October 7 - opening performance, 7 PM
October 21 - special DDW performance, 7 PM
This collaborative work by Gabriel A. Maher, Roberto Pèrez Gayo and Carly Rose Bedford elaborates on the relationship of feminism to the collective regimes of enunciation that produce it.
How do you orient yourself within this word? How do you orient yourself in a language that precedes you?
If we look from this perspective to the word FEMINISM, we can see within its translucent walls, a universe contained, a constellation of bodies, expressions, positions and territories. The word itself becomes a door to a space in which certain types of relations happen and are expressed in a particular form. We occupy a physical and mental space.
Once I cross into that space,
how do/can/must/may/ought ’I’
And how would I describe it?
A network of 26 feminist voices transmit
In order to achieve this, Maher, Perez and Rose speculate on how setting the listening conditions prior to the act of speech can generate new forms of community and collectivity. By approaching the word Feminism as a technology, they look towards how this can generate self-reflection and invite the word feminism to listen to itself in a queer and intersectional feminist framework.
As much as a physical exhibition, this work exists as a methodology that attempts to reflect and act upon the collectivity that feminism as a word connotes. It contemplates collectivity, the act of listening and knowledge production. This process and outcome reflects dialogues of urgency or irreverence, analysis and reflection that cycled within a collective of people each unified by an investment in feminism.
“______________________________” is an invitation to explore how our individual positions and actions relate to the collective arrangements we belong to through the technology of the word and consequently, through the act of listening.
“ ____________________ ” is part of the Sense & Sensibility project, that wishes to explore contrasts and oppositions between gender constructs, objects and subjects, and between theories and visual modes of culture here and now.