Feminist Utopian Spaces - Revision history

Cmfiy at 13:01, 26 July 2026

2026-07-26T13:01:05Z

← Older revision		Revision as of 09:01, 26 July 2026
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	May 4—September 23, 2018		May 4—September 23, 2018

	Schluss mit reden, spielen wir!		<h4>Schluss mit reden, spielen wir!
	Kunsthalle Lingen		Kunsthalle Lingen
	June 7—August 25, 2019		June 7—August 25, 2019</h4>

	~~== Gallery ==~~

	<gallery mode="packed" heights="180">		<gallery mode="packed" heights="180">
	File:FeministUtopianLexicon-Lead.jpg		File:FeministUtopianLexicon-Lead.jpg

Cmfiy at 19:38, 20 July 2026

2026-07-20T19:38:58Z

← Older revision		Revision as of 15:38, 20 July 2026
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	''Speculative research and production, various media, 2018''		''Speculative research and production, various media, 2018''

	[[Feminist Utopian Spaces Lexicon (text)\|excerpt ~~of the~~ Feminist Utopian Spaces Lexicon]]		[[Feminist Utopian Spaces Lexicon (text)\|excerpt → Feminist Utopian Spaces Lexicon]]

	The installation explores currents of thought and practice—from 1918 to 2018 by way of 1968—that have produced alternative futures through a feminist perspective: architectural projections and speculations, utopian ideas and visions are introduced and discussed in a moment of political and social regression. Reacting to the ideological implications and effects of modernism, these works produce concepts for new material, social, political and aesthetic spaces.		The installation explores currents of thought and practice—from 1918 to 2018 by way of 1968—that have produced alternative futures through a feminist perspective: architectural projections and speculations, utopian ideas and visions are introduced and discussed in a moment of political and social regression. Reacting to the ideological implications and effects of modernism, these works produce concepts for new material, social, political and aesthetic spaces.

Cmfiy at 19:38, 20 July 2026

2026-07-20T19:38:31Z

← Older revision		Revision as of 15:38, 20 July 2026
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	''Speculative research and production, various media, 2018''		''Speculative research and production, various media, 2018''

	[[Feminist Utopian Spaces Lexicon (text)\|excerpt of the ~~lexicon~~]]		[[Feminist Utopian Spaces Lexicon (text)\|excerpt of the Feminist Utopian Spaces Lexicon]]

	The installation explores currents of thought and practice—from 1918 to 2018 by way of 1968—that have produced alternative futures through a feminist perspective: architectural projections and speculations, utopian ideas and visions are introduced and discussed in a moment of political and social regression. Reacting to the ideological implications and effects of modernism, these works produce concepts for new material, social, political and aesthetic spaces.		The installation explores currents of thought and practice—from 1918 to 2018 by way of 1968—that have produced alternative futures through a feminist perspective: architectural projections and speculations, utopian ideas and visions are introduced and discussed in a moment of political and social regression. Reacting to the ideological implications and effects of modernism, these works produce concepts for new material, social, political and aesthetic spaces.

Cmfiy at 19:32, 20 July 2026

2026-07-20T19:32:45Z

← Older revision		Revision as of 15:32, 20 July 2026
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	''Speculative research and production, various media, 2018''		''Speculative research and production, various media, 2018''

	[[Feminist ~~Spatial Utopias~~ Lexicon\|excerpt of the lexicon]]		[[Feminist Utopian Spaces Lexicon (text)\|excerpt of the lexicon]]

	The installation explores currents of thought and practice—from 1918 to 2018 by way of 1968—that have produced alternative futures through a feminist perspective: architectural projections and speculations, utopian ideas and visions are introduced and discussed in a moment of political and social regression. Reacting to the ideological implications and effects of modernism, these works produce concepts for new material, social, political and aesthetic spaces.		The installation explores currents of thought and practice—from 1918 to 2018 by way of 1968—that have produced alternative futures through a feminist perspective: architectural projections and speculations, utopian ideas and visions are introduced and discussed in a moment of political and social regression. Reacting to the ideological implications and effects of modernism, these works produce concepts for new material, social, political and aesthetic spaces.

