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Living with an infected planet has led to an unprecedented crisis of care. Since the outbreak of the coronavirus, life-making and death-making are at the center of global attention. Pandemic terms include COVID-19 response, frontline work, genocidal pandemic, lockdown, mask mandate, shadow pandemic, social distancing, vaccine wars, or virus racism. Elke Krasny presents a feminist mapping of key terms and key images defining the ›pandemicscape‹, looking at a wide range of sources including media coverage, policy by the WHO, the UN or the IMF, recommendations by NGOs and feminist organizations, but also ways of seeing care in photography and painting. Arguing against going back to normal, she outlines a new global international care order

»We must declare war on the virus,« stated UN chief António Guterres on March 13, 2020, just two days after the WHO had characterized the outbreak of the novel Covid-19 virus as a pandemic. Elke Krasny introduces feminist worry in order then to develop a feminist cultural theory on pandemic frontline ontologies, which give rise to militarized care essentialism and forced heroism. Feminist hope is gained through the attentive reading of feminist recovery plans and their novel care feminism, with the latter's insistence that recovery from patriarchy is possible.

"We must declare war on the virus," stated UN chief António Guterres on March 13, 2020, just two days after the WHO had characterized the outbreak of the novel Covid-19 virus as a pandemic. The author introduces feminist worry in order then to develop a feminist cultural theory on pandemic frontline ontologies, which give rise to militarized care essentialism and forced heroism. Feminist hope is gained through the attentive reading of feminist recovery plans and their novel care feminism, with the latter's insistence that recovery from patriarchy is possible.

'Comfort Women' ist der euphemistische Begriff für die Mädchen und Frauen, die von der kaiserlichen japanischen Armee zwangsprostituiert wurden. Gegen das Vergessen und Verdrängen dieser Unrechtsgeschichte ist seit 2011 die Statue of Peace (von Kim Seo-kyung und Kim Eun-sung) weltweit aufgestellt und zum Symbol der transnationalen 'Comfort Women'-Bewegung geworden. Dieser Essay untersucht, in welchen Zusammenhängen die Mahnmale der Statues of Peace ihre politische Wirksamkeit entfalten konnten. Grundlegend wirft der Beitrag die Frage auf, welche Wissenssorte eine auf feministisch materialistischer und semantischer Kulturtheorie beruhende Kunstvermittlung braucht, die sich mit künstlerischen Arbeiten befasst, deren Rezeptionszusammenhang vor allem außerhalb des Kunstfelds liegt.

This essay is written in response to the COVID-19 outbreak. Proposing to stay with the crisis, this essay starts from the centrality of care under the pandemic conditions. Radical despair and radical hope are the entry points for analyzing the terms orienting the response to the crisis. War and care have emerged as key terms mobilizing powerful imaginaries. The efficacy of martial propaganda based on war-talk with its ideology of death poses a threat. Care, in particular care feminism, rooted in the ontological vulnerability of life and the recognition of the interconnectedness of the ties that bind us, inspires possibilities to imagining care taking and healing as a way of continued living with an infected planet. The infected planet refers to the current pandemic and to the much older disease of colonial racist patriarchy. Care feminism counteracts capitalist destruction and toxic human exceptionalism. Rooted in mutual interdependence and pandemic solidarity, care feminism presents a hopeful perspective for collaborative survival. ; Este ensayo está escrito en respuesta al brote de COVID-19. Proponiendo soportar la crisis, este ensayo parte de la centralidad de la atención en las condiciones de la pandemia. La desesperación y la esperanza radicales son los puntos de entrada para analizar los términos que orientan la respuesta a la crisis. La guerra y el cuidado se han convertido en términos clave que movilizan poderosos imaginarios. La eficacia de la propaganda marcial basada en el discurso bélico con su ideología de muerte representa una amenaza. El cuidado, en particular el feminismo del cuidado, arraigado en la vulnerabilidad ontológica de la vida y el reconocimiento de la interconexión de los lazos que nos unen, inspira posibilidades para imaginar el cuidado y la curación como una forma de vivir de manera continua con un planeta infectado. El planeta infectado se refiere a la pandemia actual y a la enfermedad mucho más antigua del patriarcado racista colonial. El feminismo del cuidado contrarresta la destrucción capitalista y el excepcionalismo humano tóxico. Enraizado en la interdependencia mutua y la solidaridad pandémica, el feminismo del cuidado presenta una perspectiva esperanzadora para la supervivencia colaborativa.

