n.paradoxa Booklist
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Notes: Monographs and individual artists' exhibition catalogues are not included in this list, except where they are explicitly feminist and provide a key role model for feminist art practice. You can look at exhibitions and anthologies separately by moving to those pages.
For authors' last names use capital letter first. For those beginning with "A", type "A" or use the first 3 letters of their last name.
The country search uses full English names, e.g. The Netherlands, except for USA and UK. "International" (use Capital "I") is the category used for projects where artists from more than 3 countries are involved. Books and exhibitions under "International" are in addition to those listed as individual countries. New sections have been added for geographical regions/ continents: Asia, Africa, Pacific, Middle East, South America, Scandanavia. These categories are in addition to individual countries listed. So, for searches in Africa, look also in Nigeria and Egypt.
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This results of this search will give all books, exhibition catalogues, magazines and special issues, blogs, websites and women's art organisations for a country, including places of exhibition and publication and is compiled from n.paradoxa's database.
The results list is organised with links to organisations/websites first, then journals, then books and exhibition catalogues by date (with most recent first):
2014 Katja Kobolt and Lana Zdravkovic eds
Performative Gestures, Political Moves
(Zagreb: Red Athena University Press, Centre for Women's Studies and City of Women)
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Press release of this book:
'While acknowledging the "problem of performativity",*/Performative Gestures Political Moves/*, however, (still) lingers on the term, exploring its echoing in the research focused on what should thus also be considered as an effect of the performance of power -- on the art and theory production in so-called "Eastern Europe". The book does not(only) represent the research on performance art and performativity in a region denoted as "East European", but also produces positions that go beyond the representation(s) of what performance art, performativity in/and "Post-Socialist Europe" are.
Performative Gestures Political Moves/therefore also raises questions of historisation(s) and their ideological positioning. Especially within feminist art history but also in feminist curating, the question of labelling art production as feminist has been till today a burning subject. How, what, when, why, where, by whom and for whom is(performance) art feminist, obviously does not have an unambiguous answer. The same is true for art and feminism as such. Therefore, the publication has aimed to foster a reflection on research positions and theoretical considerations of performativity, performance art, feminism, historisation and, above all, their political implications in/and/for the "continental Post-Socialist" condition.
/With contributions by//
//Angela Dimitrakaki, Ana Peraica, Barbara Orel, Dunja Kukovec, Grupa Spomenik and DeLVe, Marija Ratkovic', Marina Grz(inic', Martina Pachmanová, Milijana Babic', Suzana Milevska, Tea Hvala, Waldemar Tatarczuk// // //Edited by// //Katja Kobolt and Lana Zdravkovic'// // //The Performative Gestures Political Moves has been published by the City of Women, Ljubljana and Red Athena University Press, a collaborative publishing project by the Centre for Women's Studies Zagreb and trans-Yugoslav feminist scholars./'
2013 Katrin Kivimaa ed
Working with Feminism: Curating and Exhibitions in Eastern Europe
(Talin: ACTA Universitatis Tallinnensis)
2010 Suzana Milevska
Gender Difference in the Balkans: Archives of representations of gender difference and agency in visual culture and contemporary art in the Balkans (text in English)
(Germany: VDM Verlag Dr. Muller
Aktiengesellschaft)
2001 Suzana Milevska ed/Curator
Capital and Gender: international project for art and theory
(Museum of City of Skopje)
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Review reproduced from Volume 9, n.paradoxa, Jan 2002. Katy Deepwell 'Short Book Reviews'
Suzana Milevska (ed/curator) Capital and Gender: international project for art and theory (English and Macedonian texts) Museum of the City of Skopje, 2001
9989-612-64-1
This is an exhibition catalogue from a public art project which took place in a shopping mall in Skopje. The artists were invited to consider the topic of capital and gender, in terms of a Perfect Match between men and women, given the current economy and problems presented by a new consumerism, "white slavery"/ prostitution, new attitudes to marriage and changing concepts of love and identity in a post-communist country. The artists (both male and female) came from several republics of the former Yugoslavia as well as Bulgaria, Turkey and Estonia. The works were many and highly varied in their methods and means of engaging the public but included, as some examples: Marina Grzinic/Aina Smid's interactive CD-rom, Troubles with Sex, Theory and History; Maja Bajevic's consumer objects Kit for the Gloves to Save a Marriage; Danica Dakic's/ Sandra Sterle's billboard Go-Home, Violeta Capovska's video project Mother's Group (2000), Kai Kaljo's video Love Letter to Myself, Slavica Janeslieva's photo-text installation Love and Interest and Hristina Ivanoska/ Yane Calovski's company product, a prototype Blanket for Fun and/or Emergency. The book also contains essays by Suzana Milevska, Marina Grzinic, Dorothee Bauerie-Willert, Katalin Timar, Despina Angelovska and Zaneta Vangeli - some of the contributors to the conference organised alongside the project.
2001 Sonia Abadzieva
Deep Breathing
(Skopje: Skenpoint)
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Review reproduced from Volume 9, n.paradoxa, Jan 2002. Katy Deepwell 'Short Book Reviews'
Sonia Abadzieva Deep Breathing Skopje: Skenpoint, 2001
(English and Macedonian texts)
9989-888-05-1
Largely illustrated with works from the 1990s and including only a very few from the 1980s and 1970s, this publication is less a recent history of contemporary Macedonian women artists or the few women artists' exhibitions since the 1990s , than a very personal discussion of issues and ideas about the feminine and female-orientated traditions in Macedonia, overlooking recent cultural politics or history. It includes around 80 biographies of artists and a chronology.