolitics in relation to the Palestinian living and dead, and asks how individuals and collectives can create materials which subvert these power regimes, preserve folk/oral histories and respond generatively to absence, particularly in the context of cultural erasure and unfolding genocide. Nadia is also a co-founder of Sarha Collective, an artists collective for experimental art forms from Palestine and the broader SWANA region.
Zeinab Shaath is a singer-songwriter from Gaza. More than 50 years ago, she recorded a set of revolutionary folk music — the first English-language songs to introduce the Palestinian cause to the wider world. Inspired by Vietnam-era protest music from Bob Dylan and Joan Baez, ‘The Urgent Call of Palestine’ was intended to share the stories and messages of Palestinian resistance with an international audience. In 1973, Shaath was immortalised in a film shot by exiled Palestinian artist Ismail Shammout in the mountains of Lebanon. Shaath went on to perform across three continents, carrying her message to young people across the world.
May Adadol Ingawanij | เม อาดาดล อิงคะวณิช is a writer, curator, and teacher, Professor of Cinematic Arts and Co-director of the Centre for Research and Education in Arts and Media, University of Westminster. She publishes in English, Thai, and in translation, across a wide range of academic and arts publications. Her recent and ongoing curatorial projects include Animistic Apparatus, Legacies, 69th Flaherty Film Seminar – To Commune (co-curated with Julian Ross).
Karen Alexander is an independent film and moving image curator, writer and researcher. She has worked with the BFI and the RCA, working across media, arts and culture. Her research areas are black women and representation, national identity and collective memory. Recent projects include ‘Curating Conversations’ (2014 & 2015), ‘Black Atlantic Cinema Club’ (Autograph, Watershed 2016), and exhibitions ‘Whip it Good: Spinning from History’s Filth Mind’ (Autograph, 2015) ‘Dream Time: We All have Stories’ (Nuit Blanche, Toronto 2018). In 2017 Karen co-founded the commissioning platform Philomena’s Chorus. She is currently a tutor at UAL and a consultatnt with Cinema Rediscovered in Bristol.
Cinenova is a volunteer-run organisation preserving and distributing the work of feminist film and video makers. Cinenova was founded in 1991 following the merger of two feminist film and video distributors, Circles and Cinema of Women, each formed in 1979. Cinenova currently distributes over 300 titles that include artists’ moving image, experimental film, narrative feature films, documentary and educational videos made from the 1910’s to the early 2000’s. The Cinenova Working Group, founded in 2010, oversees the ongoing work of preservation and distribution, as well as special projects that seek to question the conditions of the organisation. Current Working Group: Tracey Francis, Emma Hedditch, Charlotte Procter, Irene Revell, Moira Salt, Louise Shelley and Marina Vishmidt.
susan pui san lok < > susan, lok pui san is an artist, writer and academic based in London. Group exhibitions include Found Cities, Lost Objects curated by Lubaina Himid OBE (Birmingham Museum & Art Gallery, Southampton City Art Gallery, Bristol, Royal West of England Gallery, Leeds Art Gallery, 2023-24); and Diaspora Pavilion at the 57th Venice Biennale (2017). Recent projects include REWIND/REPLAY, a major commission for Rewinding Internationalism for Villa Arson, Van Abbemuseum, and Netwerk Aalst (2022-23); and Centenary, commissioned by Create London for the Becontree Centenary (2022) and recently installed at ESEA Contemporary (2023). Solo exhibitions include seven x seven, curated by Mother Tongue for Glasgow International Festival (2021); A COVEN A GROVE A STAND, commissioned for New Geographies (Firstsite, 2019). She is a Professor in Contemporary Art and Director of the UAL Decolonising Arts Institute, where she currently leads the AHRC project, Transforming Collections: Reimagining Art, Nation and Heritage, and the 20/20 project (supported by Arts Council England, Freelands Foundation and UAL).
