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Elke Krasny

Academy of Fine Arts Vienna, Institute for Education in the Arts - Department for Art and Education, Faculty Member

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Elke Krasny is Professor at the Academy of Fine Arts Vienna. Krasny’s research-based theoretical and curatorial work focuses on social and ecological justice, politics of memory, feminist museology and monument studies, emancipatory learning and feminist pedagogies. Krasny writes on care feminism, climate feminism, transnational feminisms and feminist activism in the contexts of architecture, contemporary art, art in public space, museums, monuments, critical curatorial practices, urbanism and public imaginaries.

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Dorothee I Richter

Zurich University of the Arts

Goldsmiths, University of London

Erin L. McCutcheon

University of Rhode Island

UNAM Universidad Nacional Autónoma de México

University of Brighton

Jessica Sjoholm Skrubbe

Stockholm University

Akademie der bildenden Künste Wien

Northumbria University

Akademie der bildenden Künste Wien

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Papers by Elke Krasny

Against Sexual Violence in the Museum: Art, Curating, and Activism

Journal of Cultural Analysis and Social Change, 2022

Depictions of sexual violence are frequently found in the collections and displays of art museums... more Depictions of sexual violence are frequently found in the collections and displays of art museums, and material that represents and affirms violence against women often is displayed unchallenged. This article poses questions about how the presence of this material has been addressed in the relations between feminist activism against sexual violence, art made by artists responding to and participating in feminist activism, and the curatorial activities that have arisen to address the challenges that these activities present to art museums. The chapter investigates the 2021 exhibition Titian: Women, Myth and Power at the Isabella Stewart Gardner Museum and its handling of themes of rape in the central exhibit, Titian's Rape of Europa; the history of themes of rape in feminist art since the 1970s and in exhibitions of this art that have taken place in museums in the last two decades; and curatorial engagements with sexual violence and rape in recent art exhibitions in the US and in the UK. The article argues that new strategies for the presentation and interpretation of artworks dealing with sexual violence are needed for museums to redress the patriarchal and colonial presence of sexual violence in their collection.

The Museum and the Anthropocene: Ecological Grief, Planetary Mourning, Healing Feminist Curating

Curating as Feminist Organizing , 2023

The essay introduces the museum as a modern institution, through which we can study the making of... more The essay introduces the museum as a modern institution, through which we can study the making of the culture of the Anthropocene. Analysed as an institution of capture, best understood through a theory of dead objects kept alive, the museum represents the way the Anthropocene reorganized and regulated life and death. Today, planetary ruination is understood to result from humans as geological and climatalogical force. This ruination followed from the Enlightenment ideology of white Man’s universalized supremacy, which supported the formation of colonial patriarchy and racial capitalism. Today’s ecological grief needs new collective rituals and spiritual and emotional articulations for planetary mourning to deal with the aftermath of the ongoing sixth mass extinction event. Arguing that the museum, precisely because it is a storehouse of death-making anthropogenic politics, is a site for which the essay prefigurates new forms of healing feminist curating, it also acknowledges that such healing has to confront legacies of imperial, bourgeois, and white-centric feminism, aligned with Anthropocene hegemony.

Putting on the Map: Suzanne Lacy’s International Dinner Party

Participation in Art and Architecture. Spaces of Interaction and Occupation , 2015

My point of departure is a photograph taken at the San Francisco Museum of Modern Art on 14 March... more My point of departure is a photograph taken at the San Francisco Museum of Modern Art on 14 March 1979. Today, this photograph can be seen on the website of artist Suzanne Lacy, bearing witness to a performance she staged 36 years ago. On the eve of the much-awaited opening of Judy Chicago’s large-scale sculpture Dinner Party, Lacy dedicated a piece entitled International Dinner Party to her teacher and mentor, presenting a global and participatory event celebrating women’s community.

Marianne Krogh (ed.), Connectedness. An Incomplete Encyclopedia of the Anthropocene, 2020

Why is yet another definition of architecture needed? Why should we work on a new entry on archit... more Why is yet another definition of architecture needed? Why should we work on a new entry on architecture in the general lexicon? Why at this point in time, should all those professionally concerned with architecture worry about a new definition of architecture? The following essay uses these questions of definition to think through a number of issues as they concern concrete historical power relations, epistemic power and the relationship between architecture, environmental interdependence and human/nonhuman entanglements.

Spaces of Agency

Women’s:Museum. Curatorial Politics in Feminism, Education, History and Art, 2013

Space is agency. Having access to spaces that can be shaped and determined, that can be filled wi... more Space is agency. Having access to spaces that can be shaped and determined, that can be filled with meanings, understood otherwise, changed collectively, called into question or even transformed completely is part of creating freedom to act. While separatist feminist space making has often been considered a thing of the past, women’s struggles over defining spaces are far from over. Here, space as agency and feminist space making are discussed in relation to women’s museums.

