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<p class="MsoNormal"><span style="mso-fareast-language:EN-US">Dear colleagues,<o:p></o:p></span></p>
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<p class="MsoNormal"><span lang="EN-US" style="mso-fareast-language:EN-US">See the invitation below and contact me (<a href="mailto:olga.zabalueva@liu.se">olga.zabalueva@liu.se</a>) or Madina Tlostanova for a Zoom-link.<o:p></o:p></span></p>
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<p class="MsoNormal"><b><span style="font-size:12.0pt;color:black">Från: </span></b><span style="font-size:12.0pt;color:black">Madina Tlostanova <madina.tlostanova@liu.se><br>
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<p class="default" align="center" style="text-align:center;line-height:200%"><b><span lang="EN-US" style="font-size:12.0pt;line-height:200%;font-family:"Times New Roman",serif;color:black;background:white">TEMA GENUS Higher Seminar </span></b><span style="font-family:"Helvetica Neue";color:black"><o:p></o:p></span></p>
<p class="default" align="center" style="text-align:center;line-height:200%"><b><span lang="EN-US" style="font-size:12.0pt;line-height:200%;font-family:"Times New Roman",serif;color:black;background:white">18 May 2021, 13.15-16.00 (GMT+2) </span></b><span style="font-family:"Helvetica Neue";color:black"><o:p></o:p></span></p>
<p class="default" align="center" style="text-align:center;line-height:200%"><b><span lang="EN-US" style="font-size:14.0pt;line-height:200%;font-family:"Times New Roman",serif;color:black;background:white">Mini-Symposium </span></b><span style="font-family:"Helvetica Neue";color:black"><o:p></o:p></span></p>
<p class="default" align="center" style="text-align:center"><b><span lang="EN-US" style="font-size:14.0pt;font-family:"Times New Roman",serif;color:black;background:white">Navigating Institutional Agendas:
</span></b><b><span lang="EN-US" style="font-size:14.0pt;font-family:"Times New Roman",serif;color:#201F1E;background:white"> how to organize against appropriation and erasure of decolonial art practices? </span></b><span style="font-family:"Helvetica Neue";color:black"><o:p></o:p></span></p>
<p class="default" align="center" style="text-align:center"><b><span lang="EN-US" style="font-size:14.0pt;font-family:"Times New Roman",serif;color:black;background:white"> </span></b><span style="font-family:"Helvetica Neue";color:black"><o:p></o:p></span></p>
<p class="default" style="text-align:justify"><span lang="EN-US" style="font-size:12.0pt;font-family:"Times New Roman",serif;color:#222222;background:white">In this mini-symposium we aim to discuss appropriation, extractivism and erasure of decolonial art practices
in institutions like academia, museums, and art organizations. We would like to accommodate, from our different positionalities, a conversation that aids in analyzing and understanding these processes and also ask the question of what to do? Resisting, refusing,
and countering these institutional agendas often entails a slow, frustrating and frequently damaging process for the people, speaking with Sara Ahmed, who complain or signal an injustice. </span><span lang="EN-US" style="font-size:12.0pt;font-family:"Times New Roman",serif;color:black;background:white"> </span><span style="font-family:"Helvetica Neue";color:black"><o:p></o:p></span></p>
<p class="default" style="text-align:justify"><span lang="EN-US" style="font-size:12.0pt;font-family:"Times New Roman",serif;color:#222222;background:white">Terms like decoloniality all too easily get co-opted as cosmetics rather than as critical practice.
