FKW // Zeitschrift für Geschlechterforschung und visuelle Kultur
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Marcel Bleuler / Anita Moser (Hg.) (2018): ENT/GRENZEN. Künstlerische und kulturwissenschaftliche Perspektiven auf Grenzräume, Migration und Ungleichheit. Bielefeld, transcript Verlag
Get PDFPrekäre Räume – prekäre Subjekte: provisorische Behausungen und verwaltete Räume in visuellen Diskursen der Tagespresse zu Flucht und Asyl
Get PDFThe establishment of so-called AnKER-centers for refugees is important in the recent political debate. As places of „organized disintegration“, they take all aims of a welcome culture, which dominated the verbal discourse in 2015 and 2016, to absurdity. With the help of a visual discourse analysis of press pictures in German media, this article investigates spatial representations on refugees and forced migration in relation to the subject positions evoked by the images. The photographs of refugees and refugee accommodation can be understood as a materialization of othering and socio-cultural exclusion. The visual discourse permanently repeats the living of refugees as non-dwelling and thus negates the affiliation of refugees in a collective of civic subjects. It is argued that despite a verbal discourse celebrating a „Willkommenskultur“, the visual discourse normalized forms of spatial exclusion at the very same time
Ameublement in differenter Wiederholung. Über Maßstäbe, Technisierung und Typisierung in den Wohndiskursen im Journal des Luxus und der Moden
Get PDFThis essay centers around the Journal of Luxury and Fashion, one of the most popular journals around 1800 in Germany. The focus lies on the modes of representation it currently uses – establishing a cluster of typification – and on the underlying models from art history: in three distinctive exemplary discussions, the author analyzes the Journal’s aesthetic schemes orientated on the genre of Interior/Room Pictures, on costume books like the Habiti antichi et moderni from Cesare Vecellio, and on „technical“ drawings commonly used in architectural sketches. Giving various examples from the Journal’s high quality copperplate engravings, and analyzing the interrelations of images and text paragraphs, the author’s aim is to put emphasis on how the Journal presents living as tactics of measurement and comparing/ normalization. Hence, it takes part in overall normalization and optimization processes that (gendered) subjects are confronted with in their everyday lives
Gab es doch einen Tomatenwurf der Kunsthistorikerinnen? Die Kunsthistorikerinnentagungen (1982-2002) in der Perspektive von 1968
Get PDFThe article explores the interdependencies between feminist in art history in Germany and the political and social upheavels around 1968. It lays its focus on the fact that the theoretical debates initiated by feminist scholars in art history profited a lot from feminist art of the 1960s and 1970s
Something You Bump Into... Formlosigkeit, Post-Minimalismus und (queer-feministische Kunstkritik vor, um und nach 1968
Get PDFFollowing the observation that 1968is a myth gathering together all sorts of interpretations and, in retrospect, even distorting them in part historically, the article attempts to describe the changes in the (queer) feminist reception of the sculptural objects of Louise Bourgeois and Lynda Benglis since the 1960s. A special critical focus is on the art-historical concept of so-called Post-Minimalism, which was coined in 1971 by Robert Pincus-Witten, and its connection with the formless.Post-Minimalism is commonly dated in art history to the late 1960s, although many earlier examples can be cited. In addition, the notions of a new kind of haptic sensibility, re-evaluated by curator Lucy Lippard with her 1966 exhibition Eccentric Abstractionand the prominently discussed idea of sexual liberation by Marcuse and its significance for the reception of the works of Bourgeois and Benglis, will be highlighted. It's obvious that 1968 is not as 68, Post-Minimalism not as postas it may seem