Aura Satz’s work encompasses film, sound, performance and sculpture. She has performed, exhibited and screened her work in venues such as Tate Modern, BFI Southbank, the New York Film Festival, Tate Britain, Hayward Gallery, Whitechapel Gallery, Sydney Biennale, NTT InterCommunication Center, Tokyo, High Line Art NY, the Rotterdam Film Festival, MoMA NY, Sharjah Art Foundation, Kadist San Francisco, Onassis Stegi, Amant NY and Walker Arts Centre. She has presented solo exhibitions at the Wellcome Collection, London; the Hayward Gallery project space, London; John Hansard Gallery, Southampton; Dallas Contemporary, Texas; George Eastman Museum, Rochester; ARTIUM, Museo Vasco de Arte Contemporáneo; Kunstnernes Hus, Oslo; and Te Uru Waitakere Contemporary Gallery, Auckland. She recently completed a sound-centred feature film on sirens and emergency listening, titled 'Preemptive Listening'.
Linsey Young is currently Curator Contemporary British Art at Tate where she works across the contemporary programme. Recent projects include Women in Revolt! Art and Activism 1970 – 1990, Turner Prize 2018 and Anthea Hamilton: The Squash, 2018. In 2019 Young Curated Charlie Prodger’s Scotland and Venice presentation with Cove Park.
Lily Evans-Hill is a PhD Researcher and Associate Lecturer in History of Art at the Courtauld Institute of Art. Her research tracks artist’s group-work informed by feminism in the UK during the 1970s and 1980s, and focuses on the history of Women Artist’s Slide Library as both a case study and resource for this work. Her research is funded by AHRC.
Victoria Horne is a Senior Lecturer in Art History at Northumbria University in Newcastle. Her essays about feminist periodical histories have been published in journals including Art History, Women: A Cultural Review, and the Journal of Art Historiography – and she is editor of the forthcoming essay collection, Counter Print: The Alternative Art Press in Britain after 1970.
Sonny Ruggiero is a final-year History of Art PhD researcher at the University of Edinburgh. Her thesis examines 20 century feminist periodicals, specifically focussing on the visual culture of Spare Rib magazine. Sonny is also the Chair of the Association for Art History's Doctoral and Early Career Research Committee.
Catherine Spencer is a Senior Lecturer in the School of Art History, University of St Andrews. In 2021, she co-curated Life Support: Forms of Care in Art and Activism with Caroline Gausden, Kirsten Lloyd, and Nat Raha at Glasgow Women’s Library. She is the author of Beyond the Happening: Performance Art and the Politics of Communication (Manchester University Press, 2020) and co-editor of London Art Worlds: Mobile, Contingent and Ephemeral Networks, 1960–80 (Penn State University Press, 2018). Her essays have appeared inn Art History, Art Journal, ARTMargins, Tate Papers, Parallax and Oxford Art Journal.
Bec Wonders is a historian focusing on feminist print culture, information activism and female friendship. She most recently held a postdoctoral post at the University of Oxford investigating women's networks and feminist solidarity. Bec is also an independent archivist and illustrator. www.becwonders.com.
9.30–11.00 Panel 4: Radical alchemy: alternative imaginaries and feminist encounter
Exploring how feminist imaginaries have been fostered by and within activism, music and performance, the papers in this panel explore the formation of new ways of seeing and hearing, examining creative resistance and feminist exchange over time.
Jennifer Jasmine White, Maria Elena Buszek, Rebecca Binns, Amy Tobin, Chair: Rachel Garfield
11.15–12.45 Panel 5: Performance activating protest
Examining different contexts in which performance has been used to explore the politics and power structures of gender, the papers in this panel each examine how action can prompt, create, and enact alternative dialogues along with the effects and influences artists and actions have on one another.
