Perdón. Anna Jonsson. Performer María Cabeza de Vaca



This course-workshop of Performance, Gender and Feminist Practices integrates a second section, included in the price of registration, which consists of a competition for performance projects to be selected by Margarita Aizpuru. A maximum of 5 projects will be performed and exhibited in the month of September in 13 ESPACIOarte, in the form of a perfomance art series.


Lxs alumxs que así lo deseen, podrán participar en el concurso de proyectos de performances, presentando un proyecto, de forma individual o colectiva, según las explicaciones de la directora del curso

-Los proyectos presentados serán valorados por la directora del curso, quien seleccionará un máximo de 5 proyectos bajo su criterio, teniendo en cuenta tanto conceptos, contenido, desarrollo del proyecto e interés del mismo, así como su viabilidad en este contexto.

-Dichos proyectos podrán consistir tanto en performances individuales como colectivas, siempre que sean de lxs propixs autorxs del proyecto de performance, y siempre que este se ciña a los espacios existentes y a lo mencionado en este apartado B.

-Las performances serán de producción de lxs propixs autorxs, sin que 13 ESPACIOarte ni la directora del curso se comprometan a pagar gastos de producción de las mismas, ni transporte de materiales, medios técnicos o herramientas necesarios para efectuar las performances, que deberán correr a cargo de lxs autorxs.

-Los servicios que se ofrecen a lxs seleccionadxs para llevar a cabo las performances del Ciclo serán:

-Cesión de las salas de 13 ESPACIOarte en el mes de octubre y/o noviembre, en los días que se fijarán para el Ciclo de performances, de 2018, teniendo en cuenta que las performances se realizarán durante el tiempo que estará montada la exposición Tópicos Atípicos del artista urbano DosJotas.

– Asesoramiento y ayuda personal y material básica que se disponga para la preparación de las performances, que habrá de llevarse a cabo junto a lxs seleccionadxs.

– Difusión del Ciclo de performances en los medios de comunicación, en la web de 13 ESPACIOarte, en las redes sociales y mediante los mailings de dicho espacio y de Margarita Aizpuru.

-Invitación digital y una hoja de sala impresa

– Acto inaugural


PLAZOS.  El plazo para presentar los proyectos será del 30 de mayo al 30 de junio de 2018 y se dirigirán a la directora del curso  y a 13 ESPACIOarte, por email a los siguientes correos electrónicos:


-La resolución de los proyectos seleccionados se comunicará el 15 de julio del 2018.

– Se firmará un acuerdo de participación en el Ciclo de Performance entre los seleccionados y 13 ESPACIOarte


Taught by Margarita Aizpuru 


Margarita de Aizpuru.

She is an exhibition curator, art critic, researcher, educator, former Associate Professor of Contemporary Art, History of Cinema and The History of Modern Art at the Carlos III University of Madrid. She has been a visual arts coordinator for the Casa de América in Madrid and the “Zona Emergente” area of the Andalusian Center for Contemporary Art in Seville. She worked for the Department of Temporary Exhibitions at the Georges Pompidou Center  and at The Fondation Cartier pour l’art Contemporain in Paris, as well as for the Department of Exhibitions at the Museum of Contemporary Crt CAPC of Bordeaux, France. She is an expert on contemporary art trends, gender and art, performance art and video art. She has curated numerous exhibitions and artistic activities since the early 90s: directed festivals of action art, numerous video shows and series and The International Art and Gender Meetings.  She has also  taught many courses and workshops on contemporary art, curating, performance and video art, among other topics. She writes regularly for catalogues and publications. She has been a member of the Board of Directors of the IAC (Institute of Contemporary Art) and forms part of the Advisory Council of MAV (Women in Visual Arts).


The course-workshop consists of 5 days of intensive coursework culminating in an open competition for up to 5 projects, chosen by Margarita Aizpuru, to be later carried out in the PERFORMANCE CYCLE of 13 ESPACIOarte in October or November.

DURATION: 20 hours in five sessions

From Monday May 7th  to Friday May 11th, 2018

From 5:00 p.m. to 9:00 p.m.


– General Admission: € 220

– Students: € 150 (ID required)



The course lasts 20 hours, it takes place during five days from Monday 7 to Friday 11 May 2018, in 13ESPACIOarte. c / Lino, 12 Poligono Hytasa SEVILLA (together theater Távora)

In the case that the minimum number of students are not registered, the workshop will be suspended.

At the end of the workshop, participants will be presented with a certificate of participation.

This activity is included in the program of the BMM2018, Women’s Views Biennial -MAV-


Quisiera yo renegar. Carmen F. Sigler

  Reconstruyendo sueños. Beth Moysés

Última cena. Verónica Ruth Frías



The content of the course will deal with the conceptual, visual, theoretical and practical aspects of performance art in relation to feminist and gender discourses and practices.

From the origins of performance art, and body art in general, up to recent years in which we have witnessed a revival of this artistic practice, different generations of women creators have developed new mechanisms and artistic languages. They have opened up specific and strong  pathways in the field of performance art so that one can now speak of the importance of the female presence and even of feminist performances in the evolution of performance art.

