Conference: “Cixous: Corollaires d’une signature / Corollaries of a Signature”

“Cixous: Corollaires d’une signature / Corollaries of a Signature”

Paris, Maison Heinrich Heine, Cité internationale universitaire
June 14, 15 and 16

www.fabula.org/actualites/cixous-corollaires-d-une-signature-corollaries-of-a-signature-colloque-international_79668.php

The conference “Cixous: Corollaires d’une signature / Corollaries of a Signature” about the work of French philosopher Hélène Cixous will take place at the University of Paris June 14, 15 and 16. Artist Alexandra Grant will speak Friday, June 16 about the “Forêt Intérieure/Interior Forest” and a “Cixousian Methodology for Participatory Art Projects”

#helenecixous #corollairesdunesignature #corollariesofasignature

Forêt Intérieure/Interior Forest Catalog

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Published in 2016 by 18th Street Arts Center and designed by Jessica Fleischmann, the catalog documents the Forêt Intérieure/Interior Forest, a multi-faceted participatory project organized by Los Angeles-based artist Alexandra Grant in collaboration with the French writer and philosopher Hélène Cixous.

A book launch will be held at 18th Street Arts Center on Sunday, December 4th, 2016, from 2-5pm. Please RSVP here.

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Forêt Intérieure/Interior Forest were two exhibitions that took place in 2013 at 18th Street Arts Center in Santa Monica, CA and Mains d’Œuvres in Saint-Ouen, France. Structured as a residency and an exhibition at each venue, Forêt Intérieure/Interior Forest extended Grant’s studio practice into the arena of public engagement. The exhibitions included public drawing sessions to translate Cixous’s novel “Phillipines” into a large-scale work in each gallery via reading groups, artist collaborations, lectures and performances. The twin exhibitions were co-curated by Pilar Tompkins Rivas, Isabelle Le Normand, and Ann Stouvenel. The Forêt Intérieure/Interior Forest catalog includes essays by Alexandra Grant, Robert Nashak, Pilar Tompkins Rivas, a public conversation by Alexandra Grant and Hélène Cixous, and a letter from Hélène Cixous.

The Forêt Intérieure/Interior Forest catalog is available at Arcana books: www.arcanabooks.com

Michael Barnard’s “Interior Forest by Alexandra Grant” is a 13 minute film that documents the creation of this unusual communal artwork over the period of several months at the 18th Street Arts Center Main Gallery in 2013. The film includes an in-depth interview with Alexandra Grant, the creator and lead artist of the project. It also includes interviews with several of the participating artists, including Steve Roden, Renee Petropoulos, Channing Hansen, and Annelie McKenzie/Tina Linville.

The Offing: “I’ll Be Your Mirror”

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The Offing magazine features:

“I’ll Be Your Mirror” — Collaboration, Reflection, and Rorschach in the Work of Alexandra Grant

http://theoffingmag.com/enumerate/ill-be-your-mirror/

Image: she taking her space (after Michael Joyce’s “he taking the space of”), 2004, The Museum of Contemporary Art, Los Angeles

The Avant-Garde Collection opens at OCMA September 7

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The Avant-Garde Collection

Orange County Museum of Art

September 7, 2014 – January 4, 2015

www.ocma.net/exhibition/avant-garde-collection

The Avant-Garde Collection traces the museum’s acquisitions highlights across five decades, with a specific focus on the evolving definition of avant-garde during that period. In the 1960s it was cutting-edge to employ imagery from popular culture, and by the 1970s performance and installation were the bywords of innovation. In the 1980s new media and appropriation appeared on everybody’s radar for the first time, while the 1990s in retrospect were all about identity politics and post-colonialism. Due to the pluralist tendencies of the 21st century that make the notion of avant-garde seem quaint, the challenge for artists to produce work that conceals the influence of generations past is more demanding than ever. Drawn entirely from OCMA’s collection, the selection’s underlying premise is to combine the retroactive gaze that enables us to determine which artists transcended the avant-garde of their time and which did not, with an historical effort to reconsider works that may have been visible in their heyday but have since slipped from view, there awaiting future scholarly reassessment.

Image: conspirar (after Michael Joyce’s “conspire,” 2004), 2005, mixed media on paper, 126″ x 80″. Photo by Brian Forrest.  Collection of the Orange County Museum of Art.

