On Colonial Legacies

and Contemporary Societies

Gallery Reflection #3

Gallery Reflection

© Wura-Natasha Ogunji, The Kissing Mask, 2017, photo: Victoria Tomaschko

Thursday, 16 November, 7.30 pm, ifa Gallery Berlin

Art and (New) Intersectional Feminisms

A Conversation with Federica Bueti (writer and editor, SAVVY Contemporary), Alanna Lockward (author, filmmaker, BE.BOP curator), Kathy-Ann Tan (academic, American Studies, Berlin), and Jonas Tinius (anthropologist, CARMAH/HU Berlin)

Intersectional feminism acknowledges and underlines how the structural, global, and subjective entanglements of race, class, ethnicity, religion, and gender affect women’s and trans people’s experiences. How do artistic practices reflect, articulate, or critique this political position? What are the legacies of past and pioneering iterations of Black feminist intersectional thought (Kimberlé Crenshaw) and activism and how do they relate to new generations of artists, activists, academics? What role does art play in the quest for an intersectional feminist political economy? For the third event in the gallery reflection series, we will be discussing the relation of art to intersectional feminism in the context of the exhibition Every Mask I Ever Loved by Nigerian-American artist Wura-Natasha Ogunji.

Federica Bueti is a writer and editor based in Berlin. Her research focuses on feminist politics and economies of writing. She is the editor of ...ment, Journal for Contemporary Culture, Art and Politics (www.journalment.org). She co-edited, with Bonaventure Soh Bejeng Ndikung, the reader The Incantation of the Disquieting Muse: on Divinity, Supra-realities or the Exorcisement of Witchery, SAVVY & The GreenBox, Berlin (2017).  Her writing on art and cultural theory has appeared in magazines such as friezeBOMBIbraazMakhzin,Ocula, X-TRA, a.o., and she regularly contributes to critical anthologies and artist monographs. She is part of the curatorial team at SAVVY Contemporary, where she co-curates the series Speaking Feminisms dedicated to an exploration of current feminist practices and alliances. Her lectures have been held widely including Tate Liverpool, UK; HKW, Berlin, Germany; Witte de With, Rotterdam, Netherlands; Akademie der Künste Der Welt, Cologne, Germany; Hordaland Art Centre, Bergen, Norway; dOCUMENTA (13), Kassel, Germany.She is currently completing her PhD in Critical Writing in Art at the Royal College of Art, London.

Alanna Lockward is a Dominican-German author, curator and filmmaker. She is the founding director of Art Labour Archives, an exceptional platform centered on theory, political activism and art. Her interests are Caribbean marronage discursive and mystical legacies in time-based practices, critical race theory, decolonial aesthetics/aesthesis, Black feminism and womanist ethics. Lockward is the author of Apremio: apuntes sobre el pensamiento y la creación contemporánea desde el Caribe (Cendeac, 2006), a collection of essays, the short novel Marassá and the Nothingness (Partridge Africa 2016) and Un Haití Dominicano. Tatuajes fantasmas y narrativas bilaterales (1994-2014), a compilation of her investigative work on the history and current challenges between both island-nations (Santuario 2014).  Lockward is the editor of BE.BOP 2102-2014. El cuerpo en el continente de la conciencia Negra (Ediciones del Signo 2016).

Kathy-Ann Tan is a Berlin-based academic who received her PhD and Habilitation in North American Literatures and Cultures from the University of Tübingen. Her research and teaching interests lie in the fields of postcolonial and decolonial studies, critical race theory, citizenship studies, gender and queer studies, poetry and visual cultures. She is currently a guest professor of American Studies at the University of Paderborn. Her second monograph, Reconfiguring Citizenship and National Identity in the North American Literary Imagination (Detroit: Wayne State University Press, 2015) investigated the configurations and articulations of U.S. and Canadian citizenship that are enacted and revised in modern literary texts, particularly during periods of emergence and crisis. Her current research project, “The Aesthetics of Decolonization: Performance, Affect and Visual Perception”, explores how dominant narratives of western modernity are complicated, challenged and re-negotiated in performance and visual cultures (visual art, site-specific performances, museum interventions, etc.), cultural practices, and social formations. 

Jonas Tinius is an anthropologist of art and post-doctoral research fellow at the Centre for Anthropological Research on Museums and Heritage (CARMAH), based at the Institute of European Ethnology, Humboldt-Universität zu Berlin, Germany. His current research explores how Berlin-based curators, contemporary artists, and art institutions engage with notions of alterity and otherness through critical curatorial strategies to reflect on German and European heritage and identities. He is editor of Anthropology, Theatre, and Development: The Transformative Potential of Performance (Palgrave, 2015, with Alex Flynn) and convener of the Anthropology and the Arts Network of the European Association of Social Anthropologists (with Roger Sansi, Barcelona). www.jonastinius.com


  • Photo: Victoria Tomaschko

  • Photo: Victoria Tomaschko

  • Photo: Victoria Tomaschko

  • Photo: Victoria Tomaschko

  • Photo: Victoria Tomaschko

  • Photo: Victoria Tomaschko

  • Photo: Victoria Tomaschko