6 ECTS

Griselda Pollock is a visual theorist and cultural analyst, and scholar of international, postcolonial feminist studies in the visual arts. Based in England, she is well known for her theoretical and methodological innovation, combined with readings of historical and contemporary art, film and cultural theory. Since 1977, Pollock has been one of the most influential scholars of modern, avant-garde art, postmodern art, and contemporary art. She is also a major influence in feminist theory, feminist art history and gender studies (Sue Malvern, “Griselda Pollock”, in Chris Murray (ed.), Key Writers on Art: The Twentieth Century (London: Routledge, 2002)).

In Tallinn Griselda Pollock will addresses the issues of relations of political thought and feminist thinking, the problems of psychoanalytic interpretation, and of the contemporary exhibitionary practices.
Programme

Day 1 – Getting to know me: the unknown 1990s and the 2016 abstract expressionist show.
Day 2 – Arendtian political thought and feminist thinking about sexual difference.
Day 3 – Bracha Ettinger: Psychoanalysis, aesthetics and amnamesis.
Day 4 – The virtuality of feminism and the contemporary exhibitionary and the curatorial.
Registration

Reading the required texts is the prerequisite for participating in the course (max 15 participants). The final registration deadline is May, 2.
Readings (will be sent after registration)​

Adriana Cavarero and Elisabetta Bertolino, ‘Beyond Ontology and Sexual Difference: An Interview with the Italian Feminist Philosopher Adriana Cavarero’ differences 2008 Volume 19, Number 1: 128-167
Carolyn Christov Bakargiev ‘The Brain’ at DOCUMENTA(13) 2012
Carolyn Christov-Bakargiev ‘Letter to a Friend’ dOCUMENTA (13) 26/10/2010
Karen Barad, ‘On Touching-The Inhuman that therefore I am’ differences 23: 3 (2012 ) 206-223
Bracha Ettinger, ‘Matrixial Transubjectivity’ Theory Culture and Society 21:2-3 (2004) 218-22
Bracha Ettinger, ‘Weaving, Weaving a Woman Artist within the Matrixial Encounter-Event Theory, Culture & Society Vol. 21:1 (2004) 69–93
Bracha Ettinger, ‘The Sublime Beauty Beyond Uncanny Anxiety’ in F. Dombois, U. M.
Bauer, C. Marais and M. Schwab. (eds) Intellectual Birdhouse. Artistic Practice as Research. (London: Koenig Books, 2011), pp197-215
Mary Kelly ‘Reviewing Modernist Criticism’ Screen Screen (1981) 22 (3): 41-52.
Jean-François Lyotard ‘Scriptures: Diffracted Traces’, Theory, Culture and Society 21:1 (2004) 101-105, also printed in Jean-François Lyotard, Writings on Contemporary Art
Leuven University Press 2012
Brian Massumi ‘Painting: The Voice of the Grain’ in Bracha Ettinger, The Matrixial
Borderspace edited Brian Massumi Minneapolis: University of Minnesota Press, 2006), pp. 201-214.
Griselda Pollock Encounters in the Virtual Feminist Museum; Time Space and the Archive (London: Routledge, 2007)
Griselda Pollock ‘Killing Men and Dying Women: AWomen’s Touch in the Cold Zone of American Painting in the 1950s ’ In Griselda Pollock and Fred Orton, Avant-Gardes and Partisans Reviewed (Manchester: Manchester University Press, 1996)
Griselda Pollock ‘Inscriptions from the feminine ‘ in Catherine de Zegher, Inside the Visible: An Elliptical Traverse of Twentieth Century art in, of and from the feminine (Cambridge, MA: MIT Press, 1996)
Griselda Pollock Is Feminism a Trauma, a Bad Memory, or a Virtual Future? differences (2016) 27(2): 27-61

Reference points:

Hannah Arendt ‘Crisis in Culture’ Between Past and Future: Eight Exercises in Political Thought [1961] Harmondsworth: Penguin Books, 2006) pp. 194-223
Julia Kristeva ‘Women’s Time’ [1982] in Toril Moi, The Kristeva Reader (Oxford: Basil Blackwell, 1986)
Eva Plonowska Ziarek Right to Vote or Right to Revolt? Arendt and the British Suffrage Militancy’, differences (2008) 19(3): 1-27.
This event is organised by the Graduate School of Culture Studies and Arts, supported by the ASTRA project of the Estonian Academy of Arts – EKA LOOVKÄRG (European Union, European Regional Development Fund).