Precarious Commons. An Urban Garden for Uncertain Times

Commoning the City, edited by Derya Özkan and Güldem Baykal Büyüksaraz, 2020

This chapter seeks to understanding better the idea and practice of a precarious commons. It focu... more This chapter seeks to understanding better the idea and practice of a precarious commons. It focuses on Becoming Garden, one example of such a commons in Southern Italy that plants seeds of hope in the cracks of a stigmatized, poverty-ridden, austerity-struck, ruinous welfare state infrastructure. Challenging monolithic narrations of neoliberalism’s hegemony, practices of the commons raise awareness for diverse temporalities, solidarities, and modes of existence with diverse ecologies and diverse economies. The commons are, as is by widely accepted, in peril because of capital-driven environmental exhaustion, raging extractivism, and neoliberal governance. Critical scholarship across a wide range of disciplines including social sciences, governance studies, environmental studies, history and theory of labour, political theory, and philosophy have developed a robust body of work on the commons. The commons are produced and have to be reproduced. Silvia Federici, feminist Marxist activist, writer and thinker, has since the 1970s been influential to the analysis of reproduction under capitalism.

Scales of Concern. Feminist Spatial Practices

Empowerment. Art and Feminisms, edited by Andreas Beitin, Katharina Koch, Uta Ruhsam, 2022

There is no space without concern. There is no space without care. There is no space without worr... more There is no space without concern. There is no space without care. There is no space without worry. Without concern there is no space. Without care there is no space. Without worry there is no space. These observations are the starting points o feminist spatial practices. Concern suffuses the corporeal, spatial, and material world, which is the same world that suffuses thinking and feeling life with concerns.

A Caring Revolution. Working for Planetary Responsibility

Jeanne van Heeswijk, Maria Hlavajova and Rachael Rakes (Eds): Toward the Not-Yet: Art as Public Practice, MIT Press , 2021

The caring revolution is a not-yet toward which we must work in order to practice care as planeta... more The caring revolution is a not-yet toward which we must work in order to practice care as planetary responsibility around which political and economic life will be organized. The revolution against the general crisis of care therefore needs a two-pronged approach that engages with the past and with the future. This requires attention to the toxic realities that have led to the current predicament and a commitment to life-making futurity that provides time to heal past wounds. This requires decolonizing care through critical engagement with the far-reaching implications of the idea of the modern independent subject, which gave rise to human exceptionalism at the expense of the real interdependence of human and natural, social and environmental.

#CLIMATEFEMINISM.Krasny

Nr. 70 (2022): How:https:// Do We Speak #Feminism?// New Global Challenges - A Glossary, 2022

Ottakringer Straße_Balkanmeile. Lokale Identitäten und Global Transformationsprozesse

Balkanmeile 24 Stunden Ottakringer Straße . Lokale Identitäten und Globale Transformationsprozesse, herausgegeben von Antonia Dika, Barbara Jeitler, Elke Krasny Amila Sirbegovic, , 2011

Rethinking Domestic Labour The Post- Industrial House- hold Question

Krasny, Elke (2016) Rethinking Domestic Labour, in Regina Bittner, Elke Krasny (eds.) In Reserve. The Household!, Leipzig: spector 2016, pp. 322-329., 2016

Systemerhaltung und Sichtbarkeit. Für eine kritische Theorie von Architektur und Sorgearbeit

Arch + Zeitschrift für Architektur und Urbanismus. Zeitgenössische Feministische Raumpraxis, 2021

Dieser Text versteht sich als Beitrag zur Entwicklung einer kritischen Theorie von Architektur un... more Dieser Text versteht sich als Beitrag zur Entwicklung einer kritischen Theorie von Architektur und Sorgearbeit und liefert analytische Befundungen der Maßstäbe und Wertvorstellungen, die die Verhältnissen von Systemerhaltung und Sichtbarkeit bestimmen, um mit feministischer Imagination die Möglichkeit von anderen Zukunftspraxen zu eröffnen.

Maßstäbe der Sorge. Feministische Raumpraxen

Empowerment. Kunst und Feminismen, 2022

Es gibt keinen Raum ohne Sorgen. Ohne Sorgen gibt es keinen Raum. Durch diese beiden Sätze wir... more Es gibt keinen Raum ohne Sorgen.
Ohne Sorgen gibt es keinen Raum.

Durch diese beiden Sätze wird das grundlegende Verhältnis zwischen Raum und Sorgen gefasst, von dem dieser Essay handelt, um über feministische Raumpraxen nachzudenken. Ich schlage vor, den ersten Satz für den Zusammenhang hier folgendermaßen zu lesen: Es gibt keinen Raum, der den menschlichen Wesen nicht Sorgen bereitet, sie nicht mit Gefühlen von Beunruhigung oder Bange erfüllt. Diese Sorgen und Beunruhigungen können unterschiedlichste Gründe haben, von finanzieller Verschuldung über extreme Wetterereignisse bis zu häuslicher Gewalt, um nur einige wenige Beispiele anzuführen. Den zweiten Satz möchte ich im Zusammenhang mit den Überlegungen dieses Essays wie folgt lesen: Ohne Aktivitäten und Maßnahmen des Sorgetragens für den Raum, in dem die Menschen ihre Existenz und ihre Lebensgrundlagen finden, kann es diesen nicht geben.

“We are all in this alone”, “A (reconstructed) conversation, “The works and the space”.

by Basak Senova, Anne Barlow, Sebastian Cichocki - Muzeum Sztuki Nowoczesnej w Warszawie, Hristina Ivanoska, and Elke Krasny

We Are All In This Alone. The Book of the Pavilion of the Republic of Macedonia in the 56th International Art Exhibition of the Venice Biennial., 2015

The Book of the Pavilion of the Republic of Macedonia in the 56th International Art Exhibition of... more The Book of the Pavilion of the Republic of Macedonia in the 56th International Art Exhibition of the Venice Biennial.

