BEGIN:VCALENDAR
VERSION:2.0
PRODID:-//The Feminist Art Project - ECPv6.15.20//NONSGML v1.0//EN
CALSCALE:GREGORIAN
METHOD:PUBLISH
X-WR-CALNAME:The Feminist Art Project
X-ORIGINAL-URL:https://thefeministartproject.org
X-WR-CALDESC:Events for The Feminist Art Project
REFRESH-INTERVAL;VALUE=DURATION:PT1H
X-Robots-Tag:noindex
X-PUBLISHED-TTL:PT1H
BEGIN:VTIMEZONE
TZID:America/New_York
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20240310T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20241103T060000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20250309T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20251102T060000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20260308T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20261101T060000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20270314T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20271107T060000
END:STANDARD
END:VTIMEZONE
BEGIN:VTIMEZONE
TZID:America/Mexico_City
BEGIN:STANDARD
TZOFFSETFROM:-0600
TZOFFSETTO:-0600
TZNAME:CST
DTSTART:20240101T000000
END:STANDARD
END:VTIMEZONE
BEGIN:VTIMEZONE
TZID:America/Chicago
BEGIN:DAYLIGHT
TZOFFSETFROM:-0600
TZOFFSETTO:-0500
TZNAME:CDT
DTSTART:20250309T080000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0500
TZOFFSETTO:-0600
TZNAME:CST
DTSTART:20251102T070000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0600
TZOFFSETTO:-0500
TZNAME:CDT
DTSTART:20260308T080000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0500
TZOFFSETTO:-0600
TZNAME:CST
DTSTART:20261101T070000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0600
TZOFFSETTO:-0500
TZNAME:CDT
DTSTART:20270314T080000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0500
TZOFFSETTO:-0600
TZNAME:CST
DTSTART:20271107T070000
END:STANDARD
END:VTIMEZONE
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250505T080000
DTEND;TZID=America/New_York:20260505T170000
DTSTAMP:20260419T014959
CREATED:20250530T134355Z
LAST-MODIFIED:20250530T134355Z
UID:10000809-1746432000-1778000400@thefeministartproject.org
SUMMARY:Rejoinder Issue 10: Dissenting Feminisms
DESCRIPTION:We are pleased to announce that the Spring 2025 issue of Rejoinder is now available. The theme of this issue is “Dissenting Feminisms.”  Contributors include: Tina Escaja\, Vuyokazi Ngemntu\, Ildikó Kalapács\, Destiny Crockett\, Catherine A. Evans\, Jessie B. Ramey\, Mahdiyeh Govah\, Judy Rohrer\, Jaime Cantrell\, Avik Sarkar\, Sheila Shankar\, Soo Young Lee\, and Alexis Krasilovsky.  \n\n\nRejoinder is an online journal published by the Institute for Research on Women (IRW) at Rutgers in partnership with The Feminist Art Project. \n\n\nThe issue is available at: https://irw.rutgers.edu/rejoinder. \nImage:\nIldikó Kalapács\, Dueling Women\nAcrylic\, mixed media\nCourtesy of the artist.
URL:https://thefeministartproject.org/event/rejoinder-issue-10-dissenting-feminisms/
LOCATION:Online
CATEGORIES:Publication
ATTACH;FMTTYPE=image/png:https://thefeministartproject.org/wp-content/uploads/2025/05/Dueling_Women.png
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20251115
DTEND;VALUE=DATE:20251201
DTSTAMP:20260419T014959
CREATED:20251122T153855Z
LAST-MODIFIED:20251122T154430Z
UID:10000819-1763164800-1764547199@thefeministartproject.org
SUMMARY:FALL OF FREEDOM: Freedom of Expression
DESCRIPTION:The “FALL OF FREEDOM: Freedom of Expression” exhibit is a Women’s Caucus for Art (WCA) national\, pop-up\, online art exhibition spearheaded by the WCA Art Activism Pod. The exhibit was inspired by the recent New York Times article\, “Artists Respond to the Fall of Freedom” (October 14\, 2025). The call invited WCA members to reflect on the theme\, “Freedom of Expression”.\nThe Fall of Freedom project is an urgent call to action—asking the arts community to unite in defiance of the authoritarian forces sweeping the nation. On November 21 and 22\, galleries\, museums\, libraries\, comedy clubs\, theaters\, and concert halls across the country will host exhibitions\, performances\, and public events that channel the urgency of this moment. To join in\, WCA Art Activism Pod is hosting an online Artist Reception and Gallery Tour. \nTo learn more about Fall of Freedom Project\, visit falloffreedom.com. \nThe exhibit is on view November 15-30\, 2026.