Sehr Jalil, Paula Parente Pinto & Vera Carmo, Alexandra Kokoli, Ceren Özpınar, Chair: Hilary Robinson
13.30–15.00 Panel 6: Showing the Work: Feminist archival practice and exhibition
At a time when feminist archival materials are increasingly present in international exhibition making, this panel explores the relationship of feminist archival practice to exhibition. Across this panel, the idea that feminist archives do not precede exhibition but instead are constituted through expanded practices of curating, exhibition and distribution is introduced and tested. How do feminist archival practices that happen through collective kinship networks enable materials to be available for exhibition? How does distribution also function to preserve archives of feminist practice? What processes of creative and ethical custodianship does the feminist archive require? And how do ephemeral textual materials that blur distinctions between archive and collection promote not only new forms of exhibition making but the re-imagining of institutions?
Rita Keegan Heritage Project (Rita Keegan, Lauren Craig & Gina Nembhard), Radclyffe Hall (Laura Guy & Mason Leaver-Yap), Charlotte Procter, Chair: Catherine Grant
15.15–16.30 Panel 7: Community-Building Filmmaking
A community-building impulse has been at the core of feminist filmmaking in Latin America. This meant not only creating activist films in a collective fashion but also developing intersectional and participatory processes with the subjects involved in the production. In this panel, we propose three different perspectives on Community-Building Filmmaking in Latin America and its diaspora. We start with an overview of the feminist film collectives that emerged in the region during the 1970s and 1980s, followed up with a particularly interesting exilic experience on lesbian activism and finalising with a current inter-generational archival activation process.
Lorena Cervera, Livia Perez, Isabel Seguí, Chair: Rosie Thomas
17.00–18.30 Panel 8: Devolved screens: alternative approaches, changing content
This panel explores works and makers who changed and subverted industrial cinema and television. Focussed on artists and collectives who invented new ways of working, showing and funding cinema and television, contributions will discuss how they sought and portrayed alternative subjects and experiences, necessarily inventing new approaches to making and telling stories.
Barbara Evans, Nicole Atkinson, Jessica Boyall, Beth Bramich, Chair: Lauren Houlton
Parallel events in the Taylor Digital Studio (opposite Women in Revolt!)
11.30–13.00 Women of Colour Index Reading Group
Led by Samia Mailk and Sophie Carapetian.
WOCI (Women of Colour Index) Reading Group is currently organised and facilitated by founder and director Samia Malik. WOCI is a collection of slides and papers collated by artist Rita Keegan Indexing Women of Colour artists during 1980s and 1990s. Reading Group sessions aim to improve the visibility of women of colour artists whilst using material in the archive to generate discussions, thoughts around practices of: anti racism, anti colonisation and political justice. All people of all backgrounds, genders, sexualities, religions and race are welcome.
In October 2016, the WOCI Reading Group was co-founded by Samia Malik. In 2015 Samia started working with WOCI at the Women’s Art Library (WAL) at Goldsmiths University, which raised urgent, paramount questions about institutional censorship of the Index and women of colour artists, between 2015–2016 these issues have been explored and investigated by Samia as an artist and curator.
Workshop text
“Roadworks is a six-minute colour video of an hour-long performance under-taken by Mona Hatoum for Brixton Art Gallery, London in 1985, during which she walked around barefoot with Doc Martin boots tied to her ankles. The work responded to the socio-political context of Brixton, which at the time was plagued by police violence towards people of colour, which had fuelled the uprisings of 1981 and 1985.” – Women in Revolt!, Linsey Young (2023)
Mona Hatoum was born in Beirut, Lebanon, to a Palestinian family in 1952. During a short visit to London in 1975, civil war broke out in Lebanon preventing her from returning home. Stranded in London, she decided to study art, first at the Byam Shaw School Art and then the Slade School of Fine Art until 1981. Hatoum’s experience of being stranded in the UK significantly shaped her practice, which deals with issues of living in exile, displacement, containment, and the notion of home. She works across installation, sculpture, video, photography, performance and works on paper.