Cmfiy at 19:28, 20 July 2026

2026-07-20T19:28:25Z

← Older revision		Revision as of 15:28, 20 July 2026
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	Text is verbatim from m-a-u-s-e-r.net (no rewritten intro, no		Text is verbatim from m-a-u-s-e-r.net (no rewritten intro, no
	Description/Exhibition history subheadings — kept simple as requested). -->		Description/Exhibition history subheadings — kept simple as requested). -->

	''Speculative research and production, various media, 2018''		''Speculative research and production, various media, 2018''

Cmfiy: Cmfiy moved page Feminist Utopian Spaces Lexicon to Feminist Utopian Spaces: Misspelled title

2026-07-20T18:58:43Z

Cmfiy moved page Feminist Utopian Spaces Lexicon to Feminist Utopian Spaces: Misspelled title

← Older revision	Revision as of 14:58, 20 July 2026
(No difference)

Cmfiy at 10:06, 20 July 2026

2026-07-20T10:06:24Z

← Older revision		Revision as of 06:06, 20 July 2026
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	<!-- Page title: Feminist Utopian Spaces Lexicon		<!-- Page title: Feminist Utopian Spaces Lexicon
	Create at: https://aslimona.xyz/index.php/Feminist_Utopian_Spaces_Lexicon		Create/replace at: https://aslimona.xyz/index.php/Feminist_Utopian_Spaces_Lexicon
	Paste everything below this line as the page content. -->		Paste everything below this line as the page content.
			Text is verbatim from m-a-u-s-e-r.net (no rewritten intro, no
			Description/Exhibition history subheadings — kept simple as requested). -->

	~~{\| class="infobox artwork-infobox"~~		''Speculative research and production, various media, 2018''
	\|-
	~~! Type~~
	\| Speculative research and production, various media
	\|-
	~~! Year~~
	\| 2018
	\|-
	~~! Venues~~
	~~\| Württembergischer Kunstverein Stuttgart<br />Kunsthalle Lingen~~
	\|-
	~~! Exhibitions~~
	~~\| ''50 Years after 50 Years of the Bauhaus'' (4 May – 23 Sep 2018)<br />''Schluss mit reden, spielen wir!~~'' ~~(7 Jun – 25 Aug 2019)~~
	\|}

	~~The '''~~Feminist ~~Utopian Spaces~~ Lexicon~~''' (2018) is a speculative research and production project by [[Mona Mahall~~]] ~~and [[Asli Serbest]] exploring currents of thought and practice — from 1918 to 2018 by way of 1968 — that have produced alternative futures through a feminist perspective.~~		[[Feminist Spatial Utopias Lexicon\|excerpt of the lexicon]]

	~~== Description ==~~		The installation explores currents of thought and practice—from 1918 to 2018 by way of 1968—that have produced alternative futures through a feminist perspective: architectural projections and speculations, utopian ideas and visions are introduced and discussed in a moment of political and social regression. Reacting to the ideological implications and effects of modernism, these works produce concepts for new material, social, political and aesthetic spaces.
			Among others, the lexicon includes Shulamith Firestone, Alice B. Toklas, Maria Telkes, Eleanor Raymond, Marlene Moeschke-Poelzig, Alison Smithson, Alice Constance Austin, Frances Gabe, Varvara Stepanova, Janelle Monáe, etc. In terms of structure, the lexicon is developed as an open and growing archive that can go from a word to a phrase, from a drawing to a floor plan, from a video to a model, from an argument to an entire text.

