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Die Zine zu Unlearning University ist erschienen. Leider ist der Eintrag nur auf English verfügbar. BEHIND THE INTERVIEW … The working conditions of artists is an issue that has gained relevance. While precariousness affects everyone, from an intersectional perspective, women, sexual dissidents, migrants, racialized people, and those working in the Global South face even greater challenges.

In this interview, I wanted to focus on the specific case of mothers, a topic deeply linked to my own experience. Motherhood was a radical change in every aspect of my life, including my professional life. These changes and challenges intensified in when I moved from Chile to Berlin to study at the UdK Berlin.

I arrived with my daughter, who was just a year and a half old at the time. Being a mother, a migrant, and an artist in a new country was a huge challenge. Although I found understanding from some professors regarding my caregiving role, the sense of loneliness was inevitable.

I missed having a support network or references to other mother-artists who were going through something similar. In this context, I discovered the book Why Call It Labor? On Motherhood and Art Work , edited by Mai Abu ElDahab, with texts by Basma Alsharif, Lara Khaldi, and Nikki Columbus.

This book was a refuge amid that experience. A binary with nothing in between. The book was a gateway for reflecting on my own experience and that of so many other mothers in the art world. Nikki is a writer, a curator, a mother, and lives in New York.

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Besides her artistic experience, she knows firsthand the lack of social protection for mothers. This became evident after a case of discrimination she experienced with MoMA PS1 , when the institution withdrew its job offer upon learning that she had had a baby. In this conversation, we talked about that episode and many other topics, always with the underlying question: how do we resist as mothers to sustain our artistic practices and continue being workers in the cultural sector?

This interview took place between Berlin and New York in November Katha K : If we go straight to the central topic of the interview, how does the art world treat those who decide to have children? Nikki N : Like every other sector of the economy, the art world does not want to reorganize itself to accommodate pregnancy, recovery, and parenthood.

As of now, only nine states in the US allow workers paid leave after giving birth or adopting, and even then it is highly restrictive. Most artists are not salaried employees, but some states allow self-employed workers to purchase an insurance policy in order to access paid family leave.

K: What specific barriers do artist-mothers face? What challenges and discrimination do you perceive compared to artists who are not mothers or male artists? N: To give one example, many artist residencies only provide accommodation and support for the artist, not their family.

This makes it difficult for many artists with children—especially women, who are still generally the primary caregiver—to accept numerous professional opportunities. So many events in the art world take place after work hours—exhibition openings, talks and lectures, performances—presenting another challenge for artists as well as curators who are mothers.

On top of all this, the US has limited affordable childcare options.