Forêt Intérieure reviewed on Frieze.com by Robert Barry

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Drawing from Alexandra Grant’s collaborative project Forêt Intérieure/Interior Forest, 2013

‘If Freud had been asked to name his secret(ive) book,’ wrote Hélène Cixous, ‘he would not have hesitated: it would have beenThe Jungle Book.’ These words are re-written, crowded by many others from Cixous’s 2009 essay ‘Philippines’, on a tree made from papier-mâché in the exhibition space of a former sports centre in the Parisian suburb of Saint-Ouen. There are nine such trees in the room, made of diverse materials, the work of diverse hands, making the space itself into a kind of jungle.

Amongst essays by Thomas Babington Macauley and the Austrian classicist Theodor Gomperz, Freud selected Rudyard Kipling’s book of stories, The Jungle Book (1894), in a list of ten recommended books upon the request of the publisher Hugo Heller in 1906. It was a book he described as ‘a good friend’. Its theme of the feral child is clearly very close to Freud’s concerns in those texts exploring the cases of the ‘Rat Man’ and the ‘Wolf Man’, which have become so central, particularly to recent (post-Deleuzian) Freud reception.

According to Cixous, we all have such treasured books, which need not be great works of literature but remain very personal to us throughout our lives. They form the kernel of all our subsequent reading. For Cixous herself, that book is George du Maurier’sPeter Ibbetson (1891). But Cixous’s own ‘Philippines’ is the kernel from which Alexandra Grant’s present exhibition, called ‘Forêt Inérieure / Interior Forest’, has sprouted. Having grown from a text concerned deeply with dreams, memories and the unconscious, it is perhaps appropriate that all the trees in Grant’s ‘forest’ seem to have developed not from the ground up, but from the ceiling.

Upon entering the exhibition space there is something almost repulsive about the works therein. There is a sort of unkempt ugliness to it – a frightening profusion of thoughts and ideas. The show repels in the way a dark forest might repel those who have always lived in the clearing. But there is little darkness here. The walls are covered in a kaleidoscopic stream of thoughts-as-images, drawn, painted and collaged from photographs, cigarette packets and wallpaper, in every imaginable colour from great wads of day-glo pink to carefully crosshatched greyscale.

Within this splurge certain images recur: keys, crowns, ghosts, trees, animals, landscapes; sometimes very detailed, otherwise hastily scrawled and then scribbled out or drawn over. Amongst the images, there are words, mostly plucked from Cixous’s text, written in many different hands and several different languages. And there are references to numerous other art works, from the comic phantasmagoric style of Raymond Pettibon, to the brightly coloured geometries of mid-20th-century formalism, and, most explicitly, to Courbet’s L’Origine du Monde (1866), here rendered in the manner of a newspaper cartoon complete with shocked Victorian onlookers.

Exploring this seemingly endless chain of references, I found myself increasingly drawn into the work. It became something very personal, very intimate, full of small revelations and private jokes. In all its disorder, it became an experience of exploring the ‘secret book’ of someone else’s unconscious. But it is an unconscious collectively written, the result in part of several open public drawing sessions held throughout the lifespan of the exhibition, and the intervention of a number of other invited artists, including Constance Ouvrieu, Tina Linville and Annelie McKenzie. This kind of ‘radical collaboration’ has been an aspect of Grant’s work since her first solo show in 2007 (as, indeed, have the ideas of Cixous). It gives her exhibitions something of the quality of telepathy as discussed by Cixous in Philippines, or of philosophy itself as a series of letters between friends, as discussed by Jacques Derrida.

Derrida’s ghost, as delirious and cartoonish as one of Pac Man’s nemeses, is amongst the images on the wall here, and Derrida is one of several theorists discussed in Cixous’s book. But one philosopher Cixous does not mention in ‘Philippines’, but whose ideas seem nonetheless to haunt Grant’s forest, is Avital Ronell. Ronell’s The Telephone Book (1989) sought to replace the notion of an author with the image of an ‘operator’, like a telephone switchboard operator or, as in a line Ronell quotes from a glossary of schizophrenia, ‘A human being with a type of head formation which permits him to explore and influence the mentality of others.’

It is to Ronell’s work that my thoughts turned upon seeing the wax-crayon image of a console, labelled ‘Hub 40000’, on one wall of the exhibition. This white box extrudes a tangle of black wires leading variously to a human finger, an eye, a telephone receiver, a pair of ears, a set of Nintendo control pads and a brain whose spinal column sprouts leaves. From the phone’s earpiece spreads a muddle of words: ‘Hello it’s me / Allo! C’est Moi! / Ta voix entre’. It is with this ‘voice between’ that Grant’s work calls to us; between words and images, art and philosophy, dreams and reality, between, finally, two close friends.

