Mapping the socially, culturally and economically embedded artistic processes and conditions of cultural production of producer / practitioners engaging also in maternal labour...

The m/other voices Field Trips are another base for critical reflection on how the two different modes of labor - that of mothering and that of participating in the art world - co-exist in ones daily life, and the strategies implied within.  The Field Trips are informal gatherings based on mutual exchange and engagement, through which a common vocabulary and a collective understanding of contemporary sociopolitical issues related to art- and maternal labour can be built upon.  

One of the tasks for the Field Trip participants is to reflect on their art practice from an axis between their mothering labor and their art production labor. Each participant has been asked to prepare a timeline, which in someway reflects this relation.  Sometimes the timelines turn out to be graphs, sometimes live performance pieces, sometimes sculptural installations, sometimes re-enactments or a presentation of archives



  • How do the two different modes of labor - that of mothering and that of participating in the art world - co-exist in ones daily life? 
  • How do we perform and negotiate these two identities?
  • What are the social, political and economic conditions in which we perform these roles and (how) do they inform each other? 
  • How does maternal experience, practice and thinking effect ones methodology/-ies of production?
  • How do these methodologies in turn effect what is produced? 
  • How do these ‘objects’ function/ perform in the world? What kind of relations do they produce? 
  • What kind of aesthetic, social, political and affective relations do they produce or propose?
  • What kind of knowledge is being generated through artistic practices and processes that embrace the maternal subjectivities and conditions of  their producers?
  • What are some of the underlying social, political, historical and economic reasons that have brought about the current rise in the maternal as a location from which contemporary artists are asking questions about the current social-, cultural-, political-, pedagogical- and aesthetic practices? 
  • How are the rising number of maternal art practices challenging the traditional art institutional production of artistic subjectivity?
  • What does it mean to make art in the times that we are living?



Weronika Zielinska

Witta Tjan

Barbara Philipp 

Deirdre M. Donoghue

Susana Perdrosa

Mirjam Westen

Kinke Kooi


Barbara Philipp 

Aspasia Nasopoulou

Sharon Renee Stewart



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