Senova, Basak. 2015. “We are all in this alone”, “A (reconstructed) conversation, “The works and the space”. We are all in this alone. The Book of the Pavilion of the Republic of Macedonia in the 56th International Art Exhibition of the Venice Biennial. Ed. Basak Senova. National Gallery of Macedonia, Skopje. p.13-14, 23-29, 87-89. ISBN 978-608-4693-58-1

Care Trouble: Thinking Through Gendered Entanglements in Architecture

Women Architects and Politics Intersections between Gender, Power Structures and Architecture in the Long 20th Century, 2022

urges a "radical rethinking" of the practice of architecture, away from a knowledge-based endeavo... more urges a "radical rethinking" of the practice of architecture, away from a knowledge-based endeavor fixated on individual accomplishment, novelty, the dictates of capital and systems of oppressive hierarchies, to one that holds dear the disvalued, "racialized and sexualized" labor of preserving and nurturing life, or "care" work, as a professional paradigm. By extension, 10 Darling/Walker (2017).

Unsettling Gender, Sexuality, and Race. Crossing the Collecting, Classifying and Spectacularising Mechanisms of the Museum

by Elke Krasny and Lara Perry

Museums & Gender. Museum International , 2020

Implicated in Care. Haunted by Protection. The Violence of Stone and Bronze Bodies.

Infrastructural Love: Caring for Our Architectural Support Systems, 2022

Die Flucht nach vorne : das Motiv Zukunft in der Weltausstellungsarchitektur der 1960er Jahre

Wissenschaftliches Kolloquium vom 27. bis 30. Juni 1996 in Weimar an der Bauhaus-Universität zum ... more

Über Vermittlung: Vom Verhältnis zwischen Museum und Öffentlichkeit

Critical Studies, 2016

Der Essay handelt von dem Verhaltnis zwischen Museum und Offentlichkeit, welches auf Vermittlung ... more Der Essay handelt von dem Verhaltnis zwischen Museum und Offentlichkeit, welches auf Vermittlung beruht. Transhistorisch vergleichend werden die Franzosische Revolution, die 1968er Revolution und die Protestbewegungen des Jahres 2011 zueinander in Beziehung gesetzt. Diese werden als konstitutive Einschnitte fur die Transformationen des o. g. Verhaltnisses analysiert. Die politischen Forderungen stellen Vermittlung als immer wieder neu zu denkende und zu positionierende Aufgabe her: Recht auf Museum (1793), Recht auf Partizipation (1968) und Recht auf Versammlung (2011). Um die Verhaltnisse zwischen Kunst, Museum und Offentlichkeit als gesellschaftliche wie politische zu fassen, ist die Vermittlung dieser Verhaltnisse in ihren Veranderungen, Konflikten und Widerspruchen zentral.

Mapping the Everyday : Neighbourhood Claims for the Future

Against Sexual Violence in the Museum: Art, Curating, and Activism

Journal of Cultural Analysis and Social Change, 2022

Depictions of sexual violence are frequently found in the collections and displays of art museums... more Depictions of sexual violence are frequently found in the collections and displays of art museums, and material that represents and affirms violence against women often is displayed unchallenged. This article poses questions about how the presence of this material has been addressed in the relations between feminist activism against sexual violence, art made by artists responding to and participating in feminist activism, and the curatorial activities that have arisen to address the challenges that these activities present to art museums. The chapter investigates the 2021 exhibition Titian: Women, Myth and Power at the Isabella Stewart Gardner Museum and its handling of themes of rape in the central exhibit, Titian's Rape of Europa; the history of themes of rape in feminist art since the 1970s and in exhibitions of this art that have taken place in museums in the last two decades; and curatorial engagements with sexual violence and rape in recent art exhibitions in the US and in the UK. The article argues that new strategies for the presentation and interpretation of artworks dealing with sexual violence are needed for museums to redress the patriarchal and colonial presence of sexual violence in their collection.

The Museum and the Anthropocene: Ecological Grief, Planetary Mourning, Healing Feminist Curating

Curating as Feminist Organizing , 2023

The essay introduces the museum as a modern institution, through which we can study the making of... more The essay introduces the museum as a modern institution, through which we can study the making of the culture of the Anthropocene. Analysed as an institution of capture, best understood through a theory of dead objects kept alive, the museum represents the way the Anthropocene reorganized and regulated life and death. Today, planetary ruination is understood to result from humans as geological and climatalogical force. This ruination followed from the Enlightenment ideology of white Man’s universalized supremacy, which supported the formation of colonial patriarchy and racial capitalism. Today’s ecological grief needs new collective rituals and spiritual and emotional articulations for planetary mourning to deal with the aftermath of the ongoing sixth mass extinction event. Arguing that the museum, precisely because it is a storehouse of death-making anthropogenic politics, is a site for which the essay prefigurates new forms of healing feminist curating, it also acknowledges that such healing has to confront legacies of imperial, bourgeois, and white-centric feminism, aligned with Anthropocene hegemony.

