FKW // Zeitschrift für Geschlechterforschung und visuelle Kultur
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Angelika Richter: Das Gesetz der Szene. Genderkritik, Performance Art und zweite Öffentlichkeit in der späten DDR, Bielefeld: Transcript Verlag 2019
No full textQueering the Kanga. Spekulatives Gewebe in Kawira Mwirichias To Revolutionary Type Love
Get PDFKenyan artist Kawira Mwirichia startet her project with the title To Revolutionary Type Love in 2016 and plans to finish it in 2020: By then, the series will present one kanga honoring the queer movement of each nation of the world. A kanga is a traditional cloth in East African countries, where homosexuality is criminalized – so using the form and look of a kanga is a political as well as artistic appropriation, bringing the topic of queer love and human rights if not into the everyday openly, so at least into the public space of art places. As the history of the kanga itself is a history of appropriating the Portuguese (colonial) textile for East African’s Swahili women’s culture at the end of the 19th century, Mwirichia’s kanga designs not only link the present to this chapter of the colonial past, but also use her “speculative design“ to relate to a possible future, where revolutionary love will have its space
Über Carmen Winants Notes on Fundamental Joy: seeking the elimination of oppression through the social and political transformation of the patriarchy that otherwise threatens tu bury us. New York: Printed Matter 2019
Get PDF50 Jahre 1968: Die Videoreihe Feministisches Improvisatorium blickt zurück (Sommer 2018, VIA Basel)
Get PDFZu Carola Dertnigs künstlerischer Arbeit und ihrer Aufarbeitung der Wiener Performance Geschichte – im Rückblick auf ein Gespräch der Künstlerin mit Barbara Clausen
Get PDFThe following text is discussing Carola Dertnig’s artistic work and her reappraisal of Vienna’s performance history from 1970 onwards. It is based on a conversation between the artist and Barbara Clausen, curator in Montréal, Lucerne University of Applied Sciences and Arts, 4. April 2019
Wie ich ein Etwas mit spitzen Ohren werde und wie Kofferworte que(e)r in der Landschaft stehen
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The Great Tapestry Of Scotland. Konstruktion nationaler Identität mit Nadel und Faden
Get PDFIn Great Britain, a region traditionally associated with needlework, a special phenomenon of commemorative embroidery projects aiming to visualize history has emerged around the turn of the millennium. This paper focuses on one of these projects, The Great Tapestry of Scotland (2012–2013), a large-scale tapestry of 160 individual panels, hand-embroidered by over 1000 stitchers. Its topic is the history of Scotland beginning with the tectonic formation of the British Isles and ending with events close to its manufacturing date. However, in contrast to depicting a political national history concentrating on wars and battles the panels primarily follow people’s lives through the centuries. Providing the first art-historical analysis of this piece, this paper asks how and why collaborative embroidery is used to depict this particular version of Scottish history. In doing so, it pays special attention to the meta-textile framing of the shown scenery