15.00–16.30 What Do We Mean When We Talk About Care? Feminist Duration Reading Group
Feminist Duration Reading Group, led by Beth Bramich, Katrin Lock and Helena Reckitt, with guest artist Leah Clements
In the light of current debates on the need for art institutions to be more ‘accessible’ and ‘inclusive,’ The Feminist Duration Reading Group leads an out-loud reading session on intersectional feminist explorations of care and access, collectivity and healing.
Readings open up questions about the different associations and political urgencies of terms including ‘care,’ ‘hospitality,’ ‘access’ and ‘access intimacy.’ Highlighting how art institutions have both co-opted and wilfully misconstrued practices of care, the session points to how we might care for one another better, while also pushing cultural institutions to take better care of us.
Readings
Texts include selections from Johanna Hedva’s ‘Sick Woman Theory’ (2016) and ‘Why It’s Taking so Long’ (2022); Leah Lakshmi Piepzna-Samarasinha’s ‘Care Work: Dreaming Disability Justice’ (2018); Mia Mingus ‘Access Intimacy: The Missing Link’ (2011), and Tabita Rezaire ‘Decolonial Healing*: In Defense of Spiritual Technologies’ (2019).
There is no need to read in advance as we will read together, one person, one paragraph at a time. Readings will be circulated on the day.
Jennifer Jasmine White is a fully funded PhD candidate at the University of Manchester, researching the relationship between working-class women and experimental forms. This research explores the construction of a working-class subjectivity, with a particular focus on the surreal or fantastic, in the work of authors and artists such as Ann Quin, Sarah Lucas, and Shelagh Delaney. Jennifer completed her undergraduate degree at Homerton College, Cambridge and an MSt at Hertford College, Oxford, which was fully funded by the Oxford English faculty. She is a first-generation student from the north-west of England. You can find more of her work and writing at www.jenniferjasminewhite.com.
Maria Elena Buszek Ph.D. is a scholar, critic, curator, and Professor of Art History at the University of Colorado Denver, where she teaches courses on Modern and contemporary art. Her recent publications include the books Pin-Up Grrrls: Feminism, Sexuality, Popular Culture (Duke University Press, 2006) and Extra/ordinary: Craft and Contemporary Art (Duke University Press, 2011), and the anthologies Punkademics: The Basement Show in the Ivory Tower (AK Press, 2012) and Design History Beyond the Canon (Bloomsbury, 2019); catalogue essays for numerous international exhibitions; and articles and criticism in such journals as Flash Art and TDR: The Journal of Performance Studies. With Hilary Robinson, she edited the 2019 anthology of new writing, A Companion to Feminist Art (Wiley). Her current book project, Art of Noise, explores the ties between contemporary feminist art and popular music.
Dr Rebecca Binns wrote the first ever monograph on the work of the artist and designer, Gee Vaucher, titled, Gee Vaucher: Beyond Punk, Feminism, and the Avant-Garde (Manchester University Press, 2022). She has published widely and is currently working on a research project on Rock Against Racism. She works as a lecturer on critical theory for art and design BA students at London College of Communication (University of the Arts, London). Previously, she worked as news writer for Source Photographic Review and was a set designer and builder for theatres and nightclubs.
Amy Tobin is associate professor in the Department of History of Art, University of Cambridge and curator, contemporary programmes, Kettle’s Yard. She is a fellow of Newnham College, Cambridge. Her book Women Artists Together: Art in the Age of Women’s Liberation was published by Yale University Press in 2023, and she contributed an essay to the exhibition catalogue accompanying Women in Revolt!.
Rachel Garfield (chair) is an artist, writer and Professor in Fine Art at the Royal College of Art. Garfield was Principal Investigator (2018-22) on the AHRC-funded, The Legacies of Stephen Dwoskin’s Personal Cinema. She is co-editor of Dwoskino: The Gaze of Stephen Dwoskin (LUX, 2022), shortlisted for the Kraszna-Krausz award and author of Experimental Film making and Punk: Feminist Audio-Visual Culture of the 1970s and 1980s (Bloomsbury, 2022) , and also co-commissioning editor of the Moving Image Review & Art Journal (MIRAJ). Garfield exhibits her videos in galleries and screenings, most recently at Beaconsfield Gallery, The London Short Film Festival, ICA, Swedenborg Rooms (London), Designathon 2023 (Zurich), and Hugh Lane Gallery (Dublin).
