|the inimitable Griselda Pollock addresses the audience at the Motherhood and Creative Practice Conference.|
This June, Cultural ReProducers took part in not one but two international gatherings exploring the role of motherhood in creative work. Here's our rundown of Part I: the Motherhood and Creative Practice Conference in London. Stay tuned for more about some of the great people and projects we encountered, and for Part II: the Mothernists, a three-day event in Rotterdam, Netherlands.
For anyone still harboring doubts that great artistic and scholarly work can go hand in hand with the labor of raising a child, this year's Motherhood and Creative Practice Conference, presented from June 1-2 at London South Bank University, offered a resounding affirmation of critical maternal thought.
|Rachel Epp Buller presents on lactivist art intervention|
With so many presenters on the schedule, three panels ran simultaneously every hour in different parts of a labyrinthine LSBU building. Unlike more broadly-themed conferences in which deciding which panel to attend depends on your area of specialty, here it was often painfully difficult to choose. To get a sense of the options you can check out the full program online. Philosopher, artist, and psychoanalyst Bracha Ettinger opened the event with a heady discussion on carriance and the matrixial gaze accompanied by a projection of her hypnotic video work (I have since decided that all future lectures involving dense theoretical language should be presented this way). Faith Wilding and Irina Aristarkhova launched the second day with their riveting exploration of the real and speculative ramifications of surrogacy, IVF tourism, exogenesis, and the global market for
|Christa introducing Cultural ReProducers|
Efforts were made to offer on-site childcare during the conference, albeit for a fee, but unfortunately - whether due to cost, ambivalence, or lack of information - not enough participants signed up to make this option viable in the end. A few mothers bounced, rocked, and fed their babies through sessions, while others worked out arrangements with family members. Several had to rush off before the day was done to collect their kids from local creches or schools.
Those of us visiting from out of town fit in time to visit some of London's great cultural institutions, and parental art seemed to be everywhere, from the abundance of 19th century maternal imagery at the Victoria and Albert Museum to Jaan Toomik's "Dancing with Dad" (2003) at Whitechapel Gallery to the Tate Modern's remarkable Sonia Delaunay retrospective, which highlighted Delaunay's first work of abstraction: a blanket created for her newborn son in 1911.
|Mary Kelly was there in spirit, and on video|
|processing some serious maternal thought over drinks|