	~~Architectural projections and speculations~~, ~~utopian ideas~~ and ~~visions are introduced and discussed in~~ a ~~moment of political and social regression~~. ~~Reacting to~~ the ~~ideological implications~~ and ~~effects~~ of ~~modernism~~, ~~these works produce concepts~~ for new ~~material~~, ~~social~~, ~~political~~, ~~and aesthetic~~ spaces.		If a short text by Walter Benjamin introduces the ''destructive character'' (1931) as the (modern) activity of clearing away, of making room—in need for fresh air and open space—it seems to read back a Bauhaus program. Through complete reduction, thereby deleting the traces of its age and rooting out of its own condition, the destructive character obtains the potential for a new beginning. The zero point, a tabula rasa of form, allowed to start anew, to produce neutral, ultimately cleared spaces that could even impede leaving traces, as Benjamin noted in reference to glass architecture.

	~~Among others~~, ~~the lexicon includes Shulamith Firestone~~, ~~Alice B. Toklas~~, ~~Maria Telkes, Eleanor Raymond~~, ~~Marlene Moeschke-Poelzig~~, ~~Alison Smithson, Alice Constance Austin, Frances Gabe, Varvara Stepanova~~, and ~~Janelle Monáe~~. In ~~terms of structure~~, the ~~lexicon is developed~~ as ~~an open and growing archive that can go from a word~~ to ~~a phrase~~, ~~from a drawing to a floor plan~~, ~~from a video to a model~~, ~~from an argument~~ to ~~an entire text~~.		Once combined with a (structural) grid, glass architecture could actually deliver fresh air and open space—at any scale, be it furniture, a pavilion, school, skyscraper, or a city. The generic and radically rational nature implied in the grid system with glass surface is explored by Ludwig Hilberseimer's project for a ''Hochhausstadt'' (1924) organizing a city of three million inhabitants upon a calculation of one square window per person. In 1933, when the Gestapo accused the German architect and planner as "problematically left-wing", Hilberseimer emigrated to the U.S. where he started teaching in collaboration with Mies van der Rohe at the Illinois Institute of Technology. Simultaneously, Walter Gropius was heading the Harvard Graduate School of Design in Cambridge. Both became those heroic figures, made in the U.S., that allowed for the consolidation (commodification) of Bauhaus modernism and its reimport to Europe.

	~~If a short text by Walter Benjamin introduces~~ the ''~~destructive character~~'' ~~(1931)~~ as ~~the modern activity of clearing away~~, ~~of making room — in need~~ for ~~fresh air and open space — it seems to read back~~ a ~~Bauhaus program. Through complete reduction, thereby deleting the traces of its age~~ and ~~rooting out its own condition~~, ~~the destructive character obtains the potential for~~ a ~~new beginning. The zero point~~, a ~~tabula rasa~~ of ~~form~~, ~~allowed~~ a ~~start anew, to produce neutral, ultimately cleared spaces~~ that ~~could even impede leaving traces, as Benjamin noted in reference~~ to ~~glass architecture~~.		From the U.S. ''Bauhaus'' returned not just as a style, a new tradition that allowed for the identification with a free and democratic, capitalist West against a Communist East, ''Bauhaus'' also signified a spatial matrix of recycled military technologies through which expanding capitalism could advance globally after the Second World War. Thus, it helped shaping a techno-political postwar space that was paradoxically exposed to the threat of complete destruction through a new global war.

	~~Once combined with a structural grid~~, ~~glass~~ architecture ~~could actually deliver fresh air~~ and ~~open space — at any scale~~, ~~be it furniture~~, ~~a pavilion, school, skyscraper, or a city. The generic~~ and ~~radically rational nature implied in~~ the ~~grid system with glass surface is explored by Ludwig Hilberseimer's project for a ''Hochhausstadt'' (1924), organizing~~ a ~~city~~ of ~~three million inhabitants upon~~ a ~~calculation of one square window per person~~. ~~In 1933~~, ~~when~~ the ~~Gestapo accused the German architect~~ and ~~planner~~ of ~~being "problematically left-wing~~,~~" Hilberseimer emigrated to the U.S.~~, ~~where he began teaching alongside Mies van der Rohe at the Illinois Institute of Technology. Simultaneously~~, ~~Walter Gropius headed the Harvard Graduate School~~ of ~~Design in Cambridge. Both became heroic figures~~, ~~made in the U.S., who allowed for the consolidation (commodification)~~ of ~~Bauhaus modernism and its reimport~~ to ~~Europe~~.		With some impact, the radical architecture and neo-avantgarde movements of the 1960s and 1970s, as well as so-called postmodern tendencies confronted classical modernism. Yet, architecture and the production of space as a mode of social and political engagement with a feminist agenda has remained almost invisible. Therefore, the installation aims at making room for a fragmentary collection and production of videos, plans, images, and models of feminist visions, as possible other ways of imagining how to live together.

