Artifacts Introduction Speech

Click to increase image sizeClick to decrease image size

Notes

1 The presentations and artifacts brought to the session were: Hannah le Roux, “Bunna Without Borders: Coffee/Making as a Relational Space,” brought coffee cups with the Ethiopian flag printed on them; Gem Barton and Harriet Harriss, “Objectified Interior,” set out material for a quick pencil-decorating workshop, Jos Boys and Julia Dwyer, “Revealing Work. Interrogating Artifacts to (Re)View Histories of Feminist Architectural Practice”, displayed posters, a well-thumbed copy of a library book, and architectural drawings from their practice Matrix; and Sophie Handler, “Practicing Ageing Differently (The Spatial Possibilities of Textual Play),” showed entries from her dictionary on aging. Others contributed by exhibiting artifacts in the space: Gloria Hao and Ida Mirow showed their fanzine Astray; Estella Burga, Macarena Dusant, and Isabel Löfgren displayed the embroidered tablecloth from the participatory ritual Nuestras Madres, which opened the STYLES part of the conference; MYCKET exhibited albums from the Club Scene, their equilateral triangular table, and their tambourine from Exclude Me In.

2 Gloria Anzaldúa, La conciencia de la mestiza: Towards a New Consciousness (San Francisco, CA: Aunt Lute, 1987).

3 MADAM Snickeri och Restaurering is a feminist collaboration between cabinetmaker Marie Carlsson and furniture conservator Magdalena Marano (see www.madamsnickeri.se). They support MYCKET with knowledge and skill and have been involved from the first prototype to the current equilateral triangle table.

4 Ann Bergren, “Female Fetish Urban Form,” in The Sex of Architecture, ed. Diana Agrest, Patricia Conway, and Leslie Kanes Weisman (New York: Abrams, 1996), 77–97.

5 Exclude Me In was made in a collaboration by MYCKET, Maja Gunn, and the New Beauty Council (NBC) and was part of AnarCrew at the Göteborg International Biennale of Contemporary Art, GIBCA, 2013. The day after the carnival a labyrinth with all the artifacts was installed at Gothenburg’s Konsthall for the duration of the biennale.

6 A small part of the speech has been published as MYCKET (Mariana Alves Silva, Katarina Bonnevier, and Thérèse Kristiansson), “Through Our Dance We Weave the Dance Floor and Ceiling – A Conversation Amongst MYCKET,” in Feminist Futures of Spatial Practice: Materialisms, Activisms, Dialogues, Pedagogies, Projections, ed. Meike Schalk, Thérèse Kristiansson, and Ramia Mazé (Baunach: AADR/Spurbuch).