URL:https://thefeministartproject.org/event/fall-of-freedom-freedom-of-expression/
LOCATION:IL
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/png:https://thefeministartproject.org/wp-content/uploads/2025/11/Screenshot-2025-11-22-at-10-37-30-Instagram.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20251115T170000
DTEND;TZID=America/New_York:20251115T190000
DTSTAMP:20260419T014959
CREATED:20251115T165000Z
LAST-MODIFIED:20251115T165000Z
UID:10000816-1763226000-1763233200@thefeministartproject.org
SUMMARY:Strength and Visibility: Curating Women Artists between Past and Present
DESCRIPTION:Museum of Art Brașov\, Romania and  4Culture Association invites you to the conference “Strength and Visibility: Curating Women Artists between Past and Present”\, a dialogue between Andreea Căpitanescu and Olivia Nițiș. The discussion offers a framework for reflection on visibility\, continuity\, and critical positioning\, bringing to the forefront the need to recover and integrate the contributions of women artists into the broader narrative of Romanian art. Andreea Căpitănescu is a cultural producer\, independent curator and artistic director\, active since 2005. Founder of the 4Culture Association\, she initiated eXplore Festival – the first contemporary dance and performance festival in Romania – and created the independent space WASP – Working Art Space and Production in Bucharest. Her activity is carried out within European networks and platforms\, through programs that support contemporary artistic creation\, international collaboration\, artistic research\, education and support for emerging artists. She holds a PhD in Visual Arts (UNARTE\, 2024)\, a Master in Project Management in English (SNSPA\, 2022)\, a Master in Contemporary Performance Direction (UNATC\, 2005–2006) and a Bachelor’s degree in Choreography (UNATC\, 2004). She was a danceWEB 2006 scholarship holder at ImPulsTanz Vienna. He curated the performing arts program of Europalia Romania (Brussels\, 2019–2020) and coordinates projects such as Life Long Burning\, Jardin d’Europe\, Emerging Towards (Future) and Exploring Plurealities. Olivia Nițiș is a researcher at the “G. Oprescu” Institute of Art History of the Romanian Academy\, coordinator of the Modern and Contemporary Visual Arts and Architecture department\, independent curator\, art historian. She is the vice-president of the Experimental Project Association\, member of the International Association of Art Critics since 2009. She is interested in the various aspects of gender discourse in the historiography of Romanian art and in Eastern Europe\, with contributions related to women artists and gender representation in modern and contemporary art\, the relationship between art and politics\, the relationship between art and science. She is the author\, editor and co-editor of several articles and publications on contemporary art. She is the author of the volume “Marginal Histories of Feminist Art”\, Vellant\, Bucharest\, 2014 and co-editor of a volume dedicated to the conceptual artist Decebal Scriba (Kettler\, Germany 2017). She was co-curator (with Martina Munivrana) of the solo exhibition of Croatian artist Sandra Sterle at the Museum of Contemporary Art in Zagreb (MSU) in 2023\, and in 2024 she was the initiator and curator of the Romanian-Czech conceptual art project A Spring of Hope a Winter of Despair (Faber\, Timișoara and Pragovka\, Prague). The event is part of the project “Virtual Museum of Art under Communism. Perspectives on a Controversial Heritage”\, carried out by the Brașov Art Museum and co-financed by the National Cultural Fund Administration\, which aims to open the artistic heritage of the communist period to critical and current interpretations. In this context\, the discussion brings to attention the presence and contribution of women artists in the history of Romanian art\, analyzing the way in which their works were collected\, contextualized and viewed in relation to the dominant discourses of the era. The conference anticipates the opening of the “Tower of Strength” exhibition\, which will be inaugurated at the Brașov Art Museum on December 5\, 2025\, and proposes an open dialogue between history\, research and current artistic practice\, within the Compulser Lab project initiated by the 4Culture Association and co-financed by the National Cultural Fund Administration.
URL:https://thefeministartproject.org/event/strength-and-visibility-curating-women-artists-between-past-and-present/
LOCATION:Brasov Art Museum\, Bulevardul Eroilor 21\, Brașov 500030\, Romania
CATEGORIES:Conference Session
ATTACH;FMTTYPE=image/jpeg:https://thefeministartproject.org/wp-content/uploads/2025/11/whatsapp-image-2025-11-04-at-15.41.25-6e8fdb3e-e1763225380289.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20251118T080000
DTEND;TZID=America/New_York:20260216T170000
DTSTAMP:20260419T014959
CREATED:20251115T163438Z
LAST-MODIFIED:20251115T163438Z
UID:10000815-1763452800-1771261200@thefeministartproject.org
SUMMARY:Diasporic Worldings: Gabriela Aceves Sepúlveda
DESCRIPTION:Diasporic Worldings is an experimental video by Gabriela Aceves Sepúlveda that explores the experiences of people in the diaspora as they form and imagine relationships with land\, place\, territories\, and ecosystems. It uses the term “diasporic” as an adjective to describe those who belong to a diaspora due to either forced or voluntary migration and “worlding” as a creative process where “worlds” develop through ongoing engagement and interconnections with humans and more-than-humans. Inspired by Martinican philosopher Édouard Glissant’s distinction between archipelagic thinking as fragmentary and intuitive and continental thinking as all-encompassing and systematic\, and Mexican writer Cristina Rivera Garza’s use of frottage drawing as a mnemonic technique to recover an embodied connection to place\, the video features actions performed on camera and images involving different approaches to map-making.
URL:https://thefeministartproject.org/event/diasporic-worldings-gabriela-aceves-sepulveda/
LOCATION:Urban Screen at Libby Lesghold Gallery\, ECUAD\, 520 East 1st Avenue\, Vancouver\, British Columbia\, V5T 0 H2\, Canada
CATEGORIES:Lecture
ATTACH;FMTTYPE=image/jpeg:https://thefeministartproject.org/wp-content/uploads/2025/11/DW_tierramapa_aceves2.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20251119T080000
DTEND;TZID=America/New_York:20261101T170000
DTSTAMP:20260419T015000
CREATED:20251122T152116Z
LAST-MODIFIED:20251122T152116Z
UID:10000818-1763539200-1793552400@thefeministartproject.org
SUMMARY:2025 Anonymous Was A Woman Awards