Sehr Jalil is a multidisciplinary visual artist/researcher. She works with ideas and issues of memory, archive, intergenerational relationships, race, class, and post-colonial identity politics. She’s a doctoral candidate at Goldsmiths, Department of Visual Cultures, University of London and a Lecturer in the Department of Cultural Studies, National College of Arts, Lahore. She is currently based in London and on leave for her PhD.
Paula Pinto is an independent researcher, producer, and curator. She completed a PhD in Visual and Cultural Studies at the University of Rochester, New York (2016), graduated in Fine Arts-Sculpture from the Faculty of Fine Arts at the University of Porto, and obtained a master’s degree in Urban Culture from the Polytechnic University of Catalonia. She works on disciplinary intersections between dance, photography, visual arts, film/video and performance, and is particularly interested in artists’ archives, art critics and cultural institutions. She has published several books and since 2020 has been running the Performing the Archive project: performingthearchive.com.
Vera Carmo is a curator and researcher. A PhD candidate at the Faculty of Fine Arts of Porto University (FBAUP), they hold a masters in Curatorial Studies and a degree in Sculpture. Currently teaching at University of Maia (UMAIA), her recent work has focused on the history of the moving image. Between 2019 and 2020 she was a researcher for the project CineVideoArt, a catalogue of films and videos by Portuguese artists. Her curatorial projects include What do U Want 4 Xmas? (Rampa, Porto, 2020-2021), Transubstanciação (Poste Vídeo-Arte, Porto, 2020-2022) and she co-curated Guerrilla Shout- Out! Alice Neel’s Graphic Archive (Rampa, Porto, 2022).
Dr. Alexandra Kokoli researches feminist artistic and activist practices. She works as Associate Professor in Visual Culture at Middlesex University and as Research Associate at VIAD, University of Johannesburg. She has published widely, including the edited collections Feminism Reframed (Cambridge Scholars, 2007), Susan Hiller: The Provisional Texture of Reality (co-edited with Deborah Cherry, JRP Ringier / les presses du reel, 2008), Art into Life: Essays on Tracey Emin (Bloomsbury, 2020), and the monograph The Feminist Uncanny (Bloomsbury, 2016). She co-leads the Transnational Early Career Research Network (TECReN) in Visual and Performing Arts, funded by the British Academy. Her research on Greenham Common has been supported by the Paul Mellon Centre and the Leverhulme Trust.
Dr Ceren Özpınar is a Senior Lecturer in Art History and Visual Culture at the University of Brighton. She specialises in modern and contemporary art from Turkey, the Middle East, and their diasporas. She is the co-editor of Under the Skin: Feminist Art and Art Histories from the Middle East and North Africa Today (Oxford University Press, 2020), and the author of Art Historiography in Turkey (1970–2010) (Tarih Vakfi, 2016). Her articles have appeared in journals such as Image & Text and Third Text. Her next monograph, which focuses on art, feminism, and community in Turkey, is forthcoming with Oxford University Press in 2024.
Hilary Robinson (chair) is Professor of Feminism, Art, and Theory and Director of the Centre for Doctoral Training: Feminism, Sexual Politics, and Visual Culture at Loughborough University. She was granted the Award for Distinction in Feminist Scholarship, College Art Association, 2024. She is PI for the AHRC/IRC-funded Feminist Art Making Histories (2021-2024). Trained as a painter, her PhD was with Griselda Pollock. She was previously: Professor of Politics of Art; Head of School, Art & Design, Ulster University; Dean, College of Fine Arts, Carnegie Mellon University, USA; and Dean, Art and Design, Middlesex University. Publications include: Reading Art, Reading Irigaray(IB Taurus, 2006); Feminism-Art-Theory: An Anthology 1968-2014 (ed., Wiley, 2015); Art of Feminism (co-author, Chronicle/Tate, 2018); and a Companion to Feminist Art (co-ed., Wiley, 2019).
