On 13th March 2020, at the Bezirksmuseum Ottakring in Vienna, the presentation of the publication Uterus Effects — published by the organization KUNSTENTROPIE, a Vienna based association for promotion of contemporary and non-academic art and cultural manifestations — was planned to take place. However, the promotion has not yet been realized in front of the Vienna audience, due to the safety measures imposed against the spread of the COVID-19 virus; therefore, we are pleased to be given the opportunity to present it on our website.
The publication Uterus Effects is an experimental-feminist endeavor aimed at identifying and analyzing social, political and cultural interpretations of the reproductive system organs’ functions (maternity) and dysfunctions (diseases). Given that there is a lack of public discourse and insufficient attention is paid to women in thier late pregnancy, after childbirth, or during the recovery from cancer surgery or some other diseases of reproductive organs, this publication has aspired to provide the necessary space for all those who wanted to share their own experience, or reflections on this issue. An important aspect of thinking about this topic is the context of art, and art as a potential therapeutic agent for the faster psycho-physical recovery.
The publication is the sum of analytical texts, illustrations and free (artistic) forms that re-examine the relationship between art and maternity/reproductive system diseases. The selection for the publication was made through an open call and its production was financed by the Cultural Department of the City of Vienna (MA7) and the District-oriented office of cultural affairs (Bezirksorientierte Kulturangelegenheiten) of the 16th Vienna District. The content is divided into three parts: the frst part covers analytical texts which, from different theoretical and methodological approaches, interpret topics such as motherhood dysfunctionality seen in the artist Tabita Rezaire’s work titled Sugar Walls Teardom (text by Giulia Guaran), the maternal aspect of Virgin Mary (text by Jovana Pikulić), and the art therapy as a way of dealing with trauma (text by Ivana Mančić). The second part comprises of the works about (negative) experiences of the institutional treatment of delivery, in the form of a diary segment by Petja Grafenauer and letters by Jelena Milojević. This part also includes a documentary drama and translation of the Käthe Leichter’s questionnaire (placed at the end of the book) by Jelena Micić. In the third, and the last, part of the publication, the reader will find the illustrations and brief explanations of the works, by the artists themselves: Dženana Pindžo-Mekić, Flora Lu, Jana Adamović, Jelena Cvetković, Kathleen Day, Laura Mahnke, Marija Janković, Mia Arsenijević, Milena Gajić, Nina Babić, Sanja Umičević, Saša Bezjak, Tatjana Hardikov, Vladislava Savić and Željka Aleksić.
The editor of the publication is Amalija Stojsavljević (Pančevo / Srbija, 1984), an art historian and curator, who in the early 2018, founded the association KUNSTENTROPIE — Verein fur zeitgenossische und nicht-akademische Kunst und Kulturveranstaltungen. The association’s objective is to support and promote non-academic and marginal art contents through various activities such as exhibitions, workshops, discussions or festivals. The association’s target groups are young artists and young people in general, who are interested in creative development and experimenting in the field of art. Since Austrian cultural context is rather specific in terms of the interaction between young people from all around the world — which has been additionally intensified by the migrant crisis — the special attention of the association is paid to the promotion of interculturality and diversity, as well as the promotion of social minorities in the country and abroad.
The publication will soon be available in bookstores; until then, you can order your copy at the website of the association KUNSTENTROPIE.