DESCRIPTION:Anonymous Was A Woman awards $750\,000 to 15 women artists over the age of 40\, who each receive $50\,000 in recognition of their work\nThe 2025 award follows AWAW’s landmark survey and symposium addressing the lives and careers of women artists \nNovember 19\, 2025—Anonymous Was A Woman (AWAW) today announced the recipients of its 2025 awards\, recognizing 15 artists over the age of 40 who have made significant contributions while continuing to create new work. Each recipient receives an unrestricted award of $50\,000. Founded in 1996 by artist Susan Unterberg\, Anonymous Was A Woman supports woman-identifying artists at critical points in their lives and careers. The organization has awarded more than $8 million to over 300 artists since its inception. This year’s recipients range in age from 41 to 83\, and include artists working in a variety of mediums across the U.S. Earlier this year\, AWAW released the results of the Anonymous Was A Woman Artist Survey—a landmark study conducted in partnership with journalists Charlotte Burns and Julia Halperin and SMU DataArts—which synthesized responses from over 1200 artists to provide a nuanced portrait of the challenges and successes of women artists today. The findings were presented at Artists Speak: The Anonymous Was A Woman Symposium\, a convening at New York University in April 2025 that brought together artists\, curators\, and advocates to discuss systemic inequities and strategies for change. “This year marks a moment of both reflection and action\,” said Susan Unterberg\, founder of AWAW. “The insights from our inaugural survey and symposium have deepened our understanding of what women artists need to thrive\, and reaffirmed the urgency of continuing to provide direct\, unrestricted support. At a moment when the arts and the rights of women are under threat\, I’m honored to recognize this year’s extraordinary group of artists—each of whom expands the field in profound and original ways. I started Anonymous Was A Woman partially in response to the end of federal funding to individual artists. Nearly thirty years later\, that same need motivates us to continue our work of uplifting women artists in mid-career.” \nThe 2025 Anonymous Was A Woman Award recipients are: \nCandida Alvarez\nAmbreen Butt\nJoAnne Carson\nCecelia Condit\nLola Flash\nSonya Kelliher-Combs\nMichelle Marcuse\nPark McArthur\nNicole Miller\nNarcissister\nDhara Rivera\nLinda Stark\nKunié Sugiura\nHong-Ân Trương\nPaula Wilson
URL:https://thefeministartproject.org/event/2025-anonymous-was-a-woman-awards/
LOCATION:IL
CATEGORIES:Award
ATTACH;FMTTYPE=image/png:https://thefeministartproject.org/wp-content/uploads/2025/11/Screenshot-2025-11-22-at-10-14-07-Instagram.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Mexico_City:20251121T180000
DTEND;TZID=America/Mexico_City:20251121T210000
DTSTAMP:20260419T015000
CREATED:20251122T145728Z
LAST-MODIFIED:20251122T145728Z
UID:10000817-1763748000-1763758800@thefeministartproject.org
SUMMARY:Ecoarte: South Geopoetics: Art\, Gender and Biocultural Transformation in a Contemporary Latin American Context
DESCRIPTION:EcoArte Exhibition: South Geopoetics\nCollective exhibition\nCURATORIA Lilian Amaral\nArtists Participants: Brazil + Colombia + Costa Rica\nAna Akaui – Ana Cristina Mendes – Cecília Calaça – Clarisse Tarran – Ivonne Villamil (Colombia/Spain) – Laurita Salles\, Lilian Amaral & Bia Santos – Lucia Madriz (Costa Rica/Germany) – Luisa Giraldo Murillo (Colombia) – Lynn Carone Marina Jerusalinsly & Ana Basaglia – Nivalda Assunção & Armando Queiroz – Susan Campos-Fonseca (Costa Rica) Suzete Venturelli – Studio Urubu – Tania Fraga – Val Sampaio Ligia Oviedo Zúñiga MAP. \n“Ecoarte: South Geopoetics: Art\, Gender and Biocultural Transformation in a Contemporary Latin American Context”\nCured by Prof. Dr. Lilian Amaral | DIVERSITAS USP \nWe live in a constantly changing world that pushes us forward\, forgetting the past and those who came before us. Public institutions and museums\, in particular\, as places that host the memory of collective heritage\, have the social\, cultural and ecological responsibility to preserve this memory on the basis of equality\, equity\, sustainability and interculturality. \nThe Nomadic Chair of Research-Creation | Diversitas USP has as perspective the research\, reflection and the poetic-political action around the active presence of women in art\, science and education\, from the artivist curatorship and the collaboration of artists-researchers from different parts of the world\, as promoters of artistic practices located horizontally\, breaking hierarchies\, with special focus in the Global South. \n“Ecoarte: South Geopoetics: Art\, gender and biocultural transformation in a contemporary Latin American context”\, derives from the project of art\, ecology and technology EcoArte: Terra em Trânsito\, carried out throughout the year 2024 in Brazil and Spain. It proposes to expand and deepen the experiences\, processes\, methods and links between artists\, researchers\, artists\, environmentalists and teachers\, through processes of creation and economic research\, directly involving issues that articulate the body\, ecology\, memory and technodiversity\, putting in dialogue different cosmoperceptions and forms of care\, highlighting the interdependence between different forms of human and non-human existence. \nConsidering the geopoetics\, polyphony and transdisciplinarity of artistic and socio-environmental contexts focused on South and Central America\, the works presented are shared in the Virtual Exhibition and analyzed in hybrid and face-to-face encounters\, pointing to the intrinsic relationship between human being\, nature and culture in their deep connections\, awakening understanding and awareness about the ecological\, biopolitical and interspecific dimensions involved in the global environmental/climatic agenda. \nArt\, as a catalyst for awareness and critical reflection on territories in emergency situations\, has the unique ability to go beyond scientific data\, appealing to the sensitive and emotional experience to generate deeper and more transformative involvement. In this scenario of biocultural and geopolitical mutations\, geopoetics emerges as a fundamental perspective. It is not just a static representation of geography\, but a dynamic way of inhabiting and understanding territories in emergency\, activating urgent dialogues about our responsibility and our deep connection with the planet. In this context\, poetic action becomes a powerful “artivism”\, a practice that goes beyond contemplation to transform scientific knowledge and complex data into experiences capable of mobilizing consciousness and action\, awakening “states of presence”. \nIt is a call for a culture of care\, where art not only reflects the global climate crisis\, but also invites us to actively inhabit