Speakers: Barbara Carrasco, Lara Demori, Esther Gabara, Andrea Giunta, Sophie Halart, Giulia Lamoni and Cecilia Vicuña (video contribution) Conveners: Burcu Dogramaci, Laura Karp Lugo and Stephanie Weber Program 11.00 Welcome by Ulrich Wilmes, Chief Curator Haus der Kunst 11.15 Introduction by Lara Demori, Goethe-Institut Fellow Haus der Kunst 1st Session 11.30 Sophie Halart (Universidad Alberto Hurtado, Santiago de Chile) "Mater chilensis toward a maternal re-reading of the Chilean neo-avantgarde" 12.00 Lara Demori (Haus der Kunst) "Transnational influences in Marta María Pérez Bravo's series Para Concebir (1985-1986) 12.30 Q&A moderated by Laura Karp Lugo (LMU) 13.00 Lunch break 2nd session 14.00 Barbara Carrasco (Artist and Muralist, Los Angeles, CA) "Chicana Artist in a U.S. Context" 14.30 Esther Gabara (Duke University) “¿Acaso hay otro orden?: Shouts and Murmurs from the 1970s” 15.00 Q&A moderated by Burcu Dogramaci (LMU) 15.30 Break 3rd Session 16.00 Giulia Lamoni (Universidade Nova de Lisboa) "Artists as Radical Educators in Latin America (1960s-1970s): A feminist research project" 16.30 Andrea Giunta (Universidad de Buenos Aires) "Race, Ethnicity and Empathy in Latin American Women Artists, 1960-1985" 17.00 Q&A moderated by Stephanie Weber (Lenbachhaus) 17.30 Cecilia Vicuña: an artist interview (video contribution) 18.00 Closing remarks and panel discussion Barbara Carrasco, Burcu Dogramaci, Esther Gabara, Andrea Giunta, Sophie Halart, Laura Karp Lugo, Giulia Lamoni and Stephanie Weber 19.00 End This one-day symposium explores the diverse forms of feminist artistic practices that developed in Central and South America between 1960 and 1980, and proposes a reevaluation of the notion of the ‘Third World’ via an examination of the historiography of exhibitions alongside artistic and activist practices that draw on the symbolic frame of feminism. Emerging from the 1955 Bandung Conference and subsequent formation of the Non-Aligned Movement, the term ‘Third World’ has traditionally shifted between denoting a political position that was ancillary to both the capitalist West and communist East, to identifying the cultural and economic conditions of so-called ‘underdeveloped’ countries; a position which in turn perpetuated a fallacious, homogenized understanding of the countries that constituted it. Such a misnomer is particularly egregious when one considers the pluralities of race, ethnicity, and gender that constitute Latin America, a region whose multiple identities and intercultural complexities are commonly analyzed within the framework of 'mestizaje' (miscegenation, mixing. Nevertheless, as Gerardo Mosquera has warned, even a notion as fluid as 'mestizaje' cannot escape the tendency to erase imbalances and conflicts within diverse cultural communities and, in so doing, similarly runs the risk of becoming “an attractive stereotype for the outside gaze.” Situating itself between the totalizing tendency of the “Third World” and the orientalist proclivities of 'mestizaje', "Decolonizing Third World Feminism: Latin American Women Artists (1960-1980)" will utilize the lens of feminism in order to excavate the aforementioned historical moment, exposing its inherent contradictions, as well as probe its political and cultural specificities so as to emphasize and locate modes of resistance against patriarchal hierarchies and hegemonic forms of feminist identification. In so doing, it will circumvent the notion that “Third World” women constitute a homogenous category “victimized by the combined weight of their traditions, culture and beliefs, and “our” (Eurocentric) history,” as well as abstain from promulgating the notion of some form of “universal sisterhood” that assumes a commonality of gender experience across race and nationality. In place of this, the symposium takes up the call of several scholars who advocate for a new analytical methodology that acknowledges the struggles of Latin American women in relation to their history, cultural context, economic class, and social identity. "Decolonizing Third World Feminism: Latin American Women Artists (1960-1980)" will strive to unveil the presence of multiple feminisms and their decolonizing subaltern positions. It takes ethnic and cultural differences into account, as well as to exploring their political and economic implications. By investigating as well the intersectionality between the presence of African populations in Latin American, movements of Native Americans and differences between Latino and Latin American identities, “Decolonizing Third World Feminism: Latin American Women Artists (1960-1980)” aims to further complicate the idea of feminism in Latin America. Unfortunately there is a sound interference during video photos by Marion Vogel