Robert Barry

14 November 2013

Hélène Cixous’s Notre Spectacle in X-TRA

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Hélène Cixous, December 2012. Photo: Kevin Kane.

Notre Spectacle

by Hélène Cixous
Introduction and translation by Alexandra Grant

Published in X-TRA Contemporary Art Quarterly, Fall 2013, Volume 16, Number 1

http://x-traonline.org/article/notre-spectacle/

Hélène Cixous’s “Notre Spectacle” (Our Performance) is a short text originally written for the program of Le Dernier Caravansérail (Odyssées) (The Last Caravan Stop [Odysseys]), a play written collectively by the French philosopher Cixous and the Théâtre du Soleil in Paris in 2003. Cixous is a long-term collaborator of the Théâtre du Soleil and its director, Ariane Mnouchkine. Since the early 1980s, she has written works for and with them, including L’Histoire terrible mais inachevée de Norodom Sihanouk, roi du Cambodge (The Terrible But Unfinished Story of Norodom Sihanouk, King of Cambodia) in 1985 and Tambours sur la digue (Drums on the Dam) in 1999. In these plays, as in Le Dernier Caravansérail, Cixous and the Théâtre du Soleil are committed to political story-telling through episodic, large-scale spectacles with large casts that place the audience member squarely in the middle of the day-to-day experiences of those under the stresses of colonialism, persecution, and/or statelessness. What is impressive about the Théâtre du Soleil is their ability to entertain and marvel their audience while maintaining an empathic, non-exploitative, and non-didactic relation to the subjects of their work. No easy balance.

As a collective, the Théâtre du Soleil has never produced a manifesto. But its egalitarian principles and its radical commitment to collaboration radiate through Cixous’s text. Structured as a series of questions, “Notre Spectacle” demands both ethical reflection and action from artists collaborating with someone other than themselves: across the boundaries of difference, language, and power.

Questions of ethics in practice continue to be vital to artists, as many of us are working in collaborative or collective ways, either openly in the sphere of participatory artwork or “social practice” or privately in the space of our own studios with large-scale production teams whose identities are not disclosed in benefit of a central author. Collaboration itself is not a new phenomenon, but the terms under which collaborative work is accomplished are reframed by every generation in philosophical, legal, and financial terms. What is unusual and relevant about Cixous is that she is the rare theorist who also practices successfully as an artist and these practices are marked both by her ethics and her action-oriented stance.

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Théâtre du Soleil, Le Dernier Caravansérail (Odyssées): Origines et destins, “Sur la route de l’Australie,” Duccio Bellugi, Sébastien Brottet-Michel, Sava Lolov, Delphine Cottu, Serge Nicolaï, Vincent Mangado, and Dominique Jambert, 2003. © Michèle Laurent.

 

Le Dernier Caravansérail gathers the stories of escape and unimaginable danger faced by migrants from the world over—Iran, Iraq, Afghanistan, Russia, Serbia—in search of better lives elsewhere. These “elsewheres,” such as Australia, France, and Great Britain, often materialize as places of great misfortune, as those seeking a better life often end up in political no-man’s lands, such as refugee camps and prisons. The stories presented in Le Dernier Caravansérail are based on interviews conducted by Cixous and other members of the Théâtre du Soleil with refugees across the world. Some are the stories of those living at the theater itself, which serves as a safe-haven and a place of employment and community.

Le Dernier Caravansérail was originally presented as a two-part, six-hour play, with a break halfway through for a meal cooked and served by the actors—including some of the very same migrants whose stories the audience was watching. With forty-two scenes and at least twenty-seven actors, the play drew the audience into experiences that they may have only encountered on the news.

In “Notre Spectacle,” Cixous asks, “How can you get as close as possible to the other without taking their place?” This is not a rhetorical question but one that interrogates the role and responsibilities of a writer representing the stories of powerless and displaced people. For this reason, her phrase “Comment ne pas,” which begins the first three lines, resists easy translation. The phrase can be translated in a multiplicity of ways: How is it possible not to…? How can we not…? How can you not…? How not to…? How to not…?

Dernier Caravanserail 2

Théâtre du Soleil, Le Dernier Caravansérail (Odyssées): Origines et destins, “Dernier assaut (Les voies),” Delphine Cottu and Sarkaw Gorany, 2003. © Michèle Laurent.