it and reinvent our relationships with the environment and with others. It is a call for a technical invention that\, as Simondon and Yuk Hui teach us\, is aware of its impact and fosters the diversity of technological and poetic approaches\, seeking true sustainability and mutual flourishing. \nEcoArte thus presents a geopoetic and technodiverse panorama through sound and visual works that expand the contours and materialities of the making and point out the profound transformations of the present\, crossing languages\, media and contexts: photographs\, embroidery\, painting\, performance\, videoperformance\, animation with use of AI\, video art\, created by 20 female artists | collectives of different Latin American origins\, integrating a program activated by Exhibition \n________________\n“EcoArte: Geopoéticas del Sur. Arte\, género y medio ambiente” \n\n\nEn el marco de la exhibición online “EcoArte: Geopoéticas del Sur. Arte\, género y medio ambiente”\, que se inaugura el 22 de noviembre en el Museo de las Mujeres\, se celebra el IV Festival de VideoArte Museo de las Mujeres “Ecoarte y comunidades 2025” una muestra audiovisual que reúne las voces de artistas mujeres de Brasil\, España y Costa Rica se unen a comunidades en Honduras\, la costa pacífica de Costa Rica\, y un Colegio Nocturno del caso urbano de Costa Rica para poner sobre la mesa la necesidad de ampliar el espacio para los discursos de cuidado\, preservación\, convivencia pacífica con el medio ambiente como un acto político. \nA través de tres bloques curatoriales\, el festival propone un espacio para reflexionar sobre diversas perspectivas críticas y poéticas: cuerpo\, territorio\, memoria\, extractivismo\, biodiversidad y prácticas de cuidado. \nAdemás de la proyección de obras\, se realizarán breves conversatorios con artistas y colectivos participantes\, por un diálogo directo sobre los procesos de creación\, y las luchas ambientales que atraviesan sus prácticas. \nDesde la denuncia hasta la celebración de lo natural\, esta edición del festival busca visibilizar las miradas ecofeministas\, interseccionales y comunitarias que emergen desde el arte contemporáneo en América Latina y España \nEsta actividad forma parte del Art City Tour y es posible gracias al apoyo de la Cátedra Diversitas de la Universidad de São Paulo\, el Museo de las Mujeres de Costa Rica y nuestro anfitrión el Centro Cultural de España en Costa Rica. \nPrograma\n6pm. Recepción\, bienvenida y presentación curatorial\n6:25pm. Bloque 1\n1. Arriskua\, 4’28»\, por Ivonne Villamil \nArriskua es un diálogo desde la escucha meteorológica\, la navegación\, las fronteras invisibles\, las predicciones del tiempo. Reúne sonidos de la tierra y del cosmos\, voces de cuerpos y materias que vibran entre sí\, y lecturas (en euskera) de reportes meteorológicos. Una suma de fenómenos\, fuerzas y seres que coexisten de un modo casi aleatorio e impredecible. La pieza sonora es creada en colaboración con Jimmy Solórzano y Alba Fernández. \n2. Mulheres na Luz\, 2’01»\, por LiIlian Amaral y Bia Santos \nMulheres na Luz es un acto poético-político de videoarte y arte público creado por Lilian Amaral y Bia Santos en São Paulo. Visibiliza la lucha de mujeres trabajadoras y en prostitución mediante una procesión performática colectiva\, inscribiendo sus cuerpos\, voces e historias en el espacio urbano como gesto de resistencia. \n3. EntreMundos: Videoperformance\, ecologia\, subjetivação na criação de uma heterotopia\, 5’04»\, por Lynn Carone \nEntreMundos es una videoperformance que explora desplazamientos y metáforas del lugar mediante el cuerpo en acción y la tecnología. Combina espacios reales y utópicos\, creando una ecología interior y heterotopía\, donde lo humano y no humano dialogan a través de imagen\, animación y sonido en un espacio simbólico y sensorial. \n4. Flores\, Memoráveis Momentos na Mente de um Demiurgo?\, 5’04»\, por Tania Fraga \nEl ensayo reflexiona sobre la poesía como acto de creación en arte computacional. Presenta imágenes donde las flores simbolizan la vida y la tensión entre caos y orden. Estas obras invitan a experimentar y deleitarse\, revelando la unión de opuestos y la evolución poética del demiurgo creador \n5. Cavalo – Banano – Coco\, 4’01»\, por Suzete Venturelli \nTrabaja en arte computacional\, realidad virtual\, inteligencia artificial e interactividad\, integrando ciencia\, tecnología y creación artística. Coordina el grupo de investigación Arte Computacional Bioinspirada (CNPq) y desarrolla proyectos\, exposiciones y publicaciones que exploran la relación entre arte\, tecnología y naturaleza desde una perspectiva innovadora y multidisciplinaria. \n6:55pm. Breve conversatorio con artistas creadoras\n7:10pm. Bloque 2\n6. No mar do céu\, 4’04» por Arte coletivo \nEn el mar del cielo es consecuencia de la inmersión «danza y mar» con Beth Bastos y Mnrena Nascimento\, en el Studio Urubu\, en Picinguaba – Ubatuba\, SP. Se trata de una investigación sobre el movimiento en espiral y su relación con el mar. Las imágenes fueron captadas durante una tarde de descanso entre las actividades de la inmersión. \n7. Aguas de àl-mar\, 4’04»\, por Laurita Salles \nÁguas de al-mar es una obra de videoarte que explora el movimiento del agua como metáfora emocional. A través de montaje y sonido electroacústico\, crea un flujo audiovisual sin horizonte ni paisaje\, articulando cine expandido con ritmos visuales y sonoros que invitan a una experiencia sensorial libre y poética. \n8. The End\, 1’44»\, por Lucía Madriz \nLa obra de Lucía Madriz aborda el biocolonialismo y la lucha indígena por la autodeterminación frente a la apropiación de recursos genéticos. Su arte denuncia la mercantilización de la vida y plantea la sostenibilidad como única vía posible hacia el futuro\, tanto del arte como de la humanidad. \n9. Quebrada Amarilla Video Arte\, 4’19»\, por Susan Fonseca Campos \nEsta obra\, parte del “Extended Quijongo Project”\, es un videoclip que simboliza la simbiosis entre plantas y terrenos industriales abandonados. Dirigido por Julián de la Chica y Rafael Chinchilla\, es una canción de resistencia contra la destrucción de la Tierra causada por intereses humanos y transnacionales. \n10. Une danse teintée violet / La creación de la maternidad\, 2’02»\, por Colectivo a.capello.gva \nUne danse teintée violet / La creación de la maternidad es una danza colectiva de mujeres de diversas nacionalidades\, incluyendo costarricenses\, que usan el método Dalcroze. Sus cuerpos son instrumentos que resuenan la vida y la maternidad\, explorando la creación desde el ser vivo hasta la experiencia femenina. \n7:45pm. Breve conversatorio con artistas creadoras\n8pm. Bloque 3\n11. El eco del fuego: San Juancito pinta voces con alas\, 5»\, por