In protecting and persisting in one</span><span lang="EN-US" style="font-size:12.0pt;font-family:"Times New Roman",serif;color:#222222;background:white">’s own decolonial, anti-racist practice, multiple problems are encountered. Most of them can be boiled
down to the imperialist structures of western institutions and the systems of power they uphold. The hierarchy between the few with fixed term contracts and precarious flex-contracts is one such example, another is taking up notions as trends rather than as
critical engagement, as well as intellectual racism. What knowledge production is accepted as knowledge, and what knowledge is seen as ‘merely’ personal experience that can be used by those in power without credit? One possible route is to find common ground
by those working in art practice and those working in academia in recognizing, calling out, and halting these harmful processes.</span><span lang="EN-US" style="font-size:12.0pt;font-family:"Times New Roman",serif;color:black;background:white"> </span><span style="font-family:"Helvetica Neue";color:black"><o:p></o:p></span></p>
<p class="default" style="text-align:justify;line-height:200%"><span lang="EN-US" style="font-size:12.0pt;line-height:200%;font-family:"Times New Roman",serif;color:black;background:white"> </span><span lang="EN-US" style="font-size:12.0pt;line-height:200%;font-family:"Times New Roman",serif;color:black;background:white"> </span><span style="font-family:"Helvetica Neue";color:black"><o:p></o:p></span></p>
<p class="default" style="text-align:justify"><b><span lang="EN-US" style="font-size:12.0pt;font-family:"Times New Roman",serif;color:#222222;background:white">Katayoun Arian
</span></b><span lang="EN-US" style="font-size:12.0pt;font-family:"Times New Roman",serif;color:#222222;background:white">is an independent curator based in Amsterdam, currently also working at Tent, Platform for Contemporary Art in Rotterdam. Her curatorial
work is rooted in a commitment to grapple with complex divisions and interplays between historical narratives and events, and contemporary discourses and phenomena. In attending to different methodologies and analytical frames, and cross-disciplinary practices,
her projects range from exhibitions, discursive events, to a self-directed DJ-ing archival practice; building and activating sonic archives. Her research is embedded in intersectional feminist and queer legacies, and various and divergent decolonial and diasporic
frameworks and positionalities in envisioning an alternative collectivity. </span><span style="font-family:"Helvetica Neue";color:black"><o:p></o:p></span></p>
<p class="default" style="text-align:justify"><b><span lang="EN-US" style="font-size:12.0pt;font-family:"Times New Roman",serif;color:#222222;background:white"> </span></b><span style="font-family:"Helvetica Neue";color:black"><o:p></o:p></span></p>
<p class="default" style="text-align:justify"><b><i><span lang="EN-US" style="font-size:12.0pt;font-family:"Times New Roman",serif;color:#222222;background:white">Katayoun Arian
</span></i></b><i><span lang="EN-US" style="font-size:12.0pt;font-family:"Times New Roman",serif;color:#222222;background:white">will talk about how institutional appropriation of anti-colonial and ant-racist activism, discourses and curatorial models, is at
work in the contemporary art world. She will also shed light on how this relates to a model in which temporary, precarious contracts and infringement on the moral right to the ownership of ideas and of practice, are detrimental to the wellbeing of art workers
and specifically curators<b>. </b></span></i><span style="font-family:"Helvetica Neue";color:black"><o:p></o:p></span></p>
<p class="default" style="text-align:justify"><b><i><span lang="EN-US" style="font-size:12.0pt;font-family:"Times New Roman",serif;color:#222222;background:white"> </span></i></b><span style="font-family:"Helvetica Neue";color:black"><o:p></o:p></span></p>
<p class="default" style="text-align:justify"><b><span lang="EN-US" style="font-size:12.0pt;font-family:"Times New Roman",serif;color:#222222;background:white">Aigerim Kapar
</span></b><span lang="EN-US" style="font-size:12.0pt;font-family:"Times New Roman",serif;color:#262626;background:white">is an independent curator, cultural activist, founder of the Artcom platform public engaged art platform and an alternative school Art