Putting on the Map: Suzanne Lacy’s International Dinner Party

Participation in Art and Architecture. Spaces of Interaction and Occupation , 2015

My point of departure is a photograph taken at the San Francisco Museum of Modern Art on 14 March... more My point of departure is a photograph taken at the San Francisco Museum of Modern Art on 14 March 1979. Today, this photograph can be seen on the website of artist Suzanne Lacy, bearing witness to a performance she staged 36 years ago. On the eve of the much-awaited opening of Judy Chicago’s large-scale sculpture Dinner Party, Lacy dedicated a piece entitled International Dinner Party to her teacher and mentor, presenting a global and participatory event celebrating women’s community.

Marianne Krogh (ed.), Connectedness. An Incomplete Encyclopedia of the Anthropocene, 2020

Why is yet another definition of architecture needed? Why should we work on a new entry on archit... more Why is yet another definition of architecture needed? Why should we work on a new entry on architecture in the general lexicon? Why at this point in time, should all those professionally concerned with architecture worry about a new definition of architecture? The following essay uses these questions of definition to think through a number of issues as they concern concrete historical power relations, epistemic power and the relationship between architecture, environmental interdependence and human/nonhuman entanglements.

Spaces of Agency

Women’s:Museum. Curatorial Politics in Feminism, Education, History and Art, 2013

Space is agency. Having access to spaces that can be shaped and determined, that can be filled wi... more Space is agency. Having access to spaces that can be shaped and determined, that can be filled with meanings, understood otherwise, changed collectively, called into question or even transformed completely is part of creating freedom to act. While separatist feminist space making has often been considered a thing of the past, women’s struggles over defining spaces are far from over. Here, space as agency and feminist space making are discussed in relation to women’s museums.

Precarious Commons. An Urban Garden for Uncertain Times

Commoning the City, edited by Derya Özkan and Güldem Baykal Büyüksaraz, 2020

This chapter seeks to understanding better the idea and practice of a precarious commons. It focu... more This chapter seeks to understanding better the idea and practice of a precarious commons. It focuses on Becoming Garden, one example of such a commons in Southern Italy that plants seeds of hope in the cracks of a stigmatized, poverty-ridden, austerity-struck, ruinous welfare state infrastructure. Challenging monolithic narrations of neoliberalism’s hegemony, practices of the commons raise awareness for diverse temporalities, solidarities, and modes of existence with diverse ecologies and diverse economies. The commons are, as is by widely accepted, in peril because of capital-driven environmental exhaustion, raging extractivism, and neoliberal governance. Critical scholarship across a wide range of disciplines including social sciences, governance studies, environmental studies, history and theory of labour, political theory, and philosophy have developed a robust body of work on the commons. The commons are produced and have to be reproduced. Silvia Federici, feminist Marxist activist, writer and thinker, has since the 1970s been influential to the analysis of reproduction under capitalism.

Scales of Concern. Feminist Spatial Practices

Empowerment. Art and Feminisms, edited by Andreas Beitin, Katharina Koch, Uta Ruhsam, 2022

There is no space without concern. There is no space without care. There is no space without worr... more There is no space without concern. There is no space without care. There is no space without worry. Without concern there is no space. Without care there is no space. Without worry there is no space. These observations are the starting points o feminist spatial practices. Concern suffuses the corporeal, spatial, and material world, which is the same world that suffuses thinking and feeling life with concerns.

A Caring Revolution. Working for Planetary Responsibility

Jeanne van Heeswijk, Maria Hlavajova and Rachael Rakes (Eds): Toward the Not-Yet: Art as Public Practice, MIT Press , 2021

The caring revolution is a not-yet toward which we must work in order to practice care as planeta... more The caring revolution is a not-yet toward which we must work in order to practice care as planetary responsibility around which political and economic life will be organized. The revolution against the general crisis of care therefore needs a two-pronged approach that engages with the past and with the future. This requires attention to the toxic realities that have led to the current predicament and a commitment to life-making futurity that provides time to heal past wounds. This requires decolonizing care through critical engagement with the far-reaching implications of the idea of the modern independent subject, which gave rise to human exceptionalism at the expense of the real interdependence of human and natural, social and environmental.

#CLIMATEFEMINISM.Krasny

Nr. 70 (2022): How:https:// Do We Speak #Feminism?// New Global Challenges - A Glossary, 2022

Ottakringer Straße_Balkanmeile. Lokale Identitäten und Global Transformationsprozesse

Balkanmeile 24 Stunden Ottakringer Straße . Lokale Identitäten und Globale Transformationsprozesse, herausgegeben von Antonia Dika, Barbara Jeitler, Elke Krasny Amila Sirbegovic, , 2011

Rethinking Domestic Labour The Post- Industrial House- hold Question

Krasny, Elke (2016) Rethinking Domestic Labour, in Regina Bittner, Elke Krasny (eds.) In Reserve. The Household!, Leipzig: spector 2016, pp. 322-329., 2016

Systemerhaltung und Sichtbarkeit. Für eine kritische Theorie von Architektur und Sorgearbeit

Arch + Zeitschrift für Architektur und Urbanismus. Zeitgenössische Feministische Raumpraxis, 2021

Dieser Text versteht sich als Beitrag zur Entwicklung einer kritischen Theorie von Architektur un... more Dieser Text versteht sich als Beitrag zur Entwicklung einer kritischen Theorie von Architektur und Sorgearbeit und liefert analytische Befundungen der Maßstäbe und Wertvorstellungen, die die Verhältnissen von Systemerhaltung und Sichtbarkeit bestimmen, um mit feministischer Imagination die Möglichkeit von anderen Zukunftspraxen zu eröffnen.