Kelvyn RehMar \nKelvyn RehMar rescata trozos quemados de árboles del Parque Nacional San Juancito\, Honduras\, para crear tintas orgánicas con las que pinta aves que representan a los animales víctimas de incendios forestales. Su instalación\, junto a un importante río que abastece Tegucigalpa\, recuerda y honra a estas especies invisibilizadas durante las grandes tragedias forestales. \n12. Aulas urbanas\, problemas de la costa: más voces para Gandoca\, 15»\, por el Colegio Nocturno de Desamparados \nEstudiantes del Colegio Nocturno de Desamparados crean un video y podcast crítico sobre La Loca de Gandoca de Ana Cristina Rossi. Esta experiencia reflexiona sobre la convivencia con la naturaleza desde un barrio urbano de San José\, fomentando sensibilidad literaria y nuevos vínculos entre lo urbano y rural. \n13. Manos de mujeres cuidan el Pacífico\, 12»\, por Mariposas del golfo \nLa Asociación de Mujeres Mariposas presenta su experiencia con el extractivismo\, mostrando la realidad y esperanza de que convivir con los recursos costeros\, en armonía con el medio ambiente y sin explotación\, es posible donde exista respeto y cuidado ecológico y social. \n8:30pm. Conversatorio breve con creadores gestores de honduras\, mujeres pescadoras y estudiantes creadores de contenido del Colegio Nocturno de Desamparados\n8:45pm Cierre del festival y palabras finales\n  \nSobre las entidades organizadoras\nEl Museo de las Mujeres de Costa Rica\, fundado en 2009\, es una institución pionera en Centroamérica dedicada a la visibilización de las mujeres en el arte\, la historia y los movimientos sociales. Es una filial activa de la Red Internacional de Museos de Mujeres (IAWM por sus siglas en inglés)\, lo que le permite conectar su trabajo local con agendas globales por la igualdad de género\, los derechos humanos y la justicia ambiental. Desde su espacio físico en San José y sus plataformas digitales\, el museo desarrolla exposiciones\, archivos\, investigaciones y actividades educativas con perspectiva feminista e inclusiva. \nLa Cátedra Diversitas: Disidencias Sexuales\, Género y Derechos Humanos de la Universidad de São Paulo (USP) es un espacio académico y de articulación social que promueve la investigación\, formación y divulgación en torno a temas de género\, sexualidad\, derechos humanos\, interseccionalidad y justicia social. Vinculada a la Facultad de Filosofía\, Letras y Ciencias Humanas\, impulsa proyectos interdisciplinarios con impacto regional y latinoamericano\, fortaleciendo redes entre universidades\, colectivos\, artistas y comunidades. Desde un enfoque crítico y descolonial\, la cátedra busca ampliar los marcos de comprensión sobre las disidencias y luchas por equidad\, posicionando el conocimiento como herramienta de transformación social.
URL:https://thefeministartproject.org/event/ecoarte-south-geopoetics-art-gender-and-biocultural-transformation-in-a-contemporary-latin-american-context/
LOCATION:IL
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/png:https://thefeministartproject.org/wp-content/uploads/2025/11/CCE-e1763823411572.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20251126T000000
DTEND;TZID=America/New_York:20260115T000000
DTSTAMP:20260419T015000
CREATED:20251202T215457Z
LAST-MODIFIED:20251202T215457Z
UID:10000822-1764115200-1768435200@thefeministartproject.org
SUMMARY:Rejoinder Open Call
DESCRIPTION:Rejoinder Open Call: Issue 11\nDEADLINE: January 15\, 2026 \nRitual\, Healing\, and World-Making \n\nHow do we mark transitions\, generate transformational visions\, and model alternate ways of being in a world imploding around us? How do we find joy while surrounded by brokenness?  How do we heal when systems are structured against us? What rituals or practices can restore us\, even speak to our souls? The next issue of Rejoinder explores the theme of ritual\, healing\, and world-making. Submissions (including essays\, commentary\, criticism\, fiction\, poetry\, and artwork) should address this theme from feminist\, queer\, and social justice-inspired perspectives. We particularly welcome contributions at the intersection of scholarship and activism. For manuscript preparation details\, please see our website at: http://irw.rutgers.edu/about-rejoinder. Rejoinder is published by the Institute for Research on Women at Rutgers University in partnership with the Feminist Art Project. Please send completed written work (2\,000-2\,500 words max — MS Word)\, jpegs of artwork\, and short bios to irw@sas.rutgers.edu with “Rejoinder Submission” in the subject line by January 15\, 2026.
URL:https://thefeministartproject.org/event/rejoinder-open-call-2/
LOCATION:IL
CATEGORIES:Call for Papers/Presentations,Open Call/Exhibitions
ATTACH;FMTTYPE=image/png:https://thefeministartproject.org/wp-content/uploads/2025/12/IRW-2026-rejoinder.png
ORGANIZER;CN="Institute for Research on Women at Rutgers University":MAILTO:irw@sas.rutgers.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260117
DTEND;VALUE=DATE:20260405
DTSTAMP:20260419T015000
CREATED:20260119T131327Z
LAST-MODIFIED:20260119T131633Z
UID:10000825-1768608000-1775347199@thefeministartproject.org
SUMMARY:Bailey Doogan: Ways of Seeing
DESCRIPTION:The University of Arizona Museum of Art presents “Bailey Doogan: Ways of Seeing\,” the first comprehensive survey to showcase selections from every phase of the late artist’s prolific career. A celebrated painter\, graphic designer\, and Professor Emerita\, Bailey Doogan (1941–2022) was a pivotal figure in the feminist art movement\, using her work to interrogate traditional conventions of female beauty and the politics of the aging body.\nThis exhibition features 80 works that span Doogan’s evolution from surrealist experimentation to her monumental\, unflinching figurative paintings. Central to her practice was the belief that “our bodies are diaries of our experience”. By centering wrinkles\, scars\, and the physical realities of the female form—subjects historically marginalized in Western art—Doogan’s work opens vital conversations about representation\, self-examination\, and the power of the female gaze.\n\nFeatured Feminist Programming\n\nExhibition Reception: Thursday\, January 22\, 2026 | 5:00 PM – 7:00 PM\nPanel Discussion: Friday\, January 23\, 2026 | 4:30 PM – 5:30 PM. Featuring Terry Etherton\, Doug Nielsen\, Cynthia Miller\, and Ann Simmons-Myers; moderated by curator Violet Rose Arma.\nVirtual Talk: “Horror and Humor: Bailey Doogan and the Feminist Revolution”Thursday\, February 5\, 2026 | 5:00 PM – 6:00 PM. Art critic Eleanor Heartney examines how 1980s feminist thinking shaped Doogan’s strikingly original outlook on gender\, power\, and the body.\n\nCurators: Violet Rose Arma and Olivia Miller\, in close consultation with Moira Doogan.