That feminist context, and its discourses on the body, of only a few decades, (including the paradigm of gender identity from the 80s), coincided with a change in attitude in art. The female body “got moving” as early as the first actions in the late fifties and early sixties

Las cosas. Esther Ferrer

At the end of the sixties and the beginning of the seventies, while in the art world the reaction against the artistic object was generalized, actions were expanded. These actions were beginning to be called performances. Many women presented the processes by which they traverse their own bodies, exploring the relationships between the female body as a subject as well as a social object.


After 1970, many women developed specifically feminist works. There was an increase in works that reinserted women’s experiences into the practice of art, achieving a significant impact in the use of new materials and processes through their exploration of the social and political contents of the female existence.

In the 1980s, theoretical feminism began to question the meaning of what defines a human being, the silence of and about women in the construction of thought and theory, and the need to subvert language as a carrier of androcentric symbols.

From the second half of the eighties and especially in the nineties, changes were produced in the openness to  new aesthetics that rediscovered happenings and performance art. Many performers of today continue to use discourses in which women are objects and protagonists of the action, but they use very different staging from the austere and minimalist character of earlier times. Sometimes, the body is immersed in the multimedia used to carry out the action.

The women performers of today are reanalyzing concepts both in relation to themselves and to the body as well as to the media and the environments in which performances are staged, with essential contributions being made to this important artistic area.

In this course  the students will be made aware about what the performances carried out by women artists from gender perspectives and feminist practices has meant. This is a theoretical-practical course, with numerous projections in class, which will be explained,  analyzed and discussed. The course will cover  performances carried out by artists, in different tendencies, approaches and practices, since the sixties and until now, both on the national level, and internationally, with special attention paid to the Latin American context.



This course is aimed preferably at students, university students, graduates students and postgraduates of Art History, Fine Arts, Humanities, Aesthetics, Audiovisual Communication, Advertising, Film, Audiovisual Media and Theater and as well as training centers that integrate courses related to artistic creation, among its other subjects. It is also designed for artists, cultural agents, curators, coordinators of exhibitions and activities, art educators, designers of different specialties, and all those people linked to the art world or interested in the world of contemporary image making.

The fundamental objective of the course is to inform / train in the field of performance art from artistic and gender perspectives.  This is the basis of the following course program that emphasizes the study of the historical development of performance art, women artists and trends in performance, its mergers and mixes with other artistic disciplines and the context of the presentation spaces and the modalities of intervention and exhibition.



This a theoretical-practical course  accompanied by abundant and varied audiovisual material, that focuses on performance art and its tendencies, practices and interventions.

The discussions and analysis of performances and performative works will be accompanied by projections of performances by different artists in video (DVD) and fixed projections. They will serve as a documentary basis for the debate and discussions that will accompany the course at all times.


Dia 7 de mayo

INTRODUCCIÓN. Presentación del curso

-Palabras y conceptos: Arte, género, feminismo y performances, introducción a los mismos. ¿Qué es la acción o performance?. Elementos fundamentales de la misma. Distintas tendencias, enfoques y prácticas.
-Performance y performatividad. La performance en directo o en diferido. La fotoperformance, la videoperformances y las instalaciones performativas.

Visualización y análisis de obras y proyectos. Preguntas y debate



-Introducción al feminismo
-Los nuevos feminismos
-El origen del debate feminista en el terreno de las artes
-La relación arte y mujer, olvidos y rescates
-Arte, acción, cuerpo, experimentación y género.
-Pioneras accionistas : Tanaka, Kubota, Yoko Ono, Yvonne Rainer, Simone Forti, Carolee Schneeman

Visualización y análisis de obras. Preguntas y debate



-El body art y la performance
-Reinserción de las experiencias de las mujeres en las prácticas accionistas.
-La exploración de los límites físicos corporales: Gina Pane y Marina Abramovic.
-El cuerpo y su reinserción en la naturaleza, rituales y encuentros prepatriarcales: el caso de Ana Mendieta
-La liberación del cuerpo y de los mecanismos de control. Rebeca Horn.
-Cuestionamientos de roles y cliches sociales femeninos, el caso de Martha Rosler.
-Incorporación del vídeo y los multimedia en las acciones: Laurie Anderson, Joan Jonas, Ulrike Rosenbach, etc.


Día 8 de mayo


-Postmodernismo y feminismo
-Estrategias deconstructivas y reconstructivas feministas
-Simulación, ironía y humor como instrumentos.
-Desarrollo de las performances feministas, fusiones y mestizajes con otros medios y áreas artísticas: Cindy Sherman, Jana Sterbak, Janine Antoni, entre otras.
-Performances, espectáculo y medios de comunicación; el caso paradigmático de Orlan.
-Acciones, reivindicaciones y praxis colectiva feminista, las Guerrilla Girls.
-Performances, performatividad, género y transgéneros en la actualidad:
-Performance, cuerpo, identidad y cultura: Shirin Neshat, Ghazel, KimSooja
-Feminismos y la performance expandida
-Identidad, sexualidad y violencia de género.
-Identidades genéricas nómadas y múltiples. Lo queer como praxis performativa.
-Performance, género y ciberactivismo
-Performance, performatividad y género, entre la realidad, la ficción y las nuevas realidades inmediatas futuras

Visualización de obras y proyectos, lecturas de textos, análisis y debate de los mismos.


