WORKSHOP | The Fabric: Social Reproduction, Women's History and Art


A research workshop convened by Angela Dimitrakaki and Kirsten Lloyd.

12 June 2015 | Edinburgh College of Art, The University of Edinburgh


Kate Davis, Weight (2014)




11.30     Arrival and coffee


11.45     Introductions


12.00     Kate Davis, Weight (2014) Screening & discussion

Taking a 1961 BBC documentary about artist Barbara Hepworth as its starting point, Weight explores how televised depictions of creativity have constructed our understanding of artistic production and other forms of labour. Weight re-imagines the value systems that this documentary is predicated upon and proposes an alternative vision. (11:06 min)


12.30     Elke Krasny, Practices of Care. Art/Work/Urban/Labor


13.00     Kirsten Lloyd, From Housework to Housing: Social Reproduction, Art Documents and Curating Care


13.30     LUNCH


14.15     Lisa Baraister, Touching Time: Maintenance, Endurance, Care


14.45     Angela Dimitrakaki, There are some things money can’t buy’: Ok, but why?’


15.15     COFFEE


15.30     Lara Perry, The Great Exhibition of the Works of Industry of All Nations of 1851: innovation, industrialisation and the feminine


16.00     Melanie Gilligan, On Popular Unrest and Social Reproduction


16.30     Closing Session: Open discussion led by Angela Dimitrakaki and Kirsten Lloyd


17.15     DRINKS


SPEAKERS (updated 2015)


Lisa Baraitser is Reader in Psychosocial Studies, Department of Psychosocial Studies, Birkbeck, University of London, and a psychotherapist in independent practice. She is the author of Maternal Encounters: The Ethics of Interruption (Rutledge, 2009), a forthcoming book with Bloomsbury, Time Without Qualities: On Care and Waiting in the End Times, and an edited collection with Michael O’Rourke on the work of Jane Bennett entitled A Feeling for Things (Punctum Press). Lisa is the co-founder of MaMSIE (Mapping Maternal Subjectivities, Identities, and Ethics), an international interdisciplinary research network on the maternal, and the co-editor of the journals Studies in the Maternal and Studies in Gender and Sexuality. She is a mid-career fellow with the Independent Social Research Foundation for 2014/15, and she writes regularly on motherhood, feminist theory, and temporality.


Kate Davis studied at The Glasgow School of Art where she completed a BA in Fine Art (1997–2000) and an MPhil (2000–1). Selected solo exhibitions include those at: Temporary Gallery, Cologne (2013); The Drawing Room, London (2012); CCA, Glasgow (with Faith Wilding) (2010); Tate Britain, London (2007); Galerie Kamm, Berlin (2007 and 2011); Kunsthalle Basel (2006); and Sorcha Dallas, Glasgow (2004 and 2008). Group exhibitions include those at: Art Stations Foundation, Poznan, Poland; Tate Britain, London; Museo Tamayo, Mexico City (all 2013); and eva International 2012, Limerick, Ireland (2012). Davis is a lecturer at The Glasgow School of Art. She lives and works in Glasgow.


Angela Dimitrakaki is a writer and Senior Lecturer in Contemporary Art History and Theory at Edinburgh. Her books include Gender, ArtWork and the Global Imperative: A Materialist Feminist Critique (2013), Art and Globalisation: From the Postmodern Sign to the Biopolitical Arena (2013; in Greek), ECONOMY: Art, Production and the Subject in the 21st Century (2015; co-edited with Kirsten Lloyd) and Politics in a Glass Case: Feminism, Exhibition Cultures and Curatorial Transgressions (2013; co-edited with Lara Perry). She is currently working on two books, Feminism, Art, Capitalism and Deadbeat: The Economic Subjects of Contemporary Art. She is Corresponding Editor to hm: Research in Critical Marxist Theory and, since 2015, an editor of Third Text.


Melanie Gilligan is an artist Melanie Gilligan living and working in London and New York. Her films include Crisis in the Credit System (2008), a four-part fictional mini-drama about the recent financial crisis, made specifically for internet viewing and distribution, commissioned and produced by Artangel Interaction; Self-capital (2009), commissioned by the Institute of Contemporary Arts London as part of the group exhibition Talk Show; and Popular Unrest (2010). Critical writing is central to Gilligan’s practice, and she has contributed to art magazines and journals such as Texte zur Kunst and Artforum. In 2009 she was the recipient of a Paul Hamlyn Award for Artists and, in 2010, of the Present-Future Prize at Torino Artissima International Art Fair.


Elke Krasny: Curator, cultural theorist, urban researcher and writer; Professor of Art and Education at the Academy of Fine Arts Vienna; 2014 City of Vienna Visiting Professor at the Vienna University of Technology; Visiting Scholar at the Canadian Centre for Architecture in Montréal in 2012; Visiting Artist at Simon Fraser University’s Audain Gallery in Vancouver 2011-2012;Visiting Curator at the Hongkong Community Museum Project in 2011;  Recent curatorial works include Mapping the Everyday. Neighborhood Claims for the Future and Hands-On Urbanism 1850-2012. The Right to Green which was shown at the Architecture Centre Vienna and at the 2012 Venice Architecture Biennale. She co-edited the 2013 volume Women’s:Museum. Curatorial Politics in Feminism, Education, History, and Art. In 2015, she curated Suzanne Lacy’s International Dinner Party in feminist curatorial thought which was shown at ZHdK, the Zurich University of the Arts.


Kirsten Lloyd is an independent curator and an AHRC-funded PhD candidate at the University of Edinburgh where she is also a Teaching Fellow. Her most recent projects include The King’s Peace: Realism and War (2014; co-curated with Owen Logan) and Social Documents (2010–13), a trilogy of exhibitions examining artists’ mediation of social, political and economic realities, including ECONOMY (co-curated with with Angela Dimitrakaki). Recent publications include ‘Being With, Across, Over and Through: Art’s Caring Subjects, Ethics Debates and Encounters’ in ECONOMY: Art, Production and the Subject in the 21st Century (2015; co-edited with Angela Dimitrakaki), ‘Endgame? Reconfiguring the Artwork’ (2012, Third Text) and The Caress: Intimate Transactions in the Video Art of Dani Marti in the artist’s monograph (2012). In 2013–14 Kirsten was a Curatorial Fellow at the University of Edinburgh’s History of Art department.  She runs the Social Reproduction in Art, Life and Struggle reading group with Vicky Horne.


Lara Perry is the Academic Programme Leader of History of Art and Design at the University of Brighton. She is a specialist in the social history of art of nineteenth-century Britain, and her work on History’s Beauties: Women and the National Portrait Gallery 1856-1900 (2006) has also led her to research gender and feminism in the contemporary art world. She was the leader of a Leverhulme Trust funded international research network Transnational Perspectives on Feminism and Art Curating, and she co-edited with Angela Dimitrakaki the volume, Politics in a Glass Case (2013).

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