Collider. She was born in 1987 in Kazakhstan and continues to live and work between Astana and Almaty.</span><span lang="EN-US" style="font-size:12.0pt;font-family:"Times New Roman",serif;color:black;background:white">
</span><span lang="EN-US" style="font-size:12.0pt;font-family:"Times New Roman",serif;color:#262626;background:white">In</span><span lang="NL" style="font-size:12.0pt;font-family:"Times New Roman",serif;color:#262626;background:white"> her</span><span lang="EN-US" style="font-size:12.0pt;font-family:"Times New Roman",serif;color:#262626;background:white">
curatorial practice, Kapar focuses on postcolonial and decolonial discourse</span><span lang="NL" style="font-size:12.0pt;font-family:"Times New Roman",serif;color:#262626;background:white">s</span><span lang="EN-US" style="font-size:12.0pt;font-family:"Times New Roman",serif;color:#262626;background:white">
in Central Asia. Kapar curates and organizes exhibitions, urban art interventions, discussions, lectures, and workshops. To accomplish such wide-ranging initiatives, she often collaborates closely with art and educational institutions, as well as scientific
apparatuses. </span><span style="font-family:"Helvetica Neue";color:black"><o:p></o:p></span></p>
<p class="default" style="text-align:justify"><span lang="EN-US" style="font-size:12.0pt;font-family:"Times New Roman",serif;color:#262626;background:white"> </span><span style="font-family:"Helvetica Neue";color:black"><o:p></o:p></span></p>
<p class="default" style="text-align:justify"><b><i><span lang="EN-US" style="font-size:12.0pt;font-family:"Times New Roman",serif;color:black;background:white">Aigerim Kapar</span></i></b><span lang="EN-US" style="font-size:12.0pt;font-family:"Times New Roman",serif;color:black;background:white">
<i>will talk about attempts to appropriate decolonial discourse in Kazakhstan, based on her curatorial practice and Artcom Platform community initiatives. She will also share reflections on how decolonial discourse is becoming fashionable and profitable in
the Central Asian region. </i></span><span style="font-family:"Helvetica Neue";color:black"><o:p></o:p></span></p>
<p class="default" style="text-align:justify;line-height:200%"><span lang="EN-US" style="font-size:12.0pt;line-height:200%;font-family:"Times New Roman",serif;color:black;background:white"> </span><span style="font-family:"Helvetica Neue";color:black"><o:p></o:p></span></p>
<p class="default" style="text-align:justify"><b><span lang="DA" style="font-size:12.0pt;font-family:"Times New Roman",serif;color:black;background:white">Fabienne Rachmadiev</span></b><span lang="EN-US" style="font-size:12.0pt;font-family:"Times New Roman",serif;color:black;background:white">
is a writer and researcher. Currently she is finishing her PhD on (temporalities of) historical and environmental waste in contemporary art from the former Soviet Union, with a special focus on art and art collectives from Central Asia, at the Amsterdam School
for Cultural Analysis (University of Amsterdam). Her work concerns the changing role of art vis-a-vis social, political, and environmental issues. Recent publications include “Female Shamans: Healing Rituals for Environmental Catastrophe in the Work of Almagul
Menlibayeva,” </span><span lang="NL" style="font-size:12.0pt;font-family:"Times New Roman",serif;color:black;background:white">in Tijdschrift Kunstlicht.</span><span lang="EN-US" style="font-size:12.0pt;font-family:"Times New Roman",serif;color:black;background:white">
She also writes art criticism, essays, and fiction. Her first novel is forthcoming with Das Mag Publishers (Dutch). </span><span lang="EN-US" style="font-size:12.0pt;font-family:"Times New Roman",serif;color:black;background:white"> </span><span style="font-family:"Helvetica Neue";color:black"><o:p></o:p></span></p>
<p class="default" style="text-align:justify;line-height:200%"><span lang="EN-US" style="font-size:12.0pt;line-height:200%;font-family:"Times New Roman",serif;color:black;background:white"> </span><span style="font-family:"Helvetica Neue";color:black"><o:p></o:p></span></p>
<p class="default" style="text-align:justify"><b><i><span lang="DA" style="font-size:12.0pt;font-family:"Times New Roman",serif;color:#222222;background:white">Fabienne Rachmadiev
</span></i></b><i><span lang="EN-US" style="font-size:12.0pt;font-family:"Times New Roman",serif;color:#222222;background:white">will talk about what kind of knowledge is viewed as knowledge within an academic context, and what kind of knowledge is seen as