 

“Comment ne pas” combines a moment of hesitation with a call to more considered speech or action. In a lecture delivered in 1986 at the Hebrew University in Jerusalem, called “Comment ne pas parler,” Jacques Derrida asked: “Comment ne pas parler de soi? Mais aussi bien: comment le faire sans se laisser inventer par l’autre? Ou sans inventer l’autre?”* (“How not to talk about oneself? And also, how to do it without letting oneself to be invented by the other? Or without inventing the other?”) An aspect of both Cixous’s and Derrida’s philosophical project is to question the invisible authority of language and in so doing show how differences in power are subtly enacted through dialog and creative collaboration. When someone says “Let’s” they’re not asking permission; they’re giving an imperative veiled under the guise of “we.” In contrast, “Comment ne pas…” invites us to question the we-ness (or nous-ness) of collaboration, of “our performance,” to be empathic with the refugee figures without taking their place. The difficulties of translating Cixous speak to the very difficulties that she is addressing in her work. Cixous asks, “How to not translate? That is to say: how to avoid translating? We must translate.”

 

Notre Spectacle

Comment ne pas…
Comment ne pas remplacer la parole de ta bouche par ma parole même de bonne volonté?
Comment ne pas remplacer ta langue étrangère par notre langue française?
Comment garder ta langue étrangère sans manquer de politesse et d’hospitalité à l’égard du public, notre hôte dans le théâtre?
Comment, sans se comprendre en mots, se comprendre quand même en cœur?
Comment ne pas s’approprier l’angoisse des autres en faisant du théâtre?
Comment ne pas pécher par illusion de compréhension et par crainte d’incompréhension?
Comment se mettre aussi près que possible de la place de l’autre sans la prendre?
Comment ne pas traduire?  C’est-à-dire: comment ne pas traduire?  Il faut bien traduire.
Comment ne pas se laisser séduire par la meute des bons sentiments?
Comment ne pas en rajouter?  Ni d’un côté ni de l’autre.
Comment se glisser entre la bonne conscience et la mauvaise conscience, les siamoises?
Comment tout dire sans un mot?
Comment devenir humain c’est-à-dire jamais assez ni trop?
Comment ne jamais renoncer à l’absolu que l’on n’atteindra jamais?
Comment être l’acteur d’un personnage et non son maître?
Comment se laisser être un refuge pour l’étranger?
Comment ne jouer aucun rôle?
Et si on n’y arrive pas?  C’est la question du réfugié en son voyage.

—Hélène Cixous

 

Our Performance

How not to…
How not to replace the words from your lips by my words spoken in good will?
How not to replace your foreign language by our French language?
How do we keep your foreign language foreign without neglecting the politeness and hospitality due our audience, our host in the theater?
How, without understanding each other in words, do we still understand each others’ hearts?
How not to appropriate the anguish of others in order to create theater?
How not to sin by illusion of understanding or fear of misunderstanding?
How can you place your self as close as possible to the other without taking their space?
How not to translate?  That is to say: how to avoid translating?  We must translate.
How not to be seduced by good intentions?
How to not lay it on thick?  Not on one side or the other.
How to slip between good conscience and guilty conscience, those Siamese twins?
How to say everything without uttering a single word?
How to become human, that is, never enough or not too much?
How not to give up on reaching for the ideal that we may never attain?
How to be the actor of a person and not her master?
How to be a refuge for a stranger?
How not to play a role?
And what if we never arrive? That is the question of the refugee on her journey.

—Hélène Cixous

 

Hélène Cixous is an Algerian-born French writer whose work spans many disciplines from poetry to playwriting, literary criticism to philosophy. Charged with founding Paris VIII University in 1968 (with a faculty that included her peers Michel Foucault, Felix Guattari, and Gilles Deleuze), she also established the first women’s studies program in Europe. She is the author of more than 40 books, over 100 essays and 15 plays, and, in the United States, is perhaps best known for works that analyze and take issue with traditional Western notions of femininity and gender.

Alexandra Grant is a text-based artist who uses language and networks of words as the basis for her work in painting, drawing, and sculpture. She has explored ideas of translation, identity, and dis/location not only in drawings, painting, and sculpture, but also in conversation with other artists and writers, such as her long-term collaborator, hypertext author Michael Joyce, and the philosopher Hélène Cixous. Her recent project with Cixous, Forêt Intérieure/Interior Forest, was a participatory exhibition at 18th Street Arts Center, in Santa Monica, California, and Mains d’Oeuvres, in Saint Ouen, France, in response to Cixous’s book Philippines.