URL:https://thefeministartproject.org/event/bailey-doogan-ways-of-seeing/
LOCATION:University of Arizona Museum of Art\, 1031 North Olive Road\, Tuscon\, AZ\, 85719\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://thefeministartproject.org/wp-content/uploads/2026/01/Bailey-Doogan.-Mea-Corpa-1992-Oil-on-linen-72-x-48.-Courtesy-of-the-Estate-of-Bailey-Doogan-2-e1768828578847.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260220T130000
DTEND;TZID=America/New_York:20260220T140000
DTSTAMP:20260419T015000
CREATED:20260123T164310Z
LAST-MODIFIED:20260123T164310Z
UID:10000826-1771592400-1771596000@thefeministartproject.org
SUMMARY:TFAP@CAA 2026 Business Meeting and Mixer
DESCRIPTION:TFAP@CAA 2026 Business Meeting and Mixer\nFriday\, February 20 | 1:00pm – 2:00pm\nLower Level\, Salon C-5\, Hilton Chicago\nFree and open to the public \nJoin the WCA TFAP caucus during our Affiliated Society business meeting slot for a social mixer. Connect with friends and colleagues\, meet new people\, and learn about TFAP!
URL:https://thefeministartproject.org/event/tfapcaa-2026-business-meeting-and-mixer/
LOCATION:Hilton Chicago\, 720 South Michigan Avenue Chicago\, IL 60605\, Chicago\, IL\, 60605\, United States
CATEGORIES:Conference Session
ATTACH;FMTTYPE=image/jpeg:https://thefeministartproject.org/wp-content/uploads/2025/12/CAA-2026.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260220T163000
DTEND;TZID=America/New_York:20260220T180000
DTSTAMP:20260419T015000
CREATED:20251206T152856Z
LAST-MODIFIED:20260216T224948Z
UID:10000823-1771605000-1771610400@thefeministartproject.org
SUMMARY:TFAP@CAA 2026 Affiliated Society Session | FEMINIST\, QUEER\, AND TRANS ART ACTIVISTS IN ACTION!
DESCRIPTION:TFAP@CAA 2026 Affiliated Society Session\nFeminist\, Queer\, and Trans Art Activists in Action!\nChairs:\nConnie Tell\, The Feminist Art Project\nJoanna Gardner-Huggett\, DePaul University\n \nFriday\, February 20\, 2026\, 4:30-6:00pm\nWilliford C (3rd Floor)\, Hilton Chicago\n*CAA Conference Registration Required. \nCollege Art Association 114th Annual Conference | Chicago\, February 18–21\, 2026 \nFor nearly twenty years\, The Feminist Art Project has supported intersectional and intergenerational conversations regarding feminist\, queer and trans activist art practices. Understanding the rich history of these collective tactics remains instrumental for continued organizing against political oppression and providing essential services to female-identifying individuals. For instance\, in the 1970s\, the arpilleristas produced embroidered narratives denouncing Chile’s totalitarian regime\, while in the 1980s the Greenham Commons Women’s Peace Camp demanded an end to nuclear proliferation. In the 1990s\, Chicago’s Sister Serpents engaged in guerrilla sticker and poster campaigns calling out misogyny and sexual violence and the Dyke Action Machine focused on lesbian agitprop in New York City. In 1999\, the Dutch organization Women on Waves was founded to provide reproductive health services in regions where it is not safe or available\, and in 2001\, LaGender Inc. was established to support the trans health of women of color in the metro Atlanta area. As the voices of feminist\, queer\, and trans artists\, activists\, and scholars are being silenced in this political moment globally\, this session seeks presentations by artists and scholars examining current or historical examples of activist art practices that offer models of protest and mutual aid\, especially work overlooked in current art historical scholarship. \nPanelists:\n“Queer Archives from South Bend: Archiving as Protest and Preservation”\nJason Daniels and Grace Hamilton\nIn 1971\, Gloria Frankel\, a cab driver from New York City\, established South Bend’s first drag bar\, the Seahorse Cabaret. Her visionary leadership and mentorship profoundly shaped the growth of queer and drag spaces throughout the Michiana region. Exploration of drag history\, both locally and internationally\, reveals its socio-cultural significance and the urgent need to preserve the narratives of drag performers.\nRecognizing the impact of drag performers on queer communities\, archival work serves to safeguard and celebrate this vibrant cultural heritage. The archive functions as both a visual and narrative repository\, capturing the evolution of drag and its broader implications for community identity\, resilience\, and visibility.\nBeyond the glittering façade of sequins and performance\, spaces such as the Seahorse have operated as stages where political activism and social resistance converge. Frankel created inclusive environments that enabled community members to engage safely and creatively\, fostering a sense of belonging often absent in small-town contexts. Her story represents a necessary pillar of South Bend’s history\, and preserving it counters the erasure of queer memory\, particularly amid political attacks and cultural neglect targeting LGBTQ+ archives.\nThrough oral histories\, artifact collection\, and storytelling\, this project positions archiving as both preservation and protest\, emphasizing that queer memory is essential for sustaining future generations and supporting ongoing acts of cultural and political resilience. \n“A Model of Mutual Aid within Protest: Betsy Damon\, Alison Knowles and The Lesbian Art Show”\nChristine A. Filippone\, Millersville University\nLesbian\, feminist artist Betsy Damon was among the eighteen artists included in The Lesbian Show (1978)\, one of the first exhibitions of lesbian art curated by Harmony Hammond at White Columns on Greene Street\, New York City. Damon’s sculptural installation for the show was titled Ancestors\, which\, like her famed street performance 7\,000 Year Old Woman\, honored all the women who had come before her. Ancestors was comprised of a set of life-sized plaster body casts of her collaborators\, her community\, seated together on a bed of sand around a ring of colored bags filled with flour. Carrying the giant body casts into the gallery\, Damon explained\, was a process of “bringing the ancestors back.” In a performance organized for the show\, Damon’s flesh and blood community performed in various poses amidst the plaster casts\, among them her friend\, Fluxus artist Alison Knowles. Enamoured with Betsy’s bags\, Knowles proceeded to borrow them for years or her own works including Bean Bag\, Printed Editions\, 1978. This small