	~~From~~ the ~~U.S., ''~~Bauhaus~~'' returned not just as a style — a new tradition allowing identification with a free and democratic~~, capitalist West against a Communist East — it also signified a spatial matrix of recycled military technologies through which expanding capitalism could advance globally after the Second World War, helping shape a techno-political postwar space paradoxically exposed to the threat of complete destruction through a new global war.		50 Years after 50 Years of the Bauhaus
			Württembergischer Kunstverein Stuttgart
			May 4—September 23, 2018

	With some impact, the radical architecture and neo-avantgarde movements of the 1960s and 1970s, as well as so-called postmodern tendencies, confronted classical modernism. Yet architecture and the production of space as a mode of social and political engagement with a feminist agenda has remained almost invisible. The installation therefore aims at making room for a fragmentary collection and production of videos, plans, images, and models of feminist visions — possible other ways of imagining how to live together.		Schluss mit reden, spielen wir!
			Kunsthalle Lingen
	~~The full text of the lexicon is available at [[Feminist Spatial Utopias Lexicon]].~~		June 7—August 25, 2019

	~~== Exhibition history ==~~

	* ''50 Years after 50 Years of the Bauhaus'', Württembergischer Kunstverein Stuttgart — 4 May – 23 September 2018
	* ''Schluss mit reden, spielen wir!~~'',~~ Kunsthalle Lingen ~~— 7~~ June – 25 ~~August~~ 2019

	== Gallery ==		== Gallery ==

	<gallery mode="packed" heights="180">		<gallery mode="packed" heights="180">
	File:FeministUtopianLexicon-Lead.jpg~~\|Feminist Utopian Spaces Lexicon~~		File:FeministUtopianLexicon-Lead.jpg
	File:FeministUtopianLexicon-02.jpg		File:FeministUtopianLexicon-02.jpg
	File:FeministUtopianLexicon-03.jpg		File:FeministUtopianLexicon-03.jpg
Line 53:		Line 40:

	[[Category:Projects]]		[[Category:Projects]]
	[[Category:Feminist Utopian Spaces]]		[[Category:Feminist Utopian Spaces Lexicon]]
	~~[[Category:Research~~]]

Cmfiy: Created page with " {| class="infobox artwork-infobox" |- ! Type | Speculative research and production, various media |- ! Year | 2018 |- ! Venues | Württembergischer Kunstverein Stuttgart
Kunsthalle Lingen |- ! Exhibitions | ''50 Years after 50 Years of the Bauhaus'' (4 May – 23 Sep 2018)

2026-07-19T13:04:32Z

Created page with " {| class="infobox artwork-infobox" |- ! Type | Speculative research and production, various media |- ! Year | 2018 |- ! Venues | Württembergischer Kunstverein Stuttgart<br />Kunsthalle Lingen |- ! Exhibitions | ''50 Years after 50 Years of the Bauhaus'' (4 May – 23 Sep 2018)<br /..."

