Angry Talk
with Ciani-Sophia Hoeder and Lucila Pacheco Dehne
Angry Talk with Ciani-Sophia Hoeder and Lucila Pacheco Dehne
moderated by Alexander Wilmschen
Ciani-Sophia Hoeder, author of the book Wut & Böse (2021), talks with Lucila Pacheco Dehne about the topic of anger, what influence angry women have on pop culture, history and food in the framework of the exhibition To All My Roaring Bodies, The Seeds And The Mountains .
They discuss how food and cooking can spread anger and how socio-culturally big things can be made out of the small. Lucila Pacheco Dehne reflects on how art takes anger from her sculptural practice and uses it as a resisting force and call to collective action.
Ciani-Sophia Hoeder is a freelance journalist, SZ Magazin columnist and founder and managing director of RosaMag, the first online lifestyle magazine for Black women FLINTA* (women, lesbian, inter, non-binary and agender) in Germany. She studied politics and journalism in Berlin and London and reports on everyday and institutional racism, being a Millennial, intersectional feminism and pop culture. She was nominated for the Grimme Online Award in 2020 with RosaMag. In autumn 2021, hanser blau published her debut book - Wut & Böse.
In her book Wut & Böse (2021), Ciani-Sophia Hoeder focuses on women who give free rein to their anger and quickly gain a bad reputation as a result. She assumes that this anger can be a powerful weapon against personal and political oppression. Ciani-Sophia Hoeder asks critically: How have angry women shaped history and popular culture? What influence do the upbringing of girls and the derogatory treatment of care work have on women's mental health? And how does anger become courage for change?
Lucila Pacheco Dehne (*1994 in Berlin) is an artist who lives and works in Hanover. She studied fine arts at the Hochschule für Bildende Künste Braunschweig from 2015 to 2021. In her exhibition To All My Roaring Bodies, The Seeds And The Mountains, Pacheco Dehne explores the potential of cooking as a cultural practice that harbors a resistant and angry force at its core. She opens a dialogue on how cooking and eating together gives rise to new identities, feminist anger harnesses cultural technique, and the kitchen as a cell of resistance distributes its power to the world.