a free to exploit source of personal experience, for example to illustrate or leg</span></i><i><span lang="NL" style="font-size:12.0pt;font-family:"Times New Roman",serif;color:#222222;background:white">i</span></i><i><span lang="EN-US" style="font-size:12.0pt;font-family:"Times New Roman",serif;color:#222222;background:white">t</span></i><i><span lang="NL" style="font-size:12.0pt;font-family:"Times New Roman",serif;color:#222222;background:white">i</span></i><i><span lang="EN-US" style="font-size:12.0pt;font-family:"Times New Roman",serif;color:#222222;background:white">mize
trendy “</span></i><i><span lang="IT" style="font-size:12.0pt;font-family:"Times New Roman",serif;color:#222222;background:white">decolonial</span></i><i><span lang="EN-US" style="font-size:12.0pt;font-family:"Times New Roman",serif;color:#222222;background:white">”
projects. In this process of erasure there are many layers that accom</span></i><i><span lang="NL" style="font-size:12.0pt;font-family:"Times New Roman",serif;color:#222222;background:white">m</span></i><i><span lang="EN-US" style="font-size:12.0pt;font-family:"Times New Roman",serif;color:#222222;background:white">odate
the process; what could be the layers that halt such a process?</span></i><i><span lang="EN-US" style="font-family:"Helvetica Neue";color:black"> </span></i><span style="font-family:"Helvetica Neue";color:black"><o:p></o:p></span></p>
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<p class="MsoNormal" style="background:white"><span style="font-size:12.0pt;color:#201F1E"><a href="https://eur01.safelinks.protection.outlook.com/?url=https%3A%2F%2Fwww.routledge.com%2FPostcolonial-and-Postsocialist-Dialogues-Intersections-Opacities-Challenges%2FKoobak-Tlostanova-Thapar-Bjorkert%2Fp%2Fbook%2F9780367434403&data=04%7C01%7Colga.zabalueva%40liu.se%7Cd2398da81aae4c52fa7708d9138ea2ab%7C913f18ec7f264c5fa816784fe9a58edd%7C0%7C0%7C637562325604317674%7CUnknown%7CTWFpbGZsb3d8eyJWIjoiMC4wLjAwMDAiLCJQIjoiV2luMzIiLCJBTiI6Ik1haWwiLCJXVCI6Mn0%3D%7C1000&sdata=mG8GXsUIcspSbikrIftOzC35NSSu5CCkcdbr3xsDxSg%3D&reserved=0">https://www.routledge.com/Postcolonial-and-Postsocialist-Dialogues-Intersections-Opacities-Challenges/Koobak-Tlostanova-Thapar-Bjorkert/p/book/9780367434403</a><o:p></o:p></span></p>
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<p class="MsoNormal"><strong><span style="font-size:8.5pt;font-family:"Verdana",sans-serif;color:black">Madina Tlostanova</span></strong><span style="font-size:12.0pt;color:black"><o:p></o:p></span></p>
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<p class="MsoNormal"><strong><span style="font-size:8.5pt;font-family:"Verdana",sans-serif;color:black">Professor of postcolonial feminisms </span></strong><span style="font-size:12.0pt;color:black"><o:p></o:p></span></p>
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<p style="margin-bottom:12.0pt"><strong><span style="font-size:8.5pt;font-family:"Verdana",sans-serif;color:black">Organisation</span></strong><span style="font-size:8.5pt;font-family:"Verdana",sans-serif;color:black">: Institutionen för Tema (TEMA) / Tema
Genus (TEMAG)<br>
<strong><span style="font-family:"Verdana",sans-serif">Telefon</span></strong>: +4613281763<br>
<strong><span style="font-family:"Verdana",sans-serif">Internt</span></strong>: 1763<br>
<strong><span style="font-family:"Verdana",sans-serif">E-post</span></strong>: <a href="mailto:madina.tlostanova@liu.se"><b><span style="color:#225785;text-decoration:none">madina.tlostanova@liu.se</span></b></a><o:p></o:p></span></p>
<p style="margin-bottom:7.2pt"><strong><span style="font-size:8.5pt;font-family:"Verdana",sans-serif;color:black">Besöksadress</span></strong><span style="font-size:8.5pt;font-family:"Verdana",sans-serif;color:black"><br>
<a href="https://liu.se/karta?px_campus=Campus%20Valla&px_building=Temahuset&l=sv"><b><span style="color:#225785;text-decoration:none">Temahuset<br>
Rum E:424<br>
Campus Valla, Linköping</span></b></a><o:p></o:p></span></p>
<p style="margin-bottom:7.2pt"><strong><span style="font-size:8.5pt;font-family:"Verdana",sans-serif;color:black">Postadress</span></strong><span style="font-size:8.5pt;font-family:"Verdana",sans-serif;color:black"><br>
Linköpings universitet<br>
Madina Tlostanova<br>
Institutionen för Tema (TEMA) / Tema Genus (TEMAG)<br>
581 83 Linköping<br>
Sweden<o:p></o:p></span></p>
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