Difference between revisions of "Qué c*** té a veure (...)"
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== Soort bezoekers / deelnemers / gasten evenement == | == Soort bezoekers / deelnemers / gasten evenement == | ||
| − | + | music producers, sound artists and activists, feminists, cultural producers | |
== Korte beschrijving (max 200 woorden) == | == Korte beschrijving (max 200 woorden) == | ||
Revision as of 16:25, 16 March 2006
Contents
Volledige titel
Qué c*** té a veure la mùsica amb la industria i el feminisme en un centre d'art?
Soort evenement:
Gesprekken, ontmoetingen, lezingen, radio webstreaming en een fuifje
Datum / tijd / duur evenement
25 - 28/10/05
Locatie
Centre d'Art Santa Monica, Barcelona
foto's
Which foto's to use from image directory Map: Desacguerdos, foto: queer 1 + lala + night1 (replace)
Keyword lijst
queer, open source software, openbare ruimte, stad, representatie, multidisciplinair (replace)
URL
only links directly to the projects. if possible rlegible for human beings. preferably not to long (replace)
Type productie
Type of production: coproduction, eigen productie, invitation in festival, deelname workshop etc. (replace)
Partner organisaties
only in case of coproduction (replace)
Totaal aantal bezoekers evenement:
estimate (niet voor het jaarboek)
Soort bezoekers / deelnemers / gasten evenement
music producers, sound artists and activists, feminists, cultural producers
Korte beschrijving (max 200 woorden)
The project QUÉ C*** ? (what the f... has to do music with feminism and industry in an art centre?) explored various strategies of production, of creation, of curating, of performances, of representation, by organising public, open and streamed interviews, debates, meetings, an information room and a party, on the following questions, among others: -What is it about the theoretical undercurrents and the networking mechanisms in the music scene(s) that impede women artists from being seen and heard? Is this question still relevant? -Has the alternative scene become a standard as a result of the formats of dominant technologies and the reproduction of stereotypes? Or does it remain a place of possible détournement / displacement, and a place of experimentation in technologies or gender stereotypes ? -What are the economic strategies and practices built by indepent groups, labels, press to assure a visibility and practice to feminist or at least gender minded musical scene? -How to produce a feminist song wihtout killing the ratings? - Is there a connection to feminist history as a critique of the systems of representation, economy and access to technology of production and distribution? The interviews were lead publicly in the art centre and streamed live on women web radio.