Maßstäbe der Sorge. Feministische Raumpraxen

Empowerment. Kunst und Feminismen, 2022

Es gibt keinen Raum ohne Sorgen. Ohne Sorgen gibt es keinen Raum. Durch diese beiden Sätze wir... more Es gibt keinen Raum ohne Sorgen.
Ohne Sorgen gibt es keinen Raum.

Durch diese beiden Sätze wird das grundlegende Verhältnis zwischen Raum und Sorgen gefasst, von dem dieser Essay handelt, um über feministische Raumpraxen nachzudenken. Ich schlage vor, den ersten Satz für den Zusammenhang hier folgendermaßen zu lesen: Es gibt keinen Raum, der den menschlichen Wesen nicht Sorgen bereitet, sie nicht mit Gefühlen von Beunruhigung oder Bange erfüllt. Diese Sorgen und Beunruhigungen können unterschiedlichste Gründe haben, von finanzieller Verschuldung über extreme Wetterereignisse bis zu häuslicher Gewalt, um nur einige wenige Beispiele anzuführen. Den zweiten Satz möchte ich im Zusammenhang mit den Überlegungen dieses Essays wie folgt lesen: Ohne Aktivitäten und Maßnahmen des Sorgetragens für den Raum, in dem die Menschen ihre Existenz und ihre Lebensgrundlagen finden, kann es diesen nicht geben.

“We are all in this alone”, “A (reconstructed) conversation, “The works and the space”.

by Basak Senova, Anne Barlow, Sebastian Cichocki - Muzeum Sztuki Nowoczesnej w Warszawie, Hristina Ivanoska, and Elke Krasny

We Are All In This Alone. The Book of the Pavilion of the Republic of Macedonia in the 56th International Art Exhibition of the Venice Biennial., 2015

The Book of the Pavilion of the Republic of Macedonia in the 56th International Art Exhibition of... more The Book of the Pavilion of the Republic of Macedonia in the 56th International Art Exhibition of the Venice Biennial.

Senova, Basak. 2015. “We are all in this alone”, “A (reconstructed) conversation, “The works and the space”. We are all in this alone. The Book of the Pavilion of the Republic of Macedonia in the 56th International Art Exhibition of the Venice Biennial. Ed. Basak Senova. National Gallery of Macedonia, Skopje. p.13-14, 23-29, 87-89. ISBN 978-608-4693-58-1

Care Trouble: Thinking Through Gendered Entanglements in Architecture

Women Architects and Politics Intersections between Gender, Power Structures and Architecture in the Long 20th Century, 2022

urges a "radical rethinking" of the practice of architecture, away from a knowledge-based endeavo... more urges a "radical rethinking" of the practice of architecture, away from a knowledge-based endeavor fixated on individual accomplishment, novelty, the dictates of capital and systems of oppressive hierarchies, to one that holds dear the disvalued, "racialized and sexualized" labor of preserving and nurturing life, or "care" work, as a professional paradigm. By extension, 10 Darling/Walker (2017).

Unsettling Gender, Sexuality, and Race. Crossing the Collecting, Classifying and Spectacularising Mechanisms of the Museum

by Elke Krasny and Lara Perry

Museums & Gender. Museum International , 2020

Implicated in Care. Haunted by Protection. The Violence of Stone and Bronze Bodies.

Infrastructural Love: Caring for Our Architectural Support Systems, 2022

Die Flucht nach vorne : das Motiv Zukunft in der Weltausstellungsarchitektur der 1960er Jahre

Wissenschaftliches Kolloquium vom 27. bis 30. Juni 1996 in Weimar an der Bauhaus-Universität zum ... more

Über Vermittlung: Vom Verhältnis zwischen Museum und Öffentlichkeit

Critical Studies, 2016

Der Essay handelt von dem Verhaltnis zwischen Museum und Offentlichkeit, welches auf Vermittlung ... more Der Essay handelt von dem Verhaltnis zwischen Museum und Offentlichkeit, welches auf Vermittlung beruht. Transhistorisch vergleichend werden die Franzosische Revolution, die 1968er Revolution und die Protestbewegungen des Jahres 2011 zueinander in Beziehung gesetzt. Diese werden als konstitutive Einschnitte fur die Transformationen des o. g. Verhaltnisses analysiert. Die politischen Forderungen stellen Vermittlung als immer wieder neu zu denkende und zu positionierende Aufgabe her: Recht auf Museum (1793), Recht auf Partizipation (1968) und Recht auf Versammlung (2011). Um die Verhaltnisse zwischen Kunst, Museum und Offentlichkeit als gesellschaftliche wie politische zu fassen, ist die Vermittlung dieser Verhaltnisse in ihren Veranderungen, Konflikten und Widerspruchen zentral.

Mapping the Everyday : Neighbourhood Claims for the Future

Civil Partnerships: Queer and Feminist Curating Symposium

by Lara Perry and Elke Krasny

Reflecting on the politics and practices of queer and feminist art curating, this symposium invit... more Reflecting on the politics and practices of queer and feminist art curating, this symposium invited presentations from an international line-up of artists, curators and critics to address a set of key questions: how do feminist and queer projects emerge as art exhibitions? Can queers and feminists get along with the institutional art world? And can they get along with each other?