act of mutual aid set within a groundbreaking activist exhibition organized\, as Hammond wrote\, to make “lesbian artists visible to each other as well as to the women’s community”\, is a microcosm of the commitment to community Damon’s life and work has evidenced to this day. To honor this act and Knowles’s and Damon’s lifelong friendship\, I will present this paper in collaboration with my friend art historian Hannah Higgins\, the daughter of Alison Knowles. \n“Text\, Textile\, and Action: Collective Strategies in Latin American Art”\nJacqueline R. Witkowski\, Western Washington University\nTextility\, or the relationship of materials and the forces they embody\, is a term useful for thinking about how textiles intersect with systems of thought (Ingold 2010). In its contemporary resurgence\, fiber art has been increasingly understood in connection with “text\,” highlighting its communicative force and operation as a form of language. Textiles\, like writing\, transmit meaning through material processes\, embodied gestures\, and collective memory.\nThe focus of this paper is on the practices of two artist collectives: Pontos de Luta from Belo Horizonte\, Brazil\, and Cooperativa Gráfica La Voz de la Mujer from Buenos Aires\, Argentina. Both employ the interplay of fiber and writing to confront persistent restrictions on political\, gendered\, and identity-based freedoms in their national contexts. Their practices foreground marginalized and disappeared populations\, positioning fiber and craft as central to struggles over visibility\, testimony\, and resistance. These initiatives engage with historical genealogies of clandestine and gendered media in the region\, from the arpilleristas in Chile who denounced the dictatorship through their embroidery\, and the early feminist print collective in Argentina\, La Voz de la Mujer.\nBy situating these two collectives within a transnational history of politically engaged fiber and print\, this paper asks: How might text and textile operate together as resistant forms of language? And how do women-centered collectives mobilize these mediums to generate shared vocabularies of protest and survival? \n“The Aravani Art Project: Transgender Awareness Through Art in India”\nAnindita Sengupta\nThe Aravani Art Project is a trans-women and cis-women led art collective that works on creating awareness about the transgender community and changing the way Indian society views the LGBTQIA+ community. In India\, “transgender” often refers to the Hijra community\, a traditional “third gender” group recognized by the government since 2014. The community faces severe and traumatic social stigma\, discrimination\, and marginalization. Many live in self-formed communities\, excluded from mainstream occupations and society. This will be an extremely enlightening addition to discuss trans rights in the global south and how people there are addressing them through art.
URL:https://thefeministartproject.org/event/tfapcaa-2026-affiliated-society-session-feminist-queer-and-trans-art-activists-in-action/
LOCATION:Hilton Chicago\, 720 South Michigan Avenue Chicago\, IL 60605\, Chicago\, IL\, 60605\, United States
CATEGORIES:Conference Session
ATTACH;FMTTYPE=image/jpeg:https://thefeministartproject.org/wp-content/uploads/2025/12/CAA-2026.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260221T110000
DTEND;TZID=America/New_York:20260221T123000
DTSTAMP:20260419T015000
CREATED:20251206T155253Z
LAST-MODIFIED:20260217T143132Z
UID:10000824-1771671600-1771677000@thefeministartproject.org
SUMMARY:TFAP@CAA 2026 Special Session | OUTCRY: ALCHEMISTS OF RAGE
DESCRIPTION:TFAP@CAA 2026 Special Session\nOUTCRY: Alchemists of Rage\nShort documentary film screening & conversation with the film subject\, producer\, and creator of OUTCRY\, Whitney Bradshaw\nChair: Kathleen Wentrack\, The City University of New York\, Queensborough CC\nModerator: Rachel Middleman\, California State University\, Chico\n \nSaturday\, February 21\, 2026\, 11:00am-12:30pm\nBoulevard A/B (2nd Floor)\, Hilton Chicago\n*Free and open to the public. \nCollege Art Association 114th Annual Conference | New York City\, February 18–21\, 2026 \nThe Feminist Art Project is thrilled to host a special screening of OUTCRY: Alchemists of Rage\, an impactful short documentary film that highlights the power of art to drive social change. On Saturday\, February 21\, TFAP will host an in-person screening of the 30-minute film during the 2026 CAA conference followed by a conversation with the film subject\, producer\, and creator of OUTCRY\, Whitney Bradshaw and Kathleen Wentrack\, TFAP Managing Committee member. \nOUTCRY: Alchemists of Rage follows artist and former social worker Whitney Bradshaw as she photographs women\, non-binary\, and genderqueer people mid-scream in cathartic group sessions where long-silenced stories conjure rage\, sorrow\, and joy. The film offers a visceral rallying cry for the revolutionary power of women and non-binary people’s voices. \nThe film is directed by Clare Major and produced by Whitney Bradshaw and Frankly Speaking Films. The score was composed by Paris Hurley of Object as Subject. Paris Hurley also did the score for Kristen Stewart’s new film The Chronology of Water. An adaptation of Lidia Yuknovitch’s acclaimed memoir. Out in theaters now. OUTCRY: Alchemists of Rage made the International Documentary Association (IDA) 2024 Shortlist for Best Short Documentary Film. \nJoin us to watch and discuss this powerful film! \n______________\nWhitney Bradshaw (she/her) is an artist\, activist\, educator\, curator\, former social worker and the subject and producer of OUTCRY: Alchemists of Rage (2024). Her work has been shown widely across the United States including solo shows at Atlanta Contemporary\, the Berkeley Art Museum and Pacific Film Archive\, the DePaul Art Museum\, Wave Pool Contemporary Art Fulfillment Center\, and the 21c Museum Hotel Louisville. The Museum of Contemporary Photography\, the DePaul Art Museum\, Northwestern University Pritzker School of Law\, Hall Art and Technology Foundation\, and Sara M. and Michelle Vance Waddell collect her work\, which has been published in Ms. Magazine\, the New York Times\, the Chicago Tribune\, and Vogue. In 2023\, Bradshaw was named one of NewCity Magazine’s 50 Chicago Artists’ Artists. She is currently the curator at the Lubeznik Center for the Arts in Michigan City\, Indiana.