Rita Keegan works collaboratively in the studio supported by Lauren Craig, Gina Nembhard, and Naomi Pearce. Projects include a solo exhibition at South London Gallery (2021) and forthcoming commission for Art on the Underground (2024). Following the deposit of Keegan’s personal papers at the Women’s Art Library, Special Collections, Goldsmiths, University of London (co-ordinated by Ego Ahaiwe Sowinski), the group are working to form the Rita Keegan Heritage Foundation, which is currently awaiting charitable status.
Charlotte Procter is an archivist, curator, and collection and archive director at LUX. In 2013 she joined the Cinenova Working Group, a collective formed to preserve and promote the Cinenova feminist film and video collection. She has collaborated on international research, preservation, and curatorial projects, including the Cinenova project The Work We Share (2021-24), a retrospective of U.S avant-garde filmmaker Betzy Bromberg (2022), and co-edited Living on Air: the films and words of Sandra Lahire (2021).
Radclyffe Hall is a concomitant group of artists and writers dedicated to exploring culture, aesthetics, and learning, through the lens of contemporary feminism. With no fixed membership or base, Radclyffe has collaborated with artists on exhibitions, events and screenings including Deep Down Body Thirst for Glasgow International 2018 and Hot Moment: Tessa Boffin, Jill Posener and Ingrid Pollard at Auto Italia in 2020.
Dr Karen Di Franco is a curator and writer, working in the fields of exhibition making and art historical research. She specialises in post-1960s feminist art practice and artists’ publishing, alongside the contexts of iteration, fiction writing and performance as points of enquiry in her work. She is Programme Leader of MLitt Curatorial Practice (Contemporary Art) at Glasgow School of Art and Programme Curator at Chelsea Space, Chelsea College of Arts, UAL @archivist23.
Catherine Grant (chair) is Reader in Modern and Contemporary Art at the Courtauld Institute of Art, London. She is the author of A Time of One’s Own: histories of feminism in contemporary art (Duke University Press, 2022), and co-editor of Fandom as Methodology (Goldsmiths University Press, 2019), Creative Writing and Art History (Wiley, 2012), and the questionnaire on ‘Decolonizing Art History’ (Art History, 2020). She is a co-lead of two research networks: ‘Group Work: Contemporary Art and Feminism’ and ‘Animating Archives’.
Lorena Cervera is a filmmaker and writer from a working-class background. She works as Senior Lecturer in Film Production at AUB and holds a PhD in Film Studies from UCL. Her research has been published in journals such as Alphaville: Journal of Film and Screen Media, Feminist Media Studies, and Jump Cut: A Review of Contemporary Media. Her first monograph, A Feminist Counter-History of Latin American Documentary, will be published by Routledge in 2025. As a filmmaker, she has directed Pilas (2019) and co-directed #PrecarityStory (2020). Currently, she is developing the transmedia project Processing Images from Caracas.
Livia Perez is a feminist Brazilian media scholar and filmmaker. She works as a Lecturer at the University of California, Santa Cruz. Her moving-image practice and research spans feminist, queer, and diasporic media history. She received a Ph.D. from the University of Sao Paulo and an MFA in Digital Arts and New Media from UC Santa Cruz, mentored by Isaac Julien and Mark Nash. The films she directed and produced have been screened at Sundance, Locarno, Havana, IDFA, Frameline, It’s All True and Hot Docs. She is currently developing her next feature film, Finding Norma.