2 or 3 Things we´ve learned. Intersections on Art, Education and Protest. Exhibition Folder

by Eva Egermann, Elke Krasny, Sabine Bitter, and Marthe Van Dessel

IG Bildende Kunst Vienna, Curated by: Eva Egermann & Elke Krasny; Participating artists and theo... more IG Bildende Kunst Vienna,
Curated by: Eva Egermann & Elke Krasny;
Participating artists and theorists: Ivana Bago, Madeleine Bernstorff, Sabine Bitter/Helmut Weber, Büro für fremde Angelegenheiten, Copenhagen Free University, Marijan Crtali´c, Marthe Van Dessel, Petja Dimitrova, Dolce & Afghaner, Rainer Ganahl, H.arta Group, Heidrun Holzfeind, Annette Krauss, Kollektive Involviertheiten, Schwere Schwestern und Vipfek, Sofía Olascoaga, rum46, Cecilia Wendt;
Documents: Art Work, Between Art & Education (Martina Greimel, Katharina Kanzian, Sophie Landerl, Marc-Michael Moser, Katharina Petru, Anna Maria Schähle, Rainer Spangl), Rosa Kerosene, Manoa Free University, Meine
Akademie, Reformpause (Marion von Osten in Zusammenarbeit mit Studierenden der Universität Lüneburg), School for Non-productive learning
and others; Spatial Intervention/Exhibition: Nanna Neudeck/Titusz Tarnai;
Spatial Intervention/Collection: Julia Wieger;

Ansprüche an Bildung stellen: Dinge, die wir gelernt haben...

by Eva Egermann and Elke Krasny

Bildpunkt Magazine, Sep 2010

Das Ausstellungsprojekt 2 or 3 things, we’ve learned exploriert mit einer subjektiven Sammlung un... more Das Ausstellungsprojekt 2 or 3 things, we’ve learned exploriert
mit einer subjektiven Sammlung und diskursiven wie performativen
Interventionen die Ansprüche, die Kunst, Bildung und soziale
Protestbewegungen aneinander stellen. Fragen von Raum, Bild
und Kollektivität sind zentral. Die Suche gilt eruptiven Momenten
und den Folgen von intervenierender verändernder Dauer/
andauernder Veränderung.

Krasny Feministisch Stadtforschung Kuratieren

Szene eins: Eine Frau geht auf die Straße. Sie verlässt das Haus. Sie bringt Kinder zur Schule. S... more Szene eins: Eine Frau geht auf die Straße. Sie verlässt das Haus. Sie bringt Kinder zur Schule. Sie geht zu ihrem Arbeitsplatz Das ist ihr Alltag. Szene zwei: Eine Frau geht auf die Straße. Es ist Abend. Sie wird belästigt. Sie muss sich zur Wehr setzen. Der öffentliche Rat, der ihr unaufgefordert erteilt wird, lautet, sie solle doch die Straßenseite wechseln, wenn sie betrunkene Männer auf sich zukommen sieht. Szene drei: Eine Frau geht auf die Straße. Die Straße ist ihr Arbeitsort. Hier findet sie ihre Kunden. Szene vier: Eine Frau geht auf die Straße. Sie verlässt das Haus. Sie ist auf dem Weg zu einem Protestmarsch. Sie kämpft für die Rechte von Frauen. In jeder dieser vier Szenen erfahren wir, dass eine Frau auf die Straße gegangen ist. In jeder dieser vier Szenen bedeutet dies etwas anderes. Auf die Straße gehen Sich in Bewegung setzen. Das Haus verlassen. Aufbrechen. Weitergehen. Je nachdem, wie ein Text, in dem diese Sätze vorkommen fortgesetzt wird, können diese Sätze höchst Unterschiedliches berichten. Diese Mehrdeutigkeit des Auf-die-Straße-Gehens, dieser enge Zusammenhang zwischen der Dimension des Alltäglichen und der Dimension des Politischen, es könnte ja dieselbe Frau sein, die zur Arbeit geht und die zur Versammlung geht, betrachte ich als Einladung, mehr noch als Aufforderung, die Aufmerksamkeit auf das Wissen und das Gehen zu lenken. Lässt sich von einem Wissen des Gehens sprechen? Wie lässt sich das Wissen des Gehens in Schritte der Forschung übersetzen? Welchen Auftrag für die Forschung erteilt uns der Akt des Auf-die-Straße-Gehens, der die Verhältnisse zwischen dem Alltag und der Politik auf der Ebene der Sprache in ein so enges sprachliches Verhältnis rückt? Wie könnte sich das Gehen mit dem Wissen über die Stadt verbinden? Was würden wir erfahren, was würden wir lernen, was würden wir wissen, wenn wir dem Gehen zuhören könnten, wenn wir die Schritte in Worte verwandeln könnten, um uns in die Geschichte der Körper, die sich in einer Stadt bewegen, die eine Stadt bewegen, hineinzuversetzen? Wenn

Call for Submissions Unsettling Feminist Curating. Radical Subjectivities, Caring Alliances, and Striking Relations A New Anthology edited by

by Dorothee I Richter, Elke Krasny, and Helena Reckitt

Unsettling Feminist Curating. Radical Subjectivities, Caring Alliances, and Striking Relations