URL:https://thefeministartproject.org/event/tfapcaa-2026-special-session-outcry-alchemists-of-rage/
LOCATION:Hilton Chicago\, 720 South Michigan Avenue Chicago\, IL 60605\, Chicago\, IL\, 60605\, United States
CATEGORIES:Conference Session,Film Screening
ATTACH;FMTTYPE=image/jpeg:https://thefeministartproject.org/wp-content/uploads/2025/12/CAA-2026.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20260320T080000
DTEND;TZID=America/Chicago:20260418T233000
DTSTAMP:20260419T015000
CREATED:20260322T141521Z
LAST-MODIFIED:20260322T141521Z
UID:10001343-1773993600-1776555000@thefeministartproject.org
SUMMARY:Call for Art: Body Sovereignty
DESCRIPTION:Call for Art: Body Sovereignty \nCurator: Danni O’Brien \nApplication Deadline: Saturday\, April 18\, 2026 \nThe body has always been contested territory. Legislated\, pathologized\, fetishized\, disciplined — the body and its desires have rarely been left in peace\, let alone in the control of the people who inhabit them.\nBody Sovereignty is an exhibition about who owns our body\, its expression and its sexuality.\nARC Gallery invites artists working across all media to submit work that claims for itself a radical ownership over sexuality\, desire\, and bodily identity. We are interested in art that refuses to be tamed — work that finds the erotic in the accidental\, the absurd\, the domestic\, and the discarded. Work that borrows the visual language of instruction and mechanism only to subvert it. Work that is bold in its irreverence\, polymorphic in its affect\, and unafraid to blur lines between innocence and perversion\, function and fantasy\, the handmade and the found.\nWe are drawn to art that treats the body not as subject matter but as site of survival — art assembled from cultural cast-offs\, scavenged and repurposed into something fantastical and alive. Art that is cheeky and meditative in equal measure. That takes months to resolve what was gathered intuitively. That arrives slowly at something unsettling and true.\nBody Sovereignty is not about shock. It is about depth of feeling — about understanding\, as Audre Lorde wrote\, that the erotic is a measure of our most expansive sense of self. \nWe Welcome Work That: \n\n\nClaims ownership over desire\, sexuality\, and gender on one’s own terms \n\n\nPlays at the intersection of the bodily\, the mechanical\, and the domestic \n\n\nTransforms everyday materials into something visceral and alive \n\n\nExplores queer identity\, conspicuous consumption\, and bodily survival through a fantastical or absurdist lens \n\n\nEngages the erotic through abstraction\, humor\, tenderness\, or the uncanny — not necessarily through explicit imagery \n\n\nRefuses easy categorization and sits comfortably at the edge of innocence and perversion\, play and politics \n\n\nMedia \n\n\nAll media welcome\, including sculpture\, assemblage\, ceramics\, collage\, painting\, drawing\, fiber arts\, printmaking\, papermaking\, video\, and installation. We are especially excited by hybrid works and interdisciplinary practices. \n\n\nDeadline for Submission of Applications: Saturday\, April 18 2026 at 11:59pm CST \n\n\nNotification of Acceptance: By email on May 6\, 2026 \n\n\nDelivery of work to ARC: Thursday & Friday May 28 & May 29\, 2026\, 2-6pm; Saturday\, May 30\, 12-4pm \n\n\nPick-Up Work at Gallery: Saturday\, June 27\, 2026\, 2:30-4pm \n\n\nShipped Work Return Date: First two weeks of July (determined by the delivery method) \n\n\n*Pre-Paid FedEx or UPS return label is required \n\n\n*Do not use the U.S. Postal Service \n\n\nAbout the Curator: Danni O’Brien \nDanni O’Brien (she/they) is a queer\, interdisciplinary artist based outside Baltimore\, MD. Through scavenging and collecting\, O’Brien builds enigmatic sculptures and reliefs from found objects\, vintage patent diagrams\, handmade paper pulp\, ceramics\, and the cast-offs of consumer culture. Her work grapples with queer identity\, dystopian survival\, and conspicuous consumption — playful and absurd on the surface\, deeply meditative underneath. O’Brien has exhibited at the Museum of Contemporary Art Arlington\, Asya Geisberg Gallery\, Hamiltonian Gallery\, and the Virginia Museum of Contemporary Art\, and has held residencies with The Wassaic Project\, Baltimore Clayworks\, the Elizabeth Murray Artist Residency\, Byrdcliffe Colony\, and Stove Works\, among others. She is the recipient of Individual Artist Grants from the Belle Foundation for Cultural Development and the Maryland State Arts Council. \nVisit Dani @ www.danielleobrienart.com \nOpening Reception\, Friday\, June 5th\, 5:00-8:00pm\n\n\nExhibition dates: June 5-26\, 2026 \n\n\nGallery hours: Thurs – Fri 2-6pm\, Sat – Sun 12-4 pm \n\n\nThis program is partially supported by a grant from the Illinois Arts Council Agency.
URL:https://thefeministartproject.org/event/call-for-art-body-sovereignty/
LOCATION:ARC Gallery\, 1463 W Chicago Ave\, Chicago\, IL\, 60642\, United States
CATEGORIES:Call for Applications/Residency,Exhibition
ATTACH;FMTTYPE=image/png:https://thefeministartproject.org/wp-content/uploads/2026/03/1.png
ORGANIZER;CN="ARC Gallery":MAILTO:info@arcgallery.org
END:VEVENT
END:VCALENDAR