As a result of the most pressing concerns of our global present, care, essential to life and survival, is at the center of political struggles and ethical concerns in the 21st-century. With access to health care infrastructures highly unevenly distributed, and caring labor vastly exploited, care injustice is on the rise. The Waiting Room by artist Simone Leigh addresses these concerns. Dedicated to commemorating care worker Esmin Elizabeth Green, who, after 24 hours of waiting, died in the waiting room of a Brooklyn hospital in 2008, this project transformed the New Museum into a center for care, and political mobilization. Foregrounding the experience of Black female subjectivities, alternative healing, and radical resistance, Leigh's art-as-social practice gave rise to Black Women Artists for Black Lives Matter, who used the museum for self-care and political organizing. This essay follows the nexus of care and citizenship through the political dimensions of infrastructural access to health care and culture. Remembering that the modern museum, implicated in the politics and economies of colonial capitalism, created rituals of citizenship based on an exclusionary gendered and racialized notion of the citizen, this essay asks if The Waiting Room enacts a ritual of care as ritual of citizenship.

The unfinished feminist revolution is at the heart of this essay. Globally, social reproduction remains a challenge to the feminist revolutionary project. The continuation of life, human and planetary survival, depends on caring labor. Today, caring in common is the new frontier of capitalist enclosure with care injustice deepening. The struggles for freedom to care and for social reproduction justice continue. They are connected to the deep wounds of coloniality within feminism with its painful conflicts among women over race, class, and reproduction. They are owed to the damaging neoliberal erosion of solidarity. Committed to advancing feminist politics that keep alive the feminist revolution and to connecting art to the social and economic conditions of the world at large, the analysis focuses on a critical constellation of three feminist performances: Mierle Laderman Ukeles' Hartford Wash: Washing, Tracks, Maintenance (Outside and Inside) at the Woodsworth Atheneum in Hartford Connecticut in 1973; Suzanne Lacy's Cleaning Conditions at the Manchester Art Gallery and Manchester Arts Festival in 2013, and Patricia Kaersenhout's The Clean Up Woman at the Stedelijk Museum in Amsterdam in 2016. These performances make public the issue of social reproduction, in particular maintenance and cleaning, in the public sphere of the museum space.

What makes curating feminist organizing? How do curators relate to contemporary feminist concerns in their local conditions and the globalized artworld? The book brings together twenty curatorial case studies from diverse regions of the globe. Reflecting their own curatorial projects or analyzing feminist-inspired exhibitions, the authors in this book elaborate feminist curating as that which is inspired to challenge gender politics not only within but also beyond the doors of the museum and gallery. Connecting their wider feminist politics to their curatorial practices, the book provides case studies of curatorial practice that address the legacies of racialized and ethnic violence, including colonialism; which seek to challenges the state's regulation of citizenship and sexuality; and which realize the drive for economic justice in the organizations and roles in which curators work. The settings in which this work is done range from university art galleries to artist-run spaces and educational or activist programmes. This collection will be enjoyed by those studying and researching curating, exhibitions, socially and ecologically engaged contemporary art practices, and feminist transnational movements in diverse geographic contexts. The essays are of relevance to practicing curators, critical cultural practitioners, and artists.

Weltausstellungen versammeln Wissen auf paradoxe Weise: trotz ihrer seit Beginn konstatierten Ineffizienz, trotz der Selbstkritik von Weltausstellungsmacher*innen besteht das Format fort. Wir suchen nach einer Umdeutung dieses Weltwissens, die eine emanzipierende Auseinandersetzung mit der Welt fördert, wie sie in pandemischen und klimakatastrophischen Zeiten notwendig ist.