Isabel Seguí is a lecturer in Film Studies at the University of St Andrews (Scotland). She specializes in women-led nonfiction filmmaking in Peru and Bolivia and non-director-centric feminist approaches to film and video production. She is one of the founders of RAMA (Latin American Women’s Audiovisual Research Network). Her research has been published in numerous academic outlets in Europe and the Americas and funded, among others, by the Leverhulme Trust.
Rosie Thomas (chair) is Professor of Film and Co-Director of the Chevening South Asia Journalism Programme at the University of Westminster. She set up and ran CREAM (Centre for Research and Education in Arts and Media) between 2003–2017. Following her pioneering 1980s field research on the Bombay film industry, she has published widely on Indian cinema history. Throughout the 1990s she produced documentaries, arts and current affairs programmes for Channel Four. She is currently completing the AHRC project Documentary of the Imagination. Rosie is co-founder and co-editor of BioScope: South Asian Screen Studies and author of Bombay before Bollywood: Film City Fantasies (State University of New York Press, 2013).
Barbara Evans is an Associate Professor in the Department of Cinema and Media Arts at York University in Toronto where she teaches documentary history and production. A graduate of the University of British Columbia and the National Film and Television School (UK), she is an award-winning filmmaker and was a founding member of the London Women’s Film Group and the British Newsreel Collective. She is currently completing a book, Invisible Griersonians, on early women documentary filmmakers as well as a documentary film, Bee Queens: Collaborating with the Hive, on women artists and the environment.
https://ampd.yorku.ca/profile/barbara-evans/
Nicole Atkinson is a second year PhD candidate, completing a CHASE/AHRC funded Collaborative Doctoral Award at Birkbeck, University of London, and LUX, exploring the corpus of 350+ moving image and artists’ films affiliated with Channel 4 between the years of 1982–1992. Through researching the commissioning of artists’ film and moving image and enriching this largely ignored history, this practice-based project aims to animate the archival material and moving image works through curatorial practice. Prior to this, she worked for arts organisations including Clore Leadership, Bloomsbury Festival, and the 65th BFI London Film Festival.
Beth Bramich is a writer and researcher. She is a Senior Lecturer in Fine Art at Camberwell College of Art, University of the Arts London, and an Associate Lecturer at Central Saint Martins (UAL) and the Arts University Bournemouth. She is part of London-based, queer-led, all-genders F*Choir and the working group for the Feminist Duration Reading Group (currently in residence at Goldsmiths CCA), and holds an MA in Critical Writing in Art and Design from the Royal College of Art.
Jessica Boyall is a PhD candidate in the department of Media Arts at Royal Holloway, University of London, where she also teaches. Funded by the AHRC, her research focuses on collective practice, feminism and race in the context of 1980s British art and film history. Her writing has appeared in various publications, including the New Left Review, Third Text and The Guardian, and she has held research positions at the Victorian Albert and Design Museum in London.
Lauren Houlton (chair) is a Techne-funded doctoral researcher at the University of Westminster where she is developing a project on feminist collaboration in artist’s filmmaking. She is currently Assistant Editor for the Moving Image Review and Art Journal (MIRAJ) and was the 2022-23 co-convenor of the Paul Mellon Centre’s Doctoral Researchers Network. In 2017 she was awarded the Michael O’Pray Prize for new writing on artist’s moving image.
WOCI (Women of Colour Index) Reading Group is currently organised and facilitated by founder and director Samia Malik. WOCI is a collection of slides and papers collated by artist Rita Keegan Indexing Women of Colour artists during 1980’s and 1990’s. Reading Group sessions aim to improve the visibility of women of colour artists whilst using material in the archive to generate discussions, thoughts around practices of: anti racism, anti colonisation and political justice. All people of all backgrounds, genders, sexualities, religions and race are welcome.
www.wocireadinggroup.wordpress.com
Photographer Katrin Lock, and writers and curators Beth Bramich and Helena Reckitt, are part of the Feminist Duration Reading Group, formed in 2015 to explore under-represented feminisms. The group has organised out loud readings, writing and listening workshops, film screenings, performances, walks, and meals, and a podcast on friendship and feminist organising. The fdrg is currently in residence at Goldsmiths CCA and partners with Cell Project Space, London, on the CEED (Central and East European Diasporas) Feminisms programme, funded by the British Art Network.
