‘Cómo imaginar una musea?’ takes place en several momentos during November 2017 in espacios diferentes across Barcelona siguiendo una logica anti-institucional. Este proyecto quiere imaginar una institución museística como una institución femenina, basada en multiple ejes: hospitality, work, collaboration, embodied knowledges, practice, economics, and administration. Esta posibilidad de ficción will help us to feel and think different ways to work and move in cultural institutions. We will imagine a nuevo institucional and how she, la musea, operates, cares, moves, sounds, opens…La musea abre solo cuando sus habitantes pueden visitarla, está absolutamente enmarañada, intrincada con la vida de sus visitantes. She adjusts to our movements and our lives. The programme of la museatakes place in several espacios diferentes, porque musea es un museo entendido como un programa público y no como un espacio físico. She moves to where we need her to be. She has a structure but she doesn’t bend to expectation. She invites you all.
La musea: How does she keep it going
Sunday, November 12th 11a.m – 2:00 p.m, Espai nyamnyam
Co-hosted by Eva Rowson, nyamnyam and Priscila Clementti
An introduction to fermentación and ‘The Second Seasonal Political Palette’, un libro de cocina and document of the Bloodroot Collective, a self-sustaining feminist restaurant (1970-present, USA). Te invitamos to ferment, cook, and read with us para compartir prácticas y estrategias for keeping the collectivity, energies and economics in our work going. With thanks to Andrea Francke and Kim Dhillon, and to Bloodroot Collective, for sharing ‘The Second Seasonal Political Palette’.
La musea: How does she sound and feel and move?
Thursday, November 23rd 6.30p.m – 9.00 p.m, Fundació Antoni Tàpies
Co-hosted by Ariadna Guiteras, Eva Rowson, Jordi Ferreiro, nyamnyam, Priscila Clementti and Sonia Fernández Pan
“You have one room in your house exclusively owned by men. The room is your own: How are you going to furnish it? How are you going to decorate it? With whom are you going to share it and upon what terms?” – Virginia Woolf, ‘Professions for Women’ (1931), quoted in Céline Condorelli, ‘The Company She Keeps’ (2014). Gathering references from Céline Condorelli, Virginia Woolf, Ursula K. Le Guin, astrology, and fermentations from la musea’s previous event, we invite you to join us to re-arrange and set the terms – and the furniture – of the museum in a collective imagining of la musea, inside il museo.
Co-hosted by Adrian Schindler, Caterina Almirall, Eulàlia Rovira, Eva Rowson, Gianmaria Andreetta and Yvonne Carmichael
In this space, which is still forming, we’ll discuss the structures we have the possibility to build, the hospitality we want to practice – and how to shake an espresso martini. The evening begins with a screening of ‘School Without End’ by Adriana Monti (1983), which documents the ‘150 Hours Courses’ – an educational experiment in Italy in the 1970s. The courses were not intended to improve productivity at work, but to allow for personal and collective growth. For the women attending, the course also provided an important ‘room of their own’ in which to share their experiences with work, emigration and discrimination. The film is shown with permission from Cinenova, a non-profit organisation dedicated to distributing feminist films and videos: www.cinenova.org. It is in Italian, with English subtitles
This public programme will be mostly led in English, but we will help each other to translate and shift between English and Spanish. Events are open to everyone but places are limited so it’s important to let us know you are coming. To join in one or all of the events, please enviar un email to Eva: firstname.lastname@example.org
Esta programme is organizada by BAR resident Eva Rowson, developed through exchanges with BAR project during her residency September – November 2017 and within BAR project’s philosophy and curatorial practice of using hospitality as its working method. It is written in ‘Spanglish’ as it has been developed in conversation and collaboration with Adrian Schindler, Ariadna Guiteras, Ariadna Rodriguez, Caterina Almirall, Eulàlia Rovira, Jordi Ferreiro, Priscila Clementti, Simon Asencio, and Sonia Fernández Pan. It is shaped through Eva’s encounters with many others who have swapped books, shared texts and recipes, opened their homes, cooked, been cooked for, listened, talked and danced during her past 3 months in Barcelona: Alba Vilamala, Anna Irina Russell, Adriano Wilfert Jensen, Ainara Elgoibar, Andrea Francke, Andrea Rodriguez Novoa, Ángela Palacios, Ania Nowak, Anna Pahissa, Anne Szefer Karlsen, Antoni Hervàs, Beatriz Cavia Pardo, Bethany Rowson, Pippa Rowson, Claudia Pagès Rabal, Danielle Burrows, David Ortiz Juan, Elida Hoeg, Gianmaria Andreetta, Holly Willats, Hugo Hemmi, Iñaki Alvarez, Isabel de Naverán, Jonathan Hoskins, Juan Canela, Lara Garcia Diaz, Leire Vergara, Linda Valdés, Louise Shelley, Lucy Joyce, Luke Drozd, Marc Navarro, Maria Acaso, Marlene Bonnesen, Michael Lawton, Miren Jaio, Núria Solé Bardalet, Quim Packard, Quim Pujol, Rosanna del Solar, Ross Jardine, Sara Agudo, Sinéad Spelman, Susannah Worth, Usue Arrieta, Veronica Valentini, William Luz, Yvonne Carmichael.
As a producer and coordinator Eva Rowson ha organizado muchas actividades in institutions, pero como artista tiene una necesidad for nuevos imaginarios and posibildades de actuación related to practices of collaborative projects including FOOD (New York, 1971-74), AptArt (Russia, 1982-84) and her own experience of running parties, bars, club nights, gigs, and a project space inside her living room. The BAR project residency le permite de experimentar con lo formatos, and the contexto de Barcelona, relacionado con la situación politica que esta suciendo ahora mismo where friendship, hospitality and conversation son tan importantes. La estructura de esta institución es como preparar la mesa, Eva sets the table and invites you all, to open doors to serendipias, relationships, and ways to work together.
Eva would also like to thank The Showroom, London, for making it possible for her to be here.