New page


{| class="infobox artwork-infobox"
|-
! Type
| Speculative research and production, various media
|-
! Year
| 2018
|-
! Venues
| Württembergischer Kunstverein Stuttgart<br />Kunsthalle Lingen
|-
! Exhibitions
| ''50 Years after 50 Years of the Bauhaus'' (4 May – 23 Sep 2018)<br />''Schluss mit reden, spielen wir!'' (7 Jun – 25 Aug 2019)
|}

The '''Feminist Utopian Spaces Lexicon''' (2018) is a speculative research and production project by [[Mona Mahall]] and [[Asli Serbest]] exploring currents of thought and practice — from 1918 to 2018 by way of 1968 — that have produced alternative futures through a feminist perspective.

== Description ==

Architectural projections and speculations, utopian ideas and visions are introduced and discussed in a moment of political and social regression. Reacting to the ideological implications and effects of modernism, these works produce concepts for new material, social, political, and aesthetic spaces.

Among others, the lexicon includes Shulamith Firestone, Alice B. Toklas, Maria Telkes, Eleanor Raymond, Marlene Moeschke-Poelzig, Alison Smithson, Alice Constance Austin, Frances Gabe, Varvara Stepanova, and Janelle Monáe. In terms of structure, the lexicon is developed as an open and growing archive that can go from a word to a phrase, from a drawing to a floor plan, from a video to a model, from an argument to an entire text.

If a short text by Walter Benjamin introduces the ''destructive character'' (1931) as the modern activity of clearing away, of making room — in need for fresh air and open space — it seems to read back a Bauhaus program. Through complete reduction, thereby deleting the traces of its age and rooting out its own condition, the destructive character obtains the potential for a new beginning. The zero point, a tabula rasa of form, allowed a start anew, to produce neutral, ultimately cleared spaces that could even impede leaving traces, as Benjamin noted in reference to glass architecture.

Once combined with a structural grid, glass architecture could actually deliver fresh air and open space — at any scale, be it furniture, a pavilion, school, skyscraper, or a city. The generic and radically rational nature implied in the grid system with glass surface is explored by Ludwig Hilberseimer's project for a ''Hochhausstadt'' (1924), organizing a city of three million inhabitants upon a calculation of one square window per person. In 1933, when the Gestapo accused the German architect and planner of being "problematically left-wing," Hilberseimer emigrated to the U.S., where he began teaching alongside Mies van der Rohe at the Illinois Institute of Technology. Simultaneously, Walter Gropius headed the Harvard Graduate School of Design in Cambridge. Both became heroic figures, made in the U.S., who allowed for the consolidation (commodification) of Bauhaus modernism and its reimport to Europe.

From the U.S., ''Bauhaus'' returned not just as a style — a new tradition allowing identification with a free and democratic, capitalist West against a Communist East — it also signified a spatial matrix of recycled military technologies through which expanding capitalism could advance globally after the Second World War, helping shape a techno-political postwar space paradoxically exposed to the threat of complete destruction through a new global war.

With some impact, the radical architecture and neo-avantgarde movements of the 1960s and 1970s, as well as so-called postmodern tendencies, confronted classical modernism. Yet architecture and the production of space as a mode of social and political engagement with a feminist agenda has remained almost invisible. The installation therefore aims at making room for a fragmentary collection and production of videos, plans, images, and models of feminist visions — possible other ways of imagining how to live together.

The full text of the lexicon is available at [[Feminist Spatial Utopias Lexicon]].

== Exhibition history ==

* ''50 Years after 50 Years of the Bauhaus'', Württembergischer Kunstverein Stuttgart — 4 May – 23 September 2018
* ''Schluss mit reden, spielen wir!'', Kunsthalle Lingen — 7 June – 25 August 2019

== Gallery ==

<gallery mode="packed" heights="180">
File:FeministUtopianLexicon-Lead.jpg|Feminist Utopian Spaces Lexicon
File:FeministUtopianLexicon-02.jpg
File:FeministUtopianLexicon-03.jpg
File:FeministUtopianLexicon-04.jpg
File:FeministUtopianLexicon-05.jpg
File:FeministUtopianLexicon-06.jpg
</gallery>

[[Category:Projects]]
[[Category:Feminist Utopian Spaces]]
[[Category:Research]]