Leah Clements is an artist from and based in East London whose practice spans film, photography, performance, writing, installation, and other media. Her work is concerned with the relationship between psychological, emotional, and physical states often through personal accounts of unusual or hard-to-articulate experiences. Her practice also focuses on sickness/cripness/disability in art, in critical and practical ways. Upcoming projects include a solo show at Peer (2025) and an artwork commissioned by Bethlem for a new hospital (2024). Clements’ is this year's recipient of the Mosaic Art Award hosted by Hauser & Wirth. Recent projects include her solo shows ‘INSOMNIA’ at South Kiosk (2022-23) and ‘The Siren of the Deep’ at Eastside Projects (2021), and artist-in-residence at Serpentine Galleries (2020-21).
Sophie Carapetian is an artist, writer, designer and organiser. She is pursuing a PhD at Central Saint Martins entitled ‘Art in the Age of Crisis: Labour Turn in the Culture Industries’, drawing on her research as a participant in the anti-austerity movements. She is a founding member of Boycott Divest Zabludowicz and Arts Against Cuts, with whom she co-produced the anthology Bad Feelings, which was awarded Bookworks’ ‘Common Objectives’ prize in 2012. Her writing has been published in Mute magazine and Ludd Gang and her most recent exhibition ‘Refuse to Collaborate’ was at the Stadt Gallery in Bern in 2022. She regularly designs book covers for small poetry presses as well as making political leaflets and pamphlets for a wide range of campaigns. She lives and works in London.
Samia Malik is an artist and designer. She’s the director and founder of WOCIReading Group, and she is writing a book about WOCI Reading Group contracted by Book Works. She recently completed an MA in Academic Practice. She works at University of the Arts as an associate lecturer on the Inclusive Practice Unit and workshops designed by her titled ‘Art, Fashion, Politics and Anti-Colonialism’. She has also worked with Shades of Noir and has curated two exhibitions about Palestine. She designs for her streetwear label: Samia Malik ihtgw, which is sold worldwide. The label has collaborated with several musicians and artists. In her earlier years, she studied MA Womenswear at Central Sant Martins and an MFA Fine Arts at Goldsmiths.
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There is a lift between the Lower and Main floors. Alternatively you can take the stairs.
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To help plan your visit to Tate Britain, have a look at our visual story. It includes photographs and information about what you can expect from a visit to the gallery.
For more information before your visit:
- Email hello@tate.org.uk
- Call +44 (0)20 7887 8888 (daily 10.00–17.00)
Women in Revolt: Radical Acts and Contemporary Resonances is a response to the Women in Revolt! exhibition at Tate Britain, and is part of the Through a Radical Lens events series.
This conference and its parallel events are organised and funded by CREAM with additional funding from the Paul Mellon Centre for Studies in British Art, Tate Curatorial and support from Chelsea Space (UAL) and London College of Communication Screen School (UAL).
Organised by conference co-ordinator Dr Lucy Reynolds (CREAM, University of Westminster), with coordination, research and programming by Dr Claire M. Holdsworth (Central Saint Martins, UAL), research and production assistance from Lauren Houlton (Techne / CREAM, University of Westminster) and support from an advisory panel including Professor Rachel Garfield (Royal College of Art), Dr Catherine Grant (Courtauld Institute), Dr Onyeka Igwe (London College of Communication, UAL), Dr Irene Revell (Royal College of Art), Professor Rosie Thomas (CREAM) and Linsey Young (Curator, Contemporary British Art, Tate).
A printed conference programme, designed by Rachael House will be available at the event, supported by the Women’s Art Library, Goldsmiths, University of London.