Estos son los textos publicados en la web de City of Women:
¿Por qué las mujeres son como los pollos y los pollos como las mujeres? Adivina. Desde su creación en 1997 el colectivo ciberfeminista SubRosa explora la relación entre biotecnología, feminismo y capital global. Un territorio complejo y desconocido que los miembros actuales del grupo, Faith Wilding and Hyla Willis, abordan a través de una conferencia y una performance (a)científica de varias horas de duración. [More]
The Advanced Realities of housing and free culture. A lecture-performance by Conservas. In “Advanced Realities” theater company Conservas presents the housing and the free culture movements in Barcelona through the screening of some of their videos, a multimedia questionnaire and an open discussion. Like in real democracies, the audience can participate. We vote by using a set of colored cards and the results are quickly screened in front of us. As they say: One spectator, one vote. [More]
Someone is watching: Sanne Van Rijn’s “Morphotope”.
The 14th City of Women Festival opened yesterday with the performance “Morphotope” by Dutch director Sanne Van Rijn. A clever combination of improvisation, risk and humor that breaks the boundaries of theater and contemporary dance by stressing the very essence of live art: the part of the audience and the experience.
“Animal’s Heaven” by Isabelle Krieg and Marianne Engel.
“Animal’s Heaven” can be seen as a natural memorial for those creatures we often run over in our road trips, but also as an attempt to reverse the unbalanced relationship we have with the environment. While the cemetery situation symbolically brings the dead animals back to life, the car -a 23 years old black BMW that has done all the way from Zurich to Ljubljana – is probably passing by after the installation.
Almost the Same by Julia Bardsley. Like the priestess of a sacred society, she initiates us in the secrets of the creation of the world. In the beginning, there was violence. The bodies of the dead animals, the bones and skeletons, the torture instruments, the blood in her mouth: the archetypes of dominance and destruction are permanently present to remain us that the power to kill was in the core of culture even before language. [More]