© 2013 X-TRA Contemporary Art Quarterly

KCET’s covers the Interior Forest Project at 18th Street Arts Center

KCET-artbound

KCET’s Artbound, premiered Episode 3 from their second season on July 25th, 2012 with segments with Alexandra Grant, Radio Sombra, UCR ARTSblock and  Chicano Batman.

Forêt Intérieure/Interior Forest

A multi-faceted project by artist Alexandra Grant, based on French author, and philosopher Hélène Cixous’ book “Philippines,” the work encompasses a series of public drawing sessions, reading groups, and artist collaborations centering on the theme of the forest as a shared space.

www.kcet.org/arts/artbound/counties/artbound-season-2-episode-3-kcet.html

For more information on the project, please visit:

foretinterieureinteriorforest.wordpress.com

Welcome to Alexandra Grant’s Interior Forest by Pilar Tompkins Rivas

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Welcome to Alexandra Grant’s Interior Forest

Pilar Tompkins Rivas introduces the Forêt Intérieure/Interior Forest, a multi-faceted project by Los Angeles-based artist Alexandra Grant encompassing a series of public drawing sessions, reading groups, artist collaborations and an installation at 18th Street Arts Center.

www.kcet.org/arts/artbound/counties/los-angeles/alexandra-grant-interior-forest-19th-street-art-center.html

For more information about the project and 18th Street Arts Center:

18thstreet.org/events/exhibitions

Photo credit: Brian Forrest.

Interior Forest at 18th Street Arts Center opens June 1

 

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April 15 – June 28, 2013 / 18th Street Arts Center, Santa Monica
Gallery hours:
Monday – Friday from 11am – 6pm

Opening: June 1, 7 -9pm

Forêt Intérieure/Interior Forest is a multi-faceted project by Los Angeles-based artist Alexandra Grant encompassing a series of public drawing sessions, reading groups, artist collaborations and an installation at 18th Street Arts Center. Co-curated by Pilar Tompkins Rivas and Isabelle Le Normand, this work premieres in Santa Monica and is presented at Mains d’Oeuvres in Saint-Ouen, France this fall.

Based on an ongoing exchange with the iconic French author, poet, playwright and philosopher Hélène Cixous, Grant focuses on Cixous’ book Philippines as a source for imagery, centering on the repeating thematic of the forest as a profound shared space. Drifting between a real and an imagined place, the forest becomes a site for communion with what Cixous terms “the perfect Other.”

As an exhibition, Forêt Intérieure/Interior Forest features the work of artists Frances Garreston, Channing Hansen, Bari Ziperstein, Annelie McKenzie and Tina Linville who produced sculptural, “Visiting Trees” (Arbres d’Ailleurs).  The participatory drawing, “The Perfect Other,” was created by 238 collaborators, all listed here:

Luca Acheson, Basim Al Ansar, Lita Albuquerque, Marya Alford, Shiva Aliabadi, Lauren Andino, Janine Arbelaez, Carmen Argote, Shagha Ariannia, Myke Armstrong, Joshua Aster, Chad Attoe, Daniyar Aynit, Adriana Baltazar, Raul Baltazar, Diana Barash, Alizée Bariatti, Michael W. Barnard, Tyler Barnett, Jonny Barrios, Andrew Beath, Christine Beebe, Nancy Berman, Amy Bourne, Clémence Bourquin, Leonardo Bravo, Hallie Breene, Tyler Bremer, Gianpaolo Bucci, Kristin Calabrese, Mark Carrie, Nereida Castro, Nina Castro, York Chang, Penny Chen, Allison Cheung, JoAnne Colonna, Steven Conklin, Julia Countryman, Kyle Cowser, Zoe Crosher, Colomba Cruz, Caryl Davis, Tom Dean, Wanda Decca, Jake Dotson, Dana Duff, Emma Gray, Danny Escalante, Lauren Evanow, Joy Feasley, Kyla Fenning, Rachel Finkelstein, Charity Gaye Finnestad, Merle Fishman, Jessica Fleischmann, Luis Flores, Jen Frank, Debra Frascarelli, Eugenie Fremiot, Jonathan Furmanski, Nery Gabriel Lemus, Elizabeth Gallardo, Kit Galloway, Angel Garcia, Frances Garriston, Alyse Gellis, Yvette Gellis, Christiane Georgi, Nimrod Gershoni, Chiara Giovando, Jane Glassman, Amanda Goch, Meghan Gordon, Adeline Gourdoux, Karen Graff, Alexandra Grant, Audra Graziano, Mark Steven Greenfield, Shona Gupta, Sarah Hagmann, Leila Hamidi, Simon Hanna, J. Scott Hardman, Nicole Heetland, Mary Beth Heffernan, Art Helterbran, Katie Herzog, Annette Heully, Asuka Hisa, Vincent Ho, Rosemary Hochschild, Anna Maria Hoffman, Catherine Holliss, Violet Hopkins, Jeanette Horn, Cathy Hsiao, Salomon Huerta, Aska Irie, Ichiro Irie, Gillian Jacobs, Hillary Jacobs, Mason Jar, Alexandre Jousse, River Jukes-Hudson, Tricia Jurovic, Ann Kaneko, Ceiba Kaneko, Fitzhugh Karol, Robert Kondrk, Talbot Kondrk, Clara Kornelis, Arzu Arda Kosar, Simone Kussatz, Sam Laughlin, Janet Le, Heather Lee, Adee Levy, Doris Levy, Jonathaan Levy, Kris Lewis, Mark Licari, Galia Linn, Tina Linville, Dan Lloyd, Joanne Lloyd, Joe Lloyd, Lisa Lo Russo, Anthony Lopez, Richard Louderback, Benjamin Love, Monica Magdaleno, Elana Mann, Gavin Marshall, Jeremy Mascia, Anna Mayer, Yassi Mazandi, David McDonald, Annelie McKenzie, Elise McMillen, Kathleen Melian, Fred Mezzo, John Mills, Jessica Minckley, Hayley Miner, Melissa Mooney, Anthony Morales, Toyin Moses, Kathrine Narducci, Robert Nashak, Jess Newman, Karyl Newman, Larissa Nickel, Cody Norris, Madeleine Nyhagen, Heather O’Brien, John David O’Brien, Mary Eileen O’Donnell, Geoffrey Olson, Stas Orlaski, Ruby Osorio, Hayley Owen, Marcus Owens, Kiran Paesel, Fabia Panjarian, Laura Pardini (FR), Laura Pardini (USA), Marcus Perez, Ben Peyser, Hannah Phillips, Bruce Polichar, Mary Anna Pomonis, Lauralee Pope, Nancy Popp, Gala Porras-Kim, Ashley Pottenger, Cortney Prudente, Rebeca Puga, Ho Yan Pun, Jessica Queller, Sophie Queller, Joy Rath, Judith Ravenswood, Juliet Ravenswood, Linda Ravenswood, Ingrid Reeve, Cindy Rehm, Friederike Reveman, Joakin Reveman, Steve Roden, Jeanne Roderick, Rachelle Rojany, Tatiana Rose, Shelley Rugg Thorp, Trinidad Ruiz, Olivia Sanchez Brown, Whitney Sander, Wyeth Sander, Kim Schoenstadt, Leander Schwazer, Roberto Sheinberg, Becca Shewmake, Fran Siegel, Susan Silton, San Sit, Samantha Snowden, Justin Stadel, Mark Storhaug, Keng Sumsiripong, Valerie Sun, Franz Szymanski, Andrea Tennis, Elaine Teso, Martin Teso, Jolyn Tyahyadi Tjhia, Pilar Tompkins Rivas, Scotty Tran, Stephen Truax, Shirley Tse, Chih Chen Tseng, Beatriz Valls, Florian Viel, Cheryl Walker, Lolly Ward, Robyn Weinstein, Maria Welch, Leora Wien, Jan Williamson, Robin Wolf, Mel Woods, Janet Worcester, Peter Wu, Samantha Wu, Suzy Yaako, Meital Yaniv, Carolyn Yuen, Goldie Zaldivar, Jody Zellen, and Alexis Zoto.

For more information please see: http://foretinterieureinteriorforest.wordpress.com/

Or join the community on Facebook: www.facebook.com/ForetInterieureInteriorForest

Come to Paris! The Forêt Intérieure/Interior Forest continues at Mains d’Oeuvres in Saint-Ouen, France, with public participation beginning on August 24 until September 12, opening on September 13, and the exhibition running from September 14 to October 27, 2013.

Photo credit: Brian Forrest.

The Cixous Reading Group: A Pop-Up Seminar on Feminism by Robert Nashak

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A Pop-Up Seminar on Feminism

www.kcet.org/arts/artbound/counties/los-angeles/cixous-reading-group-alexandra-grant-18-street-arts-center.html

The Cixous Reading Group, a newly formed collaboration of Los Angeles-based artists and writers, is a kind of pop-up seminar, trying to reframe what it means to be a feminist today.  By Robert Nashak.

For more information:

cixousreadinggroup.wordpress.com