This 19th century definition of femininity has far reaching implications in modern thought as it cements the idea of woman as child bearer, and denotes women who do not conform to the established norms of sexuality and psychoanalysis, as wrong or defective.  This definition of femininity as motherhood came at a time when women were fighting for more rights and a larger role in society. Hysteria was often used as a political tool in the media to impede these women’s rights movements and invalidate their arguments and desire for equal rights.
Forming part of a regular series of screenings from his extensive video collection, Emile Stipp will present Candice Breitz’s Factum Tremblay at The Bioscope Independent Cinema in inner city Johannesburg. The Factum series as a whole is a sequence of in-depth video portraits of twins – and one set of triplets – that extends Breitz’s ongoing interest in doubling, portraiture and identity. The public screening coincides with the Art Week Joburg 2015 and takes place at the Bioscope Independent Cinema, 286 Fox St on 6 September 2015 at 3pm.
Ribot's earliest session work was featured on Tom Waits's Rain Dogs (1985) and helped define Waits's new musical direction.  Ribot worked with Waits on many of his following albums including Franks Wild Years (1987), Big Time (1988), Mule Variations (1999), Real Gone (2004), Orphans: Brawlers, Bawlers & Bastards (2006) and Bad as Me (2011). He has appeared on Elvis Costello's Spike (1989), Mighty Like a Rose (1991), and Kojak Variety (1995). Ribot has appeared on numerous recordings by John Zorn , including many of Zorn's Filmworks recordings, solo performances on Zorn's Masada Guitars (also featuring Bill Frisell and Tim Sparks ), and is a member of Zorn's Bar Kokhba Sextet and Electric Masada .