The current moment is characterized by crises that pose existential threats to humanity and its a... more The current moment is characterized by crises that pose existential threats to humanity and its art cultures. The planet is ravaged by climate change and environmental pollution. Housing and education are rendered unaffordable in many countries. Lives are mortgaged. Digital Media has transformed our lives, as a communications infrastructure and as a surveillance and ideological machinery. Reproduction is in crisis. Femicides are on the rise. Colonial wounds are reopened. Refugees are threatened and immigrants are ostracized. Systematic racism results in mass incarceration and health injustice. The response to these crises has been renewed activist movements driven by anti-capitalist, anti-classist, anti-racist, crip, decolonial, ecological, feminist, indigenous, queer or trans agendas. Such movements include Black Lives Matter, Idle No More, Ni Una Menos, #Metoo, Extinction Rebellion or Fridays for Future. The creative and intellectual activist energy represented in these movements is also seen in the experimental, community-embedded, radical, and critical forms of curating which engage with activist agendas. This proposed volume seeks essays that record and interrogate the feminist politics in 21 st century curating which seeks alliances with ecological, social, and political activism. We specifically seek to unsettle the relation between feminism and the conventional large-scale event and exhibition which has arisen over the past decade. Feminist reflection has produced an analysis of the integration of feminist agendas in the already-defined art-world spaces of museums and galleries, a development which has been both welcomed and critiqued for its potential for 'pink-washing' the otherwise unchanged system. We seek to explore how alternative approaches to curating have been mobilized by feminist-aligned politics in the following ways:-By exploring feminist strategies that make possible the expression of radical subjectivities that unsettle curating's relations with the canon, the market and institutions including the representational exhibition format.-By identifying practices of feminist working and producing that create lasting and sustained caring alliances (affidamento) that counteract the competitive and precarious situations associated with contemporary labour conditions including art and curating-By promoting new positions of analysis and theorization which counteract the "epistemic violence" of sexism and colonialism (Gayatri Spivak) in art and curatorial production In short, we seek to produce an account of the ways in which artists, curators, cultural and political organisers are resisting the pressures of the forces of right-wing authoritarianism, kleptocratic neo liberalism, and compulsory globalization.

Gathering Feminist Resisters. Curating Salons and Dinners

Histórias das mulheres, Histórias feministas / MASP, 2019

Histories and theories of curating is burgeoning. Practicing curators have been on the forefront ... more Histories and theories of curating is burgeoning. Practicing curators have been on the forefront of defining the contours of this project of writing curating's histories and theories. Curators have established this new field of study that spans museum studies, the contemporary art world, and includes academic disciplines such as art history, architecture history, visual studies, sociology, philosophy, gender studies, black studies, political thought, and history of consciousness, to name but a few. It is impossible to list here all the curators who have contributed to this project of curating's histories and theories. Some much referenced positions include Hans Ulrich Obrist, Paul O'Neill, Beatrice von Bismarck, Dorothee Richter, Amelia Jones, or Maura Reilly. From the very beginning feminist curators have been part of shaping this intellectual project. Working from different theoretical perspectives, including post-Derridean and queer feminist approaches like Amelia Jones, empirical sociological strategies of collecting data with regard to the gender of artists represented in exhibitions or museum collections like Maura Reilly, or a Lacanian focus on the symbolic order like Dorothee Richter, feminist critiques have privileged the exhibition format as it represents gendered power relations and gendered economies under patriarchy. The exhibition has been central to constituting the object of knowledge in curating's history and theory. Feminist inquiries have scrutinized the violence of exclusion, in particular the gendered, classed, and racialized exclusions owed to the imperial-colonial entanglements of the exhibition format and the "epistemic violence" of the modern institutions of the museum and the academic discipline art history.1 Yet, interestingly enough, little attention has been paid to formats other than the exhibition and to methods and politics of working, as for example in feminist activism, that, as I argue here, have also informed curatorial labor.

Resident Aliens event at Austrian Cultural Forum

by Eeva-Liisa Pelkonen, Stephen J Phillips, FAIA, PhD, and Elke Krasny

Women’s Museum. Curatorial Politics in Feminism, Education, History, and Art

by Elke Krasny, Lara Perry, and Li Gerhalter

Women’s Museum. Curatorial Politics in Feminism, Education, History, and Art, 2013

Initiating a dialogue between the network of women’s museums and feminist practices in curating, ... more Initiating a dialogue between the network of women’s museums and feminist practices in curating, this volume gathers different perspectives from art historians, artists, curators, educators, historians, human rights activists, museum directors, researchers, scholars, and theorists. It juxtaposes essays, interviews, email dialogues, and excerpts from the transcripts of two symposia on Women:Museum hosted at the Vienna City Library and at the Meran Women’s Museum. Resulting in a contemporary transnational historiography, this compendium charts issues of feminist strategies in and out of the museum, and examines public engagement through curatorial activism.

Contributors | Mit Beiträgen von: Gudrun Ankele, Vida Bakondy, Barbara Blasin, Carla Bobadilla, Angela Dimitrakaki, Petja Dimitrova, Elisabeth von Dücker, False Hearted Fanny, Nicoletta Favout, Eva Geber, Li Gerhalter, Susanna Gyulamiryan, Daniela Hammer-Tugendhat, Amelia Jones, Elke Krasny, Rudolfine Lackner, Igor Markovic, Suzana Milevska, Lara Perry, Stefania Pitscheider Soraperra, Sigrid Richter, Dorothee Richter, Astrid Schönweger, Mansoureh Shojaee.