Día 9 de mayo

1-Performance, género y feminismo en España I (2 horas)

-Años 60 -70 y comienzo de generación de nuevas representaciones de las mujeres desde las mujeres. Artistas condicionadas por un complicado contexto tardofranquista y de transición, asumen posiciones de autoconciencia y afirmación. Años del arte conceptual y accionista y una generación de mujeres artistas que brillan con luz propia. El caso especial de la artista experimental y performer Esther Ferrer
-Artistas performers en los años ochenta. El caso de Concha Jerez

Visualización, análisis de obras y debate

2-Performance, género y feminismos en España II (2 horas)

-Acercamientos a distintas tendencias actuales y enfoques teórico-prácticos de la performance y lo performativo en España, desde ópticas de género y/o feminismos, tanto como acciones en directo, como videoperformace, fotoperformances y/o instalaciones performativas o nuevos medios: Estíbaliz Sadaba, Maria Ruido, Anna Carceller y Elena Cabello, Mapi Rivera, Alicia Framis, Eulalia Valdosera, Ana Laura Alaez, Itziar Okariz, Carmela García, Amparo Sard, Ixone Sadaba, Pilar Albarracín, MariaAA, Anna Jonsson, Beatriz Sánchez, Angeles Agrela, Noemi Martínez Chico, Veronica Ruth Frías o Macarena Nieves Cáceres, entre otras.

Visualización y análisis de obras.


Día 10 de mayo


-Recorridos introductorios y aproximativos a varias zonas latinoamericanas y sus prácticas accionistas y de género.
-Prácticas performáticas, cuerpo, identidad e indiosincrasia sociocultural.
-La performance de género y el Caribe: la influencia de la Bienal de la Habana, los casos de Tania Bruguera, Glenda León y las cubano-americanas Coco Fusco y Carmelita Tropicana.
-Performance, performatividad, humor y género en las venezolanas Sandra Vivas y Deborah Castillo.
-México y sus performances feministas, la figura especial de Teresa Serrano.
-Desde la sutil ironía de la costarricense Priscilla Monge a las contundentes acciones político-feministas del colectivo boliviano Mujeres Creando.
-El cuerpo violentado, la identidad ignorada, denuncias, revulsivos y liberaciones ritualísticas, desde la directa y fuerte expresividad corporal de la guatemalteca Regina José Galindo, a la poética terapéutica de la brasileña Beth Moysés.

Visualización y análisis de obras.


-Día 11 de mayo

-Presentación, visualización y análisis de encuentros, ciclos, actividades y exposiciones de mujeres y performance :
-Performances feministas en los Encuentros Internacionales de Arte y Género
-Mujeres y acción en el proyecto La performance expandida
-Recorrido antológico de videoperformances y performances documentadas en vídeo de mujeres artistas en el proyecto: Erase una vez…………del mínimal al cabaret: 70’s-90’s
-Análisis de proyectos expositivos performáticos de las artistas: Regina José Galindo, Dora García y Esther Ferrer.




El plazo para presentar los proyectos al concurso Ciclo performance, será del 30 de mayo al 30 de junio de 2018 y se dirigirán a la directora del curso  y a 13 ESPACIOarte, por email a los siguientes correos electrónicos:


The registration form must be filled out in full and submitted to 13ESPACIOarte.

Once the registration is approved, the interested party will be informed. At that time the course fee must transferred to the following account:

Account number: LA CAIXA ES42 2100 2920 76 0200135503

(Indicate in the subject line: The name of the course and name of the participant)

The organization will inform the interested party when their registration has been correctly completed.

*Adjuntar fotocopia del carnet de estudiante enviándolo a

1 – To be admitted to the course / workshop / class / conference / activity, the interested party must show proof of payment of the course to the bank account provided for that purpose by 13ESPACIOarte.  Send the receipt to

2 – 13 ESPACIOarte may cancel the course / workshop / class / conference / activity, if it does not reach the minimum number of participants. In this case the participant will be informed through the email provided on the registration form and the payment will returned to the interested parties.

3 -The interested party authorizes 13 ESPACIOarte, to take images, photos and / or videos of the activity in which he or she participates. These are for informative and educational purposes.

4 – In compliance with LO 15/99 on Protection of Personal Data, the data provided by the interested parties will be included in a file identified as COURSE MANAGEMENT, where interested parties can exercise their right of access, rectification, cancellation and opposition, notifying it to 13ESPACIOarte calle Lino, 12 Polígono Hytasa 41006 SEVILLA or by calling 955 186 041 or by email


The submission of the registration form supposes the acceptance of outlined conditions, as well as the participation in the activity.