Aufbruch in die Nähe. Other Places. Wien Lerchenfelderstrasse. Vienna Lerchenfelder Str Wien

by Elke Krasny and Sonja Leboš

Aufbruch in die Nähe. Other Places. Wien Lerchenfelderstrasse. Vienna Lerchenfelder Str Wien , 2010

Streets are seismographs of urban change. In particular, so-called secondary shopping streets rev... more Streets are seismographs of urban change. In particular, so-called secondary shopping streets reveal global politics of migration and diverse economies within globalized neoliberal capitalism. Where to is the central question in urban place making characterized by histories of global migration and biographical shaping of the local through the labor of continuous transformation performed by individuals.
Micro-histories between local identities and globalization With 12 essays on socially engaged art practices, critical urban planning and street projects in Amsterdam, Bremen, Cologne, Vienna and Zagreb.

Radicalizing Care. Feminist and Queer Activism in Curating

by Elke Krasny, Lena Fritsch, and Vera Hofmann

Radicalizing Care. Feminist and Queer Activism in Curating, 2021

The beginnings of this book on curating as radicalizing care through feminist and queer activism ... more The beginnings of this book on curating as radicalizing care through feminist and queer activism date back to the 2018 symposium "Who(se) Care(s)," which investigated the potentials, challenges, and pitfalls of curating understood as a practice of critical caretaking connected to the activist politics of feminist and queer struggles. The symposium was a collaboration between Schwules Museum Berlin curators Birgit Bosold and Vera Hofmann and the PhD seminar run by Elke Krasny in the Art and Education program at the Academy of Fine Arts Vienna. The Schwules Museum, where the symposium took place, owes its existence to long-standing community activism. Tied to the gay and lesbian liberation movement in West Germany, the museum, which boasts a large archival collection, opened in 1985. Although the museum was instituted through activism, its daily operations, collecting strategies, and programming has been marked by gay androcentrism and what Bosold and Hofmann call out as sexism affecting their everyday work environment. In particular, as an institution, the museum was not accessible, hospitable, or useful for WLINT (women, lesbian, intersex, nonbinary, and trans) communities, especially those of color. In the words of British Australian queer-feminist critical race scholar Sara Ahmed, the two curators finally "snapped" because of this "longer history of being affected by what you come up against." 1 This realization led to their approach to curatorial programming as activism against sexist violence and exclusions, declaring 2018 the "Year of the Women*" 2 at the Schwules Museum. In addition to exhibitions and guided tours, Bosold and Hofmann established a film lounge, converted the museum café into a dyke bar referencing dating culture, collective resistance, cyberfeminism, and spirituality, and initiated an empowerment series around feminisms with discussions, lectures, and somatic workshops. Julia Hartmann, one of Krasny's students and a contributor to this volume, had met Hofmann through feminist and queer-feminist networks, and proposed a collaboration between the two Schwules Museum curators and the seminar group, who were keenly interested in extending their seminar discussions on radical curatorial practices, feminist and queer activism, anti-capitalist and anti-racist practices of resistance, and the central notion of care together with the museum. Making time and space for collaboration and exchange in order to share practices and ideas across differences, like in this symposium, are central to building feminist and queer activism in curating. Curating as caring works against the challenges you

Wie Kunst für Zukunft unterrichten?

by Elke Krasny and Joonas Lahtinen

Wie Kunst für Zukunft unterrichten? , 2022

Feministische Sorgeethik als Perspektive der Vermittlung in Zeiten planetarischer Katastrophe und... more

Elke Krasny, Stadt und Frauen. Eine andere Topographie von Wien

Elke Krasny, Stadt und Frauen. Eine andere Topographie von Wien , 2008

Archive,Care, and Conversation. Suzanne Lacy’s International Dinner Party in Feminist Curatorial Thought

Archive,Care, and Conversation. Suzanne Lacy’s International Dinner Party in Feminist Curatorial Thought, 2020

What happens when feminist activism turns art making into social practice? What happens when femi... more What happens when feminist activism turns art making into social practice? What happens when feminist conversations, at once joyful, contentious, conflictual, and generative, are being cared for through curatorial practice that mobilizes the archives of ephemeral, art-enabled conversations? Feminist artists of the 1970s concerned with developing a radical critique of heteropatriarchy used dinner parties and conversations for artistic exploration. The Dinner Party by artist Judy Chicago is the best-known example harnessing the representational power of a dinner party. Much less known is The International Dinner Party by Suzanne Lacy, who invited “sisters” around the world to hold dinner parties simultaneously on March 14, 1979 to create “a network of women-acknowledging-women”. This exemplar of feminist social practice rooted in activism is the starting point for this book. Feminist curatorial thought connects the archive of The International Dinner Party conversations to emerging archives of present-day conversations addressing feminist and queer-feminist politics tied to different histories, ideologies, and geographies. The present-day archives of conversations include Aktion Arkiv (addressing migratory realities in Sweden), radical practices of collective care (addressing caring labour conditions transnationally), Red Min(e)d (addressing the post-Yugoslav context), and Queering Yerevan (addressing local-diasporic Armenian realities).

Das moderne Museum als Anthropozän-Institution Für feministisches Kuratieren im Zeitalter des Massensterbens

Das moderne Museum als Anthropozän-Institution Für feministisches Kuratieren im Zeitalter des Massensterbens, 2022